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Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip VALENTINE THEATRE • TOLEDO Thirty-first Season, I9H-J9I2 ifljafrm ^ptjrfjomj (irrtpatra MAX FIEDLER, Conductor programmr WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, FEBRUARY 2 AT 8.J5 COPYRIGHT, 1911, BY C A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says: " Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. f~r m (Eompqi CINCINNATI, OHIO VALENTINE THEATRE . * . TOLEDO Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor FRIDAY EVENING, FEBRUARY 2 AT 8.15 PROGRAMME Prelude to " The Mastersingers of Nuremberg" Prelude to "Lohengrin" Funeral Music, Act III., from "Dusk of the Gods" WAGNER Prelude and "Liebestod" from "Tristan and Isolde" Prelude to "Parsifal" "A Siegfried Idyl" Overture, "Tannhauser" There will be an intermission of ten minutes after the fourth selection 3 — — Prelude to "The Mastersingers of Nuremberg." Richard Wagner (Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) The Vorspiel to "Die Meistersinger von Nurnberg" was performed for the first time at Leipsic, November 1, 1862. The opera was first performed at Munich, June 21, 1868. The idea of the opera occurred to Wagner at Marienbad in 1845, and he then sketched a scenario, which differed widely from the one finally adopted. It is possible that certain scenes were written while he was composing "Lohengrin," and there is a legend that the quintet was finished in 1845. Some add to the quintet the different songs of Sachs and Walther. Wagner wrote a friend, March 12* 1862: "To-morrow I at least hope to begin the composition of ' Die Meistersinger.' " The libretto was completed at Paris in 1861. He worked at Biebrich in 1862 on the music. In the fall of that year he wished the public to hear fragments of his new works, as yet not performed nor published, fragments of "Siegfried," "Tristan," "Die Walkure,"—and he himself added to these the overture to "Die Meistersinger," the entrance of the mastersingers, and Pogner's address, from the same opera. His friend, Wendelin Weissheimer (born 1838), opera conductor at Wiirzburg and Mainz, composer, teacher, essayist, organized a concert at Leipsic for the production of certain works. Von Bulow was inter- ested in the scheme, and the concert was given in the hall of the Gewand- haus, November 1, 1862, as stated above. The programme was as follows: Part I. Prelude to " Die Meistersinger zu Niirnberg " (new) .... Wagner "Das Grab im Busento," Ballade for Bass, Male Chorus, and Orchestra Weissheimer Sung by Mr. RubsamEn. Concerto in A major (No. 2) for Piano Liszt Mr. v. Bulow. "O lieb' so lang du lieben kannst," Cantata for Mixed Chorus, Solo, and Orchestra Weissheimer Part II. "Ritter Toggenburg," Symphony in one movement (five sections) .....' Weissheimer Chorus, " Trocknet nicht " Weissheimer " Chorus, " Friihlingslied " . .* Weissheimer The duet sung by Miss LESSiAK and Mr. John. Overture to the opera " Tannhaiiser " Wagner Wagner conducted the two overtures. The hall was nearly empty, and the concert was given at a pecuniary loss. This was naturally Mme. *™ SODER-HUECK METROPOLITAN OPERA HOUSE, 1425 BROADWAY, NEW YORK Voice Training for Opera and Song Repertoire Speciality, the German Lied ONLY SERIOUS STUDENTS ACCEPTED Mme. ADA SODER-HUECK instructs according to the Garcia Method, which is acknowledged as the most successful and scientific system which has ever been introduced to the world. In fact, the rapidity of progress is remarkable and successful results can be almost guaranteed. a sore disappointment to Wagner, who had written to Weissheimer, October 12, 1862: "Good! 'Tannhauser' overture, then! That's all right for me. For what I now have in mind is to make an out-and- out sensation, so as to make money." Wagner had proposed to add the prelude and finale of "Tristan" to the prelude to "Die Meister- singer"; but his friends in Leipsic advised the substitution of the overture to "Tannhauser." There was not the faintest applause when " Wagner appeared to conduct. Yet the prelude to " Die Meistersinger was received then with such favor that it was immediately played a second time. * * * I give in condensed and paraphrased form Mr. Maurice Kufferath's analysis of this overture.* This Vorspiel, or prelude, is in reality a broadly developed overture in the classic form. It may be divided into four distinct parts, which are closely knit together. 1. An initial period, moderato, in the form of a march built on four chief themes, combined in various ways. The tonality of C major is well maintained. 2. A second period, in E major, of frankly lyrical character, fully developed, and in a way the centre of the composition. 3. An intermediate episode after the fashion of a scherzo, developed from the initial theme, treated in diminution and in fugued style. 4. A revival of the lyric theme, combined this time simultaneously with the two chief themes of the first period, which leads to a coda wherein the initial phrase is introduced in the manner of a stretto. The opening energetic march theme serves throughout the work to characterize the mastersingers. As Wagner said, "The German is angular and awkward when he wishes to show his good manners, but he is noble and superior to all when he takes fire." The theme might characterize the German bourgeoisie. (Compare Blgar's theme of "London Citizenship," in "Cockaigne.") Secondary figures are formed from disintegrated portions of this theme, and. there is a peculiarly appropriate scholastic, pedantic polyphony. Note also how from the beginning a cunning use of the ritardando contributes to the archaic color of the work. The exposition of the initial theme, with the first developments, leads to a second theme of wholly different character. It is essentially •See "Les Maitres Chanteurs de Nuremberg," by Maurice Kufferath (Paris and Brussels, 1908), pp. 200-210. NOWN throughout New Eng- land for its unexcelled cuisine. Its apartments of two to five rooms with bath appeal particularly to families Dartmouth and Newbury Sts. BOSTON who are planning to spend a long or short time in Boston. For both transient and permanent guests Rates furnished upon application — lyrical, and, given at first to the flute, hints at the growing love of Walther for Eva. Oboe, clarinet, and horn are associated with the flute, and alternate with it in the development. A Weberish flourish of violins leads to a third theme, intoned by the brass, sustained by harp. It is a kind of fanfare. The theme seems to have been borrowed by Wagner from the "crowned Tone" of Heinrich Mugling.* This pompous theme may be called the fanfare of the corporation, the theme of the guild, or the theme of the banner, the emblem of the corporation. It is soon combined with the theme of the mastersingers, and at the conclusion the whole orchestra is used. There is in this brilliant passage an interesting chromatic walk of trum- pets and trombones, supported by violas and 'cellos. A short and nervous episode of eight measures introduces a series of modulations, which lead to a sweet yet broadly extended melody, the theme that characterizes in general the love of Walther and Eva. And here begins the second part of the overture. The love theme after development is combined with a more passionate figure, which is used in the opera in many ways,— as when Sachs sings of the spring; as when it is used as an expression of Walther's ardor in the accompani- ment to his trial song in the first act. The tonality of the first period is C major, that of the love music is E major. And now there is an allegretto. The oboe, in staccato notes, traces in double diminution the theme of the initial march; while the clarinet and the bassoon supply ironical counterpoint. The theme of youthful ardor enters in contention ; but irony triumphs, and there is a parody (in E-flat) of the solemn March of the Mastersingers, with a new subject in counterpoint in the basses. The counter-theme in the 'cellos is the theme which goes from mouth to mouth in the crowd when Beckmesser appears and begins his Prize Song,—"What? He? Does " he dare? Scheint mir nicht der Rechtel" He's not the fellow to do it." And this mocking theme has importance in the overture; for it changes position with the subject, and takes in turn the lead.
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