4.1

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BOSTON \liw

SYMPHONYORCHESTRA

INC.

FORTY-NINTHSEASONJ929-J930

X/

pRSGRsnnc(TUESDAY)

'%* V^

T^ Plaza, New YorkFred Sterry John D. OwenPresident Manager

0f^"^^\

The Savoy-PlazaHenryA.Rost New York

President

The Copley-PlazaArthur L. Race TWt-r»r»

Managing Directorvvswn

Jioteh of ^DistinctionUnrivalled as to location. Distin-

guished throughout the World for

their appointments and service.

;

7£

SYMPHONY HALL, BOSTONHUNTINGTON AND MASSACHUSETTS AVENUES

Branch Exchange Telephones, Ticket and Administration Offices, Commonwealth 1492

INC.

Dr. SERGE KOUSSEVITZKY, Conductor

FORTY-NINTH SEASON, 1929-1930

TUESDAY AFTERNOON, APRIL 22, at 3.00

WITH HISTORICAL AND DESCRIPTIVE

NOTES BY PHILIP HALE

COPYRIGHT, 1930, BY BOSTON SYMPHONY ORCHESTRA, INC.

THE OFFICERS AND TRUSTEES OF THEBOSTON SYMPHONY ORCHESTRA, Inc.

FREDERICK P. CABOT ...... President

BENTLEY W. WARREN Vice-President

ERNEST B. DANE Treasurer

FREDERICK P. CABOTERNEST B. DANEN. PENROSE HALLOWELLM. A. DE WOLFE HOWEJOHN ELLERTON LODGE

FREDERICK E. LOWELLARTHUR LYMANEDWARD M. PICKMANHENRY B. SAWYERBENTLEY W. WARREN

W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager

the

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Any Steinway piano may be purchasedwith a cash deposit of 10%, and the bal-

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STEINWAY THE INSTRUMENTOF THE IMMORTALS

D- »_.

Forty-ninth Season, 1929-1930

Dr. SERGE KOUSSEVITZKY, Conductor

Burgin, R.Concert-master

Theodorowicz, J.

Hansen, E.Pinfield, C.

Thillois, F.

Mayer, P.

Bryant, M.Murray, J.

Lefranc, J.

Artieres, L.

Bedetti, J.

Zighera, A.

Kunze, M.Vondrak, A.

Flutes.

Laurent, G.Bladet, G.Amerena, P.

Piccolo.

Battles, A.

Horns.

Boettcher, G.Pogrebniak, S.

Van Den Berg, C.

Lorbeer, H.

Tubas.

Sidow, P.

Adam, E.

Organ.

Snow, A.

Elcus, G.Kreinin, B.

Lauga, N.Mario tti, V.

Zung, M.Diamond, S.

Beale, M.Del Sordo, R.

Fourel, G.Cauhap6, J.

Avierino, N.Gerhardt, S.

Violins.

Gundersen, R. Sauvlet, H. Cherkassky, P.

Kassman, N. Hamilton, V. Eisler, D.

Fedorovsky, P.

Leveen, P.

Knudson, C.Zide, L.

Stonestreet, L.

Erkelens, H.

Violas.

Van Wynbergen, C.

Bernard, A.

Leibovici, J.

Tapley, R.

Gorodetzky, L.

Fiedler, B.

Messina, S.

Seiniger, S.

Grover, H.Werner, H.

Fiedler, A.

Deane, C.

Jacob, R.

Violoncellos.

Langendoen, J. Chardon, Y. Stockbridge, C. Fabrizio, E.Barth, C. Droeghmans, H. Warnke, J. Marjollet, L.

Basses.

Lemaire, J. LudwigOliver, F. Frankel

, 0. Girard, H, I. Dufresne,

Kelley,A.G. Demetrides

Oboes. Clarinets. Bassoons.

Gillet, F.

Devergie, J.Stanislaus, H.

Hamelin, GArcieri, E.Allegra, E.

(E-flat Clarinet)

Laus, A.Allard, R.Bettoney, F.

English Horn. Bass Clarinet. <I^ontra-Bassoon

Speyer, L. Mimart, P. Piller, B.

Horns. Trumpets. Trombones.Valkenier, W.Schindler, G.Lannoye, M.Blot, G.

Mager, G.Voisin, R.Lafosse, M.Perret, G.Mann, J.

Raichman, J.

Rochut, J.

Hansotte, L.

Kenfield, L.Adam E.

Harps. Timpani. Percussion.

Zighera, B.Caughey, E.

Ritter, A.Polster, M.

Ludwig, CSternburg, S.

White, L.

Celesta. Librarian.

Fiedler,

3

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SYMPHONY HALL SEASON i 930-1 93 1

COURSE of SIX

SUNDAY AFTERNOONCONCERTS

at 3.30

Nov. 23 Dec. 14 Feb. 1 Feb. 22

Mar. 15 Apr. 12

Jascha HeieetzViolin

Florence AustralSoprano

Johx Charles ThomasBaritone

Walter GiesekixgPiano

Roland HayesTenor

Yelli D'AraxyiViolin

Pallixe DaxtorthPiano

SEASON TICKETS for the Series are now being subscribed

by means of the AUTOMATIC SUBSCRIPTION BOARDin the Symphony Hall Lobby.

Tickets for the Six Concerts, $5, $7.50, $10, $12..

FORTY-NINTH SEASON, NINETEEN HUNDRED TWENTY-NINE AND THIRTY

LAST CONCERT OF THE TUESDAY AFTERNOON SERIES

TUESDAY AFTERNOON, APRIL 22

AT 3.00

Beethoven Overture to "Leonore" No. 3, Op. 72

Beethoven .... Symphony No. 6 in F major, Op. 68,

"Pastorale"

I. Awakening of serene impressions on arriving in the country; Allegro,

ma non troppo.

II. Scene by the brookside: Andante molto moto.

III. Jolly gathering of country folk : Allegro; in tempo d'allegro Thunder-

storm; Tempest: Allegro.

IV. Shepherd's Song; Gladsome and thankful feelings after the storm:

Allegretto.

Brahms Symphony No. 4 in E minor, Op. 98

I. Allegro non troppo.

II. Andante moderato.

III. Allegro giocoso.

IV. Allegro energico e passionate

There will be an intermission of ten minutes after Beethoven's symphony

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 shall not. in his place of amusement, allow any person to wear upon the head a covering which obstructsthe 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

1

Raymond-Whitcomb

announce

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North Cape Cruise, June 24, 1930 Land Cruises in America

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BOSTON, MASSACHUSETTS

4<"^ ^•-

Overture to "Leonore" No. 3, Or. 72 Ludwig van Beethoven

(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827)

Beethoven's opera, "Fidelio, oder die eheliche Liebe," with text

adapted freely by Joseph Sonnleithner from the French of Bouilly

("Leonore; ou L'Amour Conjugal/' a "historical fact" in two acts

and in prose, music by Gaveaux, Opera-Comique, Paris, February

19, 1798), was first performed at the Theatre an der Wien, Vienna,

November 20, 1805, with Anna Pauline Milder, afterwards Mme.Hauptmann, as the heroine. The other parts were taken as follows

:

Don Fernando, Weinkopf ; Don Pizarro, Meier; Florestan, Demmer;Rocco, Rothe; Marzelline {sic), Miss Mtiller; Jacquino, Cache;

Wachthauptmann, Meister. "The opera was hastily put upon the

stage, and the inadequacy of the singers thus increased by the lack

of sufficient rehearsals." Beethoven had received the text in 1804.

He worked on the music the following summer at Hetzendorf . Onhis return to Vienna, rehearsals were begun. In later years Fidelio

was one of Anna Milder's great parts : "Judging from the contempo-

rary criticism, it was now (1805), somewhat defective, simply from

lack of stage experience."

In the year that saw the production of "Fidelio," Napoleon's army

was hastening toward Vienna. There was an exodus from the town

of the nobility, merchants, and other residents. The vanguard of

the French army entered on November 13. Those of the Viennese

who would have appreciated the opera had fled the town. The

theatre was not well filled. Many in the audience were or had been

officers in Napoleon's army. The success of the opera was small.

Only two performances followed the first. At the first and at the

second the overture, "Leonora," No. 2, was performed. Dr. Henry

Eeeve, not a musician, heard the opera at the third performance. Hegave an account of what took place: "Beethoven presided at the

pianoforte and directed the performance himself. He is a small,

dark, young-looking man, wears spectacles, and is like Mr. Koenig.*

This is the first opera he ever composed, and it was much applauded

;

a copy of complimentary verses was showered down from the upper

gallery at the end of the piece.f . . . The story and plan of the piece

are a miserable mixture of low manners and romantic situations;

the airs, duets, and choruses equal to any praise. The several over-

tures, for there is an overture to each act,J appear to be too artifici-

ally composed to be generally pleasing, especially on first being

Koenig was the inventor of a printing press.

fThe verses were written by Beethoven's friend Stephan von Breuning. He hadthe printed copies distributed among the audience.

t'lt is not easy to know what is here meant. There were not any entr'actes forthe opera, which was in three acts when it was first produced.

To Musical Societies

Publick A^embliesn Side

^(ezv England

PSALM-TUNES1620— 1820

With Historical Sketch and Biographical NotesBy

William Arms FisherThe only book of its kind issued, price, $1.00

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heard. Intricacy is the character of Beethoven's music, and it re-

quires a well-practiced ear or a frequent repetition of the same piece

to understand and distinguish its beauties.''

The key of the "Leonore" Overture No. 3 is C major. A short

fortissimo is struck. It is diminished by wood-wind and horns, then

taken up, piano, by the strings. From this G there is a descent

down the scale of C major to a mysterious F-sharp. The key of Bminor is reached, finally A-flat major, when the opening measures

of Florestan's air,aIn des Lebens Friihlingstagen" (act ii. of the

opera), is played. The theme of the Allegro, C major, begins pian-

issimo, first violins and violoncellos, and waxes impetuously. The

second theme has been described as "woven out of sobs and pitying

sighs." The working-out consists in alternating a pathetic figure,

taken from the second theme and played by the wood-wind over a

nervous string accompaniment, with furious outbursts from the

whole orchestra. Then comes the trumpet-call off stage. The twice-

repeated call is answered in each instance by the short song of

thanksgiving from the same scene. Leonore's words are : "Ach ! dubist gerettet ! Grosser Gott !" A gradual transition leads from this

to the return of the first theme at the beginning of the third part

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11

(flute solo). The third part is developed in general as the first part

and leads to a wildly jubilant coda.

The overture "Leonore" No. 3 was first played in Boston at a

concert of the Musical Fund Society on December 7, 1850. Gr. J.

Webb was the conductor. The score and the parts were borrowed

;

for the programme of a concert by the Society on January 24, 1852,

states that the Overture was then "presented by C. C. Perkins, Esq."

The score calls for two flutes, two oboes, two clarinets, two

bassoons, four horns, two trumpets, three trombones, kettledrums,

and the usual strings.

Symphony No. 6, in F major, "Pastoral," Op. 68Ludwig van Beethoven

(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827)

This symphony—"Sinfonia pastorale" was composed in the coun-

try round about Heiligenstadt in the summer of 1808. It was first

performed at the Theatre an der Wien, Vienna, December 22, 1808.

The symphony was described on the programme as "A symphony en-

titled 'Recollections of Life in the Country/ in F major, No. 5" (sic).

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"The perfection of art is to conceal art."

In somewhat the same manner as to

fashion: "the perfection lies in knowing

what to do without." It is the reason why

you should come to Jays: a shop where

the unimportant has been eliminated.

All the pieces performed were by Beethoven : an Aria, uAh, perfido,"

sung by Josephine Kilitzky ; Hymn with Latin text written in church

style, with chorus and solos ; Pianoforte Concerto in G major, played

by Beethoven; Grand Symphony in C minor, No. 6 (sic) ; Sanctus,

with Latin text written in church style from the Mass in C major,

with chorus and solos; Fantasie for pianoforte solo; Fantasie for

pianoforte, "into which the full orchestra enters little by little, and

at the end the chorus joins in the Finale." The concert began at

half-past six. We know nothing about the pecuniary result.

J. F. Reichardt wrote a review of the new works. He named, but

incorrectly, the subtitles of the Pastoral Symphony, and added,

"Each number was a very long, complete, developed movement full

of lively painting and brilliant thoughts and figures; and this, a

pastoral symphony, lasted much longer than a whole court concert

lasts in Berlin." Of the one in C minor he simply said: "A great,

highly-developed, too long symphony. A gentleman next us assured

us he had noticed at the rehearsal that the violoncello part alone

—

and the violoncellists were kept very busy—covered thirty-four

pages. It is true that the copyists here understand how to spread

out their copy, as the law scriveners do at home." No record of the

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Reichardt censured the performance of the Hymn—a Gloria—and

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the Sanctns, and said that the piano concerto was enormously diffi-

cult, but Beethoven played it in an astounding manner and with

incredible speed. "He literally sang the Adagio, a masterpiece of

beautiful, developed song, with a deep and melancholy feeling that

streamed through me also." Count Wilhourski told FerdinandHiller that he sat alone in an orchestra stall at the performance, andthat Beethoven, called out, bowed to him personally, in a half-

friendly, half-ironical manner.

In a letter to Breitkopf and Hartel, Leipsic, written on March 4,

1809, Beethoven says: "You will receive to-morrow a list of small

improvements which I made during the performance of the sym-

phonies—when I gave them to you I had not heard a note of either.

One must not pretend to be so divine as not to make improvementshere and there in one's creations. Herr Stein offers to you to tran-

scribe the Symphonies for two pianofortes ; write to me whether youwish that, or whether you wish and are willing to pay."

The Pastoral was described on the programme of 1808 as follows :

—

Pastoral Symphony [No. 5 (sic)'], more expression of feeling than painting.

First Piece. Pleasant feelings which awake in man on arriving in thecountry.

Second. Piece. Scene by the brook.

Third Piece. Jovial assemblage of the country folk, in which appearsuddenly

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Fourth Piece. Thunder and storm, in which enter

Fifth Piece. Beneficial feelings, connected with thanks to the Godheadafter the storm.

The headings finally chosen are on the title-page of this Pro-

gramme Book. The descriptive headings were probably an after-

thought. In the sketch-book, which contains sketches for the first

movement, is a note: "Characteristic Symphony. The recollections

of life in the country." There is also a note : "The hearer is left to

find out the situations for himself."

M. Vincent d'Indy in his "Beethoven" (Paris, 1911) devotes sev-

eral pages to Beethoven's love of nature. "Nature was to Beethovennot only a consoler for his sorrows and disenchantments ; she wasalso a friend with whom he took pleasure in familiar talk, the onlyintercourse to which his deafness presented no obstacle." Nor did

Beethoven understand Nature in the dryly theoretical manner of

Jean Jacques Rousseau, whose writings then were in fashion, for

there could be no point of contact between the doctrines of this

Calvinist of Geneva and the effusions of Beethoven, a Catholic bybirth and by education. Nor did Beethoven share the views of manyromantics about Nature. He would never have called her "immense,impenetrable, and haughty," as Berlioz addressed her through the

mouth of his Faust. A little nook, a meadow, a tree,—these sufficed

for Beethoven. He had so penetrated the beauty of nature that for

more than a dozen years all his music was impregnated by it.

His bedside book for many, many years soon after his passion for

Giulietta Gruicciardi was the "Lehr und Erbauungs Buch" of Sturm.

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"O fudge, I don't want to renovate rugs today," answered

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Passages underscored show the truth of the assertions just made,and he copied these lines that they might always be in his sight:

"Nature can be justly called the school of the heart ; it shows us be-

yond all doubt our duty towards God and our Neighbor. I wishtherefore to become a disciple of this school, and offer my heart to it.

Desirous of self-instruction, I wish to search after the wisdom that

no disillusion can reject ; I wish to arrive at the knowledge of God,and in this knowledge I shall find a foretaste of celestial joys."

M. d'Indy draws a picture of the little Wirthschaften in the sub-

urbs of the large towns, humble inns "not yet ticketed with thepompous barbarism of 'restaurant.' " They were frequented by the

bourgeoisie, who breathed the fresh air and on tables of wood ate the

habitual sausage and drank the traditional beer. There was a dancehall with a small orchestra ; there was a discreet garden with odor-

ous alleys in which lovers could walk between the dances. Beyondwas the forest where the peasant danced and sang and drank, but the

songs and dances were here of a ruder nature.

Beethoven, renting a cottage at Dobling, Grinzing, or Heiligen-

stadt, which then were not official faubourgs, could in a few minutesbe in the forest or open country. Thus influenced, he wrote thepianoforte sonatas, Op. 28 and Op. 31; the "Waldstein" sonata; theviolin sonata, Op. 30, No. 3 ; three movements of the seventh quartet

(1806) ; the sixth, seventh, and eighth symphonies; and the tenth

sonata for violin, Op. 96 ; also Village Dances, the finales of Trios,

Op. 70, No. 2, and Op. 97, and the pastoral entr'acte of "Egmont."

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Beethoven did not attempt to reproduce the material, realistic im-pression of country sounds and noises, but only the spirit of thelandscape.According to M. d'Indy the Andante is the most admirable expres-

sion of true nature in musical literature. Only some passages of"Siegfried" and "Parsifal" are comparable. Conductors usuallytake this Andante at too slow a pace, and thus destroy the alertpoetry of the section. The brook furnishes the basic movement, ex-pressive melodies arise, and the feminine theme of the first Allegroreappears, alone, disquieted by the absence of its mate. Each sectionis completed by a pure and prayer-like melody. It is the artist whoprays, who loves, who crowns the diverse divisions of his work by aspecies of Alleluia.*

*I have condensed and paraphrased the beautiful pages of M. d'Indy (65-74).A translation into English of his "Beethoven" has been published by the BostonMusic Company.—P. H.

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It has been said that several of the themes in this symphony weretaken from Styrian and Carinthian folk-songs.*

The symphony, dedicated to Prince von Lobkowitz and CountRasoumoffsky, is scored for two flutes, two oboes, two clarinets, twobassoons, two horns, two trumpets, kettledrums, and strings. Twotrombones are added in the fourth and fifth movements and a piccolo

in the fourth. The work was published in 1809.

f

It may here be said that some programme-makers give five move-ments to this symphony. They make the thunder-storm an inde-

pendent movement. Others divide the work into three movements,beginning the third with the "jolly gathering of country-folk."

* See the volume of folk-songs collected by Professor Kuhac, of Agram.fBeethoven in June, 1808, offered this symphony and the one in E minor, with

the Mass in C and the violoncello sonata, A major, Op. 69, to Breitkopf and Hartelfor 900 florins. This sum, however, "must be paid, according to Vienna Currency,in convention coin, and this must be expressly stated on the draft."

of THE OPERA COMIQUE IN PARISTHE OPERA of BOSTON, Etc.

TRINITY COURT, 175

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Symphony in E minor, Op. 98 . . . . . Johannes Brahms

(Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897)

This symphony was first performed at Meiningen, October 25,

1885, under the direction of the composer.

Simrock, the publisher, is said to have paid Brahms forty thou-

sand marks for the work. It was played at a public rehearsal of

the Symphony Orchestra in Boston, November 26, 1886. Although

Mr. Gericke "did not stop the orchestra"—to quote from a review

of the concert the next day—he was not satisfied with the per-

formance. Schumann's Symphony in B-flat was substituted for the

concert of November 27; there were further rehearsals. The work

was played for the first time in Boston at a concert of this or-

chestra on December 23, 1886. The first performance in the United

States was by the Symphony Society, New York, December 11, 1886.

The symphony was composed in the summers of 1884 and 1885 at

Mtirzzuschlag in Styria: the Allegro and Andante during the first

summer, the Scherzo and Finale during the last. Miss Florence

May in her Life of Brahms says that the manuscript was nearly

destroyed in 1885: "Keturning one afternoon from a walk, he

(Brahms) found that the house in which he lodged had caught fire,

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and that his friends were busily engaged in bringing his papers,

and amongst them the nearly finished manuscript of the new sym-

phony, into the garden. He immediately set to work to help in

getting the fire under, whilst Frau Fellinger sat out of doors with

either arm outspread on the precious papers piled on each side

of her."

In a letter, Brahms described this symphony as "a couple of

entr'actes," also as "a choral work without text." He was doubtful

about its worth. He consulted his friends, and he and Ignaz BruQplayed a pianoforte arrangement in the presence of several of them.

He judged from their attitude that they did not like it and he wasmuch depressed. There was a preliminary orchestral rehearsal at

Meiningen in October, 1885, conducted by Hans von Billow.

Brahms arrived in time for the first performance. The symphony

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was most warmly applauded, and the audience endeavored, but in

vain, to obtain a repetition of the third movement. The work wasrepeated November 1 under Bulow's direction, and was conductedby the composer in the course of a three weeks' tour with the or-

chestra and Bulow in Germany and in Netherlands. The first per-

formance in Vienna was at a Philharmonic concert, led by Richter,

January 17, 1886. "Though the symphony was applauded by the

public and praised by all but the inveterately hostile section of the

press, it did not reach the hearts of the Vienna audience in the

same unmistakable manner as its two immediate predecessors,

both of which had made a more striking impression on a first

hearing in Austria than the first symphony in C minor. Strangelyenough, the fourth symphony at once obtained some measure of

real appreciation in Leipsic, where the first had been far moresuccessful than the second and third." This statement is toofriendly towards Brahms. As a matter of fact, the symphonydisappointed Brahms's friends. Hugo Wolf wrote a bitter reviewin which he made all manner of fun at the fact, trumpeted byBrahms's admirers, that at last there was a symphony in E minor.(See "Hugo Wolf's Musikalische Kritiken," Leipsic, 1911, pp.241-244.) It was performed under the composer's direction at theGewandhaus concert in Leipsic of February 18, 1886.

This symphony was performed at a Philharmonic concert in

Vienna on March 7, 1897, the last Philharmonic concert heard byBrahms. We quote from Miss May's biography: "The fourth sym-phony had never become a favorite work in Vienna. Received withreserve on its first performance, it had not since gained much morefrom the general public of the city than the respect sure to be ac-

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List of Works Performed at the Afternoon Concerts

the Sea

I. December 10

I. December 10

VI. April 22

VI. April 22

VI. April 22

V. March 11

V. March 11

J. S. BachBrandenburg Concerto No. 3 in G major, for String

Orchestra

BeethovenSymphony No. 5 in C minor, Op. 67

Overture to "Leonore" No. 3, Op. 72

Symphony No. 6 in F major, Op. 68, "Pastorale"

BrahmsSymphony No. 4 in E minor, Op. 98

Debussy"The Sea," Three Orchestral Sketches

FranckSymphony in D minor

HandelConcerto Grosso for String Orchestra, Op. 6, No. 10 IV. February 25

HaydnSymphony in D major (with the Horn Call)

(B. & H. No. 31)

MozartSymphony in E-flat major (Koechel No. 543)

RavelBolero

SchubertOverture and First Ballet, from "Rosamunde"Symphony in B minor "Unfinished"

SchumannOverture to Byron's "Manfred," Op. 115

Symphony No. 2 in C major, Op. 61

IV. February 25

I. December 10

V. March 11

III. February II

III. February 11

II. January 7

II. January 7

Strauss"Tod und Verklarung" ("Death and Transfiguration"),

Tone Poem, Op. 24

"Till Eulenspiegel's Merry Pranks," after the old-

fashioned, Roguish Manner,—in RondoForm, Op. 28

TchaikovskySymphony No. 6 in B minor, "Pathetic," Op. 74

WagnerPrelude to LohengrinThe Ride of the Valkyries from "Die Walkure"Introduction to Act III, "Die Meistersinger von

Niirnberg"

Prelude to "Die Meistersinger von Niirnberg"

III. February 11

III. February 11

IV. February 25

II. January 7

II. January 7

II. January 7

II. January 7

In memory of William Howard Taft (September 15, 1857-March 8, 1930),the Funeral March from Beethoven's "Eroica Symphony" was played at the

concert of March 11.

31

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SYMPHONY HALL

FIFTIETH SEASON1930-1931

SIX TUESDAY AFTERNOONCONCERTS

BY THE

BOSTON SYMPHONYORCHESTRA

Dr: SERGE KOUSSEVITZKY, Conductor

This year's subscribers for the series of Six Tuesday

Afternoon Concerts have an option until June 1 st to retain

their seats for the following season of 1930-1931 . (Payment

to be made by October 25).

Address all communications to

W. H. BRENNAN, Manager

Symphony Hall, Boston

• Renewal subscription cards for signature will be mailed

about May 10 to all present season ticket holders.

Tuesday subscribers, who may be interested in the

Friday Afternoon, Saturday Evening, or Monday Evening

Series, are invited to inquire for particulars at the sub-

scription office, Symphony Hall.

33

corded there to an important work by Brahms. To-day [sic], how-ever, a storm of applause broke out at the end of the first movement,!not to be quieted until the composer, coming to the front of the

artist's box in which he was seated, showed himself to the audience.

The demonstration was renewed after the second and the third

movements, and an extraordinary scene followed the conclusion of

the work. The applauding, shouting house, its gaze riveted on thefigure standing in the balcony, so familiar and yet in presentaspect so strange, seemed unable to let him go. Tears ran downhis cheeks as he stood there, shrunken in form, with lined coun-

tenance, strained expression, white hair hanging lank ; and throughthe audience there was a feeling as of a stifled sob, for each knewthat they were saying farewell. Another outburst of applause andyet another; one more acknowledgment from the master; andBrahms and his Vienna had parted forever."*

In the summers of 1884 and 1885 the tragedies of Sophocles, trans-

lated into German by Gustav Wendt, were read diligently byBrahms. It is thought that they influenced him in the compositionof this symphony. Kalbeck thinks that the whole symphony pictures

the tragedy of human life. He sees in the Andante a waste andruined field, as the Campagna near Home; he notes the appearanceof a passage from Brahms's song, aAuf dem Kirchhofe," with the

words "Ich war an manch vergess'nem Grab gewesen" ; to him the

Scherzo is the Carnival at Milan. While Speidel saw in the Finalethe burial of a soldier, Kalbeck is reminded by the music of the

passage in Sophocles's "(Edipus Coloneus" : "Not to have been bornat all is superior to every view of the question ; and this, when onemay have seen the light, to return thence whence he came as quickly

as possible, is far the next best."

The symphony was published in 1886. It is scored for two flutes

(one interchangeable with piccolo), two oboes, two clarinets, twobassoons, one double-bassoon, four horns, two trumpets, three trom-bones, a set of three kettledrums, triangle, and strings.

Brahms attended the production of Johann Strauss's operetta, "Die Gottin derVernunft," March 13, but was obliged to leave after the second act, and he attendeda rehearsal of the Raeger-S'oldat Quartet less than a fortnight before his death.

—

Ed.

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34

SYMPHONY HALL, BOSTON

YOUNG PEOPLE'SCONCERTS

THE AFTERNOONS OF

Wednesday, April 23, and Thursday, April 24, 1930

at 4 o'clock

BY THE

BOSTON SYMPHONY ORCHESTRADr. SERGE KOUSSEVITZKY, Conductor

W. H. BRENNAN, Manager G. E. JUDD, Asst. Manager

Dr. Serge Koussevitzky and Richard Burgin will conduct.

There will be brief explanatory remarks with stereopticon slides, by Alfred H. Meyer

PROGRAMME FOR BOTH CONCERTS

Beethoven First Movement from the Fifth Symphony, in C minor

Allegro con brio.

Haydn Finale from the Symphony in D major(B. & H. No. 31)

Theme with Variations.

Ravel From the "Mother Goose" Suite

Beauty and the Beast Converse.

Strauss .... "Till EulenspiegePs Merry Pranks,"

after the Old-fashioned, Roguish

Manner, in Rondo Form

Wagner The Ride of the Valkyries

Three hundred desirable floor seats have been reserved, to be sold directly to in-dividuals for their children. These special reserved tickets are available toSymphony Subscribers at the Symphony Hall box office at $1.00 each.

No adult will be admitted unless accompanied by one or more children. The bal-ance of the seats will, as before, be offered the schools of Greater Boston at 35cents each.

35

SYMPHONY HALL

OPENING NIGHT45th Season

Wednesday, May 7

Orchestra of 80 SymphonyPlayers

ARTHUR FIEDLER, Conducto

36

BACH CANTATA CLUBG. WALLACE WOODWORTH, Conductor

EMMANUEL CHURCH, 15 Newbury St., Boston

(Through the courtesy of Dr. Washburn)

THURSDAY, APRIL 24, at 8.30 P. M.

PALESTRINA—STABAT MATERBACH—CANTATA 4 Christ lay in death's dark prison

HOLST—PSALM CLXVIII

Tickets may be had at

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APPLICATIONS FOR ADVERTISING SPACE IN THIS PROGRAMME SHOULD BEMADE TO L. S. B. JEFFERDS, ADVERTISING MANAGER, SYMPHONY HALL, BOSTON

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BEN REDDEN, Tenor JOHN PERCIVAL, Baritone

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Mr. Redden and Mr. Percival are engaged -for the parts respectively of TheEvangelist and Jesus in Bach's "St. Matthew Passion" at Portland, April 17 and 18.

37

MUSICAL INSTRUCTI ON

announces a new member of its faculty

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MUSICAL INSTRUCTIONVINCENT V. HUBBARD

Successor to the late Arthur J. Hubbard

VOCAL STUDIO 246 Huntington AvenueFirst Assistant, Dr. George L. Dwyer

EDWARD MATTHEWS IN JORDAN HALL DEBUT, FEBRUARY 17, 1930"Not in a long time has a young singer with a reputation still to make proved

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MUSICAL INSTRUCTION

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Program of Original Compositions s

with Informal CommentsTrinity Court, Boston Ken. 6520 §

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40

When You BuyVICTOR RADIOYou know what you are getting.

You know that no overnight

change will make it obsolete*

You know that its value is estab-

lished, stabilized. You know that

the oldest and greatest name in

sound-science stands behind it*

SO DO WEI

Let VICTOR RADIO prove itself in your

home. Free demonstration in your living*

room—whenever you say. Come in and ask us.

M. STEINERT & SONSSteinert Hall 162 Boylston Street

Investment Management

to Build Your Estate

AN INVESTMENTManagement Account with the Lee,

Higginson Trust Company, will:

. . 1 Give you investment counsel found-

ed upon eighty years investment

experience.

. . 2 Transferto apermanentorganization

the responsibilityfor the investment

and reinvestment of your funds.Upon request, we o t> i« r> •

shall be glad to send • • 3 Relieve you of routine investment

you our booklet duties.

"Investment Man- A ~. 1 , n r

aeement" * • ^ ^ve your property the benefit ot a

________ group of experts continually watch-

C *) ing financial and industrial condi-

^~s tions.

LEE, HIGGINSON TRUST CO.50 FEDERAL STREET, BOSTON

AND AT COPLEY SQUARE - CORNER OF CLARENDON