CITY THEATRE ....

Sunday Afternoon, February 25,

BROCKTON
1923, at 3.00

•u w

BOSTON
SYMPHONY
ORCHESTRA INC.

FORTY-SECOND
SEASON
J922-J923

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57 BROCKTON STREET,
CITY THEATRE BROCKTON

FORTY-SECOND SEASON 1922-1923

Boston
INC.

PIERRE MONTEUX, Conductor

SUNDAY AFTERNOON, FEBRUARY 25, at 3.00

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.
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Soloists: SIGRID ONEGIN Contralto

Metropolitan Opera Company

CHARLES H. BENNETT, Baritone

WAGNER PROGRAMME
Wagner Overture to "Rienzi"
Wagner Prelude to "Lohengrin"
Bruch . Lament of Andromache, from "Achilles"
Madame ONEGIN
Wagner Overture to "Tannhauser"

Wagner . Prelude to "Die Meistersinger von Niirnberg"

Wagner Songs with Orchestra

'Schmerzen"
:

'Traume"
Madame ONEGIN
Death of Siegfried and Funeral March
from "Gotterdammerung"
Wagner
Wotan's Farewell and Magic Fire
Music from "Die Walkure"
Wotan— CHARLES H. BENNETT

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19 MAIN STREET
CITY THEATRE BROCKTON

Forty-second Season, 1922-1923

PIERRE MONTEUX, Conductor

SUNDAY AFTERNOON, FEBRUARY 25

AT 3.00

PROGRAMME
Tchaikovsky
I.
.... Symphony No. 4
Andante sostenuto; Moderato con anima.
in F minor, Op. 36

II. Andantino in modo di canzona.

III. Scherzo; Pizzicato ostinato: Allegro.
IV. Finale: Allegro con fuoco.

Smetana Symphonic Poem, "Vltava" ("The Moldau") from

"Ma Vlast" ("My Country"), No. 2

Liszt Fantasia on Hungarian Folk Tunes (for Pianoforte

and Orchestra)

Wagner Overture to "Rienzi"

SOLOIST

GEORGE SMITH

MASON & HAMLIN PIANOFORTE

There will be an intermission of ten minutes after the symphony

5
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THE
17 TEMPLE PLACE, BOSTON BEST
Tel. Beach C964 IN
TRAVEL
Symphony in F minor, No; 4, Op. 36 ... . Peter Tchaikovsky
(Born at Votkinsk, in the government of Viatka, Russia, May 7, 1840; died at
Petrograd, November 6, 1893.)

Tchaikovsky composed this symphony during the winter of

1877-78. He had lost interest in an opera, "Othello," for which a
libretto at his own wish had been drafted by Stassoff. The first
draft was finished in May, 1877. He began the instrumentation on
August 23 of that year, and finished the first movement Septem-
ber 24. He began work again towards the end of November. The
Andantino was finished on December 27, the Scherzo on January 1,
1878, and the Finale on January 7, 1878.
The first performance was at a symphony concert of the Russian
Musical Society, Moscow, February 22, 1878. Nicholas Rubinstein
conducted.
The performance in the United States was at a concert of
first

the Symphony Society at the Metropolitan Opera House, New York,

February 1, 1890, Walter Damrosch conductor.
The dedication of this symphony is as follows "A mon meilleur :

ami" ("To my best friend"), and thereby hangs a tale.

This best friend was the widow Nadejda Filaretovna von Meek.
Her maiden name was Frolowsky. She was born in the village
Snamensk, government of Smolensk, February 10, 1831. She mar-
ried in 1848 an engineer, and for some years she knew poverty.
Her courage did not give way she was a helpmeet for her husband,
;

who finally became famous and successful. In 1876 her husband

died. She was left with eleven children and a fortune of "many
millions of rubles." Dwelling at Moscow, fond of music, she ad-
mired beyond measure certain works by Tchaikovsky. Inquiring
curiously concerning his character as a man and about his worldly
circumstances, she became acquainted with Kotek, a pupil of Tchai-
kovsky in composition. Through him she gave Tchaikovsky com-
missions for transcriptions for violin and pianoforte of some of
his works. There was an interchange of letters. In the early sum-

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;

mer of 1877 she learned that he was

She sent him three
in debt.
thousand rubles; in the fall of the same year she determined to
give him yearly the sum of six thousand rubles, that he might com-
pose free from pecuniary care and vexation but she insisted that
;

they should never meet. They never spoke together; their letters
were frequent and Tchaikovsky poured out his soul to
intimate.
this woman, described by his brother Modest as proud and ener-
getic, with deep-rooted principles, with the independence of a man
a woman that held in disdain all that was petty and conventional
was pure in thought and action a woman that was compassionate,
;

not sentimental.*
The composer wrote to her May 13, 1877, that he purposed to
dedicate this symphony to her. "I believe that you will find in it
echoes of your deepest thoughts and feelings. At this moment any
other work would be odious to me I speak only of work that pre-
;

supposes the existence of a determined mood. Added to this I am

in a very nervous, worried, and irritable state, highly unfavorable
to composition and even my symphony suffers in consequence." In
August, 1877, writing to her, he referred to the symphony as "yours."
"I hope it will please you, for that is the main thing." He wrote
August from Kamenka: "The first movement has cost me much
trouble in scoring it. and long but it seems
It is very complicated ;

to me it is also the most important. The other movements are

simple, and it will be fun to score them. There will be a new effect
of sound in the Scherzo, and I expect much from it. At first the
strings play alone and pizzicato throughout. In the Trio the wood-
wind instruments enter and play alone. At the end all three choirs
toss short phrases to each other. I believe that the effects of sound
and color will be most interesting." He wrote to her in December
*In December, 1890, Nadejda wrote Peter that on account of the complicated state
of her business affairs she could not continue the allowance. Furthermore, she treated
him with curious indifference, so that Tchaikovsky mourned the loss of the friend rather
than of the pension. He never recovered from the wound. Nadejda von Meek died on
January 25, 1894.

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Telephone 2085
from Venice that he was hard at work on the instrumentation: "No
one of my orchestral pieces has cost me so much labor, but on no
one have I worked with so much love and with such devotion. At
first I was led on only by the wish to bring the symphony to an end,
and then I grew more and more fond of the task, and now I cannot
bear to leave it. My dear Nadejda Filaretovna, perhaps I am mis-
taken, but it seems to me that this symphony is no mediocre piece
that it is the best I have yet made. How glad I am that it is our
work, and that you will know when you hear it how much I thought
about you in every measure! If you were not, would it ever have
been finished? When I was in Moscow and thought that my end
was about to come,* I wrote on the first draft: 'If I should die,
please send this manuscript to N. F. von Meek.' I wished the
manuscript of my last composition to be in your possession. Now
I am not only well, but thanks to you, in the position to give myself
wholly to work, and I believe that I have written music which
cannot fall into oblivion. Yet it is possible that I am wrong it is ;

the peculiar habit of all artists to wax enthusiastic over the young-
est of their productions." Later he had chills as well as fever over
the worth of the symphony.
He wrote to Nicholas Kubinstein, January 13, 1878, from San
Remo, and implored him not to judge the symphony before it was
performed. "It is more than likely that it will not please you when
you first look at it, therefore do not hurry judgment, but write me
what you honestly think after the performance. In Milan I wished
to indicate the tempi by metronome marks; I did not do this, for
a metronome costs there at least thirty francs. You are the only
conductor in the whole world whom I can trust. In the first move-
ment there are some difficult changes in tempo, to which I call your
special attention. The third movement is to be played pizzicato, the
quicker the pace, the better; yet I have no precise idea of what
speed can be attained in pizzicato."
In a long letter to Mrs. von Meek from Florence, March 1, 1878,
There is reference here to the crazed condition of Tchaikovsky after his amazing
marriage to Antonina Ivanovna Milioukoff. The wedding was on July 18, 1877. He left
his wife at Moscow, October 6. See the Programme Book of the Boston Symphony Or-
chestra for January 31, 1903 (pp. 721-724).

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11
—
Tchaikovsky gave the programme of the Fourth Symphony, with
thematic illustration in notation :

"The Introduction is the kernel, the quintessence, the chief

thought of the whole symphony." He quotes the opening theme,
sounded by horns and bassoons, Andante, F minor, 3-4. "This is
Fate, the fatal power which hinders one in the pursuit of happiness
from gaining the goal, which jealously provides that peace and com-
fort do not prevail, that the sky is not free from clouds, a might —
that swings, like the sword of Damocles, constantly over the head,
that poisons continually the soul. This might is overpowering
and invincible. There is nothing to do but to submit and vainly
complain." He quotes the theme for strings, Moderato con anima,
F minor, 9-8. "The feeling of despondency and despair grows ever
stronger and more passionate. It is better to turn from the realities
and to lull one's self in dreams." Clarinet solo with accompani-
ment of strings. "O joy! What a fine sweet dream! A radiant
being, promising happiness, floats before me and beckons me. The
importunate first theme of the allegro is now heard afar off, and
now the soul is wholly enwrapped with dreams. There is no
thought of gloom and cheerlessness. Happiness Happiness Hap-
! !

piness! No, they are only dreams, and Fate dispels them. The
whole of life is only a constant alternation between dismal reality
and flattering dreams of happiness. There is no port you will be :

tossed hither and thither by the waves, until the sea swallows you.
Such is the programme, in substance, of the first movement.
"The second movement shows another phase of sadness. Here is
that melancholy feeling which enwraps one when he sits at night
alone in the house, exhausted by work the book which he had taken
;

to read has slipped from his hand; a swarm of reminiscences has

arisen. How sad it is that so much has already been and gone! and
yet it is a pleasure to think of the early years. One mourns the
past and has neither the courage nor the will to begin a new life.
One is rather tired of life. One wishes to recruit his strength and
to look back, to revive many things in the memory. One thinks on
the gladsome hours, when the young blood boiled and bubbled and
there was satisfaction in life. One thinks also on the sad moments,
on irrevocable losses. And all this is now so far away, so far away.
And it is all so sad and yet so sweet to muse over the past.

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13
"There is no determined feeling, no exact expression in the third
movement. Here are capricious arabesques, vague figures which
slip into the imagination when one has taken wine and is slightly
intoxicated. The mood is now gay, now mournful. One thinks
about nothing one gives the fancy loose reins, and there is pleasure
;

in drawings of marvellous lines. Suddenly rush into the imagina-

tion the picture of a drunken peasant and a gutter-song. Military
music is heard passing by in the distance. These are disconnected
pictures, which come and go in the brain of the sleeper. They have
nothing to do with reality; they are unintelligible, bizarre, out-at-
elbows.
"Fourth movement. If you find no pleasure in yourself, look
about you. Go to the people. See how it understands to be jolly,
how it surrenders itself to gayety. The picture of a folk-holiday.
Scarcely have you forgotten yourself, scarcely have you had time
to be absorbed in the happiness of others, before untiring Fate
again announces its approach. The other children of men are not
concerned with you. They neither see nor feel that you are lonely
and sad. How they enjoy themselves, how happy they are! And
will you maintain that everything in the world is sad and gloomy?
There is still happiness, simple, native happiness. Rejoice in the
—
happiness of others and you can still live.
"This is all that I can tell you, my dear friend, about the sym-
phony. My words naturally are not sufficiently clear and exhaus-
tive. It is the characteristic feature of instrumental music, that
it does not allow analysis."
*

The symphony is scored for piccolo, two flutes, two oboes, two
two bassoons, four horns, two trumpets, three trombones,
clarinets,
bass tuba, a set of three kettledrums, bass drum, cymbals, triangle,
strings.
I. Andante sostenuto; moderato con anima (in movimento di
valse), F minor, 3-4 and 9-8.
II. Andantino in modo di canzona, B-flat minor, 2-4.

.. CONCERT "DIRECTION ..

PIERGE BUILDING - - - BOSTON

As heretofore, Mr. Richmond continues his policy of featuring artists
of distinction. Appearing under his direction this season:
RICHARD BURGIN, Violinist — FELIX FOX, Pianist —
LAURA LITTLEFIELD, Soprano (lyric)— MARIA CONDE,
Soprano (coloratura)— JEAN BEDETTI, 'Cellist— FIEDLER
—
TRIO Henry Gideon in "CONCERTS with COM-
MENTS" -and
BOSTON SYMPHONY ENSEMBLE
"A Miniature Symphony Orchestra"
AUGUSTO VANNINI, Conductor

14
III. Scherzo, "Pizzicato ostinato" Allegro, F major, 2-4. :

IV. Allegro con fuoco, F major. A Russian folk-tune, "In the

fields there stood a Birch-tree," is introduced and varied.
When the symphony was first played at Moscow it did not make
the impression hoped for by Tchaikovsky. He wrote to Mrs. von
Meek from Florence: "The first movement, the most complicated
and also the best, is perhaps much too long and not easy to under-
stand at a first hearing. The other movements are simple."
Tchaikovsky had a peculiar weakness for this symphony. He
wrote to Mrs. von Meek from Florence, December 8, 1878: "I go
back to two years ago, and return to the present with joy What a !

change! What has not happened during these years! When I

began to work at the symphony I hardly knew you at all. I remem-
ber very well, however, that I dedicated my work to you. Some
instinct told me that no one had such a fine insight into my music
as yourself, that our natures had much in common, and that you
would understand the contents of this symphony better than any
other human being. I love this child of my fancy very dearly. It
is one of the things which will never disappoint me."
Again he spoke of the symphony as "a labor of love, an enjoyment
like 'Oniegin' and the second Quartet."

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15
—
Symphonic Poem "Vltava" ("The Moldau"), from "Ma Vlast"
("My Country") No. 2 Friedrich Smetana
(Born at Leitomischl, Bohemia, March 2, 1824; died in the mad-house at
Prague, May 12, 1884.)

Smetana, a Czech of the Czechs, purposed to make his country

familiar and illustrious in the eyes of strangers by his cycle of sym-
phonic poems, "Ma Vlast" ("My Country"). The cycle was dedi-
cated to the town of Prague. "The Moldau," composed in 1874
and performed for the first time at Zofin on April 4, 1875, is the
second of the six symphonic poems.
The first performance of the cycle as a whole was at a concert for
Smetana's benefit at Prague, November 5, 1882.
The following Preface* is printed on a page of the score of "The
Moldau" :

Two springs gush forth in the shade of the Bohemian Forest, the one warm
and spouting, the other cold and tranquil. Their waves, gayly rushing
onward over their rocky beds, unite and glisten in the rays of the morning
sun. The forest brook, fast hurrying on, becomes the river Vltava (Moldau),
which, flowing ever on through Bohemia's valleys, grows to be a mighty
stream it flows through thick woods in which the joyous noise of the hunt
:

and the notes of the hunter's horn are heard ever nearer and nearer it flows ;

through grass-grown pastures and lowlands where a wedding feast is cele-

brated with song and dancing. At night the wood and water nymphs revel
in its shining waves, in which many fortresses and castles are reflected as
witnesses of the past glory of knighthood, and the vanished warlike fame of
bygone ages. At the St. John Rapids the stream rushes on, winding in and
out through the cataracts, and hews out a path for itself with its foaming
waves through the rocky chasm into the broad river bed in which it flows on
in majestic repose toward Prague, welcomed by time-honored Vysehrad. where-
upon it vanishes in the far distance from the poet's gaze.

Fantasia on Hungarian Folk Tunes for Pianoforte and Or-

chestra . Franz Liszt
(Born at Raiding near Odenburg, Hungary, October 22, 1811; died at Bayreuth,
July 31, 1886.)

This Fantasia, an expansion or modification of Liszt's Fourteenth

Hungarian Rhapsody for pianoforte, was composed at Weimar not
later than 1852. The first performance was from manuscript at a
theatrical performance in the Hungarian National Theatre at Budapest
on June 1, 1853. The pianist was Hans von Billow, for whom the
Fantasia was composed. Franz Erkel conducted. The performance
took place after the second act of Nagy Ignacz's play "Parisi Naplo."
—
After the first, Btilow played for the first time Liszt's Fantasia on—
motives from Beethoven's "Ruins of Athens." Biilow performed the
Fantasia again at Dresden on September 12, 1853, and at Hanover on
January 7, 1854. He did not always play the work under the same
title. At the firsl performance the programme announced it as "Magyar
Rapsodia." Later he played it as "Hungarian Fantasia" and again as
•The translation into English is by W. F. Apthorp.
16
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Boston
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18
—
"Hungarian Rhapsody for Piano and Orchestra." The composition
was performed at these earliest interpretations of it from manuscript.
It was published in 1864. The score calls for piccolo, two flutes, two
oboes, two clarinets, two bassoons, two horns, two trumpets, three
trombones, kettledrums, bass drum, triangle, cymbals, and strings.
The first performance at a concert of the Boston Symphony Orchestra
was by Marie Heimlicher, March 4, 1882, but the Fantasia had been
played here in other concerts before that date: Marie Krebs (1871),
Franz liummel (1880). Mr. Paderewski played it at an extra concert
of the Boston Symphony Orchestra for the benefit of the members on
March 2, 1892.
The first theme treated as an introduction in E minor by the or-
is
chestra, The pianoforte enters after a few measures
Andante mesto.
with a solo, Capriccio. A cadenza, Allegro molto, leads into the mel-
ody, Allegro eroico, "with double octaves and full chords." This air
is then treated with several changes of tempo by Orchestra and piano-
forte. There is an Allegretto "in gypsy fashion," and the movement
grows more and more furious.
Liszt wrote twenty Hungarian Rhapsodies. Nos. 1 and 2 were pub-
lished in 1851; Nos. 3-7 in 1854; No. 8 in 1853; the first edition of No. 9,
"The Carnival at Budapest," in 1849, the revised edition in 1853;
Nos. 11-15 in 1854; No. 16 in 1882; Nos. 17-19 in 1886; No. 20 is in
manuscript.
Liszt and F. Doppler orchestrated some of these rhapsodies, and the
following table, taken from Ramann's "Franz Liszt" (vol. ii., part ii.,
p. 245, Leipsic, 1894), may be of interest:

No. 1 (in F, original edition No. 14), 1874.

No. 2 (in D,
ii ii
" 12), 1875.
No. 3 (in D,
ii ii
" 6), "
No. 4 (in D, ii ii
" 2), "
No. 5 (in E,
ii ii
" 5), "
ii ii
No. 6 ("Carnival," " 9), "

Hanslick ("Concerte, Componisten, und Virtuosen," Berlin, 1886)

gives a picturesque account of Liszt playing this fantasia at Vienna in
1874; how Liszt, who was then sixty-three years old, renewed his youth,
and was the virtuoso that had astounded Europe in the thirties and
forties how he turned in marvellous fashion the pianoforte into a cym-
:

balo, that species of dulcimer, dear to the Hungarian gypsies, with

strings struck by small hammers, made known to us by Hungarian
bands, real or fictitious.

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19
Overture to the Opera "Rienzi, the Last of the Tribunes"
Richard Wagner
(Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.)
Wagner left Konigsberg in the early summer of 1837 to visit Dresden,
and there he read Barmann's translation into German of Bulwer's
"Rienzi."* And thus was revived his long-cherished idea of making
the last of the Tribunes the hero of a grand opera. "My impatience
of a degrading plight now amounted to a passionate craving to begin
something grand and elevating, no matter if it involved the temporary
abandonment of any practical goal. This mood was fed and strength-
ened by a reading of Bulwer's 'Rienzi.' From the misery of modern
private life, whence I could nohow glean the scantiest material for
artistic treatment, I was wafted by the image of a great historico-
political event, in the enjoyment whereof I needs must find a distrac-
tion lifting me above cares and conditions that to me appeared noth-
ing less than absolutely fatal to art." During this visit he was much
impressed by a performance of Halevy's " Jewess" at the Court The-
atre, and a warrior's dance in Spohr's "Jessonda" was cited by him
afterward as a model for the military dances in "Rienzi."
Wagner wrote the text of "Rienzi" at Riga in July, 1838. He began
to compose the music late in July of the same year. He looked toward
Paris as the city for the production. "Perhaps it may please Scribe,"
he wrote to Lewald, "and Rienzi could sing French in a jiffy; or it
might be a means of prodding up the Berliners, if one told them that
the Paris stage was ready to accept it, but they were welcome to pre-
cedence." He himself worked on a translation into French. In May,
1839, he completed the music of the second act, but the rest of the music
was written in Paris. The third act was completed August 11, 1840;
the orchestration of the fourth was begun August 14, 1840; the score
of the opera was completed November 19, 1840.
The overture to "Rienzi" was completed October 23, 1840.
The opera was produced at the Royal Saxon Court Theatre, Dresden,
October 20, 1842.
The first performance of the opera in America was at the Academy
of Music, New York, March 4, 1878.
The overture is scored for piccolo, two flutes, two oboes, two clarinets,
two bassoons, two valve horns, two plain horns, serpent, two valve
trumpets, two plain trumpets, three trombones, ophicleide, kettle-
drums, two snare drums, bass drum, triangle, cymbals, and strings.
The serpent mentioned in the score is replaced by the double-bassoon,
and the ophicleide by the bass tuba.
* Bulwer's novel was published at London in three volumes in 1835.

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