[Harvard University] o&WVUlillJW///,, a? ^^>-x i BOSTON SYMPHONY 0RO1ESTRR FOUNDED IN 188) BY HENRY L. HIGGINSON FIFTY-NINTH SEASON '*r< 1939-1940 [2] Thursday Evening, November 16 at 8 o'clock Boston Symphony Orchestra [Fifty-ninth Season, 1939-1940] SERGE KOUSSEVITZKY, Conductor Personnel Violins BURGIN, R. ELCUS, G. lauga, N. SAUVLET, H. RESNIKOFF, V. Concert-master GUNDERSEN, R. KASSMAN, n. CHERKASSKY, P. EISLER, D. THEODOROWICZ, J. HANSEN, E. MARIOTTI, V. I EDOROVSKY, P. TAPLEY, R. LEIBOVICI, J. PINFIELD, C. LEVEEN, P. KRIPS, A. KNUDSON, C. ZUNG, M. BEALE, M. GORODETZKY, L. MAYER, P. DIAMOND, S. DEL SORDO, R. I II DEER, B. BRYANT, M. STONESTREET, L. MESSINA, S. DICKSON, H. MURRAY, J. ERKELENS, H. SEINIGER, S. DUBBS, H. Violas LEFRANC, J. FOUREL, G. BERNARD, A. (.ROVER, EI. CAUHAPE, J. ARTIERES, L. VAN WYNBERGI N , C. WERNER, H. LEHNER, E. KORNSAND, E. GERHARDT, S. HUMPHREY, G. Violoncellos BEDETTI, J. LANGENDOEN, J. *chardon, y. STOCKBRIDGE, C. fabrizio, e. ZIGHERA, A. TORTELIER, P. droeghmans, h. ZEISE, K. marjollet, l. zimbler, j. Basses MOLEUX, G. DUERESNE, G. greenberg, h. girard, h. barwicki, j. vondrak, a JUHT, L. frankel, i. prose, p. Flutes Oboes Clarinets Bassoons laurent, g. GILLET, F. polatschek, 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. \v. SINGER, J. SHAPIRO, H. VOISIN, R. L. lilleback, 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. BmbtVB Qllfmttt • Harvard University • (Cambridge FIFTY-NINTH SEASON, 1939-1940 Boston Symphony Orchestra SERGE KOUSSEVITZKY, Conductor Richard Burgin, Assistant Conductor Concert Bulletin of the Second Concert THURSDAY EVENING, November 16 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 Ci] The Continuing La?iguage B efore the ill-fated attempt to build the Tower of Babel, "the whole earth was of one language, and one speech." Then came the confounding of language, "that they may not understand one another's speech." With divergent tongues the peoples of the world went their several ways, and their failures to understand one another's speech, and much besides, have been the cause of infinite disaster, of which the wars now tearing Europe and Asia asunder are the latest tokens. Of the one language and one speech that prevailed before the confusion of tongues an imperishable remnant still exists. That is the speech of music, the language under- stood by peoples of every tongue. In the world as we look out upon it today, it is more important than ever be- fore that this bond of unity should be pre- served. The Boston Symphony Orchestra counts it a privilege to contribute as it may to the continuance of this unifying influ- ence. It is a privilege, moreover, in which every Friend of the Orchestra may share. Reginald C. Foster Chairman, Friends of the Boston Symphony Orchestra. [2] Uatttortf Utfyeatr? • Harvard University • (ttambri&g? Boston Symphony Orchestra FIFTY-NINTH SEASON, 1939-1940 SERGE KOUSSEVITZKY, Conductor SECOND CONCERT THURSDAY EVENING, November 16 Programme Arthur Foote Suite in E major for String Orchestra, Op. 63 I. Prelude II. Pizzicato and Adagietto III. Fugue Hili Concerto for Violin, Op. 38 I. Allegro giocoso II. Lento ma non troppo III. Allegro moderato; Allegro molto INTERMISSION Hanson Symphony No. 3 I. Andante lamentardo II. Andante tranquillo III. Tempo scherzando IV. Largamente e pesante SOLOIST RUTH POSSELT [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. Arthur Foote is numbered among the New England composers who ijl took their first musical instruction under John Knowles Paine at Harvard College. After graduation he studied organ and piano until First with B. J. Lang. From 1878 1910 he was organist of the 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] z^l^K^k) [4] VIOLIN CONCERTO, Op. 38 By Edward Burlingame Hill Born in Cambridge, Mass., September 9, 1872 The orchestration of the Concerto is as follows: two flutes, two oboes, two clari- nets and bass clarinet, two bassoons and contra-bassoon, four horns, two trumpets, three trombones and tuba, timpani, triangle, snare drum, cymbals, and strings. This Concerto had its first performance by this Orchestra in Symphony Hall, November 11, 1938 (Ruth Posselt, soloist). Edward Burlingame Hill's music for solo instruments with or- chestra has consisted so far of his Concertino for Piano and Orchestra, and his earlier Scherzo for Two Pianos and Orchestra. In the summer of 1933 he wrote a concerto for violin, his first work at full length in this form. During the winter season following, he re- vised the score, and again in the summer of 1937 he revised the first movement and added a cadenza with the advice and collaboration of Richard Burgin. The Concerto follows the traditional forms. Mr. Hill's long associations with Harvard College, where he is Pro- fessor of Music, extend to his antecedents. His father, Henry Barker Hill, was a professor of chemistry there, and his grandfather, Thomas Hill, was President of the University (1862-68). Edward Burlingame Hill graduated from Harvard in 1894. His teachers in music were John Knowles Paine (at Harvard), George W. Chadwick, Arthur Whiting, and Charles Marie Widor. He is the author of the book "Modern French Music." The following works of the composer have been played by this Orchestra: 1916, March 24. "The Parting of Lancelot and Guinevere," Symphonic Poem. 1919, March 28. "Stevensoniana" (First Suite). 1920, October 29. "The Fall of the House of Usher," Poem. 1922, February 24. Waltzes for Orchestra. 1924, March 21. "Stevensoniana" (Second Suite). 1924. December 19. Scherzo for Two Pianos and Orchestra. (Messrs. Maier and Pattison.) 1927, April 1. "Lilacs," Poem for Orchestra. 1928, March 30. Symphony in B-flat major, No. 1. 1930, May 2. "Lilacs." 1930, October 17. An Ode (Poem by Robert Hillyer). (Composed for the Fiftieth Anniversary of the Orchestra.) 1931, February 27. Symphony in C major, No. 2. 1932, April 25. Concertino for Piano and Orchestra. (Soloist, Jesus Maria Sanroma.) !933» March 10. Sinfonietta, in one movement. 1934, March 9. Concertino for Piano and Orchestra. (Soloist, Mr. Sanroma.) 1935, November 29. "Lilacs." 1936, April 17. Sinfonietta for String Orchestra. (In three movements.) 1937, December 3. Symphony No. 3, in G major. (First performances.) 1938, November 11. Violin Concerto. (Soloist, Ruth Posselt.) Other works of Mr. Hill include: 1907. "Nuns of the Perpetual Adoration," for Women's Voices and Orchestra. 1925. Sonata for Clarinet and Piano. Sonata for Flute and Piano. 1929-1936. Jazz Studies for Two Pianos. 1934. Sextet for Wind Instruments in B-flat. *935- String Quartet in C major. 1937. Quartet for Piano and Strings in A major. 1938. Sonata for Two Clarinets (unaccompanied). Mr. Hill composed last summer "The Flute," a Poem for Orchestra (after Marcel Schwob), and has nearly completed a Concertino for String Orchestra. [copyrighted] RUTH POSSELT Ruth Posselt was born in Med lord, Massachusetts, of musical parents. She began the study of violin at the age of three with Marjorie Posselt, making her first appearance in Jordan Hall, Boston, in her sixth year.