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Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip

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Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip ACADEMY OF MUSIC . FALL RIVER Thirty-first Season, J9JM9J2 i i StfHtmt ^ptpljflttij ®rrfj?0tra MAX FIEDLER, Conductor Jtogramm? WITH HISTORICAL AND DESCRIP- TIVE NOTES ,BY PHILIP HALE MONDAY EVENING, OCTOBER 16 AT 8.15 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. 8 EAST 34th STREET, NEW YORK ACADEMY OF MUSIC FALL RIVER Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor MONDAY EVENING, OCTOBER 16 AT 8.15 PROGRAMME Weber . Overture to the Opera "Oberon" " Tschaikowsky . Symphony in B minor, No. 6, Pathetic/' Op. 74 I. Adagio; Allegro non troppo. II. Allegro con grazia. III. Allegro molto vivace. IV. Finale: Adagio lamentoso. Charpentier Air, "Depuis le jour," from " Louise" " " Smetana . Symphonic Poem, Vltava (" The Moldau ") (from "Ma Vlast" ("My Country"), No. 2) " Puccini . Aria, "Tosca," Prayer from Second Act Vissi d' Arti" Wagner . 1 Overture, "Tannhauser" SOLOIST Miss FLORENCE HINKLE, Soprano There will be an intermission of ten minutes after the symphony 3 OPPOSITE BOSTON COMMON 154 and 155 TREMONT STREET Announce a Distinguished Showing of Afternoon D AND Evening Gowns embracing original models from famous foreign designers: Doucet, Callot Soeurs, Francis, Paquin, Worth, and many others ALSO Clever adaptations by j the foremost American f wt designers Afternoon 'Dresses 37.50 to 1 25.00 fivening Qowns 50.00 to 375.00 ! Overture to the Opera "Oberon" . Carl Maria von Weber (Born at Kutin, Oldenburg, December 18, 1786; died at London, June 5, 1826.) "Oberon; or, the Elf-king's Oath," a romantic opera in three acts, book by "James Robinson Plance, music by Carl Maria von Weber, was first performed at Covent Garden, London, on April 12, 1826. Weber conducted the performance. The first performance in Boston was at Music Hall by the Parepa Rosa Company, May 23, 1870. Weber was asked by Charles Kemble in 182410 write an opera for Covent Garden. A sick and discouraged man, he buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously. Planche sent the libretto an act at a time. Weber made his first sketch on January 23, 1825. The autograph score contains this note at the end of the overture: "Finished April 9, 182.6, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria ! ! — C. M. V. Weber." This entry was made at London. The overture is scored for two flutes,' two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings. The overture begins with an introduction (Adagio sostenuto ed il tutto pianissimo possibile, D major, 4-4). The horn of Oberon is answered by muted strings. The figure for flutes and clarinets is taken from the first scene of the opera (Oberon's palace; introduction and chorus of elfs). After a pianissimo little march there is a short dreamy passage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (Allegro con fuoco in D major, 4-4). The brilliant opening measures are taken from the accompaniment figure of the quartet, "Over the dark blue waters," sung by Rezia, Fatime, Huon, Scherasmin (act ii., scene x.). The horn of Oberon is heard again; it is answered by the skipping fairy figure. The second theme (A major, sung first by the clarinet, then by the first violins) is taken from the first measures of the second part of Huon's air (act L, No. 5). And then a theme taken from the peroration, presto con fuoco, of Rezia's air, "Ocean! Thou mighty monster" (act ii., No. 13), is given as a conclusion to the violins. This theme ends the first part of the overture. The free fantasia begins with soft repeated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods; a new theme is introduced and treated in fugato against a running contrapuntal counter-theme in the strings. The second theme is treated, but not elaborately; and then the Rezia motive brings the spirited end. At the first performance of the opera the overture was repeated. * * * To everyone FOREST'S MUSIC isthe Placewhere r > y°u can °kta * n who C T'/* \0 T^ Uses Music b 1 OrvJL what you desire!* On hand: Schirmer's Library, Wood Edition, etc. 238 SOUTH MAIN STREET The first performance of "Oberon" in the United States was at New York, October 9, 1828, at the Park Theatre. Mrs. Austin was the heroine, and Horn the Sir Huon. (There was a performance of " Obe- ron," a musical romance, September 20, 1826; but it was not Weber's opera. It may have been Cooke's piece, which was produced at Lon- don early in that year.) This performance was "for the benefit of the beautiful Mrs. Austin." An admirer, whose name is now lost, spoke of her "liquid voice coming as softly on the sense of hearing as snow upon the waters or dew upon the flowers." White says that her voice was a mezzo-soprano of delicious quality. "She was very beautiful,— in what is regarded as the typical Anglo-Saxon style of beauty, 'divinely fair,' with blue eyes softly bright, golden brown hair, and a well-rounded figure." She was praised lustily in print by a Mr. Berkeley, "a member of a noble English family, who accom- panied her, and managed all her affairs with an ardent devotion far beyond that of an ordinary man of business. She visited Boston during the season of 1828-29, and she sang here in later years. White says that she was not appreciated at first in New York, because she had made her debut at Philadelphia. "For already had the public of New York arrogated to themselves the exclusive right of deciding upon the merits of artists of any pretensions who visited the country pro- fessionally. And it is true that, if they received the approbation of New York, it was a favorable introduction to the public of other towns. Not so, however, with those who chose Philadelphia or Boston as the scene of their debut. The selection was in itself regarded by the Manhattanese as a tacit acknowledgment of inferiority or as a slight I PIANO teaching! I Its Principles and Problems « g ijSS^ By CLARENCE G. HAMILTON, A.M. § MsTiDEfiTsip Price, postpaid, $1.25 g \|||pl^|$/ '""ir^HE book is thoroughly practical, written by ^^§S£^ A a practical man to meet practical needs. We do not hesitate to say that the work is one which should be in the hands of every piano teacher in the land seeking success. g JOHN ORTH, Who Teaches Teachers how to Teach, says: g "After having carefully read PIANO TEACHING: Its Principles and A Problems, I write to say that I feel there can be but one opinion of this i work, that it is decidedly the best book of its kind. I believe no teacher could possibly expend the price of this work to better advantage than by ^ © becoming its possessor." S? NOTE: This volume is one of the popular MUSIC STUDENTS LIBRARY. I Complete list sent free on request OLIVER DITSON COMPANY, Boston j I 130 Tremont Street — to their pretensions as arbiters; and in such cases they were slow at bestowing their approval, however well it might be deserved." I doubt whether "Oberon" was performed in New York exactly as Weber wrote it, for it was then the fashion to use the fremework and some of the songs of an opera and to introduce popular airs and incon- gruous business. "Oberon" was in all probability first given in this country* in 1870. Performances, however, have been few. There were some at San Francisco in December, 1882, when the part of Rezia was taken alternately by Miss Lester and Miss Leigh ton. Symphony No. 6, in B minor, "Pathetic," Op. 74. Peter Tschaikowsky (Born at Votkinsk, in the government of Viatka, Russia, May 7,* 1840; died at St. Petersburg, November 6, 1893.) This symphony is in four movements: I.
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