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EIGHTEENTH REHEARSAL and CONCERT

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EIGHTEENTH REHEARSAL and CONCERT Boston Symphony Orchestra. SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-FIFTH SEASON, I905-J906. WILHELM GERICKE, CONDUCTOR programme OF THE EIGHTEENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, MARCH 9, AT 2.30 O'CLOCK. SATURDAY EVENING, MARCH 10, AT 8.00 O'CLOCK. Publiahed by C A. ELLIS, MAnagec. 128» HAROLD BAUER announces a FAREWELL RECITAL to be given Wednesday Afternoon, IVIarch 28 AT 3 O'CLOCK at STEINERT HALL Tickets now on sale at the Hall and at the warerooms of illHS0nScr^amlm€0, 492 Boylston Street (Opposite Institute of Technology) BOSTON 1290 Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor. First Violins. Hess, Willy, Concertmeister. Adamowski, T. Roth, O. Kuntz, D. Moldauer, A. 1292 TWENTY-FIFTH SEASON, J905-IW6. Eighteenth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH 9, at 2.30 o'clock. SATURDAY EVENING, MARCH JO, at 8.00 o'clock. PROGRAMME. Goldmark Overture to " Sakuntala," Op. 13 Jaques-Dalcroze . Concerto in C minor, for Violin and Orchestra, Op. 50. First time here I. Allegro con ritmo. II. Largo. III. Finale quasi fantasia (Allegro appassionato). " Debussy . , . Prelude to Stdphane Mallarme's Eclogue, The " Afternoon of a Faun Symphony in major. No. Schubert ...... C 7 I. Andante ; Allegro ma non troppo. II. Andante con moto. III. Scherzo : Allegro vivace. Trio. IV. Finale : Allegro vivace. SOLOIST: Mr, HENRI MARTEAU^ There will be an intermission of ten minutes before the symphony. The doors of the hall will he closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be. tween the numbers. City of Boston, Revised Begrulatlon of August 5, 1898.— Chapter 3, relating: to the covering: of the head in places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a eoTering whick obstructs the view of the exhibition or performance in such place of any person seated in an^ seat tbereia provided for spectators, it being understood that a low head covering without projection, which doea not obstruct such view, may be worn. Attest: J. M. GALVIN, City Qork. 1293 L P. Hollander & Co. Dressmaking Department Third Floor. A large assortment of Afternoon and Evening Gowns In Taffetas, Foulards, Crepe de Chine, Veilings, Muslins, and other materials, suitable for the South. All made in our own workrooms from models re- cently received from our Costume Buyer in Paris. 202 to 216 Boylston Street and Park Square Sterling Silver Tea-SetsJ Pitchers. BowlsTable-Ware Loving-CupsXtc. Not the Ordinary but Beautiful Pieces Unique Shapes and Exclusive Patterns , SUB3TAHTJAL WriGMT5 Moderate: Priced Smith Patterson Co. Vmolcsale and Retail 52 3VMMER 5T. eOSTOM — Overture to "Sakuntaua," in F major, Op. 13 . Carl, Goldmark (Born at Keszthely, in Hungary, May i8. 1830;* now living at Vienna.) This overture, the first of Goldmark's important works in order of composition, and the work that made him world-famous, was played for the first time at a Philharmonic Concert, Vienna, December 26, 1865. The first performance in Boston was at a concert of the Harvard Musical Association, December 6, 1877. The following preface is printed in the full score : For the benefit of those who may not be accjuainted with KaUdasa's famous work, "Sakuntala," we here briefly condense its contents. Sakuntala, the daughter of a nymph, is brought up in a penitentiary grove by the chief of a sacred caste of priests as his adopted daughter. The great king Dushianta enters the sacred grove while out hunting; he sees Sakuntala, and is immediately inflamed with love for her. A charming love-scene follows, which closes with the union (according to Grund- harveri, the marriage) of both. The king gives Sakuntala, who is to follow him later to his capital city, a ring by which she shall be recognized as his wife. A powerful priest, to whom Sakuntala has forgotten to show due hospitality, in the intoxication of her love, revenges himself upon her by depriving the king of his memory and of all recollection of her. Sakuntala loses the ring while washing clothes in the sacred river. When Sakuntala is presented to the king, by her companions, as his wife, he does not recognize her, and he repudiates her. Her companions refuse to admit her, as the wife of another, back into her home, and she is left alone in grief and despair; then the nymph, her mother, has pity on her, and takes her to herself. Now the ring is found by some fishermen and Ijrought back to the king. On his seeing it, his recollection of Sakuntala returns. He is seized with remorse for his terrible deed; the profoundest grief and unbounded yearning for her who has disappeared leave him no more. * Yet the latest biographer of Goldmark Otto — Keller, of Vienna—gives the erroneous date, 1832, still " " found in some recent biographical dictionaries of musicians. See Keller's Carl Goldmark (Leipsic, s. d., in ihe " Modcrne Musiker " series). NEW CYCLES OF SONG5 Garden of Kama Two keys By Alma Goetz Songs of Travel For Baritone Ralph Vaughn Williams Songs of the Hill Two keys Landon Ronald Three Song Poems Two keys S. Coleridge-Taylor Three Traditional Ulster Airs H. Harty A Shropshire Lad A. Somervell Dream of Flowers A J. Clifford Songs of the Desert Two keys G. H. Clutsam In Sunshine and Shadow Two keys Landon Ronald Camella Graham Peel Bohemian Songs Joseph Holbrooke The Life of a Rose Liza Lehmann On Jhelum River (A Kashmira Love Story) Amy Woodeford-Finden BOOSEY & COMPANY, 9 East 17lh Street, NEW YORK 1295 1 ^. ^nXlVixA nnA ^0tX6 IN THEIR HANDSOMELY REMODELLED ESTABLISHMENT ARE SHOWING New Imported Model Gowns AND CHOICE ENGLISH AND FRENCH Cloths and Dress Fabrics JUST OPENED FOR THE SPRING AND SUMMER SEASON SOLE MAKERS OF THE BALLARD SAFETY RIDING HABIT 256 ^oylstan ^trjcjct^ fasten 1296 I : On a warlike campaign against souio ovil (tcinons, wiioni lie vanquishes, he finds Sakuntala again, and now there is no end to their liappiness. The introduction opens, Andante assai in 1' major, ,V4. with rich and sombre harmonies in violas, 'cellos (largely divided), and bas- soons. Mr. Apthorp fancies that the low trills "may bear some ref- erence to the gurgling of a spring—indicative of Sakuntala 's parent- age." The tempo changes to Modcrato assai, F major (3-4 or 9-8 time). A clarinet and two 'cellos in unison sing the chief theme over soft harmonies in the strings and bassoons. This yearning and sensu- ous theme is named by some commentators the "Love-theme"; but Dr. Walter Rabl suggests that with the second chief theme it may picture Sakuntala in the sacred grove. Thus do ingenious glossarists disagree. This second theme is introduced by first violins and oboe, and against it second violins and violas sing the first melody as a counter- theme. The figuration has soon a more lively rhythmic character, and a short crescendo leads up to a modulation to A minor, poco piii mosso, in which the brass instruments give out a third theme, a hunt- ing tune. This theme is developed ; it is used in turn by brass, wood- wind, and strings. After a fortissimo of full orchestra there is a long development of a new theme (Andante assai in E major) , sung by oboe and English horn against harp chords and triplet arpeggios in strings. This theme had a certain melodic resemblance to the second chief theme. The sombre theme of the introduction is heard in the basses. The pace grows livelier (piu mosso, quasi Allegro), and the music of the hunt is heard. The climax of the crescendo is reached in F minor, and a cadenza for wind instruments and strings, broken by loud chords, leads to a repetition of the introduction. The first chief theme appears, and is soon followed by the second. The coda begins with a crescendo climax on figures from the hunting theme, which leads to a full orchestral outburst on the two chief themes in conjunction,—first theme in wood- wind and violins, second theme in horns in unison. A free climax, COMPOSITIONS FOR New Choral Works VIOLI/M and PIA/NO FONTENAILLES, H. The Legend OTTO HUBL of Miana (women's voices) . $0.25 in A . fo.6o Op. 9, Romance DVORAK, ANTON. 149th Psahn FABIAN REHFELD (mixed voices) .... 30 Op. 87, No. I, Romanze ... .75 Birth of Venus No. 2, Rondo Capriccioso . i.oo FAURE, GABRIEL. (mixed voices) .... 75 TWO VIOLINS and PIANO BEACH, Mrs. H. H. A. Sylvania OTTO HUBL (mixed voices) .... I.oo Op. 8, Four Morceaux FOOTE, ARTHUR. Lygeia (women's No. I. Caprice $0.75 voices) ..... .50 No 2. Legende 65 No. 3. Chant du Soir 65 No. 4. Valse Mignonne ... .90 FOR SALE BY Arthur P. Schmidt CHARLES W. HOMEYER & CO. BOSTON, 120 Boylston Street 165 Tremont Street, Boston 1297 which begins with the hunting theme, which is now naturally in F* major," brings the brilliantly jubilant close. The overture is scored for two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, a set of three kettledrums, harp (if possible, two harps), and strings. It is dedicated to Ludwig Lakenbacher. Schubert thought in 1820 of writing an opera based on the story of Sakuntala. The libretto was by P. H. Neumann, and the opera was to be in three acts. Schubert sketched two acts, and the manu- script some years ago was in Mr.
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