WOOLSEY HALL .... NEW HAVEN Wednesday Evening, March 1, at 8.15 PRSGRKttttE Under the Auspices of the Yale School of Music Smm& Hulumea OF THE Boston Symphony Orchestra Programme Containing Mr, Philip Hale's analytical and descriptive notes on all works performed during the season. "A Musical Education in One Volume" "Boston's Remarkable Book of Knowledge" Lawrence Gilman in the N. Y. Htrald and Tribune Price $6*00 per volume Address SYMPHONY HALL BOSTON, MASS. WOOLSEY HALL NEW HAVEN FIFTY-SECOND SEASON, 1932--1933 B©§4©3! Sympbora;I INC. Dr. SERGE KOUSSEVITZKY, Conductor WEDNESDAY EVENING, MARCH 1, at 8.15 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1933, 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 HENRY B. CABOT ARTHUR LYMAN ERNEST B. DANE WILLIAM PHILLIPS N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER FREDERICK E. LOWELL BENTLEY W. WARREN W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager ifc Fifty-second Season, 1932-1933 Dr. SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Lauga, N. Sauvlet, H. Resnikoff, V, Concert-master Gundersen, R. Kassman, N. Hamilton, V. Eisler, D. Theodorowicz, J. Hansen, E. Mariotti, V. Fedorovsky, P. „, , _, TaP le R ' Leveen, P. ^ Leibovici, J. Pinfield, C. Cherkassky, P. Zung, M. Knudson, C. Gorodetzky, L. Mayer, P. Diamond, S. Zide, L. Fiedler, B. Bryant, M. Beale, M. Stonestreet, L. Messina, S. Del Sordo, R. Erkclens, H. Seiniger, S. Munay, J. Violas. Lefranc, }. Fourel, G. Bernard, A. Grover, H. Artieres, L. Cauhape, J. Van Wynbergen, C. Werner, H. Avierino, N. Deane, C Fiedler, A * Geihardt, S. Jacob, R. Violoncellos. Chardon, Y. Bedetti, J. Langendoen, J. Stockbridge, C. Fabrizio, E. Zighera, A. Barth, C. Droeghmans, H. Warnke, J. Marjollet, L » Basses. Kunzc, M. Lemaire, J Ludwig, O. Girard, H. „ .. Rel,cy A ' Vondrak, A. Moleux, G. Frankel, I. Dufresne, G. ' Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Polatschek, V. Laus, A. Bladet, G. Devergie, J. Mimart, P. Allard, R. Amerena, P. Stanislaus, H. Arcieri, E. Panenka, E. Allegra, E. (E-flat Clarinet) Piccolo. English Horn Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Bettoney, F. Piller, B. Horns. Horns. Trumpets. Trombones. Boettcher, G. Valkenier, W. Mager, G. Raichman, J. Macdonald, W. Schindler, G. Lafosse, M. Hansotte, L. Valkenier, W. Lannoye, M. Grundey, T. Kenfield, L. Lorbeer, H. Blot, G. Perret, G. Adam, E. Hain, F. Voisin, R. Mann, J. Tubas. Harps. Timpani. Percussion. Sidow, P. Zighera, B. Ritter, A. Sternburg, S. Adam, E. Caughey, E. Polster, M. White, L. Organ. Piano. Celesta. Librarian. Snow, A. Sanroma, J. Fiedler, A. Rogers, L. 1. WOOLSEY HALL NEW HAVEN Boston Symphony \m Fifty-second Season, 1932-1933 Dr. SERGE KOUSSEVITZKY, Conductor WEDNESDAY EVENING, MARCH 1 AT 8.15 PROGRAMME Mozart 'Eine Kleine Nachtmusik," Serenade for String Orchestra (K. 525) I. Allegro. II. Romanza: Andante. III. Menuetto: Allegretto. IV. Rondo: Allegro. Brahms Symphony No. 3 in F major, Op. 90 I. Allegro con brio. II. Andante. III. Poco allegretto. IV. Allegro. Wagner Ride of the Valkyries from "Die Walkiire" Wagner "A Siegfried Idyl" Wagner Overture to "Rienzi" There will be an intermission of ten minutes after the symphony 3 — ' ; Eine Kleixe Nachtmusik" : Serenade for String Orchestra (K. 525) ........ Wolfgang Amadeus Mozart (Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791) This music was composed at Vienna, August 10, 1787. There are four movements : I. Allegro, G major, 4-4. The energetic chief theme is exposed at once. It is followed by an episode of a gentler character. Two motives of importance are introduced later. The developments and coda are short. II. The Komanze, Andante, C major, 2-2, is in rondo form with four themes. III. Minuet, Allegretto, G- major, 3-4. Trio, D major, "sotto voce." IV. Hondo, Allegro, 2-2. In spite of the title "Rondo," this Finale is not so strictly in rondo form as the foregoing Romanze, Symphony No. 3, in F major,, Op. 90 . Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1S97) Brahms worked on his Third Symphony in 1882, and in the sum- mer of 1883 he completed it. That summer was spent at Wiesbaden, where Brahms lived in a house that had belonged to Ludwig Knaus, the painter. He wrote to Herzogenberg from Wiesbaden on May 20, 1883 : "I have lighted on incredibly nice quarters at Wiesbaden, Geisterbergstrasse 19. It is really worth while, and in every way desirable, that you should come and inspect them. You will be filled with envy, but come all the same." Miss Florence May, in her Life of Brahms, tells how the composer took off his boots every night on returning to the house, and went up the stairs in his stockings, that he might not disturb an elderly and delicate woman on the first floor. Miss May also tells a story of Brahms's brusqueness when a private performance of the new symphony, arranged for two pianofortes, was given by Brahms and Briill at Ehrbar's* in Vienna. One of the listeners, who had not been reckoned among the admirers of Brahms, was enthusiastic over the new work. "Have you had any talk with X. ?" asked voung Ehrbar of Brahms; "he has been telling me how delighted he is with the symphony." To which Brahms answered, "And have you told him that he often lies when he opens his mouth ?" The first performance of the Third Symphony was at a Philhar- monic concert in Vienna, December 2, 1883. Hans Richter conducted. *Friedrich Ehrbar, a warm friend of Brahms, was a pianoforte manufacturer. 4 Brahms feared for the performance although Eichter had con- ducted four rehearsals. He wrote to Btilow that at these rehearsals he missed the Forum Komanum (the theatre scene which in Mein- ingen served as a concert hall for rehearsals), and would not be wholly comfortable until the public gave unqualified approval. After the last rehearsal he replied angrily to the viola player Rudolf Zollner, who asked him if he were satisfied, "The Philhar- monic Orchestra plays my pieces unwillingly, and the performances are bad.-' Max Kalbeck states that at the first performance in Vienna a crowd of the Wagner-Bruckner ecclesia militans stood in the pit to make a hostile demonstration, and there was hissing after the applause following each movement had died away; but the general public was so appreciative that the hissing was drowned and enthusiasm was at its height. Arthur Faber came near fighting a duel Avith an inciter of the Skandal sitting behind him, but forgot the disagreeable incident at the supper given by him in honor of the production of the symphony, with Dr. Billroth, Simrock, Goldmark, Dvorak, Brull, Hellmesberger, Richter, Han- slick, among the guests. At this concert Franz Ondricek played the new violin concerto of Dvorak. It is said that various peri- DITSON PUBLICATIONS ^^^^' TALKS ABOUT BEETHOVEN'S SYMPHONIES . 2.50 By Theodore Thomas and Frederick Stock SYMPHONY SINCE BEETHOVEN . 1.00 By Felix Weingartner ART-SONG IN AMERICA 3.00 By William Treat Upton EARLY ENGLISH CLASSICS .... 1.00 Edited and Revised by George Pratt Maxim PROJECT LESSONS IN ORCHESTRATION . .1.50 By Arthur E. Heacox ESSENTIALS IN CONDUCTING 1.75 By Karl W. Gehrkens OLIVER DITSON COMPANY, Inc. 359 Boylston Street Boston, Mass. far the best of Brahms's odicals asserted that this symphony was by compositions. This greatly annoyed the composer, especially as it raised expectations which he thought could not be fulfilled. Brahms sent (he manuscript to Joachim in Berlin and asked Mm to conduct where or at what time he liked.* For a i lie second performance year or more the friendship between the two had been clouded, for Brahms had sided with Mrs. Joachim in the domestic dispute, or her, ;it least he had preserved his accustomed intimacy with and Joachim had resented this. The second performance, led by Joachim, was at Berlin, January 4, 1884.f Dr. Franz Wullner was then the conductor of the Berlin Philharmonic Orchestra Sub- scription Concerts. Brahms had promised him in the summer before the honor of conducting this symphony in Berlin for the first time. Joachim insisted that he should be the conductor. Churlish in the matter, he persuaded Brahms to break his promise to YTullner by saying that he would play Brahms' violin concerto under the composer's direction if Brahms would allow him to con- duct the symphony. Brahms then begged Wullner to make the sacrifice. Joachim therefore conducted it at an Academy Concert, but Brahms was not present; he came about a fortnight later to Wullner's first subscription concert, and then conducted the sym- phony and played his pianoforte concerto in D minor. The writer of these notes was at this concert. The symphony was applauded enthu- siastically, but Brahms was almost as incompetent a conductor as Joachim. (His pianoforte playing in 1884 on that occasion was muddy and noisy.) Brahms conducted the symphony at Wiesbaden on January 18, 1884. The copyright of the manuscript was sold to the publisher Simrock, of Berlin, for 36,000 marks ($9,000) and a percentage on sums realized by performances. Mr. Felix Borowski, the editor of the excellent Chicago Symphony Programme Books, says that Theodore Thomas wrote to Brahms in 1883, when the Symphony was still unfinished, asking him "to give him the work for a first performance in America at one of the performances of the Cincinnati Music Festival, but nothing came of his application." The first performance in Boston was by the Boston Symphony Orchestra under Mr.