Boston Symphony Orchestra Concert Programs, Season 22,1902-1903, Trip
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ACADEMY OF MUSIC, PHILADELPHIA. Boston Symplpy OicHestia Mr. WILHELM GERICKE, Conductor. Eighteenth Season in Philadelphia. PROGRAMME OF THE FOURTH CONCERT SECOND SERIES, WEDNESDAY EVENING, FEBRUARY 18, AT 8.15 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C. A, ELLIS, Manager. K») ME S S R S . CHICKERING & SONS PIANOFORTE MAKERS Invite CriticaJ Inspection of Their Latest Production The Quarter Grand (TV The Smallest Grand Embodying Modern Principles Ever Made RETAIL WAREROOMS 791 TREMONT STREET, BOSTON 1' presented m Philadelphia by JOHN WANAMAKER. (D BOStOn , ACADEMY OF MUSIC, Symphony I PH,LADEI-PHIA •**J ? "r J <j* Twenty-second Season, 1902-J903. Orchestra Eighteenth Season in Philadelphia. Mr. WILHELM GERICKE, Conductor. FOURTH CONCERT, SECOND SERIES, WEDNESDAY EVENING, FEBRUARY 18, AT 8.15 PRECISELY. PROGRAMME, u n Taneieff ....... Overture, L'Orestie n Mozart Recitative and Aria, " Nie soil mit Rosen," from f Titus (Clarinet obbligato, Mr. V. Lebailly.) u tt R. Strauss . Tone-poem, Death and Transfiguration u Mendelssohn . Arioso, But the Lord is mindful of his own," " from " St. Paul u Beethoven . Symphony No. 3, in E-flat major, Eroica," Op. 55 I. Allegro con brio. II. Marcia funebre : Adagio assai. III. Scherzo : Allegro vivace. Trio. IV. Finale : Allegro molto. SOLOIST: Madame SCHUMANN-HEINK. There will be an intermission of ten minutes before the symphony. (3) Our NewSmall Grand — We especially invite the critical attention of artists and lovers of the beautiful in pianos to our NEW SMALL GRAND, which represents the latest and highest development in that field of piano manufacture A request by mail will bring you price and terms. EVERETT PIANO CO., boston New York House, 141, 143 Fifth Avenue («; Overture to " The Oresteia " of ^Eschylus, Op. 6. Serge Taneieff. (Born in Russia, Nov. 13, 1856; now living at Moscow.) TaneiefFs " The Oresteia," a musical trilogy, text by A. Wenkstern, based on the " Agamemnon," " The Choephori," and " The Furies " of ^Eschylus, was performed for the first time at the Maria Theatre, St. Peters- burg, in October, 1895. This trilogy has a short instrumental prelude* The score of the opera is dedicated to the memory of Anton Rubinstein. This concert overture, " The Oresteia," is a far more elaborate compo- sition, and is unlike the prelude in all respects. It was published in 1897. There is a prefatory note in Russian and French, printed on a fly-leaf of the score : — " The themes of this overture are taken from S. Taneieff's musical trilogy of ' Oresteia,' the libretto of which is founded on the drama of ./Eschylus. " ^Eschylus borrowed the subject of his trilogy, composed of three — ' tragedies, ' Agamemnon,' ' The Choephori,' The Furies,' — from the story of the Atridae. The story of this family is a dark and bloody one : crime begets crime, and gives crime new birth. The inexorable Furies torture the guilty one with remorse. The established custom of hereditary ven- geance prepares an avenger in the person, of the victim's nearest relation. He that has done his bloody deed comes under the power of the Furies, who have established their dwelling-place in the very palace of the Atridae, awaiting his turn when he is doomed to fall, the victim of a new vengeance. These crimes heaped on crimes at last fill the Olympian gods with horror, and, to bring an end to these bloody customs, Apollo and Athene form the tribunal of the Ephors, to whom they confide the care of judging and punishing the guilty. A new era of peace and justice dawns for mortals. THE MANAGErtENT OF THE NEW E/NGLAND CONSERVATORY OF MUSIC ANNOUNCES THE RETURN OF SIC. ORESTE BIMBONI AND THE OPENING OF THE SCHOOL OF OPERA, Which will give, in addition to the performances in JORDAN HALL, TWO PERFORMANCES, ZZEffiJ!" BOSTON THEATRE. MR. CEORC HENSCHEL will teach — until March, 1903 — EXCLUSIVELY in the Conservatory. Particulars and terms (for one or any number of lessons) maybe had of the Registrar or from Mr. Henschel personally. (5) Heppe Pianos All of our pianos will hereafter be made with the patented 3 sounding-boards instead of I. All other pianos have only one sounding-board. i All of our pianos are Certified, too, with the certificates of a ' Hugh A. Clark, Mus. Doc. W.W.Gilchrist, Mus. Doc. Jury 0/ Thomas a'Becket Henry Gordon Thunder Tone Experts Samuel L. Herrmann William Stoll, Jr. Rudolph Hennig sealed to the back of every high grade piano we sell. Not high in price ither, as they go direct from our factories to your home at one profit. volume of our business brings m many pianos of other makes in exchange* Write for bargain list <///</ firms. Three \ 1115-1117 Chestnut f I HPPPP & <sON f V^. if« I II. I I Li CV OV711 V^tores/ 6th and Thompson cry 1 hlnjj Mutlcjil IM1II ADI I.PMIA. PA (C) This glorious victory of the principles of good over the black chaos of violence and vengeance ends the trilogy of ^Eschylus." # * Many and strange are the variations in the details of the awful tragedy of Pelops's line. The legend adopted by vEschylus runs as follows : Zeus himself was the founder of the Atreid house. He begat, by the nymph Pluto, Tantalus. Tantalus begat Pelops, who took Hippodamia as wife, and by her had two sons, Atreus and Thyestes. Atreus married and had a son whom he survived, and whose widow, Aerope, he took as wife. By her Atreus had Agamemnon and Menelaus, named of him the Atridae. in Now Thyestes seduced Aerope ; and revenge Atreus murdered chil- dren of his wife and brother, and "held a day of banqueting" to Thyestes, and served him a dish of his children's flesh. At this horrid act the sun withheld his light. Thyestes, after he had eaten and discovered " the deed, screamed and fell back from the butchery . and on the descendants of Pelops he invoked an intolerable doom." Thyestes left one son, ^Egisthus, to be his avenger. Agamemnon and Menelaus had married Clytaemnestra and Helen, sisters, and supposed to be the daughters of Tyndarus and Leda ; but Helen was the child of Zeus and Leda, and the Trojan War followed her elopement with Paris. Agamemnon was compelled by the Fates to sacrifice his own daughter, Iphigenia, to obtain a favorable wind for the fleet. This angered her mother, who turned her love toward ^Egisthus during Agamemnon's long absence. When her husband returned with Cassandra, of whom, some say, she was jealous, she determined to murder her lord and master. And she killed Agamemnon and Cassandra, and gloried in the deed. Orestes, the son of Agamemnon and Clytaemnestra, had previously been sent away to Phocis. He returned, and slew his mother and ^Egisthus. " Where the TECHNIC is imperfect, a singer is limited, whatever may be the temperamental equipment." School of "Vocal Tecliiiic What to do and how to do it, to secure the results desired in Compass, Quality, Power, Evenness, and Execution FOR BEGINNERS, AND SINGERS TROUBLED WITH DEFECTS Dr. B. FRANK WALTERS, Jr. Palace Building, S» E. Corner Uth and Chestnut Streets Send for Booklet, " The Making of a Singer" (7) Term* Cash • I VT». Write or call for catalog. e»- *> . lan.etc THE CUNNINGHAM PIANO CO II05 Chestnut Street I Then, horrified, he went to Delphi to seek purification. The Furies pursued him. At Delphi he was assured of Apollo's protection. He underwent his trial at Athens and was acquitted. The Furies threatened the city with their wrath ; but Athene assured them that they would always be held in honor, and they then promised all manner of blessings. •7P *)F This overture is scored for 3 flutes (one of which is interchangeable with piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, bass tuba, a set of 3 kettle-drums, cymbals, bass-drum, triangle, gong, glockenspiel, piano, harps, and strings. It is dedicated to Anton Arensky. The first performance in the United States was by the Boston Symphony Orchestra at Boston, Dec. 1, 190 1. The overture begins with a long introduction, Andante in E minor, 3-4, which is founded on two important themes. The first is announced by 'cellos and bassoons, and it is janswered by its own appearance in dim- inution in the violas. It is used later in double diminution and in contra- puntal accompaniment. The second theme is a pathetic melody or figure sung by the clarinet. These themes are developed amid trumpet calls. Toward the end of the introduction a version of the first theme is given to the bassoon. The form of the main body of the overture is free. The beginning is Allegro vivace e con fuoco, E minor, 2-2, and the wild and savage theme is a version of the first theme of the introduction, rhythmically changed. The next section, Allegro moderato, in G minor, 2-2, has a theme that is associated with Clytaemnestra in the opera. It is of gentler character (flutes, clarinets, muted horns, pianissimo) over counterpoint in the lower strings. This section goes into an Andante, 3-4, in which muted strings play a version of the first theme. There is a return of the Allegro vivace e con fuoco, 2-2, in which the first theme of the movement is worked out with the second. There is a long-continued climax, which ends with a crash of the cymbals, and, after a pause, the horns sound a ^third theme, Pennsylvania Conservatory of Music 1616 N. SEVENTEENTH STREET I Branch Studio ROOM 313, 1520 CHESTNUT STREET VIVIAN INGLE, Director CATALOGS MAILED UPOIV APPLICATION (9) fortissimo.