SYMPHONY HALL, BOSTONHUNTINGTON AND MASSACHUSETTS AVENUES

Telephone, Commonwealth 1492

SIXTY-THIRD SEASON, 1943-1944

CONCERT BULLETIN of the

Boston Symphony Orchestra

SERGE KOUSSEVITZKY, Conductor

Richard Burgin, Associate Conductor

with historical and descriptive notes by

John N. Burk

COPYRIGHT, 1943, BY BOSTON SYMPHONY ORCHESTRA, IflC.

The TRUSTEES of the

BOSTON SYMPHONY ORCHESTRA, Inc.

Jerome D. Greene . President

Henry B. Sawyer . Vice-President

Henry B. Cabot . Treasurer

Philip. R. Allen N. Penrose Hallowell

John Nicholas Brown M. A. De Wolfe HoweReginald C. Foster Roger I. LeeAlvan T. Fuller Richard C. Paine

Bentley W. Warren

G. E. Judd, Manager C. W. Spalding, Assistant Manager

I 32' I

Estate AnalysisOOW have wartime changes

affected your estate plans? AShawmut Estate Analysis will

help you determine whether

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[ 322 ]

SYMPHONIANAAmerican and Soviet Music

Some Reflections on Plagiarism

Youth Concert Series

Exhibit

AMERICAN AND SOVIET MUSICThe National Council of American-

Soviet Friendship was formed to cele-

brate the tenth anniversary of the

establishment of diplomatic relations be-

tween the United States and Soviet

Russia. The actual date fell on Novem-ber 7, when a special concert was

given in New York City. There will be

DMITRI SHOSTAKOVITCH

a meeting under the same auspices in

Symphony Hall on November 14.

Dr. Serge Koussevitzky, in his capac-ity as Chairman of the Musicians'

Committee of the National Council of

American-Soviet Friendship, has re-

ceived the following radiogram fromMoscow

:

Dear Serge Alexandrovitch :

I have been told that the commit-tee which you are heading is goingto popularize Russian music. Thisis a big and important thing. I wantto express my best wishes to you on

f

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this venture. At the present time,

when our people are waging sacredwar against the Nazi hordes, ourmusic continues to flourish and de-

velop. In the course of the war ourcomposers have written many suc-

cessful works connected in this orthat way with the present-day feel-

ings of our people. I wish you healthand the best of luck.

Dmitri Shostakovitch.

This radiogram has the following post-

script:

"I want to thank you for the per-

formance of my Seventh Symphony. I

recently completed my Eighth, whichwill have its first playing on Novem-ber 4 in Moscow under the direction

of Eugene Mravinsky."

Dmitri Shostakovitch.

The Symphony is described as con-

sisting of five movements: "Adagio,

three marches, and a pastoral. The

first two marches are cheerful and

optimistic, while the third — which is

the fourth movement— expresses sor-

row. The pastoral is again optimistic."

(N. Y. Times, October 10, 1943).

SOME REFLECTIONS ONPLAGIARISM

By Warren Storey Smith

{Boston Post, October 31, 1943)

After the second Friday afternoon

Symphony Concert one of our younger

critics (who does not ply his trade in

Boston) was all for raising the cry of

"Stop thief!" at Strauss because, for-

sooth, he had discovered in "Till Eulen-

spiegel" a quotation from Wagner's

"Siegfried Idyll." His elder colleague

was frankly skeptical but wisely re-

frained from placing a small bet since,

on examination of the score, the sharp-

eared scribe triumphantly pointed to his

find. Explicitly, it was the five notes

that make the first violin part in the

sixth measure and first three-quarters

of the seventh of the Epilogue. They

are indeed identical, except for the

rhythm, with the first five notes of the

World-Inheritance motive, prominent

[ 324 ]

in the Idyll, and that in the music drama

itself accompanies Bruennhilde's words,

"0 Siegfried, Herr lieher! Hort der

Welt!"

This is not "Till's" only indebtedness

to Richard the First. Four notes of the

opening theme are the same as the

corresponding tones of the Love's Tran-

quillity motive in "Tristan," but the

different rhythm, key and mood make

this resemblance much plainer to the

eye than to the ear. As appropriated by

Heinz Provost for the now-popular

melody "Intermezzo," harmony and all,

they become one of the more obvious

of the many musical "steals."

"After all," Sir Arthur Sullivan re-

plied when accused of plagiarism, "Mr.

and I had only seven notes to work

with." Very numerous are the potential

combinations of the notes of the scale,

and if you throw in the five remaining

ones that complete the chromatic scale

the possible permutations are as good

as limitless. And yet, particularly in

tonal music, the same patterns are likely

to be repeated over and over again.

Take, for example, the notes that form

the "How Dry I Am" sequence—sol,

do, re, me—used by nearly every im-

portant composer from Handel to Sho-

stakovich. Moreover, when you put

them in the minor or invert them, you

enormously increase both their useful-

ness and the frequency of their occur-

rence.

The point is, of course, that the order

of the notes is but one aspect of melody,

or to put it differently, the mere notes

do not constitute a tune. In his "Studies

!

in Musical Analysis" the wise Sir

Donald Tovey tells the story of a 1

minister who, wishing to discourage the

growing prevalence of a certain frivo-,

lous headgear, preached on the text

"Top-knot, come down!" Matt, xxivrj

17 (Let him which is on the housetop[

not come down). "The top-knot school

of exegesis," says Tovey, "still flourishes

in music."

And yet the temptation to indulge

in this theme-spotting is strong, par-

ticularly in the case of new works, I

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presents

Music d la Carte

KOUSSEVITZKYRECORDINGS

The music you love . . when andhow you want it . . as played bythe Boston Symphony Orchestra

ALBUMS685—Stravinsky—Capriccio $2.63

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Fourth Floor

where any familiar sequence of tones

sticks out like the proverbial sore

thumb. The better you know the piece

the less you think about it. Also, in

the case of symphonic or polyphonic

music it is not so much the figure it-

self as the treatment of it that matters,

which is Tovey's point. This reviewer,

who deplores this procedure in prin-

ciple, but occasionally yields to it in

practice, was only the other day noting

some unwitting and, in this case, un-

identified reminiscences in the Fourth

Symphony of Berezowsky.

For the most part composers copy

each other unknowingly, but they are

sometimes well aware of what they

have done and feel that it does not

matter. In one of his sketchbooks Bee-

thoven makes the observation that the

Scherzo of his Fifth Symphony and

the finale of Mozart's G Minor begin

the same way. He had already em-

ployed these six notes, merely a broken

chord, as the initial figure of the open-

ing theme of his First Piano Sonata.

Here, as is not the case with the

Scherzo, even the rhythm is the same.

The not especially original Brahms has

quite a few brief but striking borrow-

ings to his credit. However, when re-

minded that his A major Violin Sonata

and the Prize Song from "Die Meister-

singer" had, melodically, their first

measures in common, he made the cut-

ting response: "Any fool can see that."

YOUTH CONCERT SERIES

The sixth season of Youth Concerts

by members of the Boston SymphonyOrchestra under the direction of

Wheeler Beckett will begin on the

afternoon of Wednesday, December 1,

in Symphony Hall. The remaining con-

certs will be given January 12, Feb-

ruary 2, March 22, April 12 and 26,

1944 (Wednesdays at 3:30 p.m.)^ These

concerts are given for students in the

schools of Greater Boston, their teach-

ers and escorts.

Mr. Beckett announces the following

program for the opening concert:

[326]

Oberon Overture WeberUnfinished Symphony SchubertSlavonic Dance in C major . DvorakAfternoon of a Faun DebussyEspana Chabrier

Marche Slave Tchaikovsky

Season tickets are available at the BoxOffice.

• * *

EXHIBITIn the First Balcony Gallery there

are on exhibit paintings by five local

artists

:

George Kelley has studied art in his

native Boston, as well as in EastGloucester and Provincetown. He is

kept busy most of the time in teaching

and in painting for Boston publishers,

but managed to take time off this sum-mer to paint fifteen water colors of

Truro and Provincetown. His meticulousrendering has a spontaneous quality

which captures the atmosphere familiar

only to the Cape.Roland M. Newhall was born in

Lynn, Mass. After graduating from theClassical High School he entered theMassachusetts School of Art where hestudied under Ernest L. Major andVesper George. The first world warinterrupted his studies and after serv-

ice overseas in camouflage work withthe 301st artillery, he returned to schooland graduated. Primarily interested in

architectual subjects, Mr. Newhall'scarefully rendered pictures show a some-what nostalgic feeling for a bygone era.

He has exhibited at the FitzwilliamArt Association, and The Jordan MarshNew England Show.Forrest W. Orr was born in Harpswell,Maine, and was cartoonist for the Port-land Press-Herald while still a highschool student. He studied at the ArtStudents' League in New York Cityunder Frank Vincent DuMond, GeorgeBridgeman and Harvey Dunn. He hasbeen an active member of and exhibitorat the Providence Art Club and WaterColor Club. He has illustrated variousmagazine stories and books.

F. Wenderoth Saunders is a nativeof Philadelphia. He studied paintingat Harvard and the Massachusetts ArtSchool, and under Allan Philbrick of

Chicago. In 1925 he spent a year in

Europe working and studying inde-pendently. For four years while paint-ing in Cuba he was a member of theSociety of Painters and Sculptors ofCuba. Many of his prints have beenreproduced in the Christian ScienceMonitor. He has also headed for someyears a summer association of artists

at Wiscasset, Maine.

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[328]

SIXTY-THIRD SEASON . NINETEEN HUNDRED FORTY-THREE AND FORTY-FOUR

Sixth Programme

FRIDAY AFTERNOON, November 12, at 2:30 o'clock

SATURDAY EVENING, November 13, at 8:15 o'clock

William Schuman Symphony for Strings

I. Molto agitato ed energico

II. Larghissimo

III. Presto leggiero

(First performance)

Shostakovitch Symphony No. 1, Op. 10

I. Allegretto — allegro non troppo

II. Allegro

III. ( Lento

IV. ( Mlegro molto

INTERMISSION

Shostakovitch

1. Moderato

II. Allegretto

III. Largo

IV. Allegro non troppo

Symphony No. 5, Op. 47

BALDWIN PIANO

This programme will end about 4:30 on Friday Afternoon10:15 o'clock on Saturday Evening

Symphony Hall is organized for your protection in case of a blackout.

The auditorium and the corridors will remain lighted.

You are requested to keep your seats. Above all, keep calm.

[ 329 ]

JORDAN MARSH COMPANY

[33°]

SYMPHONY FOR STRINGS

By William Howard Schuman

Born in New York City, August 4, 1910

Schuman's Symphony for Strings is the fifth which he has composed. It was

written for the Koussevitzky Music Foundation, the foundation made as a memorial

to Mme. Natalie Koussevitzky. The present performances are the first.

The first movement, Molto agitato ed energico, opens with a bril-

liant and incisive theme set forth by the violins in unison on the

G strings, fortissimo. The theme, together with a second one of less

prominence, is developed in a variety of harmonic and rhythmicpatterns, while the vigor of the movement is maintained to the end.

The second movement, Larghissimo, begins with broad chords, but in

these and the melody which follows, the strings are muted. As this

melody is brought to a climax with an accompanying figuration in

sixteenths, the mutes are momentarily removed. The close reverts

to the first part and subsides to pianissimo. The third movement is a

Presto leggiero. The form is in the manner of a rondo, with the themevaried at each appearance. It first develops with short or pizzicato

notes, but in its course becomes sustained and melodic, rising at last

to brilliance, while the tempo is not relaxed.

The composer attended public school in New York and graduated

from Columbia University. He attended the Juilliard School of Music

NEWHAIL YE TYME OF HOLIEDAYES

by GENA BRANSCOMBE Arrangement for Chorus of Mixed Voices(Also published as a Solo and for Women's Veices)

CANDLYN In Excelsis GloriaFor Chorus of Mixed Voices

(Also published for women's voices)

MANSFIELD Five Christmas Carols (Two-part)

(Schmidt's Junior Choir Leaflet No. 4)

BARNES There is no Rose— CarolFor Chorus of Mixed Voices

HOLST Three Old English CarolsJunior and Senior Choirs)

CAROLS FROM FAR AND NEARArranged for piano by Purcell J. Mansfield

18 favorite carols adapted as easy piano solos. One verse of each is

provided for singing if desired.

(Schmidt's Educational Series No. 446) Price 75c

THE ARTHUR P. SCHMIDT CO. : 120 Boylston Street

and also was the pupil of Max Persin in harmony, of Charles Haubiel

in counterpoint, and studied composition in a more general sense with

Roy Harris. He attended the Mozarteum Academy in Salzburg, Aus-

tria. He is a member of the arts faculty of Sarah Lawrence College

in Bronxville, New York, and since 1937 has been the conductor of

its chorus. He held a Guggenheim Fellowship 1939-40 and 1940-41.

William Schuman's Second Symphony was first performed at the

Boston Symphony concerts, February 17, 1939. His American Festival

Overture, composed in the summer of 1939 for special concerts of

American music by this orchestra, was first performed at one of these

concerts in Symphony Hall on October 6, 1939. Since then his music

has been played by a number of our orchestras. His Third Symphony,

dedicated to Serge Koussevitzky, had its first performance at these

concerts, October 17, 1941. It has since been performed elsewhere and

was awarded the first prize for an American composition in the sea-

son past by the Music Critics' Circle of New York City. William

Schuman's Fourth Symphony, composed in the summer of 1941, has

been performed in Cleveland, Philadelphia and New York.

William Schuman wrote to the editor of the Philadelphia Orches-

tra programmes: "Please note that the first two symphonies and the

piano concerto are withdrawn until further notice. They will be re-

leased again if I ever find time to revise them. I am counting on run-

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[ 332 ]

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[333]

ning out of ideas at some point in the next fifty-odd years, and then I

I'll have a chance to take another look at these first major works.

At present I am about to start on a piano concerto with chamber I

orchestra." Since writing these words, Mr. Schuman has completed the I

piano concerto. The number of other works which he has composed I

indicates a long postponement of the revisions above mentioned. Theyinclude an orchestral Prelude and Fugue (1937), "Newsreel" for ;!

symphonic band (1941), and "Prayer — 1943" (completed at the be- jl

ginning of this year and first performed by the Pittsburgh Orchestra 1

under Fritz Reiner, February 25).

The list of works shows also a leaning toward choral music. The I

Secular Cantata No. 1 is entitled "This Is Our Time." There are

also "Four Choral Canons" (1932), a "Choral Etude" (1937), "Prel-|

ude for Voices" (1939), "Holiday Song" (1942), "Requiescat" (1942), I

and "Pioneers," another setting from Walt Whitman. His Cantata, \

"A Free Song," after a text of Walt Whitman, was performed at the t

Boston Symphony concerts of the season past (March 26-27). This

piece was awarded the Pulitzer musical Prize for this year. Chambermusic includes three string quartets and a few smaller pieces.

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The Permanent Charity Fund

and

Boston Symphony Orchestra

Gifts may be made to the Permanent Charity Fund,

either by will or in your lifetime, with the request

that the income be paid to the Boston Symphony

Orchestra. The gifts so made will be held perpetually

in trust by this Company as Trustee and the income

will be paid to the Orchestra as long as the need exists.

Thereafter the income will be used for some other

worthy purpose of your choice; or failing that, one

selected by the Committee

which annually distributes

the income of the Fund.

We cordially invite you to

make a thorough investiga-

tion of the purposes and

methods of the Permanent

Charity Fund.

Full information may be

obtained by consulting our

Officers. Our booklet on the

Permanent Charity Fund will

be sent free upon request.

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SYMPHONY NO. 1, Op. 10

By Dmitri Shostakovitch

Born September 25, 1906, at St. Petersburg

Completed in the year 1925, the First Symphony of Shostakovitch was first per-

formed at Leningrad, May 12, 1926, under the leadership of Nicolai Malko. BrunoWalter performed it in Berlin, November, 1927. Leopold Stokowski first made it

known to America at a concert of the Philadelphia Orchestra, November 2, 1928.

Frederick Stock performed it in Chicago, December 26, 1930; Arturo Toscanini at a

concert of the New York Philharmonic Symphony Society, April 8, 1931; Artur

Rodzinski at Cleveland, November 15, 1934. The first performance in Boston was

at a Boston Symphony concert of November 8, 1935, Richard Burgin conducting.

There was a second performance at these concerts under Nicolai Malko, January

19, 1940.

The Symphony is scored for wood winds in twos (with piccolo), four horns, three

trumpets, three trombones and tuba, timpani, triangle, snare drum, bass drum,

cymbals, piano and strings.

although it bears the Opus Number 10, this symphony stands with

il the "Three Fantastic Dances for Piano," Op. 5, as one of the

composer's two first published works.* It was his first large and con-

* Shostakovitch has given opus numbers to many compositions which have remained in

manuscript and which at this time he is unwilling to acknowledge. If only his published

music bore opus numbers, his First Symphony would be Op. 2 ; his Seventh would go into

publication not as Op. 59, but as Op. 18.

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C 337 3

sidered creative venture. The symphony, completed when its com-

poser was twenty, a graduate from the piano class and then graduat-

ing in composition at the Leningrad Conservatory, brings to its fullest

expression the boyish, exuberant, and entirely remarkable talent of

the composer-prodigy. The Shostakovitch of that time is familiar by

a photograph commonly circulated: frail and slight of stature, wear-

ing horn-rimmed glasses. He was much admired at the Conservatory

for his brilliance as a pianist and for the little pieces of his ownwhich he often played. Glazounov, as head of the Conservatory, had

a more than benevolent eye upon the youthful composer — he had

put him under the tutelage of Maximilian Steinberg.

"Mitya," as he was known to his friends, was forever composing,

improvising at the piano, or playing some piece he had written or

still carried in his head. There was much music in the Shostakovitch

lodgings. His Aunt Nadejda (Mrs. Galli-Shohat), who knew him until

1923, when she came to America, was astonished, on hearing his

First Symphony here, to recognize snatches from the music of his

boyhood which she had often heard him play. One of these pieces

was "The Grasshopper and the Ant," Op. 4; another, an orchestral

scherzo; and a third, music he had composed to describe Hans Ander-

sen's pathetic story of "The Little Mermaid," a fairy tale which had

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appealed to him as a child. Mrs. Shohat has explained the familiar

passages which she recognized in the First Symphony and is thus re-

ported by Seroff in his recent book on Shostakovitch, a book based

principally on her memories of the composer and his family*:

"The melodies reminded her of those in 'The Dragon-Fly [Grass-

hopper] and the Ant,' which Mitya had composed in 1922 and whichhe used to play to his family. According to Nadejda, the themes fromthis composition as well as his early Scherzo were used in his First

Symphony. In the first movement, she says, one hears the recitative

of the flighty, irresponsible dragon-fly and the mutterings of the

laboring ant. Then comes a march of all the insects, with the fireflies

leading the way; they range themselves in a semicircle in the amphi-theater and the dragon-fly performs a dance on the stage. The Scherzois inserted in full. In the last movement, the second theme for violin

and 'cello is taken from an unfinished piece that Mitya was compos-ing at the time of 'The Dragon-Fly and the Ant'; he was writing it

around Andersen's story of the Mermaid, an idea that had been sug-

gested to him by his mother. With the last movement of the symphony,Nadejda remembers how Mitya described to his family the Mermaidswimming up through the waters of the lake to the brightly lit castle

where the Prince is holding a festival."

* "Dmitri Shostakovitch," hy Victor Ilyich Seroff, in collaboration with Nadejda Galli-Shohat,

Alfred Knopf, 1943.

jUtd, #Hj?//fata fy (^aMus^^^ >wf**"

[340I

THE INSTRUMENT OF THE IMMORTALS

THIS STEINWAY RODEIN A FLYING FORTRESS!

1HE newspapers report that a Steinway Victory Vertical

was dispatched to United States troops in the bomb-bay

of a Flying Fortress!

This specially built piano is furnished by our Govern-

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Steinway & Sons are also building glider wings and

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I 341 3

The symphony recalled to the aunt of its composer the boy whomshe remembered who "liked fairy tales, and often asked me to tell

them to him."* She writes of her nephew as having been "a very

serious and sensitive child, often very meditative, very modest about

his music, and rather shy. . . . His favorite composer at the very

beginning was Liszt. He liked to read, and his favorite author was

the great Russian novelist Gogol. His first opera, 'The Nose,' was

based on Gogol's story." His immediate musical gods were Moussorg-

sky and Rimsky-Korsakov (his first experience of opera had been

"The Fairy Tale of Czar Saltan," and he had surprised his family by

playing stretches of it from memory) .

This was the composer of the First Symphony in 1925, still in his

assimilative stages of development, but brimming with musical

fantasy of his own, which, for all its "resemblances" could be called

something new, bright, and engaging, and inescapably "Shostakovitch."

Earmarks of the later Shostakovitch are clearly discernible in it, even

though the drive and tension of the Fifth or Seventh Symphonies, and

the avowed "mass appeal" of these later works are not yet to be found.

This light-hearted, lyrical music, warming to frank sentiment, might

* "Dmitri Shostakovitch," by Victor Ilyich Seroff, in collaboration with Nadejda Galli-Shohat.

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well have been taken for the natural exuberance of a lad gifted, ad-

mired, loved, to whom the troubles of life were unknown.The account of the fortunes of his family and the circumstances of

his childhood, first publicly revealed in the book mentioned above, andderived from the experience of his aunt, gives a different, and sur-

prisingly dark picture — one which will modify the Western concep-

tion, until now, of the early development of Shostakovitch. The years

1924 and 1925, the years in which the composer began and completed

his symphony, were years of bitter want for the Shostakovitch family

in their cramped quarters on Nikolayevskaya Street in Leningrad.

Dmitri's family consisted, in 1924, of his mother, Sophia (Sonya, nee

Kokaoulin), his sisters Marusia (Maria) and Zoya, the first older, the

second younger than himself. The mother appears as a woman of

great stamina and boundless resource in the education and healthful

development of her children. She had not been accustomed to want.

Her family had been affluent in the pre-revolutionary days when, as

students in Moscow, she and her sisters and their friends had been

drawn into the underground activities toward a free Russia. The

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fiance of her sister, Yanovitzky, had been arrested for implication in

a fracas with the police, and had stood trial for months, under the

shadow of the hangman's noose. The sister had married him in prison

that she might go with him into exile if need be. The family tradition

was that of the pre-Bolshevik intelligentsia, in which intellectual en-

lightenment, political liberalism, a cultivation of the arts, all had their

place. Music was zealously pursued, in an amateur way.

Sonya, the mother of Shostakovitch, brought up children who were

clear-thinking, intelligent, and talented in various ways (the written

statements of Shostakovitch on his artistic creed, etc., show this clarity

of thought and expression). She was the first piano teacher of both

Dmitri and his sister Marusia, both of whom became accomplished

pianists. She saw to it that they were at least equipped to make their

own livelihood in a country where in the early twenties the means of

keeping housed, fed, clothed, and warm continued to be a drastic

problem — a problem which the application of intelligence could not

solve.

When Sonya's husband, Dmitri Shostakovitch senior, died in 1922,

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that problem became still more acute. Young Dmitri (familiarly

"Mitya") and his sister Marusia were both students at the Leningrad

Conservatory. They were sixteen and nineteen respectively, and were

already giving two-piano recitals. Mitya was already composing pieces

of his own, which he performed on every occasion, and at the friendly

musical evenings which were the rule rather than the exception at the

Shostakovitch lodgings. Zoya, the younger sister, was then fourteen.

Now, the ingenuity of Sonya was called upon to find healthy growth

for each of her children. The ravages of undernourishment had madetheir mark upon them. Marusia, and Mitya too, showed tubercular

tendencies. He developed an alarming gland in his neck, and doctors

said he must be sent south, to a sanitarium in the Crimea. If the

fare and a month's board could be managed, the money for a second

month remained an impossibility. Sonya found routine employment

from time to time; Marusia taught music in a dancing school. But

the returns were not enough: to find food, a winter coat or a house-

hold article must be sacrificed. To pay the rent, the mother was forced

to swallow her pride and accept from friends. Mitya's Aunt Nadejda

knows of these circumstances, for she was often with the family. Whenshe left Russia in 1923, to pursue her calling in this country as a

professor of mathematics, she continued to help them, and to hear

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from them. It is evident that Sonya realized her son's remarkable

creative talent, and applied the full energy of her determined char-

acter to make possible its safe development. The boy often gave piano

recitals at the Conservatory — for most of them there was no fee. There

were minor tragedies. Before an important concert he broke his glasses

and, unable to read his music, was without money to replace them.

Later the piano at Nikolayevskaya Street went for debt, and the musical

evenings ceased perforce. At the Conservatory, the phrase "bourgeois

origin" was used against them. Professional jealousy seized upon this

stigma to deprive Shostakovitch of any honors and teaching privileges.

These harassments assailed the family in 1924 and 1925, as Shostako-

vitch was working upon his Symphony. During this time, too, he was

compelled to earn in some way, and did it by improvising accompani-

ments to the silent screen on an upright piano in a small and draughty

moving-picture theatre — three times a day. Shostakovitch completed

his Symphony, his first ambitious score, in time to submit it as his

graduation composition at the Conservatory. The cost of having parts

copied hung over him as an impossible expense. At length the Con-

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servatory undertook this expense and Nikolai Malko conducted the

first performance at the Conservatory on May 12, 1926. The Sym-phony made something of a sensation. It found its way to other Rus-

sian cities. Bruno Walter visited Leningrad and carried it to Berlin

and Vienna. Soon, America applauded it and learned to pronouncethe name of the twenty-year-old Soviet composer. Publication andrecognition did not at once bring wealth to Shostakovitch — his

country is not so constituted. It brought him the overdue privilege

of pursuing his art with the living necessities assured.

That the boy Shostakovitch with his artist's nature at once sensitive,

warm and delicately fantastic, should have survived these adversities

must be due in part to his mother; but certainly no less to an inner

life of the imagination which degrading circumstances — even the

sharp inroads of want — could not touch.

Lawrence Gilman wrote the following description of the First Sym-

phony:

"The chief theme, which is in two sections, is heard in the Intro-

duction to the first movement (Allegretto, 4-4). The first section of the

theme, a brief motive of three notes, is stated by a solo trumpet, pand con sordino. A bassoon follows immediately with the second mem-ber of the theme — indeed, the theme might be said to consist of three

sections; for the bassoon's concluding phrase is also used as a germinat-

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[353]

ing subject in the development of the movement. A clarinet delivers

fragments of the theme above a pizzicato figure in the 'cellos. Thereis a pause, and the first section of the subject is given over to the

strings. The main body of the movement begins (Allegro non troppo)in a tonality which, after the vagueness ot the introductory pages,

proves to be F minor, and the different members of the chief themeare now set forth. The second theme, in C minor, is introduced bythe flute over pizzicati of the strings, the clarinet takes it up undera trill on E-flat for a solo violin, and it is soon heard in the basses.

The mood becomes more and more impassioned, and the motive withthe descending chromatics is heard fortissimo from the unison violins,

with one of its related sections in the trumpets. Then, for a time, the

gentler second theme dominates the musical scene. But the morepassionate phrase recurs — in the basses, in the trumpets, and fortis-

simo, on the four unison horns. But the close is quiet, with the clarinet

and 'cellos pianissimo, recalling the introductory bars.

"The second movement is the Scherzo of the symphony. It begins

with foreshadowings in the string basses and clarinet {Allegro, 4-4—

5-4) of the chief theme, which is heard in A minor at the fourteenth

measure from the violins with pizzicato accompaniment. A piano,

which is added to the orchestra in this movement, takes the theme,to an accompaniment of cymbals, horns, and basses. A Trio follows,

in E minor, 3-4 time, meno mosso, with a subject for two flutes underan inverted pedal E of the second violins, which is sustained for half

a hundred measures. The voice of the triangle is also heard in the land.

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The bassoon, pp, brings us back to the main theme of the Scherzo.There is a notable climax, with the subject of the Trio given to thebrass, fortissimo (in common time) against the main theme in thestrings, wood wind, and piano. The close is quiet, morendo."An oboe solo accompanied by string tremolos begins the expressive

song of the slow movement (Lento, D-flat major, 4-4). The chief themeis tinged with a sorrowful chromaticism, and so also is the theme ofthe Largo at which the music shortly arrives — a passage of deepmelancholy, scored at first, pianissimo, for strings alone (with anoctave phrase in the bass). An oboe solo adds its voice, in a subjectthat is soon enunciated forte by the brass in a swiftly reached climax.A clarinet solo, pp, brings us back to the theme of the opening, nowrecalled by a solo violin. We hear this theme in the string basses, witha solo trumpet, muted, repeating softly the earlier oboe melody. Theend is reached in a pianissimo passage for divided strings. A drum-roll, crescendo, leads to the Finale.

"This Finale, a dramatic and vivid movement, full of abrupt alterna-

tions of mood and tempo, begins forte, with a single measure Allegromolto (basses, bassoons, cymbals, tam-tam, muted horns, and mutedstring tremolos), followed by twenty-nine Lento measures of introduc-

tion. The movement proper starts off as an Allegro molto, 3-4, in

F minor. The exuberant chief theme is delivered by the clarinet, withself accompaniment of strings and cymbals. Bass strings and pianopresent it in imitation, and the violins lead it to a fortissimo. A change

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to A major introduces a new theme, exposed fortissimo by strings andwood wind, but this soon declines to a diminuendo, and leaves the

second subject to the soft utterance of a solo violin (meno mosso),

then to a solo horn. The Allegro molto returns, there is a fortissimo

climax, and a pause. Adagio: the kettledrum has a solo, with curiousalternations of /// and ppp, and a solo 'cello, muted, broods upon the

second subject (Largo).

"The climax of the movement is now approached. The basses repeat

the chief subject, under a counter melody for the other strings. Thisleads to a proclamation of the second theme, in augmentation, by the

strings and wood, while the trombones oppose to it the chief subject.

A Presto leads to a sonorous close in F major."

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[359]

SYMPHONY NO. 5, Op. 47

By Dmitri Shostakovitch

Born September 25, 1906, at St. Petersburg

Shostakovitch composed his Fifth Symphony for performance in celebration of

the twentieth anniversary of the Republic of Soviet Russia. The first of a series of

performances was given at Leningrad, November 21, 1937. The first performance at

Moscow was on the 29th of January following. The Symphony had its first American

hearing at a broadcast concert of the National Broadcasting Company, in NewYork, April 9, 1938, Artur Rodzinski conducting. The Symphony was performed

by the Boston Symphony Orchestra, January 20, 1939, Richard Burgin conducting,

and under the direction of Serge Koussevitzky, October 18, 1940, January 3, 1941,

December 26, 1941, and April 30, 1943.

The Symphony is scored for two flutes and piccolo, two oboes, clarinets in A,

B-flat, and E-flat, two bassoons and contra-bassoon, four horns, three trumpets,

three trombones and tuba, timpani, bass drum, cymbals, triangle, tambour militaire,

tam-tam, xylophone, bells, celesta, piano, two harps and strings.

Shostakovitch completed his First Symphony in 1925 — his Fifth in

1937. Each had an immediate success in Russia and in the West — a

success which did not come to the three symphonies intervening. TheFirst and Fifth, placed side by side, give a striking account of the de-

velopment of the artist — the difference between the student of nineteen

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and the young man of thirty-one. Shostakovitch went through much in

those twelve years. He composed with varying success, reached a newpeak of fame with his opera "Lady Macbeth of the Mzensk District" in

1935, and suffered the disapproval of his government through its un-

official cultural spokesmen. The Opera, which had been praised, was

generally and volubly condemned.

His Second Symphony (1927) and his Third (May Day) Symphony,

with chorus (1930), both had Revolutionary subjects, but did not

repeat the success of the First. The Fourth Symphony, which Shosta-

kovitch wrote in 1936, when he was no longer in good standing, was

scheduled for performance by the Leningrad Philharmonic, but was

withdrawn before performance by its composer, as if he were not

satisfied that he had met the requirements of the new esthetic align-

ment. This symphony was never published. Its character has remained

a mystery until Victor Ilyich Seroff divulged, in his recent book on

Shostakovitch, that "it was a long work, lasting fifty minutes, gloomy

and introspective." It had reached its tenth rehearsal under Fritz

Stiedry when the composer, mindful that the new symphony would

become, so to speak, his apologia, decided that "there was no point in

pouring oil on the fire" (Seroff). Whether or not the Fourth Symphonywill ever come to light, whether it will be found to have merits justify-

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ing its publication and performance, it appears that Shostakovitch had

at least learned the wisdom of caution. When the Fifth Symphony was

composed and performed before another year had passed, it was at

once evident that he had toed the line. All seats for the first and for

succeeding performances were taken far in advance. There were

ovations and enthusiastic reviews on every hand.

The spectacle of disfavor and restitution for a composer is puzzling

to those of the West who have known nothing approaching such a

relation between an individual artist and the state. The environment

[363]

of Shostakovitch, the only one he has known from childhood, has been

a communal state which has made the works of its artists its direct

concern. Shostakovitch has apparently taken it quite as a matter of

course that his music must be integral with the thoughts and needs,

the cultural ideology of Soviet Russia. With "Lady Macbeth of the

District of Mzensk" he had been concerned simply with elemental and

dramatic conflict between human beings and with music which would

heighten his drama. The element of the grotesque took precedence

in his compositions of this time. The composer in his exuberance

used satire which was purely musical in its impulse, and which in-

stead of exposing bourgeois ideals, merely reflected them. His fantasy

became personal idiosyncrasy which neglected to fall in with class-

conscious expectations. Shostakovitch, although he continued to hold

his position as teacher at the Leningrad Conservatory, faced, it would

seem, definite extinction by the simple expedient of the withdrawal

of his music from performance and circulation.

It is hard to understand the about-face of general esthetic judgment

on the appearance of the Fifth Symphony, a reversal as sudden and

complete as the earlier condemnation had been. Here is a sample of

the critical restoration to grace of Shostakovitch by virtue of his Fifth

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Symphony. The review is by Andrei Budyakovsky in the Moscow Daily

News:"The composer while retaining the originality of his art in this new

composition has to a great extent overcome the ostentatiousness, de-

liberate musical affectation and misuse of the grotesque which had left

a pernicious print on many of his former compositions," he wrote.

"Shostakovich's 'Fifth Symphony' is a work of great depth, with emo-tional wealth and content, and is of great importance as a milestonein the composer's development.*"The fetters of musical formalism which held the composer captive

so long, and prevented him from creating works profound in con-

ception, have been torn off. He must follow up this new trend in his

work. He must turn more boldly toward Soviet reality. He mustunderstand it more profoundly and find in it a new stimulus for

his work."

It is hard to find anything consistent in the critics who congratu-

lated the composer for having freed himself of "formalism" at the very

moment when their supposedly chastised and penitent artist had

settled into an abstract symphony, based squarely upon time-honored

structural form and harmonic principles. Heeding admonitions, years

before, that music should have an expressive connection with the life

* It is interesting to note that on its performance in Paris in June, 1939, the Symphony wassummarily dismissed by several critics.

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[367]

of the Russian people, he had written his Second ("October") Sym-

phony with political implications, and his Third ("May Day")

Symphony with an explicit programme and a verbal message. These

works did not seem to call forth his best powers. Shostakovitch in-

stinctively partook in the general return of composers to the abstract

forms. That an inner, instinctive voice has at length conditioned the

style of Shostakovitch, and, in turn, brought his critics into line, would

seem a restoration of just values.

Whether the composer's move toward simplification in the Fifth

Symphony has been made by the prompting of his own instincts or by

pressure c [ outward necessity remains the secret of Shostakovitch. OurWestern experience offers us no criterion for a situation where a great

nation, even in non-musical circles, can be vitally interested as a

single artist matures. We find it strange that many people in various

walks of life will speak with a single voice for a new symphony or

against a stage piece in their genuine search for an art for the many,

acting without a basic motive (if so it be) of self-interest, personal

malice, or narrow factionalism. To look at the other side of the

picture and behold an important composer heeding, in all seriousness,

this peculiar apparition of concerted advice, is at least as strange.

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posers whose musical inclinations have been at odds with the desires

of those who have held the purse strings, or with the listening public

at large. Some among us have written inferior music for gain; some have

imposed their will upon the world, arousing the clash of controversy;

some have quietly persisted in going their own way, paying the penalty

of temporary obscurity and neglect. Experience points that new and

important music, having usually put forth unaccustomed and chal-

lenging ideas, has run into conflict with a general inertia of musical

habit. It has prevailed through the dogged adherence of its maker to

his own convictions, through his fine disregard of the debasements of

standardization. A society which rejects the tradition of an alien past,

which, trying to build afresh, seeks a certain modernism, may present a

somewhat different case. But when that society sets up hew and arbi-

trary dogmas, there must be the need once more for a good infusion of

healthy individual rebellion. Instead, there is the apparition of the

composer who simply has no existence unless he conforms, and wholooks upon nonconformity as in the order of things an artistic error

on his part.

The Fifth Symphony is conceived, developed and scored for the mostpart with great simplicity. The themes are usually melodic and long-

breathed in character. The manipulation of voices is plastic, but never

elaborate. The composer tends to present his material in the puremedium of the string choirs, notably in the opening and slow move-ments, where wind color and sonority are gradually built up. The first

movement and the last gain also in intensity as they unfold by a

gradual increase of tempo throughout, effected by continual metro-nomic indications.

The first movement opens with an intervallic theme, stated anti

phonally between the low and high strings. From it there grows a

theme (violins) in extensive, songful periods. The development is in

the nature of melodic exfoliation. The first theme returns in hornsand trumpets, and subsides to the gentle voice of the violins, over a

characteristic triple rhythmic figure. As the tempo quickens, the

rhythms tighten and become more propulsive, while the melody,

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sounding from the brass choir, becomes exultant in animation. Therecapitulation suddenly restores the initial slow tempo as the first

theme is repeated by the orchestra in unison, largamente. The for-

tissimo strings and deep brass give way to a gentler reminiscent mood,as the wood-wind voices, here first fully exploited, bring the move-ment to a close.

The second movement is in the historical scherzo form with clear

traces in the course of the music of the traditional repeats, trio section

and da capo. The themes are in the triple time of the AustrianLandler, from which, in the past, scherzos have sprung. The slowmovement, like the first, is one of gradual melodic growth, from string

beginnings. The theme, too, is reminiscent of the first theme in the

opening movement. The individual voices of the wood wind enter,

and the tension increases as the strings give a tremolo accompaniment,and sing once more, muted and in the high register. The movementattains, at its climax, an impressive sonority without the use of a

single brass instrument.

The finale, in rondo form, devolves upon a straightforward andbuoyant march-like rhythm and a theme unmistakably Russian in

suggestion. There is a slow section in which the characteristic triple

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[ 373 ]

In 1939, Shostakovitch composed his Sixth Symphony. Produced at a

Moscow Festival of November-December of that year, it did not bring

marked acclaim.* The Seventh Symphony, written under the shadow

of German invasion, and first performed at Kuibyshev March 1, 1942,

brought superlatives from every quarter in Russia. A similar reception

is reported from Moscow for the Eighth Symphony, which had its

first performance there on November 4.

The present position of Shostakovitch as a national hero adds a

sort of nightmarish unreality to that prodigious storm which rocked

all of musical Russia in 1936, over his "mistaken tendencies." That

topsy-turvy episode does not acquire sense when viewed in the per-

spective of the popularity Shostakovitch once held and has since

regained. One has the plausible impression that the composer has

simply continued to develop according to his own nature as musician,

while it was Russian opinion in general which lost itself and found

itself again.

The record of that storm becomes a chapter in the history of the

birth pangs of a popular culture. The thunderbolt itself, the attack on

* The Sixth Symphony has been performed at the Friday-Saturday concerts of this Orchestra

:

March 20, 1942; March 27, 1942; January 1, 1943.

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[374]

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[375]

"Lady Macbeth of the District of Mzensk," becomes an unexampled

curiosity, and the unanimous falling into line of musical Russia from

top to bottom, as reviewed by Seroff, is stranger still.

"Confusion instead of Music" ran the heading over the attack in

the Government organ Pravda of January 28, 1936. The unnamedwriter was shocked by the "deliberate dissonances" in the opera, the

vague beginnings of musical phrases which "disappear in the grinding

and squealing roar." It was "musical chaos"—"music deliberately

turned inside out" so that it was no longer a "simple and popular

language accessible to all." The "masses" were sacrificed in this "petty-

bourgeois, 'formalist' attempt to create originality through cheap

clowning. It is a game of clever ingenuity that may end very badly."

The article was long, otherwise unsparing in epithets, and not with-

out threats. When it appeared it caused a good deal more "confusion"

than the opera it attacked. The "masses" who were supposedly be-

wildered by "Lady Macbeth" had been crowding to performances of

it for two years, enjoying and applauding it as a contemporary master-

piece of dramatic realism. The composer had decidedly known what

he was doing. He had planned it with great care, and had published

with the libretto a long and lucid exposition of the opera, its purposes,

its characterizations. But suddenly critics who had praised it to the

skies found "Lady Macbeth" an excruciating monstrosity, or a deadly

bore. Conductors dropped his music, musicians of probity, like

Maximilian Steinberg, his former teacher, shrugged away. Writers like

Sollertinsky, once his friend and champion, sidestepped and showed

their colors by an extra dig at the pilloried young man. Former col-

leagues avoided him. There were discussions and debates, but not a

single voice was raised unequivocally in his behalf. Shostakovitch

stood alone, an untouchable.

Behind the obscuring barrage of accusations—"leftist," "bourgeois,"

"formalist," "cynical," etc.—Seroff perceives a political motive which,

at least, was consistent. Soviet Russia was constructing a national

solidarity. The institutions of marriage and the family, once dis-

regarded with disastrous results, were now built up by propaganda

extolling a peasant and civic life busy, happy, and fruitful. Thekeyno'te of all this propaganda was optimism. One remembers the

Russian exhibit at the New York World's Fair in 1939, with its bright

pictures in pinks and greens of an invariably joyous populace. Anopera about the base passions of sordid characters in rural Russia had

no place among these rosy pictures, even though they belonged to an

earlier Russia, nor did a ballet depicting Kuban Cossacks as woodenand stylized figures.* And behind this was the encroaching shadow of

* Shostakovich's ballet "The Limpid Stream" was the object of a second attack by Pravda.

[376]

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war, which made a potent reason for a solid national front. "The Soviet

Government knew that war was inevitable, and the opening gun in

the campaign on the home front was the 'banning' of 'Lady Macbeth.'

Pravda's editorials, blasting the opera, coincided neatly, with only a

few weeks to spare, with the Nazi march into the Rhineland—the first

blow of the Wehrmacht against the Treaty of Versailles."

Impressive as the results of Russian solidarity have proved to be,

the Western mind persists in cherishing the privilege of deviations, as

found in "Lady Macbeth," from the norm of character type and musi-

cal style. A margin of variation in the arts is a contribution to national

unity because it is indispensable to the cultural growth of any people.

That margin could well have been allowed in Shostakovitch, whose

loyalty and talent were never questioned, and who could well have

been trusted to work out his own esthetic salvation.

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[378]

LIST OF WORKS BY SHOSTAKOVITCH

(Compiled by Nicolas Slonimsky for his article in the Musical Quarterly,

Oct -Dec, 1942

Works marked with asterisks have been repudiated by the composer as unrepre-

sentative of his present ideals in music.

Opus1. Scherzo in F-sharp minor for orchestra (1919). *MS.

2. Eight Preludes for piano (1919-20) . *MS.

3. Theme with Variations for orchestra (1920-2). *MS.

4. (1) The Grasshopper and the Ant; (2) The Jackass and the Nightingale, for

voice and orchestra, text by Krylov (1922). *MS.

5. Three Fantastic Dances for piano (1922). Published by the Music Section of

the State Publishing House, 1926.

6. Suite for Two Pianos (1922). *MS.

7. Scherzo in E-flat major for orchestra (1923). *MS.

8. Trio for piano, violin, and cello (1923). *MS.

9. (1) Fantasy; (2) Prelude; (3) Scherzo for cello and piano (1923-4). *MS.

10. Symphony No. 1 in F minor (1924-5). Published by the Music Section of the

State Publishing House, 1926. First performance, Leningrad, May 12, 1926.

11. Two pieces for string octet (1925): (1) Prelude; (2) Scherzo. Published by the

Music Section of the State Publishing House, 1927.

12. Sonata for piano (1926). Published by the Music Section of the State PublishingHouse, 1927.

13. Aphorisms (ten pieces for piano). Published by Triton, Leningrad, 1928.

14. Symphony No. 2, Dedication to October (1927). Published by the Music Section

of the State Publishing House, 1927. First performance, Leningrad, November6, 1927

15. The Nose, opera in three acts after Gogol (1927-8). Lithographed. First per-

formance, Leningrad, January 13, 1930.

16. Tahiti-Trot (orchestral transcription, 1928) . MS. lost.

17. Two Pieces by Scarlatti for a wood-wind ensemble (orchestral transcription,

1928) . MS. lost.

18. Music for the film The New Babylon (1928-9). MS.

19. Incidental music to Mayakovsky's comedy The Bedbug (1929) . MS.

20. Symphony No. 3, May First. Published by the Music Section of the StatePublishing House, 1932. First performance, Leningrad, November 6, 1930.

2i. Six Songs to words by Japanese poets, for voice and orchestra. (1) Love; (2)Before the Suicide; (3) Immodest Glance; (4) For the First and Last Time;(5) Love; (6) Death. *MS.

22. The Golden Age, ballet in three acts (1929-30). A suite from this ballet waspublished by the Music Section of the State Publishing House in 1934. Firstperformance, Leningrad, October 27, 1930.

23. Two pieces for orchestra (1929): (1) Entr'acte; (2) Finale. *MS.

24. Music to Bezimensky's comedy The Shot (1929). MS.

25. Music to the drama by Gorbenko and Lvov The Virgin Soil (1930). MS.

26. Music to the film Alone (1930) . MS.

27. Bolt, ballet in three acts (1930-1). First performance, Leningrad, April 8,

1931. MS.

28. Music to Piotrovsky's play Rule Britannia (1931). MS.

[379]

29- Lady Macbeth of the District of Mzetisk, opera in four acts (1930-2). Piano score

published by the Music Section of the State Publishing House, 1935. First per-

formance, Leningrad, January 22, 1934.

30. Music to the film Golden Mountains. A suite from this music published by the

Music Section of the State Publishing House, 1935.

31. Music to the play Conditionally Killed, by Voevodin and Riss (1931) . MS.

32. Music to Hamlet (1931-2). MS.

33. Music to the film Passer-by (1932). MS.

34. Twenty-four Preludes for piano (1932-3). Published by the Music Section of

the State Publishing House, 1933.

35. Concerto for piano and orchestra (1933) • Published by the Music Section of the

State Publishing House, 1934. First performance, with composer at the piano,

Leningrad, October 15, 1933.

36. Music to the film Tale of a Priest and his Dumb Hired-Man (1934). MS.

37. Music to The Human Comedy, after Balzac (1943-4) . MS.

38. Suite for jazz orchestra (1934): (1) Waltz; (2) Polka; (3) Blues. First perform-ance, Leningrad, November 28, 1938. MS.

39. Ballet, The Sparkling Brook, in three acts (1934). First performance, Lenin-grad, June 4, 1935. MS.

40. Sonata for 'cello and piano (1934). Published by Triton, Leningrad, 1935.

41. Music to the film Girl Companions (1934). MS.

42. Five Fragments for orchestra (1935) . *MS.

43. Symphony No. 4 (1935-6). Put in rehearsal by the Leningrad Philharmonic in

December 1936, but withdrawn by the composer. *MS.

44. Music to Afinogenov's play Salute to Spain (1936). MS.

45. Music to the film Maxim's Return (1936-7) . MS.

46. Four Songs to Pushkin's texts (1936). MS.

47. Symphony No. 5 (1937). Published by the Music Section of the State Publish-

ing House, 1939. First performance, Leningrad, November 21, 1937.

48. Music to the film The Days of Volotchaevo (1936-7). MS.

49. String Quartet (1938). Published by the Leningrad Music Section of the State

Publishing House, 1940. First performance, Leningrad, October 10, 1938.

50. Music to the film Vyborg District (1938). MS.

51. Music to the film Friends (1938) . MS.

52. Music to the film A Great Citizen, first series (1938). MS.

53. Music to the film The Man ivith a Gun (1938). MS.

54. Symphony No. 6 (1939) . Published by the Music Section of the State Publish-

ing House, 1941. First performance, Moscow, December 3, 1939.

55. Musjc to the film A Great Citizen, second series (1939). MS.

56. Music to the film Silly Little Mouse (1939). MS.

57. Quintet for piano and string quartet (1940). Published by the Union of Soviet

Composers, 1941. First performance, Moscow, November 23, 1940.

58. Orchestration of Mussorgsky's opera Boris Godunov (1940). MS.

59. Symphony No. 7 (1941-2). First performance, Kuibishev, March 1, 1942. First

American performance, NBC orchestra, Arturo Toscanini conducting, July 19,

1942. MS.

Subsequent works include Six Songs to words of Shakespeare/Burns, and Raleigh;

Song, "The Return of the Hero" ("When Johnny Comes Marching Home"), the

Second Piano Sonata, and the Eighth Symphony.

[380]

The Youth Concerts Association announces

THE SIXTH SEASON

of

BOSTON SYMPHONYORCHESTRA, INC.

YOUTH CONCERTSWHEELER BECKETT, Conductor

Six Concerts of Symphony Music

for students in the schools of Greater Boston,

their teachers and escorts

Dec. 1, 1943, Jan. 12, Feb. 2, March 22, April 12,

April 26, 1944

in

Symphony Hall at 3:30 P. M.

PROGRAM OPENING CONCERT—DECEMBER 1st

OBERON OVERTURE WEBERUNFINISHED SYMPHONY SCHUBERTSLAVONIC DANCE IN C MAJOR..; DVORAK

INTERMISSIONAFTERNOON OF A FAUN DEBUSSYESPANA CHABRIERMARCHE SLAVE TCHAIKOVSKY

Season Tickets to All Six Concerts $330TICKETS AT BOX OFFICE, SYMPHONY HALL

COMmonwealth 1492

[381]

AK Aaron Richmond Events:

TICKETS AT SYMPHONY HALL BOX-OFFICE NOWDae to Unprecedented Demand: TWO PERFORMANCES

SAT. EVE. & SUN. MAT. NOV. 20-21

DON COSSACKRUSSIAN CHORUS

& DANCERSSat* Eve* program includes

two groups of Cossack

dances

TUE* EVE* NOV* 30Symphony Hall

JOHN CHARLESTHOMAS

The distinguished baritonein a program of his favorite

songs

TICKETS AT JORDAN HALL10:30 A. M. to 5:30 P. M,

THIS SUN* AFT** NOV* 14 Jordan Hall

CURTIS QUARTET andBORIS GOLDOVSKY

Haydn Quartet, Op. 77 No. j

Debussy Quartet (Baldwin

Brahms Piano Quartet, Op. 25Piano)

TUE* EVE. NOV* 16

Boston Debut of

SARIBIRO

Hungarian Pianist(Steinway)

N. Y. Times: "Among the foremost womenexponents of the keyboard." N. Y. Times.

SUN. AFT. NOV. 28 Jordan Hall

VRONSKY & RARINFamous Two-Piano Recitalists

(Steinway Pianos) N. Y. Heraid-Tribune: "Sheer perfection."

[382]

SIXTY-THIRD SEASON . NINETEEN HUNDRED FORTY-THREE AND FORTY-FOUR

Next week the Orchestra will give concerts in Hartford, New Haven, New York

and Brooklyn. The next regular pair of concerts will take place on

November 26 and November 27

Seventh Programme

FRIDAY AFTERNOON, November 26, at 2:30 o'clock

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

RICHARD BURGIN, Conducting

Bach Prelude and Fugue in E-flat for Organ(arranged for Orchestra by Arnold Schonberg)

Beethoven Symphony No. 2 in D major, Op. 36

I. Adagio molto; allegro con brio

II. Larghetto

III. Scherzo

IV. Allegro molto

INTERMISSION

Gardner Read Symphony No. 2, Op. 45

I. Presto assai e molto feroce

II. Adagio

III. Largamente; Allegro frenetico; Largamente

(First performance; conducted by the composer)

Gershwin. "Porgy and Bess," A Symphonic Picture for

Orchestra by Robert Russell Bennett

(First performance at these concerts)

BALDWIN PIANO

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 beforethe concert. A lecture on this programme will be given on Wednesdayat 4:45 o'clock, in the Lecture Hall.

[383]

MUSICAL INSTRUCTION

FELIX FOXhas resumed teaching

403 MARLBOROUGH STREET Tel. Ken. 0716

MISS MARION FOXPIANOFORTE INSTRUCTION

Former member of Faculty of the Felix Fox School of Pianoforte Playing

403 Marlborough Street

Tel. Algonquin 3078

MARY SHAW SWAINPIANOFORTE TEACHER

ACCOMPANIST AND COACH10 MUSEUM ROAD HIGHLANDS 9419

JULES WOLFFERSPianist — Teacher — Coach

Faculty-member, Boston University College of Music

Private Pupils Accepted

256 Huntington AvenueKenmore 1287 Kenmore 3030

FRANK E. DOYLE14 STEINERT HALL

SINGINGTeacher (in Boston) of Polyna Stoska

Teacher of John Smallman

[384]