CARNEGIE HALL - - NEW YORK Twenty-seventh Season in New York Inston g>gmjtlj*mg ©rrtfratnt Dr. KARL MUCK, Conductor Fifth and Last Concert THURSDAY EVENING, MARCH 20 AT 8.15 AND THE Fifth and Last Matinee SATURDAY AFTERNOON, MARCH 22 AT 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1912, BY C. A. ELU8 PUBLISHED BY C. A. ELLIS, MANAGER : Miss Maggie Teyte THE DISTINGUISHED PRIMA DONNA Writes as follows of the ifemt&i|mitlut PIANO Mason & Hamlin Co., Gentlemen The Mason & Hamlin Piano blends with the voice re- markably,—its singing quality and its carrying musical tone unite in making it unrivaled. Very truly yours, (Signed) MAGGIE TEYTE. ESTABLISHED 1854 3H Fifth Avenue - - - - - NEW YORK Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler. B. Marble, E. Hayne, E. Tischer-Zeitz, H. Kurth, R. GrUnberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H. Kluge, M. Van Wynbergen, C Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Blumenau, W. Violoncellos. Wanike, H. Keller, J. Barth, C. Belinski, M. Warake, J. Urack, 0. Nagel, R. Nast, L. Folgmann, E. Steinke, B. Basses Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Fosse*, P. Vannini, A. Fuhrmann, M. Chevrot, A. English Horn. Bass Clarinet. Contra-Bassoon . Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C Lorenz, 0. Lorbeer, H. Gebhardt, W. Mann, J. Alloo, M. Hain, F. Hackebarth, A. Heim, G. Mausebach, A Phair, J. Hubner, E. Merrill, C. Kenfield, L. Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Zahn, F. Senia, T. Kandler, F. Burkhardt, H. Organ. Librarian. Marshall, J. P. Sauerquell, J. — ^laf&iuinlfanD "After the Symphony Concert" a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. PIANOS PLAYER-PIANOS No. 366 FIFTH AVENUE, NEW YORK CARNEGIE HALL . NEW YORK Twenty-seventh Season in New York Sasifltt g>gmp{ffltuj ©nostra Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor FIFTH AND LAST CONCERT THURSDAY EVENING, MARCH 20 AT 8.15 PROGRAMME Goldmark . Overture, "Im Fruhling" ("In the Spring"), Op. 36 " Loeffler . " Pagan Poem (after Virgil), Op. 14, for Orchestra, Pianoforte, English Horn, and Three Trum- pets Obbligati Piano, Mr. Heinrich Gebhard. English Horn, Mr. Georges Longy. Trumpets, Messrs. Louis Kloepfel, Joseph Mann, and Carl Merrill Brahms .... Concerto in D major, for Violin and Orchestra, Op. 77- I. Allegro non troppo. II. Adagio. III. Allegro giocoso, ma non troppo vivace. Dvorak . "Carnival," Overture for full Orchestra, Op. 92 SOLOIST Mr- ANTON WITEK The Mason & Hamlin Pianoforte used There will be an intermission of ten minutes before the concerto 5 — NO ONE KNOWS HOW LONG A PIANO WILL LAST- No one has yet seen one worn out It's seventy-five years since the first KNABE PIANO was made in Balti- more, and they are being made there right now. In all these years it has never been re- garded— even by its severest critics as anything but the best that human hands could produce. Liberal allowance for pianos taken in exchange KNABE WAREROOMS 5th Avenue, corner 39th Street " Overture, "In the Spring," Op. 36 Carl Goldmark (Born at Keszthely, Hungary, May 18, 1830; living at Vienna.) This overture was first played at Vienna, December 1, 1889, at a Philharmonic concert. Goldmark was then known chiefly as the com- poser of the opera, "The Queen of Sheba," and the concert overtures, "Sakuntala" and "Penthesilea." The overtures "Prometheus Bound" and "Sappho" were not then written. There was wonder why Gold- mark, with his love for mythology, his passion for Orientalism in music, should be concerned with the simple, inevitable phenomenon of spring, as though there were place in such an overture for lush har- monic progressions and gorgeously sensuous orchestration. Consider the list of his works: his operas, "The Queen of Sheba," "Merlin," are based on legend; "The Cricket on the Hearth" is a fanciful version of Dickens's tale; the opera "The Prisoner of War" is the story of the maid for whose dear sake Achilles sulked; "Gotz von Berlichingen (1902) was inspired by Goethe; "Ein Wintermarchen " (1908) is based on Shakespeare's "Winter's Tale." Of his two symphonies, the more famous, "The Country Wedding," might be celebrated in a pleasure-ground of Baghdad rather than in some Austrian village. And what are the subjects of his overtures? Sakuntala, who loses her ring and is beloved by the great king Dushianta; Penthesilea, the Lady of. the Ax,—and some say that she invented the glaive, bill, and halberd, —the Amazon queen, who was slain by Achilles and mourned The ORATORIO SOCIETY OF NEW YORK Founded by Dr. Leopold Damrosch, 1873 Fortieth Season, 1912-1913 LOUIS KOEMMENICH, Conductor AT CARNEGIE HALL A CHORAL SERVICE - - Otto Taubmann (Eine Deutsche Messe) NEW — FIRST TIME IN AMERICA Friday Evening, March 28, 1913 Miss INEZ BARBOUR, Soprano Miss MILDRED POTTER, Contralto Mr. JOHN YOUNG, Tenor Mr. PUTNAM GRISWOLD, Bass (OF THE METROPOLITAN OPERA CO.) Full Chorus of the Society, Chorus of Boys' Voices, Organ and Orchestra, of the Symphony Society of New York Also in Commemoration of the 100th Anniversary of the Birth of Richard Wagner The Apotheosis and the Finale of Act III. of Die Meistersinger Mr. Putnam Griswold and Chorus Tickets at Ticket Office of the Oratorio Society, No. I West 34th Street and at Box Office of Carnegie Hall amorously by him after he saw her dead,*—the woman whose portrait is in the same gallery with the likenesses of Temba-Ndumba, Judith, Tomyris, Candace, Jael, Joan of Arc, Margaret of Anjou, Semiramis, the Woman of Saragossa, Mary Ambree—Penthesilea, a heroine of Masochismus; Prometheus bound in a cleft of a rock in a distant desert of Scythia, defying Jove, the heaving earth, the bellowing thun- der, the whirling hurricane, the firmament embroiled with the deep; Sappho, "the little woman with black hair and a beautiful smile," with her marvellous song "Made of perfect sound and exceeding passion." And for his latest concert overture, "In Italy" (1904), Goldmark endeavored to warm his blood by thinking of Italy. The composer of "Sakuntala," "The Queen of Sheba," and "The Country Wedding," a composer of an overture to "Spring"! His music was as his blood, —half Hungarian, half Hebraic. His melodies were like unto the century-old chants solemnly intoned by priests with drooping eyes, or dreamed of by the eaters of leaves and flowers of hemp. His harmonies, with their augmented fourths and diminished sixths and restless shiftings from major to minor, were as the stupefying odors of charred frankincense and grated sandalwood. To Western people he was as the disquieting Malay, who knocked at De Quincey's door in the mountain region Over a hundred years before Diderot had reproached de Saint- Lambert, the author of a poem, "The Seasons," for having "too much azure, emerald, topaz, sapphire, enamel, crystal, on his pallet," when he attempted to picture Spring. And, lo, Goldmark disappointed these lifters of eyebrows and shakers of heads. The overture turned out to be fresh, joyous, and Occidental, without suggestion of sojourn in the East, without the thought of the Temple. * * * But Goldmark's overture was inspired by von Kleist's tragedy, in which Penthesilea, suspecting Achilles of treachery, sets her hounds on him and tears with them his flesh; then, her fury spent, she stabs herself and falls on the mutilated body. CYRANO Opera in Four Acts By WALTER DAMROSCH Book by W. J. HENDERSON, after the drama by edmond rostand Price, Vocal Score, net $4.00. Libretto, net 35 cents The first performance of CYRANO was given by the Metropolitan Opera Company on February 27, and proved to be one of the great successes of the season. PRESS COMMENTS " Unquestionably, from the artistic as well as the technical point of view, the best of the operas by American composers that have been produced at the Metropolitan Opera House." — Richard Aldrich, New York Times. " A notable artistic achievement and one which reflects credit upon its authors and the institu- tion which produced it." — H. E. Krehbiel, New York Tribune. " CYRANO is a success. I firmly believe that Mr. Damrosch's opera will remain in the regular repertoire." — Otto H. Kahn, Chairman Metropolitan Board of Directors. 3 East 43d Street, G. SCHIRMER (Inc.,) New York The overture begins directly, Allegro (feurig schwungvoll), A major, 3-4, with a theme that is extended at considerable length and appears in various keys. After the entrance of the second theme there is an awakening of nature The notes of birds are heard, furtively at first; and then the notes are bolder and in greater number.