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Boston Symphony Orchestra Concert Programs, Season 27,1907

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Boston Symphony Orchestra Concert Programs, Season 27,1907 CARNEGIE HALL - - NEW YORK Twenty-second season in New York IfriBfam ^ptjrfjfltuj flDrrffoaira DR. KARL MUCK, Conductor Programme at tty FOURTH CONCERT THURSDAY EVENING, FEBRUARY 20 AT 8.15 PRECISELY ANP THE FOURTH MATINEE SATURDAY AFTERNOON, FEBRUARY 22 AT 230 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used bv TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily SafonofT Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY . 37 W. 32d Street, New York Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. * Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Tromjbones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz. Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. • Librarian. Sauerquell, J. 3 1 ®t)e Gnjtttortng E }3 inno ii Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING&SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S.A. I 1 Represented in New York by JOHN WANAMAKER, Broadway and ioth Street 4 Boston CARNEGIE HALL, Symphony § NEW YORK. Twenty-seventh Season, J907-J9O&, Orchestra Twenty-second Season in New York. Dr. KARL MUCK, Conductor. FOURTH CONCERT, THURSDAY EVENING, FEBRUARY 20, AT 8.15 PRECISELY. PROGRAMME. Reger . Variations and Fugue on a Theme by J. A. Hiller, Op. ioo First time at these concerts Beethoven . Concerto in D major for Violin, Op. 61 I. Allegro ma non troppo. II. Larghetto. III. Rondo. J. S. Bach . Overture from Suite in D major, No. 3, for Orchestra SOLOIST, Mr. FRITZ KREISLER. There will be an intermission of ten minutes before the concerto* Ready to be played by means ofperfo- by any one rated rolls MUSICAL EXPRESSION Many pianists play mechanically. Their technique is often admirable, but their touch is so uncompromisingly uniform from end to end and from top to bottom of a piece thai the effect is inevitably automatic* The same is true of player-pianos lacking adequate means of proper accent. On the other hand, it is practically AUTOTONEimpossible to play mechanically on the The Piano ALL can play Either by hand or by perforated music-rotts. The technique of the Autotone is faultless; and, in addition, it possesses most wonderful means of musical expression found in no other instrument. One of the most important of these exclusive features is THE ACCENTOR It places at the finger tips of the most unpractised music-lover the perfect means of proper accent. It enables any one to subdue the accompaniment and bring out the melody ; to accent any chord, note, or series of notes,—all with the utmost ease and simplicity. This accenting is not arbitrarily mechanical, as when cut in the -music-roll, but has all the fascination of individual interpretation. A simple trial of the Autotone at our warerooms or at the warerooms of our representatives in- stantly demonstrates its overwhelming advantages. The Autotone is not a combination of an exterior player made in one factory and a piano made in another. The Autotone is a com- plete and perfect whole, every part being made under one roof. cAU makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST Estab. HARDMAN, PECK & CO., 1842 138 Fifth Avenue (corner 19th Street), New York 534 Fulton Street, Brooklyn Ready to be played A utotone Parts are by hand invisible Variations and Fugue on a Merry Theme by J. A. Hiller (1770) for Full Orchestra, Op. 100 . Max Reger (Born at Brand, Bavaria, on March 19, 1873 ; now living in Leipsic.) This composition was performed for the first time at a Gurzenich concert, Cologne, October 15, 1907. The concert was conducted by Fritz Steinbach, to whom the work is dedicated. The first performance in the United States was at Philadelphia by the Philadelphia Orchestra, December 20, 1907. The work is scored for two flutes, two oboes, two clarinets, two bassoons, double-bassoon, four horns, two trumpets, three trombones, oass tuba, a set of three kettledrums, harp, strings. Reger tells us on the title-page that the melody of Johann Adam Hiller is dated 1770; he gives no further clue to identification of it, nor has any commentator, to my knowledge, identified it. Mr. Johannes Reichert, the editor of the programme books of the symphony concerts of the Royal Orchestra, Dresden, says it is from a Singspiel of Hiller. Fortunately, there is a set of Hiller's operettas in the Boston Public Library, in the remarkable collection of musical works and books on music given with princely generosity to the city by Mr. Allen A. Brown. The theme is from Hiller's operetta, "Der Aerndtekranz" ("The Harvest Wreath"), in three acts. The operetta was published at Leipsic in 1772. Gerber, in his " Historisch-Biographisches Lexicon der Tonkiinstler" (first edition, 1790), gives this date of publication, T^ut says nothing about the year of the performance; Dr. Hugo Rie- mann gives the date of performance "Leipsic, about 1770" ("Opern Handbuch," Leipsic, 1887); Carl Peiser, in his study of J. A. Hiller (Leipsic, 1894), merely mentions the title and the date of publication. The melody chosen by Reger is in the second act of the operetta LATEST ADDITIONS TO THE LIST OF MINIATURE SCORES MOZART. Symphony in D major - $0.50 AUBER. "Le Cheval de Bronze" Overture .50 BOIELDIEU. "La Dame Blanche" Overture .... .50 MENDELSSOHN. "Calm Sea and Prosperous Voyage" .50 ROSSINI. "Semiramide" .50 E. ELGAR. "Military Marches" "Pomp and Circumstance" No. 1 in D $1.00 No. 2 in A 1.00 No. 3 in C 1.00 No. 4 in G 1.00 E. ELGAR. "Sea Pictures." Cycle of Five Songs for Contralto - 1.50 BRAHMS. German Requiem -!-.•--.-- 3.00 HAYDN. "Creation" 2.50 LISZT. Second Piano Concerto in A major - 2.00 MOZART. Requiem ---- - 1.50 4 B00SEY & COMPANY, 9 East Seventeenth St., New YorK City — — ; ! (page 51), and it is sung by Lieschen. The melody, with the little instrumental interludes and finale, is followed closely by Reger. The key is the same, B major, and the time is the same, 2-2 ; but the term Andante is unqualified in the original. The words sung by Lieschen are as follows : Gehe, guter Peter, gehe Ich verstehe Wie man dich zurucke kriegt. Nur ein Wortchen, nur ein Blick, Und er ist vergnugt, Und er kommt zuriick. Will er ja die Stirn in Falten Noch erhalten Einen Kuss versprech ich dann. Freundlich spitzt er Mund und Ohr, Und er lacht mich an Und er liebt wie vor. This may be freely Englished^ Go, good Peter \ I know how you are to be won back. a word, just a Just ; look; he is happy, he returns. If he persists in scowling, I promise him a kiss. Then he puckers his lips and pricks up his ear, and he smiles on me and he loves me as before. Theme. Andante grazioso, E major, 2-2. This theme of eighteen measures has a simple character, yet there is variety in the sections, and there is a certain rhythmic charm. It is sung chiefly by wood-wind instruments. The strings have two sections and the conclusion. TWELVE LESSONS IN THE Fundamentals of Voice Production By ARTHUR L. MANCHESTER (IN PRESS) Price, postpaid, $1.00 Good singing is built upon a good foundation, whicb in turn depends upon a correct tone production. The Twelve Lessons, by Mr. Manchester, present, in a succinct, clearly stated form, the fundamental principles, which statements are illustrated by simple practical exercises. The special aim is to train the pupil to recognize the conditions, comfort, and firmness which accompany tone production, and are inseparable from good singing. The teacher will find the book an invalua- able aid in the first term's work with a pupil.
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