BAILEY HALL ITHACA CORNELL UNIVERSITY Tuesday Evening, November 6, at 8.00 <%&%, ii^ydx.'% A>% m\ycf BOSTON SYAPHONY ORCHESTRA INC. FORTY-THIRD SEASON J923-J924 PR5GR7W1E V L A D I M I R DE PACHMANN uses and endorses exclusively (1 hcHjUilclumt }3imm (fa. CINCINNATI CHICAGO NEW YORK INDIANAPOLIS ST. LOUIS LOUISVILLE DF.NVER DALLAS SAN FRANCISCO BAILEY HALL ..... ITHACA CORNELL UNIVERSITY FORTY-THIRD SEASON, 1923-1924 INC. PIERRE MONTEUX, Conductor TUESDAY EVENING, NOVEMBER 6, at 8.00 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. 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 ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W.WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager ]\ flUSIC is an essential of every well-regulated home. * * It is a factor of vital importance in the education ot the children, an unending source of inspiration and recreation for the growing generation, a refining, cultivat- ing influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, o( high and low, of young and old in every walk ot life. The PIANO is the universal musical instrument of the home, the instrument that should be in every house- hold. And the greatest among pianos is the STEINWAY, prized and cherished throughout the wide world by all lovers of good music. Or, in the words of a well-known American writer: "Wherever human hearts are sad or glad, and songs are sung, and strings vibrate, and keys respond to love's caress, there is "known, respected, revered — loved — the name and fame o( STEINWAY." Catcilo^uc and prices on application STEINWAY & SONS STEINWAY HALL 107-109 I AM FOURTEENTH STREET, NEW YORK ;i i> BY mi FOREMOST DBA] ERS I VERYWHBRE Forty-third Season, 1923-1924 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. Siegl, F. Kassman, N. Cherkassky, P. Leveen, P. Mariotti, V. Thillois, F. Gorodetzky, L. Kurth, R. Riedlinger, H. Murray, J. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, L. Tapley, R. Del Sordo, R. Messina, S. Diamond, S. Erkelens, H. Seiniger, S. Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A. ArtiSres, L. Van Wynbergen, C. Shirley, P. Mullaly, J. Gerhardt, S. Kluge, M. Deane, C. Zahn, F. Violoncellos. Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendcen, J. Schroeder, A. Barth, C. Stockbridge, C. Fabrizio, E. Marjollet, L. Basses. Kunze, M. Seydel, T. Ludwig, 0. Kelley, A. Girard, H. Keller, K. Gerhardt, G. Frankel, I. Demetrides, L. Flutes Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Bladet, G. Lenom, C. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F. Piccolo. English Hoens. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L. Hoens. Horns. Trumpets. Trombones. Wendler, G. Valkenier, W. Mager, G. Hampe, C. Schindler, G. Hain, F. Mann, J. Adam, E. Hess, M. Van Den Berg, C. Perret, G. Mausebach, A. Lorbeer, H. Gebhardt, W. Kloepfel, L. Kenfield, L. Schmeisser, K. Tuba. Harps. Timpani. Peecussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Zahn, F. Delcourt, L. Polster, M. Sternburg, S. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J rm wkB%R i s distinction in travel, just as there is say- In -* motor cars or in <lress. The Kovnumd-W hitcomb 1924 Cruises Round the M orld {January i*>) on the "Resoiuie" and ttt the Mediterranean {February 9) <>n the "Reliance" — have true distinction. We shall be rerx plod to send you descriptive booklet*, nbip-plons and oil further information. Raymond X Whitcomb Co. 225 lit th ivenue Vnr York City BAILEY HALL ITHACA CORNELL UNIVERSITY Forty-third Season, 1923-1924 PIERRE MONTEUX, Conductor TUESDAY EVENING, NOVEMBER 6 AT 8.00 PROGRAMME Rachmaninov . Symphony in E minor, No. 2, Op. 27 I. Largo; Allegro moderato. II. Allegro molto. III. Adagio. IV. Allegro vivace. Strauss Dance of Salome from the Music Drama, "Salome" Ravel Two Movements from "Ma Mere L'Oye" ("Mother Goose") Five Pieces for Children a. "Conversation of Beauty and the Beast" b. "Laideronette, Empress of the Pagodas" Liszt "Les Preludes," Symphonic Poem No. 3 (After Lamar tine) There will be an intermission of ten minutes after the symphony 5 Symphony ua E ionob for Full Orchestra, No. 2, Op. 27 SbRGB! \'a»ii.ii:\ h ii Rachmantnov Born :i' Onega in the government of Novgorod, April l, 1873; now living in the United Stat Thia symphony, composed at Dresden, was played at Moscow at a concert of the Imperial Russian Music Society in the course of the son of L906 09. The composer conducted.* It was performed in Berlin by the Philharmonic Orchestra, Mr. Nikisch conductor. Novem- 2 1909. The first performance in the United State- was by the Russian Sym- phony Society in New York, January 11, 1909. The first performances in Boston wen 1 by the Boston Symphony Orchestra, October 14-15, 1910. The symphony was played again by this orchestra. November 4 5, 1910, March 29-30. 1912. December L9 20, L913, November 30-December 1, 1917. The symphony, dedicated to S. Tanciev, is scored for three flutes (one interchangeable with piccolo', three oboes, Rngliah horn, two clari- net-, larinet, two bassoons, four horns, three trumpets, three trombones, bass tuba, a set of three kettledrums, snare-drum, bass drum, cymbals. Glockenspiel, and the usual strings. There is an Introduction, Largo, 4-4, to the first movement. Yiolon- Cellos and double-basses give an indication of the chief motive. Sus- tained chords of wind instruments follow, and over them appears the leading thought of the symphony (violins). The solo for the basses Ifi repeated a third lower, and again chords for wind instruments follow. These passages for wind instruments are used reminiscently in the ond movement.) The violin theme is now more broadly developed, and after a short crescendo a phrase for the Rngliah hom lead- to the main portion of the first movement, Allegro moderato, E minor. 2-2. The first theme. Molto espressivo, of the first movement, enters after four measures of prelude, and is given to the violins. A motive in triplets for basses, poco a poco piu vivo, i- added. Thi- lead- to a section, Moderato, in which, after preluding, a theme in (i major l- ning by violins. Thi- becomes more passionate, and lead- to a close in < i major \\ ith a melody for violoncellos. The chief theme of the sym- phony i- developed in the working-out, by solo violin, by the rest ot ~ i- noticeable the t line:-, and by wood-wind instruments. There a rhythmic figure for viola-, and this slackening of the pace brings the •urn of the chief theme of the movement with an elaborate crescendo. or the brass, and a horn-call is freely u.-ed. There i coda. einent, Allegro molto, A miner, 2-2. The theme begins Boston c oymphony Orchestra VICTOR RECORDS There are dealers in Victor products everywhere and any of them will gladly play any of the Boston Symphony Orchestra records for you. Victrolas $25 to $1500 Victor Talking Machine Co. Camden N.1 'HIS MASTER'S VOICE" with horns and is carried out by violins, while there are characteristic figures for wood-wind instruments. The first section is constructed simply and clearly from portions of this theme. There is a melodious section, Moderate (violins in octavos, violas, and violoncellos cantabile), and then the energetic rhythmic figure brings in the repetition of the first portion of the movement. The Trio, Meno mossO, begins with a design for Becond violins, and its development include- march-like har- monies for the brass. There is a free repetition of the scherzo portion, and at the end a reminiscence of the theme for brass in the Introduction. Philip II. Goepp, when he was editor of the Philadelphia Orchestra's Programme Hooks, characterized this movement as "a complete change from introspection and passion to an abandon as of primitive dance. Strings stir the feel ; the horns blow the first motive of the savage tune, the upper wood fall in with a dashing jingle, —like a stroke of cymbals in itself. But right in the answer comes the former short, nervous phrase that gets a new touch of bizarre by leaping a seventh from the tonic note. In this figure that moves throughout the symphony we seem to see an outward symbol of the inner connection. The Glocken- spiel soon lends a festive ring to the main tune. There is a brief episode in the major, of tuneful song, a duet of rising and descending strains in ened pace (moderato) that seem again to belong to the text of the first movement. When the dance returns, there is instead of discus- sion a mere extension of the main motive in full chorus. But here in the midsl the balance is more than restored. From the dance 4 that ceases abruptly we go straight to school or rather cloister. On our recurring (nervous) phrase a fugue is rung with all pomp and ceremony meno mosso); and of the dance there are men 4 faint echoing memo- ries, when the fugal text seems for a moment to weave itself into the first tune, [nstead comes into the midst of sermon a hymnal chant, blown very gently by the brass, while other stray voices are running lightly on the thread of the fugue.