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Boston Symphony Orchestra Concert Programs, Season 15, 1895

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Boston Symphony Orchestra Concert Programs, Season 15, 1895 ACADEMY OF MUSIC, PHILADELPHIA. Second Popular Matinee BY THE Boston Symphony Orchestra Mr. EMIL PAUR, Conductor. ASSISTED BY Miss Genevieve Clark Wilson AND Mr. Franz Ondricek, Saturday, December 21, at 230. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C A. ELLIS, MANAGER. iJliifee& MANUFACTURERS OF GRAND, SQUARE, AND UPRIGHT PIANOS EUGEN D' ALBERT: From fullest conviction, I declare them to be the\best Instru- ments of America. ........ DR..HANS VON BULOW : Their sound and touch are more sympathetic to my ears and hands than all others of the country. I declare them the absolutely best in America. ...... ALFRED GRUNFELD: I consider them t/ie best instruments of our times. P. TSCHAIKOWSKY: Combines with great volume of tone rare sympathetic and nobU tone color and perfect action. ...... WAREROOMS BALTIMORE, WASHINGTON, 22 and 24 E. Baltimore Street. 817 Pennsylvania Avenue NEW YORK, 148 Fifth Avenue. (2> "" ACclClCIHy Ol Fifteenth Season, 1895-96. TWT • i339th Performance. ' Eleventh Season in Philadelphia. Phli^HplohlS. Fiftieth Concert in Philadelphia Second Popular Matinee Saturday, December 21, at 2.30. PROGRAMME. Rossini - Overture, " William Tell Songs with Piano. a. Wagner ----- - "Dors, Mon Enfant" b. Wagner - - "Tr-urne"' _ c. Brahms - _____ "Liebestreu" Miss GENEVIEVE CLARK WiLSON- Robert Volkmann Serenade for String Orchestra, No. 3, in D minor, Op. 6? Larghetto non troppo (D minor) - - - 4-4 Solo Violoncello, Mr. ALWIN SCHROEDER. Max Bruch - - Concerto for Violin, No. 1, in G minor, Op. 26 I. Allegro moderato (G minor) - - 4-4 II. Adagio (E-flat major) - - 3-8 III. Finale : Allegro energico (G major) - 2 2 Mr. FRANZ ONDRICEK- a. Handel - - * - - Largo b. Mozart - - Turkish March Orchestrated by HERBECK. Songs with Piano. a. Brahms - - - - - " Meine Liebe ist Grun b. Dessauer - - - ' Ouvrez " (Bolero) Miss GENEVIEVE CLARK WILSON- Paganini _______ "Witches' Dances Mr. FRANZ ONDRICEK. Liszt ------ __ Rhapsody No. 2 THE PIANO IS A STEINWAY. (3) Buy Only The Matchless CUNNINGHAM -PI/IN0 1717 CHESTNUT STREET (4) - Overture to " William Tell," in E major. Gioacchino Antonio Rossini. Guillaume Tell, grand opera in three acts, the text by Etienne Jouy, Hippolyte Bis, and Armand Marast,.the music by Rossini, was brought out at the Acaddmie Royale de Musique in Paris on August 3, 1829. It was the composer's thirty-seventh, and last, opera, and has generally been ac- counted his masterpiece. The libretto, freely imitated from Schiller's drama of the same title, was originally written in five acts by Jouy ; but it was not to Rossini's liking, and was accordingly worked over and a good deal altered by Bis ; it was then remodelled a second time by Marast. The overture has long been famous, and greatly admired by musicians of every school ; Mendelssohn was particularly fond of it, and took delight in conducting it. Perhaps the most enthusiastic account of it is that written * by the Prince de Valori ; here it is : On the summits of dramatic genius, Gluck, Mozart, Rossini, form part of the same chain, the highest on the face of the globe ; but the Everest of this musical Himalaya is Guillatime Tell. Guillaume Tell is Alceste, Don Giovanni, la Vestale — perfected. We will take the liberty of quoting from ourselves — "This supreme perfection was reserved for Guillaume Tell. He (Rossini) has, so to speak, fused his own genius with all the geniuses that preceded him. You find everything there : the inspiration, the brio, the brilliancy, and the melody of his native land ; Gluck's energetic sobriety, Mozart's ideal tenderness, Mehul's piety, Haydn's grace and clarity, the power and symphonic majesty of Beethoven." t Rossini cast a glance backward. He looked his own imperfections and those of his great forerunners in the face, and conceived a master-work, the immortal crowning of the immortal works of Gluck, Mozart, Spontini, and Weber. *The Prince de Valori is one of the few remaining ultra-Rossinists in France. In his youth he carried his ardor for the great maestro to the pitch of fighting a duel "for the honor of Rossini's music." I quote what he writes of the overture to Guillaume Tell, not because I agree with every word of it, but because it well conveys the enthusiasm of a cultivated music-lover for his pet hobby. w. f. a. t La Musique et le Document humain, in-12, Ollendorf, edit. ATonie FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Horsford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion ; and, where the system has become debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. Cornell Easten, Philadelphia, Pa., says, " I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility and exhaustion." Descriptive pamphlet free. Rumford Chemical Works, Providence, R.I. Beware of Substitutes and Imitations. (5) HEPPE & SON Is only enjoyed when you can hear it played and played again. Too deep for every taste at one hearing. You can play any of Wag- ner's Operas in a dozen varied tempos and expressions. W H S E T The ^Eolian E E L C O K Plays the whole orchestral score, while you C conduct the expression by the use of K P "stops,"' according to your own individual I P A taste, but requires no musical knowledge. I N It plays over 6,000 compositions, embrac- O A ing every well-known classical and popular N s musical work written. O s Exhibition Daily C.J. HEPPE & SON 1117 CHESTNUT and SIXTH & THOMPSON Steck, Wheelock, Krell, and Pease Pianos. Symphonion and Regina ."lusic Boxes, /landolins, Banjos, Autoharps, etc. KRELL PIANOS .«) And, to begin with, he wished the overture to Guillaume Tell to be a pastoral sym- phony. The memory of Beethoven did not frighten him. Recognizing that Beethoven chilled the enthusiasm of his audience by returning too often to the same theme, he wrote his overture with prodigious conciseness. Never was there a more complete and striking musical picture in fewer notes. Regarding the finale of this sublime orchestral piece, in which the noise of galloping squadrons mingles with the murmur of running waters and the swaying of tall fir-trees, trembling in the violins, the following musical blasphemy has been uttered : circus music. At this rate, some new means of making horses gallop will have to be discovered, and Mehul's music, in la Chasse du jeune Henri, be called caterpil- lar music. And the Hungarian March in la Damnation de Faust, and the Ride to the Abyss. Such is the preface to this sublime epic to God, country, and nature ; the last word of human genius in music. The overture opens with a slow phrase of the violoncello, of a grand, almost religious sadness : the Super flumina of the Helvetian lakes. One seems to hear the oppressed fatherland weeping over the loss of its freedom. Its plaint is short and deep. Then the other violoncelli come in ; they pour out the coolness of the lakes, the clearness of their waters, over the sadness and melancholy of the basses. All of a sudden the sky grows dark. The forest is hushed in silence; a shudder runs over the face of the waters. There is a ripple on the lake. All nature seems hushed at the approach of the storm. It draws near with great strides. The wind sways the tall firs; it plunges in beneath the is high-grown timber. One first lightning flash rends the clouds, and followed by others ; then the thunder roars. The hurricane is unchained in all its fury. The orchestra, in a sublime explosion of all the instruments, sings it in a picture which bids defiance to all musicians and all painters in the universe. And the trumpets which sound the cataclysm of the elements sound at the same time a triumphal hymn, a gigantic conception, and unique in the history of the art of music. The thunder of battles seems to join with the thunder of heaven. The lightning becomes the fanfare of warlike Helvetia ; the flashes of the firmament become the illuminations of apotheosis and redemption. At the highest degree of power yet reached by descriptive harmony, Rossini's orchestra stops short. The heavens, the mountains, and the valley are hushed to silence. Some belated rum- blings are repeated from echo to echo. You hear, here and there, the noise of water-falls, swollen by the storm. Then nothing more ; all nature is benumbed by the rain. You hear her slumbering. The Ranz des vaches will awaken her from this slumber. A naive and ravishing melody of the English horn, sprinkled from above with the capricious tri- New England conservator]] or music FOUNDED IN 1853 BY DR. EBEN TOURJEE. RICHARD H. DANA, President. CARL FAELTEN, Director. The Leading Conservatory of America. The Most Perfect in its The Most Complete in all EQUIPMENTS. DEPARTMENTS. In addition to its unequalled musical advantages, the Conservatory contains excellent schools of Elocution and Modern Languages. Send or call for Prospectus. F. W. HALE, General Manager, . Franklin Square, BOSTON, MASS. (7) SHORE LINE BETWEEN BOSTON and NEW YORK THROUGH TRAIN SERVICE FROM EITHER CITY. 10.00 a.m. "BAY STATE LIMITED." irestUmled Buffet Parlor Cap. only. Special Tirynet required. Due 3.00 p.m. 44 10.03 a.m. DAY EXPRESS." 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