BmbttB Gtyratrr, (Eambrtog*

[Harvard University]

Thursday Evening, March 18

at 8 o'clock
VICTOR RED SEAL RECORDS by the

Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Conductor
Also Sprach Zarathustra Strauss
Battle of Kershenetz Rimsky-Korsakov
Bolero Ravel
Capriccio (Jesus Maria Sanroma, Soloist) Stravinsky
Classical Symphony Prokofieff
Concerto for Orchestra in major D K. P. E. Bach
Concerto Grosso in D
minor Vivaldi
Concerto in D major (Jascha Heifetz, Soloist) Brahms
Concerto No. 2 (Jascha Heifetz, Soloist) Prokofieff
Concerto No. 12 — Larghetto Handel
Damnation of Faust Minuet Waltz
: — — Rakoczy March Berlioz
Danse Debussy-Ravel
Daphnis et Chloe —
Suite No. 2 Ravel
filegie (Violoncello solo: Jean Bedetti) Faure
"Enchanted Lake" Liadov
Fair Harvard Arr. by Koussevitzky
Fruhlingsstimmen —
Waltzes (Voices of Spring) Strauss
Gymnopedie No. 1 Erik Satie-Debussy
"Khovanstchina" Prelude Moussorgsky
La Valse . Ravel
"La Mer" ("The Sea") Debussy
Last Spring Grieg
"Lieutenant Kije" Suite Prokofieff
Love for Three Oranges —
Scherzo and March Prokofieff
Ma Mere L'Oye (Mother Goose) Ravel
Mefisto Waltz Liszt
Missa Solemnis Beethoven
Passion According to Saint Matthew (Three Albums) Bach
"Peter and the Wolf" Prokofieff
Pictures at an Exhibition Moussorgsky-Ravel
Pohjola's Daughter Sibelius
"Romeo and Juliet," Overture-Fantasia Tchaikovsky
Rosamunde —Ballet Music Schubert
Sal6n Mexico, El Aaron Copland
San Juan Capistrano —
2 Nocturnes Harl McDonald
Sarabande Debussy-Ravel
Song of Volga Boatmen Arr. by Stravinsky
"Swanwhite" ( "The Maiden with Roses" ) ., Sibelius
Symphony No. 1 in B-flat major ("Spring") Schumann
Symphony No. 2 in D major Beethoven
Symphony No. 2 in D major Sibelius
Symphony No. 3 Harris
Symphony No. 4 in A
major ("Italian") Mendelssohn
Symphony No. E minor
4 in Brahms
Symphony No. F minor
4 in Tchaikovsky
Symphony 5 in E-flat major
No. Sibelius
Symphony 6 in B minor ( "PathStique" )
No. Tchaikovsky
Symphony 8 in F major
No. Beethoven
Symphony 8 in B minor ("Unfinished")
No. Schubert
Symphony 29 in A major
No. Mozart
Symphony 34 in C major
No. Mozart
Symphony 94 in G major ( "Surprise" )
No. Haydn
Symphony 102 in B-flat major
No. Haydn
Tapiola ( Symphonic Poem) Sibelius
Waltz (from String Serenade) Tchaikovsky
Wiener Blut —Waltzes (Vienna Blood) Strauss
 &Ut\bttB 3{jtfatr? • Harvard University • fflambr&ge

SIXTY-SECOND SEASON, 1942-1943

Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Conductor

Richard Burgin, Associate Conductor

Concert Bulletin of the

Seventh Concert

THURSDAY EVENING, March 18

with historical and descriptive notes by

John N. Burk

The TRUSTEES of the

BOSTON SYMPHONY ORCHESTRA, Inc.

Jerome D. Greene . President

Henry B. Sawyer .
Vice-President
Henry B. Cabot . Treasurer
Philip R. Allen M. A. De Wolfe Howe
John Nicholas Brown. Roger I. Lee
Reginald C. Foster Richard C. Paine
Alvan T. Fuller William Phillips
N. Penrose Hallowell Bentley W. Warren

G. E. Judd, Manager Q. W. SPALDING, Assistant Manager

[il
 Boston Symphony Orchestra
[Sixty-second Season, 1942-1943]

SERGE KOUSSEVITZKY, Conductor

Personnel
Violins
BURGIN, R. ELCUS, G. LAUGA, N. KRIPS, A. RESNIKOFF, V.
Concert-master tapley, r. KASSMAN, N. CHERKASSKY, P LEIBOVICI, J.
THEODOROWICZ, J.
HANSEN, E. DICKSON, H. FEDOROVSKY, P. ZAZOFSKY, G.
EISLER, d. PINFIELD, C. BEALE, M. SAUVLET, H.
KNUDSON, C. ZUNG, M. LEVEEN, P. GORODETZKY, L.
MAYER, P. DIAMOND, S. DEL SORDO, R. HILLYER, R.

BRYANT, M. STONESTREET, L. messina, s. DUBBS, H.

MURRAY, J. ERKELENS, H. seiniger, s. TRAMPLER, W.

Violas
LEFRANC, J.
FOUREL, G. VAN WYNBERGEN, C. GROVER, H.
CAUHAPE, J. ARTIERES, L. BERNARD, A. WERNER, H.
LEHNER, E. KORNSAND, E.
GERHARDT, S. HUMPHREY, G.

Violoncellos
BEDETTI, J.
LANGENDOEN, J. droeghmans, h. zeise, k. FABRIZIO, E.
ZIGHERA, A. CHARDON, Y. zimbler, j. MARJOLLET, L.

Basses
MOLEUX, G. JUHT, L. GREENBERG, H. GIRARD, H. BARWICKI, J.
DUFRESNE, G. 1 RANKEL, I. PAGE, W. 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.
SINGER, J.
SHAPIRO, H. VOISIN, R. L. COFFEY, J.
KEANEY, P. GEBHARDT, W VOISIN, R. SMITH, V.

Tuba Harps Timpani Percussion

ADAM, E. ZIGHERA, B. SZULC, R. sternburg, s.

CAUGHEY, E. polster, m. WHITE, L.

ARCIERI, E.
Librarian
ROGERS, L. J.

[2]
 £>mbtt8 QTljFatr? • Harvard University • (Eambn&g?

Boston Symphony Orchestra

SIXTY-SECOND SEASON, 1942-1943

SERGE KOUSSEVITZKY, Conductor

SEVENTH CONCERT
THURSDAY EVENING, March 18

Programme
RICHARD BURGIN, Conducting

Haydn Symphony in C minor, No. 95

I. Allegro
•II. Andante cantabile
III. Menuetto: Trio
IV. Finale: vivace

Dukelsky Violin Concerto in G minor

I. Allegro molto
II. Valse
III. Tenia con variazioni e coda
(First performance)

INTERMISSION
Mahler Symphony No. 3 (First part)

SOLOIST
RUTH POSSELT

BALDWIN PIANO

[Si
 :

SYMPHONY IN C MINOR, NO. 95

By Franz Joseph Haydn

(Born at Rohrau, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809)

This symphony was listed as No. 5 in the catalogue of the London Philharmonic
Society, and by Breitkopf and Hartel as No. 9 in their old numbering.* It is No. 95
in the new listing by Breitkopf and Hartel. The symphony was composed in 1791
and first performed probably in that year in London.
The orchestration calls for two flutes, two oboes, two bassoons, two horns, two
trumpets, timpani and strings.
This symphony was first performed at these concerts April 12, 1889. It has had
subsequent performances April 7, 1893; December 24, 1896; December 18, 1903, and
November 24, 1916.

the Fifth in order among the twelve Salomon symphonies, the

As > in C minor was among the first set of six which Haydn
Symphony
composed for his first visit to London in 1791. Except for the "Clock"
Symphony, No. 11, in D minor, this is the only one of the twelve in
a minor key. It is also the only "London" Symphony which dispenses
with an introduction. The symphony opens with a theme concise and
dramatic. After several pages of expository development, a second
theme effectually dispels any ominous suggestion in a bright and lilting
E-flat major. The tune might well have dropped from an opera of
Mozart, Haydn's revered colleague, the news of whose death was
destined to sadden him in London before the year had ended. The
working out begins with a return of the initial subject, passing through
several minor keys, but the brighter subject soon dominates the scene,
and the rather brief movement closes in C major.
The slow movement is a melody in E-flat major, 6-8 time, with
variations. The strings give out the simple theme and dominate until
the exceedingly beautiful variation in E-flat minor has ended. In the
final variation the woodwinds and horns at last assert themselves, while
the violins weave an ornamental figure in thirty-second notes. A
graceful coda, almost Beethovenesque, ends the movement, which once
brought the remark from H. T. Parker that here "sentiment joins
fingertips with elegance."
The minuet, in C minor, is brilliant and fully scored. Its trio, in the
*The twelve symphonies which Haydn wrote for performance in London are here listed in
the numbering of the London Philharmonic Society, together with the dates of their most
recent performances by the Boston Symphony Orchestra
Breitkopf and Hartel Date of last performance
Salomon No. No. at these concerts
1. C major 97 March 21, 1924
2. D major 93 Nov. 16, 1900
3. G major ("Surprise") 94 March 19, 1937
4. B-flat major 98 Dec. 15, 1905
5. C minor 95 Nov. 24, 1916
6. D major 96 (Not performed)
7. D ("London") 104 Feb. 27, 1942
8. E-flat major ("Drum Roll") , 103 Jan. 16, 1931
9. B-flat major 102 Nov. 7, 1941
10. E-flat major 99 Dec. 3, 1937
11. D minor ("Clock") 101 April 5, 1895
12. G major ("Military") 100 Jan. 14. 1921

[4]
tonic major, presents a graceful and undulating discourse in running
eighth notes from the solo 'cello over a light accompaniment of
plucked strings.
The finale, is an engaging movement with contrapuntal
vivace,
interplay. Its C major takes possession for once and all — indeed, when
all is said, the minor mode has played no more than an episodic part.
The symphony is more concise than most of the composer's later ones.
"The total effect," wrote Tovey, "is so spacious that you would never
guess that it is one of Haydn's tersest works."
[copyrighted]

CONCERTO FOR VIOLIN AND ORCHESTRA

By Vladimir Dukelsky
Born in Pskov, Russia, October 10, 1903

This concerto was begun in 1941 and completed in the spring of 1942. It is

dedicated to MissRuth Posselt, and is here having its first performances.

The orchestration requires two flutes and piccolo, two oboes and English horn,
two clarinets and bass clarinet, two bassoons and contra-bassoon, four horns, two
trumpets, trombone, tuba, timpani, military drum, tam-tam, bass drum, triangle,
xylophone, cymbals, tambourine, wood block, glockenspiel, celesta, and strings.
Vladimir Dukelsky's composition before one was a piano concerto ("Dedi-
this
caces" for piano and orchestra with soprano obbligato, performed at these con-
certs). Another concerto, for violoncello and orchestra, was completed at Lenox,

Massachusetts, last summer and awaits performance.

T^he key of the Violin Concerto G minor. Theis first movement,

according to information furnished by the composer, "has certain
earmarks of the sonata form without being written in that form at
all. The first subject (in G minor) reappears in the finale and is the
mainstay of the movement. The second movement is a melancholy
waltz. The third and last movement is a theme with variations and
an elaborate coda. This form has always had a great attraction for
me; I used it in two ballets ("Zephyr and Flora" and "Entr'acte") and
[5l
also wrote a "Tema
con Variazioni" for Flute, Bassoon and Piano.
The theme of these particular variations is a gay and spirited one in
4-4, and various contrapuntal devices are used in the variations, end-
ing with a wedding of the 4-4 theme and the G minor subject of the
opening movement. I had some trouble with the long cadenza in the
opening Allegro and owe a word of thanks to Miss Posselt for her
helpful suggestions."

Vladimir Dukelsky enlisted in the United States Coast Guard last

August. He answers an inquiry as to his status in the service: "I am a
coxswain (or Petty Officer, Thirdhave formed a dance or-
Class). I
chestra at the Brooklyn Barracks (foot of Columbia Street) where I
am stationed. This orchestra has been christened (quite appropriately)
the Brooklyn Barracks Band. There are only nine men in the band
but they are all excellent performers and I love being a bandmaster."
Vladimir Dukelsky is a dual personality in music, for in addition
to a number works of serious intent (several of which have been
of
performed by this orchestra) he has long led, and still leads, a separate
musical life as a composer in the popular field. As the composer of a
succession of successful musical comedies, song hits and film music, he
is known as Vernon Duke.

Mr. Dukelsky is of Georgian and Spanish ancestry. He was the

nephew of Prince Toumanov, Governor of the Caucasus, and accord-
ing to tradition would have entered the Imperial Naval Academy
had not his mother insisted upon his musical development and en-
rolled him in the musical Conservatory at Kiev when he was thirteen.
He was fifteen years old at the time of the Revolution. Kiev was a
center of strife, and the boy was probably fortunate in escaping with
his life. He sought musical fortune in Monte Carlo, Paris and London.
In 1924 he composed a ballet, "Zephyr et Flore/' for Diaghilev's com-
pany, and Diaghilev duly produced it. A little later (1926) a musical
comedy which he called "Yvonne" appeared over the pseudonym of
"Vernon Duke." Thus the young emigre had laid out the twofold
career which he has since persistently pursued, as Vernon Duke, com-
poser in the popular idiom, and Vladimir Dukelsky, composer of
symphonies, ballets and concertos.
In 1929 the composer made his home in the United States and since
became a citizen. His career in this country has been a series of works
in the serious forms and a parallel succession of popular "hits." The
First Symphony, in F major, had its first performance in this country
at these concerts March 15,The Second Symphony,
1929. in D-flat
major, had its first performance when it was played by this orchestra
April 25, 1930. The "Epitaph" for soprano solo, chorus and orchestra,
had likewise its first public performance when it was heard at the

Boston Symphony concerts, April 15, 1932 (Cecilia Society Chorus,

[6]
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[7]
 '

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Adele Alberts, soprano). There is a piano concerto,
composed in 1924.
The oratorio, "The End of St. Petersburg" (first performed by the
Schola Cantorum in New York) was written in 1937. Works for cham-
ber combinations include "Dushenka," duet for women's voices and
chamber orchestra (1927); a piano sonata (1927); a Trio for Flute,
Bassoon and Piano (1930); a Ballade for Piano and Small Orchestra
(1931); an Etude for Piano and Bassoon (1932); "Capriccio Mexi-
cano" (violin and piano, 1933). "Dedicaces" for Piano, Orchestra, and
Woman's Voice (1934) was performed at the Boston Symphony con-
certs December 16, 1938, when Jesus Maria Sanroma was the pianist
and Marguerite Porter the soprano. "Three Caprices for Piano" was
written in 1937. There is a Serenade for String Quartet, of the same
year. "Le Ciel," a symphonic piece, was written in 1938; also five songs
to words of Robert Hillyer and Charles Henri Ford; "Entr'acte," a
ballet by Georges Balanchine; "Hommage a Boston," a suite for piano.
The operetta "Yvonne,"* produced in London in 1926, was fol-
lowed by other light stage pieces. "Vernon Duke" wrote "The Zieg-
feld Follies of 1936," a considerable part of "The Show is On," "Gar-
rick Gaieties," "Walk Crowd,"
a Little Faster," "Americana," "Three's a
and others. He has written accompaniments for film music produced
by Paramount and United Artists. More recent shows for which he has
contributed the music are "Cabin in the Sky" (1940) starring Ethel
Waters, "Banjo Eyes" (1941) starring Eddie Cantor, and "Lady Comes
Across" (1942). Vernon Duke's latest is the show "Dancing in the
Streets," of which the production is pending. "The Cabin in the
Sky" has just appeared as a film. The song hit "Taking a Chance on
Love" is from this show.
[copyrighted]

RUTH POSSELT
Ruth Posselt, born in Medford, Massachusetts, made her debut
at the age of nine, giving a recital in Carnegie Hall. Her subse-
quent career has led to six tours of Europe, where she has appeared in
recitals and with the principal orchestras of various countries, in-
cluding Soviet Russia. She played under Monteux and Paray in
Paris, Mengelberg and Szell in Holland. Her tours of this country
include appearances as soloist with orchestra in Boston, New York,
Chicago, Detroit, Washington, Cincinnati, St. Louis, Hartford and
other cities. Miss Posselt has performed with the Boston Symphony
Orchestra the Violin Concertos of Tchaikovsky and Dvorak, and has
introduced to these concerts the concertos of Hill, Bosnians ("Con-
certstuk"), Piston and Barber.
* "Yvonne" was apparently not a success. His friend Noel Coward referred to it as
"Yvonne the Terrible."

[10]
 The WOOL TRADE of BOSTON

is appreciative of the magnificent

contributionlvhich the Boston Symphony

Orchestra makes to the Qommunity

BLAKE & KENDALL

DRAPER TOP CO.

EMERY & CONANT CO., Inc.

WM. S. FEBIGER CO.

MUNRO, KINCAID, EDGEHILL, Inc.

en]
 SYMPHONY NO. 3

By Gustav Mahler
Born at Kalischt in Bohemia, July 7, 1860; died at Vienna, May 8, 1911

Mahler began his Third Symphony in 1895 and finished it in August of that year.
The first complete performance took place at the music festival given by the Krefeld
Tonkilnstler on June 9, 1902. The composer conducted. There followed other per-
formances of the Symphony, in whole or in part, in central Europe. The first com-
plete performance in America took place at a May Festival in Cincinnati, May 9,
1914, when Ernst Kunwald conducted. Willem Mengelberg, as conductor of the New
York Philharmonic Society orchestra, performed the complete symphony at its con-
certs, February 28, 1922. There was a broadcast performance (considerably cut) from
Radio City in February, 1942, Erno Rapee conducting.
The first movement requires these instruments: four flutes and two piccolos, four
oboes and English horn, three clarinets, two E-flat clarinets, and bass clarinet, four
bassoons and contra-bassoon, eight horns, four trumpets, four trombones and
tuba, timpani, glockenspiel, tambourine, tam-tam, small drum, bass drum, cymbals,
triangle, two harps and strings. A chorus of boys' and women's voices is required
in the fifth movement, a contralto solo in the fourth.

Mahler achieved a full performance of his Third Symphony seven

years after completion — and with considerable difficulty. The
its

brilliant conductor had not until that time won general recognition as a
composer. His first two symphonies had been sporadically applauded
but liberally picked to pieces. The Fourth had been produced in
Munich the year before by Weingartner. The Third was inevitably
delayed a hearing by its difficulties, the large performing forces required,
and its length (the six movements occupy an hour and a half) Mahler .

was anxious that his Symphony should be performed in full, and when

Years a New England Institution

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[18]
 Santera atyratr* • Olamhrfag?

Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Conductor

EIGHTH AND LAST CONCERT

Thursday Evening, April 29
at 8 o'clock

SYMPHONY HALL, BOSTON

Twentieth Programme
FRIDAY AFTERNOON, March 26, at 2:30 o'clock

SATURDAY EVENING, March 27, at 8:15 o'clock

William Schuman "A Free Song," Secular Cantata No. 2

for Chorus and Orchestra
Sibelius Symphony No. 5 in E-flat major, Op. 82
INTERMISSION
Guarnieri Overture Concertante
Stravinsky Suite from the Ballet, "L'Oiseau de Feu"

Chorus
HARVARD GLEE CLUB
RADCLIFFE CHORAL SOCIETY
G. Wallace Woodworth,' Conductor

L 13]
a chance offered in the Rhenish town of Krefeld in 1902 he overrode the
objection to the cost of preparation by offering to pay for the rehearsals
out of his own pocket. He conducted the performance, but only after
thirty rehearsals. The symphony was an undisputed success.
The Third Symphony is in two parts, the first movement, which is by
far the longest, occupying the first part. ("The imposing first movement
stands alone," writes Paul Stefan, "and the other movements form a
unity.") The remaining movements are five in number. At the first
performance titles stood above each movement. The first bore the in-
scription "Introduction: Awakening of Pan.Summer Enters. Procession
of Bacchus." The second, a minuet, was called "What the Flowers of the
Meadow Tell Me"; the third, a scherzo, "What the Animals of the For-
est Tell Me"; the fourth, "What Man Tells Me," and in
movement,this
slow and mysterious, a contralto sings the night wanderer's song from
Nietzche's "Zarathustra," in which man's suffering is found transitory,
his joy eternal. In the fifth movement, "What the Angels Tell Me," a
chorus sings naive devotional verses from the medieval "Des Knaben
Wunderhorn" which Mahler had introduced into his Second and
would introduce into his Fourth symphony. The finale, a serene and
tender Adagio, is purely instrumental and was called "What Love
"

Tells Me."
From a description by Bruno Walter of his visit to Mahler in the
mountains of upper Austria where, in the summer of 1895, the
symphony was reaching its completion, one can gather something of its
motivation, and this description makes the motivation appear less
scattered than do the movements themselves at first glance. Mahler was
at Steinbach-Am-Attersee, a lovely mountain resort in the Salzkam-
mergut region. Walter found him in the exultant mood of one who is
successfully drawing a vast creative enterprise to a close. He had
acquired a little shack in a secluded meadow, and to this retreat, which
he called "Composer's Cottage," he would go early each morning to
work on his score, safely removed from the inn and its fashionable
element. When not writing he would roam at will the inviting mead-
ows and wooded hills. Walter tells how Mahler would sometimes take
with him two young kittens "on short walks in his roomy coat pockets,
to enjoy their company when resting. The little animals had become
so used to him that they would even play hide-and-seek with him, a
fact of which he was not a little proud. Dogs, cats, birds, and the
animals of the forest amused him and excited his most serious interest.
He endeavored by careful watching to fathom their nature, and in the
woods he responded to the hopping or song of a bird or to the jumping
of a squirrel with an involuntary exclamation of pleasure and sym-
pathy."* Walter perceived in this the composer's "mysterious affinity
* "Gustav Mahler" by Bruno Walter, Greystone Press, N.Y.

[14]
with nature," and one can imagine this industrious thinker and dreamer
losing himself in the beautiful spell of his surroundings until memories,
associations, speculations become identified with the present spectacle
of nature. The huge score freely followed his roving imagination; seek-
ing to capture the swarming images of his busy brain, it became as
boundless. The prodigious dreamer could not curb himself — capacious-
ness and expansiveness were inherent in his character. He must include
the whole universe, as he apprehended it, within the space of a single
symphony.
Mahler soon abandoned his descriptive titles. They were vague
signposts, indications of a complex of images far beyond verbal defini-
tion. The composer had probably intended them as purely directional,
initial spurs to the imagination of the listener. The music seems to call
for some sort of explanation. The first movement, for example, was
plainly conditioned by something else than pure tonal logic. Its
predominant march rhythms, its percussive accentuation and fanfares,
its mysterious episodes and sudden cataclysms constantly suggest some-

thing behind the music. But the purely literal hearer is confounded; if
he is told in connection with the first movement "Pan erwacht," or
"Der Sornmer marschiert ein/' he only wonders why the summer
should "march in" with such military panoply. The phrases confine
rather than liberate his imagination and leave him more than ever
at a loss. Mahler was probably wise to suppress these titles.
It is very doubtful whether anyone could completely understand the

implications of this music, at once vast and personal, except the man
who dreamed it. It can be understood and enjoyed as a tone structure,
while a certain amount of mystification is not amiss and the hearer
must find his own images. Even the initiates who were closest to
Mahler, such as Bruno Walter, could not have experienced anything
nearly identical to Mahler's personal impression of a certain forbidding
rocky cliff which Mahler said to
at Steinbach, the Hollengebirge, of
him: "No need to look there any more — that's all been used up and
set to music by me." Walter wrote that he could imagine in the music
"the oppressive weight upon his soul placed there by the forbidding
majesty of the rocky summits." Yet this surely is the sort of personal
mood-complex which can never be accurately transferred from one
man's mind to another. When Walter spoke of his friend's "mysterious
affinity with nature," he was on more general and safer ground.
The elusiveness of Mahler's meanings is confirmed by the varying
interpretations of those who were closest to him. Of this first move-
ment, for example, Willem Mengelberg, who was a friend and early
protagonist of the composer, has made known that here Mahler in-
tended to depict the "inevitable tragedy of personal existence" and
"the suggestion of the enlargement of personality by the sense of

[15]
brotherhood." Richard Strauss was reminded of "a vast army of work-
ing men advancing to the Prater for a May feast." But Walter, the
prime apostle, says nothing of a call to universal brotherhood, and
Stefan sees in it no more than ''rigid, motionless nature" in which
"Pan awakes but gradually."

Over the introduction appears the direction "Krtiftig entschieden" —

"Forceful, with decision." The motto is stated at once, a striking theme
for eight horns in unison, at first without accompaniment or harmoniza-
tion. As this theme is developed it becomes evident that the usual
symphonic form is not followed. The principal theme recurs in varying
guises while one episodic theme after another is introduced (the
scrupulous analysts quote almost a dozen of them) There is no conflict .

of two contrasting subjects, but rather a gathering complex of elements

which attain a considerable elaboration. There is a quiet interlude in
G-flat in which the dreaming tones of the solo horn are heard. Then
softly as if in the distance, another march episode makes its appearance.
It is heard at first only from the 'cellos and basses. The march gathers
strength and. increases in excitement, the first motto returning in its
course. The movement ends with a great climax of sound.

[copyrighted]

MUSICAL INSTRUCTION

Mrs. Charles Adams White

TEACHER OF SINGING AND SPEECH
105 REVERE ST., BOSTON Tel. Capitol 6 74 r

Albert Yves Bernard

First Prize, Paris National Conservatory
of Music
Member Boston Symphony Orchestra
INSTRUCTION IN
VIOLIN AND VIOLA
50 Charlesgate East Ken. 3030

bound volumes of the Boston Symphony Orchestra

CONCERT BULLETINS
CONTAINING: Analytical and descriptive notes by Mr. JOHN N. BURK,
on all works performed during the season.
"A Musical Education in One Volume"
"Boston's Remarkable Boo\ of Knowledge"
Lawrence Gilman in the N. Y. Herald and Tribune
Price $6.00 per volume
Address: SYMPHONY HALL -:- BOSTON, MASS.
[16]
War Benefit Concerts by the Boston Symphony Orchestra
At Tanglewood
August 16, 1940 — Allied Relief Fund Benefit for British aid —
net $25,000.
August 15, 1941 —Gala Benefit for the U. S. O. and British War
Relief — net $20,000.
(Sets of Boston Symphony Orchestra records have been sent
to U.S.O. recreation centers in all parts of the world from a
part of the proceeds of this concert.)
August 14, 1942 —A
concert for Russian War Relief was given by
the Berkshire Music Center, Serge Koussevitzky conducting.
At Constitution Hall, Washington, D.C.
March 31, 1942 — Concert for the benefit of the Russian War
Relief.
At Symphony Hall
October 11, 1942 — United Nations Concert.
December 20, 1942 — Concert by the
Boston Symphony Orchestra
under Serge Koussevitzky, given for uniformed men and
women in war service, the first of a series of such Sunday
concerts.
January 4, 1943 — Concert by the Boston Symphony Orchestra,
Serge Koussevitzky, Conductor, for the Greater Boston Com-
munity War Fund.
March 28, 1943 — Concert
by the Boston Symphony Orchestra
under Serge Koussevitzky, given for uniformed men and
women in war service, the second of a series of such Sunday
concerts.
Pop Concerts at Symphony Hall
There have been special benefit concerts at the Pops at various
times for the Holland Relief Fund (twice), the Navy Re-
cruiting Service, Czechoslovakia and Czech R.A.F. benefit,
Free French Division of the British and American Ambulance
Corps.
On the Esplanade
May 18, 1941 — Concert sponsored by the Bureau of Americaniza-
tion of the City of Boston.
August 2, 1942 —
Coast Guard Day concert.
September 13, 1942 —
Concert on the opening day of the Army
Signal Corps week.
At the Boston Museum of Fine Arts
November 1,1942 (

December 27, 1942 < Victory Concerts for the Armed Forces.
March 7, 1943 /
At the Camps
March — Concert at Fort Devens.
22, 1942
April6, 1942 — Concert at Camp Edwards.
December 2, 1942 — Concert at Lovell General Hospital. Fort
Devens.
January 31, 1943 — Concert at Camp Edwards.
Elsewhere
July 17, 1942— Jordan Marsh Company — War Bond and Stamp
Drive.
August 16, 1942 —Russian War Relief, Lowell, Massachusetts.
 SERGE KOUSSEVITZKY
AND THE
BOSTON
SYMPHONY ORCHESTRA
USE
THE BALDWIN PIANO

"The Baldwin Piano for the Orchestra, as

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tone, round, full and of magnificent resonance and color.

1 consider it a great work of musical art."

JSalitoin
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