Boston Symphony Orchestra Concert Programs, Season 18, 1898-1899
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ACADEMY OF MUSIC, BROOKLYN. Boston Symphony Orchestra Mr. WILHELM GERICKE, Conductor. Eighteenth Season, 1898-99. PROGRAMMES OF THE THIRD MATINEE FRIDAY AFTERNOON, JAN. 20, AT 3.30 PRECISELY, AND THE THIRD CONCERT SATURDAY EVENING, JAN. 21, AT 8.15 PRECISELY. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. (1) Steinway & Sons, rianufacturers 3 » I A I^T m \ CL Grand and of PIANOSK I /\ 1 ^ I Ji^ Upright Beg to announce that they have been officially appointed by patents and diplomas, which are displayed for public inspection at their warerooms, manufacturers to His Majesty, NICOLAS II., THE CZAR OF RUSSIA. His Majesty, WILLIAM II., EMPEROR OF GERMANY and THE ROYAL COURT OF PRUSSIA. His Majesty, FRANZ JOSEPH, EMPEROR OF AUSTRIA and KING OF HUNGARY. Her Majesty, VICTORIA, QUEEN OF GREAT BRITAIN. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES, and THE DUKE OF EDINBURGH. His Majesty, OSCAR II., KING OF SWEDEN AND NORWAY. His Majesty, UMBERTO I., THE KING OF ITALY. Her Majesty, THE QUEEN OF SPAIN. • His flajesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr. William Steinway the ordei^of The Red Eagle, III. Class, an honor never before granted to - a manufacturei . The Royal Academy of St. Ca&cilia at Rome, Italy, founded by the celebrated composer Pales- trina in 1584, has elected Mr. William Steinway an honorary member of that institution. The following is the translation of his diploma : — The Royal Academy of St. Concilia have, on account of his eminent merit in the domain of music, and in conformity to their Statutes, Article 12, solemnly decreed to receive William Steinway into the number of their honorary members. Given at Rome, April 15, 1894, and in the three hundred and tenth year from the founding of the society. Alex. Pansotti, Secretary. E: Di San Mabtino, President. ILLUSTRATED CATALOGUES I1AILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms, Steinway Hall, - = 107=111 East 14th Street, New York. (2^ DOStOn , Academy of Music, Symphony Brooklyn. •'A |A Ei&nteenth Season, 1898-99. Eleventh Season in Brooklyn. f\ fn 1-1 Acll* CI Mr. WILHELM GERICKE, Conductor. THIRD MATINEE, FRIDAY AFTERNOON, JANUARY 20, AT 3.30. PROGRAMME. " Karl Maria von Weber - Overture to "Der Freischutz Wolfgang Am adeus Mozart, Recitative," IhrVerwegnen," and Aria, " Wie der Felsen/' from Act I., "Cosi fan tutte" Johannes Brahms - - Waltzes, Op. 39 (Scored for Orchestra by WILHELM GERICKE.) (First time in Brooklyn.) Lndwig van Beethoven Recitative, "Abscheulicher ! wo eilst du hin?" and Aria, "Komm, Hoffnung, lass den letzten Stern," from "Fidelio," Act I., No. 9 Lndwig van Beethoven Symphony No. 4, in B-flat major, Op. 60 I. Adagio (B-flat major) - 4-4 Allegro vivace (B-flat major) - 2-2 II. Adagio (E-flat major) ----- 3.4 III. Allegro vivace (B-flat major) - 3-4 Trio: Un poco meno Allegro (B-flat major) - 3-4 IV. Allegro ma non troppo (B-flat major) - - 2-4 SOLOIST: Frl. MILKA TERNINA. For Programme for Third Concert, to-morrow (Saturday) evening, January 21, see page J.9, (3) |>IANO. GRAND AND UPRIGHT. Highest Possible Grade. Unlimited Time Warranty. 141-143 FIFTH AVENUE, NY. MANUFACTORY, BOSTON. CHICAGO, CINCINNATI, 200-204 Wabash Avenue. Fourth and Elm Streets. (4) . ; Overture to "Der Freischutz" . Karl Maria von Weber. (Born at Eutin, in the grand duchy of Oldenburg, on December 18, 1786; died in London, on June 5, 1826). Der Freischutz, romantic opera in three acts, the text by Friedrich Kind, the music by von Weber, was brought out at the Court Opera in Berlin on June 18, 1820. It was given at the The'atre de l'Ode'on in Paris, with a new French libretto and many unwarrantable changes in the score made by Castil-Blaze, as Robin des Bois on December 7, 1824; its first real produc- tion in Paris was, however, at the Academie Royale de Musique on June 7, 1841, under Berlioz's direction, with an accurate translation of the text by Pacini and recitatives by Berlioz. It was given in London at the English Opera-House (with many extraneous ballads inserted) as The Freischutz ; or, The Seventh Bullet, in an English translation by Hawes, on July 22, 1824 and in Italian, with recitatives by Michael Costa, at Covent Garden on March 16, 1850. Weber completed the score on May 13, 1820 ; the title was Die y&gers- braut (The Huntsman's Betrothed). But the opera was first given under its present title. I believe there is no word in any other language that corresponds accu- rately to the German Freischutz. The literal English translation, " Free marksman," does not in the least convey its meaning. The same may be said of the Italian "Franco arciero" — under which misleading title the opera was given at Covent Garden — and the French " Franc archer." Grove has it that the opera was given under this last title at the pro- duction under Berlioz in Paris ; but Berlioz himself says nothing of this in the account of the production in question he gives in his Mkmoires, and Wagner reports distinctly that it was then given as Le Freischutz. HORSFORD'S . Acid Phosphate. Recommended and prescribed by physicians of all schools, for Dyspepsia, Nervousness, Exhaustion, and all diseases arising from imperfect digestion and derangement of the nervous system. Taken before retiring, induces refreshing sleep. Pleasant to the taste. For sale by all Druggists. (8) The word Freischutz (literally " free marksman ") means a Schiitz, or marksman, who uses Freikugeln — that is, "free bullets," or charmed bullets which fly to the mark of themselves, without^ depending upon the marks- man's aim, and are therefore aptly termed " free." The overture begins with a slow introduction, Adagio in C major (4-4 time), opening with some preluding phrases in all the strings, oboes, clari- nets, and bassoons, each phrase being answered by the first violins. Then follows what is essentially a sylvan part-song, sung by the four horns over a waving accompaniment in the strings. The supernatural element in the story of the opera is then hinted at in a recitative-like passage of the 'celli, over sombre, unearthly harmonies in the strings in tremolo and the lowest chalumeau of the clarinets, while the double-basses pizzicati and kettle drums come in ever and anon with ill-boding thuds on low A. The main body of the overture, Molto vivace in C minor (4-4 time, as written in the score, but always beaten alia frreve), begins pianissimo with a creeping passage in the strings, which is soon seen to be the accompani- ment of the first theme, which latter soon appears in the clarinets and is briefly carried through by the wood-wind and strings. A turbulent first subsidiary sets in fortissimo in the full orchestra in the tonic, C minor, and is developed at somewhat greater length than the first theme. A strong modulation to the relative E-flat major leads to some loud horn-chords on the tonic of that key, followed by an episodic passionate phrase of the clarinet over tremulous harmonies in the strings. This phrase is taken from one of Max's terrified exclamations in the first part of the Incantation Scene in the opera. It soon leads over to the second theme (taken from the coda of Agathe's grand aria in the second act of the opera), sung at Mr. Henry Allan Price, Reader, AND Mr. G. Waring Stebbins, Baritone, Beg to announce that they are prepared to furnish a part of a program or an entire evening,— Mr. Price with his humorous and dramatic readings, and Mr. Stebbins with songs and ballads in English and French. One or two readings, accompanied by the piano, form a part of their artistic programs. For terms and dates, address HENRY ALLAN PRICE, 376 Fulton Street, Brooklyn, N.Y. (6) first by the clarinet and first violins, then repeated by the flute, clarinet, and bassoon in double octaves, the strings rounding off the period with some brilliant passage-work. The free fantasia begins on the first subsidiary, now in E-flat major, and runs mostly on it and the second theme. The third part reproduces the first up to near the point where the modulation to E-flat major came ; but, instead of the clarinet episode and second theme, we now have some hurried passage-work, interrupted by the sombre harmonies and recitative- like phrases with which the slow introduction ended. Two measures of complete silence prepare for the coda. The coda begins with two of the grandest fortissimo C major chords in all music; after these the whole orchestra precipitates itself upon the second theme, in C major, and works it up to a brilliant apotheosis. This overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, 1 pair of kettle-drums, and the usual strings. Waltzes, Opus 39 Johannes Brahms. (Scored for Orchestra by Wilhelm Gericke.) (Brahms born in Hamburg on May 7, 1833; died in Vienna on April 3, 1897. Gericke born at Gratz* Styria, on April 18, 1845.) This work originally appeared as XVI Waltzes for the Piano-forte for four hands, opus 39. Of these Mr. Gericke has scored fourteen for or- chestra, omitting Nos. 7 and 16, and repeating No. 2 at the close as a final coda. Mr. Gericke's score, written in the course of his first visit to Q. Waring Stebbins, '' BARITONE. Available for I SONG RECITALS, HUSICALES, RECEPTIONS. Mr. Stebbins accompanies himself in Songs and Ballads in English, and French Chanson.