PR5GR7WVE SMfe rr HERE IT IS!" MODEL 8-35 The NEW ORTHOPHONIC VICTROLA More wonderful— more beautiful — more than words can describe. See and hear it before you select the instrument for your home. Places the complete symphonies of famous masters at your instant command. Convenient Terms SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 B©§t@I o(C? jmpj^oiAy \jic INC. SERGE KOUSSEVITZKY, Conductor FORTY-SEVENTH SEASON. 1927-1928 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1928, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President BENTLEY W. WARREN Vice-President ERNEST B. DANE Treasurer FREDERICK P. CABOT FREDERICK E. LOWELL ERNEST B. DANE ARTHUR LYMAN N. PENROSE HALLOWELL EDWARD M. PICKMAN M. A. DE WOLFE HOWE HENRY B. SAWYER JOHN ELLERTON LODGE BENTLEY W. WARREN W. H. BRENNAN. Manager G. E. JUDD, Assistant Manager 1909 STEIN WAY the instrument of the immortals Not only the best piano, but the best piano value It IS possible to build a piano to beauty of line and tone, it is the sell at any given price, but it is not greatest piano value ever offered! often possible to build a good . Convenient terms will be piano under such conditions. arranged, if desired. Steinway pianos are not—and There is a Steinway dealer in your com- never have been built to meet a — munity, or near you, through whom you price. They are made as well as may purchase a new Steinway piano with human skill can make them, and a small cash deposit, and the balance will the price is determined later. The be extended over a period of two years. pianos accepted result is the world's finest piano. Used in partial exchange. Such an instrument costs more Prices: an^ U than a commonplace product—yet ^O • O P in point of long life, prestige, and Plus transportation STEINWAY & SONS, Steinway Hall, 109 W. 57th Street, New York Represented by the foremost dealers everywhere l'.no rcihestra Forty-seventh Season, 1927-1928 SERGE KOUSSEVITZKY, Conductor Violins. Burgin, R. Elcus, G. Gundersen, R. Sauvlet, H. Cherkassky, P Concert-master Kreinin, B. Eisler, D. Hamilton, V Kassman, N. Theodorowicz, J. Hansen, E. Graeser, H. Fedorovsky, P. Leibovici. J. Pinfield, C. Mariotti, V. Leveen, P. Thillois. F. Mayer, P. Zung, M. Knudsen, C. Gorodetzky, L. Tapley, R. Diamond, S. Zide, L. Fiedler, B. Bryant, M. Beale, M. Stonestreet, L. Messina, S Murray, J. Del Sordo, R. Erkelens, H. Seiniger, S. Violas. Lefranc, J. Fourel, G. Van Wynbergen, C. Grover, H. Fiedler, A. Artifires, L. Cauhap6, J. Werner, H Shirley, P. Avierino, N. Gerhardt, S. Bernard, A. Deane, C. Violoncellos. Bedetti, J. Zighera, A. Langendoen, J. Stockbridge, C. Fabrizio, E. Keller, J. Barth, C. Droeghmans, H. Warnke, J. Marjollet, L. Basses. Kunze, M. Lemaire, J. Ludwig, 0. Girard, H. Kelley, A. Vondrak, A. Oliver, F. Frankel, I. Dufresne, G Demetrides. L Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Gillet, F. Hamelin, G. Laus, A. Bladet, G. Devergie, J. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Allegra, E. Bettoney, F. {E-fiat Clarinet) Piccolo. English Hobn. Bass Clarinet. Contra-Bassoon. Battles, A. Speyer, L. Mimart, P. Piller, B. Horns. Horns. Trumpets. Trombones. Wendler, G. Valkenier, W. Mager, G. Rochut, J. Pogrebniak, S. Schindler, G. Perret, G. Hansotte, L. Van Den Berg, C Lannoye, M. Voisin, R. Kenfield, L. Lorbeer, H. Blot, G. Mann, J. Raichman, J. Jones, 0. Adam, E. Tubas. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Adam, E. Zighera, B. Polster, M. Sternburg, S. Seiniger, S. Organ. Piano. Celesta. Librarian. Snow, A. Zighera, B. Fiedler, A. Rogers, L. J. 1911 ! . CHICKERING HALL 3{ome of the dPCmpico HEN the Ampico plays and the Chickering sings, the faithful re-enactment of the playing of the masters is combined with a loveliness of tone unequalled . one of many reasons why the Ampico in the Chickering has been se- lected by outstanding educational institutions ..The New England Conservatory of Music. Harvard University . Boston University . Wellesley College . Amherst College . Boston Teacher's College . Phillips Andover Academy . Phillips Exeter Academy . and scores of others Pianos in infinite variety from #395 to #18,000 — so easy to own on small monthly payments. &Jons ir 195 BoyIston StJ 1912 Forty-seventh Season, Nineteen Hundred Twenty-seven and Twenty-eight Twenty-fourth Programme FRIDAY AFTERNOON, APRIL 27, at 2.30 o'clock SATURDAY EVENING, APRIL 28, at 8.15 o'clock Beethoven Overture to Goethe's "Egmont," Op. 84 Lopatnikov Scherzo, Op. 10 (First performance) Debussy . "La Mer" ("Trois Esquisses Symphoniques") I. De l'aube a midi sur la mer (From Dawn till Noon on the Ocean). II. Jeux de Vagues (Frolic of Waves). III. Dialogue du Vent et de la Mer (Dialogue of Wind and Sea). Brahms Symphony No. 2 in D major, Op. 73 I. Allegro non troppo. II. Adagio non troppo. III. Allegretto grazioso, quasi andantino. IV. Allegro con spirito. There will be an intermission before the symphony . 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 1913 Steamship Tickets BY ALL LINES .\ •-. TO ALL PORTS AT THE STEAMSHIP COMPANIES' PUBLISHED RATES RAYMOND-WHITCOMB are authorized agents for all the leading steamship lines and sell their tickets at the regu- lar rates. <[ Every Raymond-Whitcomb office is a clearing house for steam- ship knowledge. There yon can obtain expert information regarding steamships and routes; compare sailing dates and schedules, dia- grams, and rates; purchase your tickets and obtain help with passports and visas. *[ Whether you are traveling for business or pleasure you can save much time and much effort by buying your steamship tickets from Raymond-Whitcomb. RAYMOND & WHITCOMB CO. 165 TREMONT STREET, BOSTON Telephone: Hancock 7820 INDIVIDUAL TRAVEL SERVICE Complete advance arrangements for Independent Trips anywhere in the world NORTH CAPE CRUISE The annual Raymond-Whitcomb Summer Cruise — more complete than ever before. Sailing June 27, on the S. S. "Carinthia" EUROPE TOURS Spring and Summer Tours-$795 and upward LAND CRUISES IN AMERICA Round trips of three to nine weeks ROUND AFRICA CRUISE: January 12, 1929 MEDITERRANEAN CRUISE January 22, 1929 1914 Overture to "Egmont," Op. 84 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827) This overture was composed in 1810; it was published in 1811. The music to Goethe's play—overture, four entr'actes, two songs sung by Clarchen, "Clarchen's Death," "Melodrama," and "Triumph Symphony" (identical with the coda of the overture) for the end of the play, nine numbers in all—was performed for the first time with the tragedy at the Hofburg Theatre, Vienna, May 24, 1810. Antonie Adamberger was the Clarchen. When Hartl took the management of the two Vienna Court thea- tres, January 1, 1808, he produced plays by Schiller. He finally de- termined to produce plays by Goethe and Schiller with music, and he chose Schiller's "Tell" and Goethe's "Egmont." Beethoven and Gyrowetz were asked to write the music. The former was anxious to compose the music for "Tell" ; but, as Czerny tells the story, there were intrigues and, as "Egmont" was thought to be less suggestive to a composer, the music for that play was assigned to Beethoven. Gyrowetz's music to "Tell" was performed June 14, 1810. It was described by a correspondent of a Leipsic journal of music as "char- acteristic and written with intelligence." No allusion was made at the time anywhere to Beethoven's "Egmont." Books for Musician and Music Lover SOME PRACTICAL THINGS IN PIANO PLAYING, Arthur Foote Valuable pointers on technique and interpretation, with practical exercises . .60 MODULATION AND RELATED HARMONIC QUESTIONS, Arthur Foote A comprehensive and practical treatise on the various means of modulation . 1.25 HARMONY AND MELODY, Alfred Hill A book explaining how music is made 1.50 DO YOU KNOW THAT — ?, Clayton Johns Mr. Johns tells the student what to attempt and how to achieve success. Such subjects as rhythm, markings, technique, faults, types of compositions to be studied are treated briefly but effectively 60 CRITICAL AND HISTORICAL ESSAYS , Edward MacDowell One of the outstand.ng books on the history and development of the art of music 2.00 MUSIC; AN ART AND A LANGUAGE, Walter R. Spalding An invaluable treat se for the better understanding of the works of the masters and the mod. rn school 2.50 FIRST YEAR MUSIC HISTORY, Thomas Tapper The story of music in a very concise and attractive form for youth or adult . 1.75 THE ARTHUR P. SCHMIDT CO., 120 Boylston Street 1915 ! The overture has a short, slow introduction, sostenuto ma non troppo, F minor, 3-2. The main body -of the overture is an allegro, F minor, 3-4. The first theme is in the strings; each phrase is a de- scending arpeggio in the violoncellos, closing with a sigh in the first violins ; the antithesis begins with a "sort of sigh" in the wood-wind, then in the strings, then there is a development into passage-work. The second theme has for its thesis a version of the first two meas- ures of the sarabande theme of the introduction, fortissimo (strings), in A-flat major, and the antithesis is a triplet in the wood- wind. The coda Allegro con brio, F major, 4-4, begins pianissimo. The full orchestra at last has a brilliant fanfare figure, which ends in a shouting climax, with a famous shrillness of the piccolo against fanfares of bassoons and brass and between crashes of the full orchestra.