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Symphony Hall, Boston Huntington and Massachusetts Avenues SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES y Branch Exchange } Administration Offices ) INCORPORATED THIRTY-EIGHTH SEASON, 1918-1919 HENRI RABAUD, Conductor .cera WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MARCH 28 AT 2.30 O'CLOCK SATURDAY EVENING, MARCH 29 AT 8.00 O'CLOCK COPYRIGHT, 1919, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1009 "The world needs music more when it's in trouble than at any other time. And soldiers, and-the mothers and wives and sweethearts and children of soldiers get more of the breath of life from music than the man on the street has any notion of."—JOHN McCORMACK MUSIC is an essential of every well-regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing gener- ation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old, in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every household. And the greatest among pianos is the STEINWAY, prized and cherished throughout the wide world by all lovers of good music. Or, in the words of a well-known American writer: "Wherever human hearts are sad or glad, and songs are sung, and strings vibrate, and keys respond to love's caress, there is known, respected, revered—loved—the name and fame of STEINWAY." Catalogue and prices on application Sold on convenient payments Old pianos taken in exchange Inspection invited 107-109 EAST 14th STREET, NEW YORK CITY Subway Express Stations at the Door Represented by the Foremost Dealers Everywhere 1010 Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor Violins. Fradkin, F. Concert-master Noack, S. ,mmm e s ^ ff ' =ry= ,.,: ., I , \ A "pHE Ampico Reorodueing Action in the Chicker- -i- ing exactly duplicates the playing of the best- known concert pianists. Frequent Comparison Concerts have publicly demon- ! strated this perfection of the Ampico. The pianist whose art is being reproduced plays a composition, and immediately, with the artist still present, the Am- :::::::: pico repeats the same selection for direct comparison. I i!!i![i!r The Ampico is the only instrument that has attained ill! such perfection that it will stand this absolute and •hi- convincing test. Symphony patrons are cordially invited to call and hear the informal recitals by renowned concert pian- : ists, liii'iljn Wednesday and Friday afternoons from two to five. A beautifully illustrated brochure will be mailed upon request. P'ill Established 1823 169 Tremont Street ....... ...ii.iii.iimiiiMMii 1012 THIRTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHTEEN AND NINETEEN Tomi FRIDAY AFTERNOON, MARCH 28, at 2.30 o'clock SATURDAY EVENING, MARCH 29, at 8.00 o'clock Faure Prelude to "Penelope" (First time in Boston) Beethoven Concerto for Pianoforte, No. 5, in E-flat major, Op. 73 I. Allegro. II. Adagio un poco moto. III. Rondo: Allegro ma non troppo. Hill "Stevensoniana"; Four Pieces for Orchestra after Poems from R. L. Stevenson's "A Child's Garden of Verses" (First time at these concerts) I. March. II. Lullaby, "The Land of Nod." III. Scherzo. IV. "The Unseen Playmate." Berlioz "Grand Fete at Capulet's House," from the Dramatic Symphony, "Romeo and Juliet," Op. 17 ("Romeo seul—tristesse— bruits lointains de concert et de bal—grande fete chez Capulet") SOLOIST HAROLD BAUER MASON & HAMLIN PIANO USED There will be an intermission of ten minutes after the concerto The ladies of the audience are earnestly requested not to put on hats before the end of a number. The doors of the hall will be closed during the performance of each number on the programme. TJiose who wish to leave before the end of the concert are requested to do so in an interval between the numbers. City of Boston, Revised Regulation of August 5, 1898,— Chapter 3, relating to the covering of the head in places of public amusement Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN. City Clerk. 1013 ANNOUNCE that their IMPORTATIONS ?g£ COMING SEASON MODEL GOWNS, COATS and EVENING WRAPS are NOW being SHOWN in their DRESSMAKING DEPARTMENT THIRD FLOOR 202 BOYLSTON STREET . BOSTON ! «s%nrrf! PIANOFORTES 395BoylstonSt. Boston 1014 Prelude to "Penelope/ Lyric Poem in Three Acts. Gabriel Faure (Born at Farmers (Ariege) France, on May 13, 1845 ; now living in Paris.) "Penelope," lyric poem in three acts, libretto by Rene Fauchois, music by Gabriel Faure, was performed for the first time at Monte Carlo, March 4, 1913. Ulysse, Rousseliere; Eumee, Bourbon; Anti- noiis, Delmas; Eurymaque, Allard; Leodes, Sardet; Ctesippe, Cousi- nou; Pisandre, Sorret; Un Patre, Rossignol; Penelope, Lucienne Breval; Euryclee, Mme. Raveau; Cleone, Mme. Durand-Serviere; Melantho, Mme. Malraison; Alkandre, Mme. Criticus; Phylo, Mme. Gilson; Lydie, Mme. Florentz; Eurynome, Mme. Rozier. Leon Jehin conducted. The first performance in Paris was at the Theatre des Champs- Elysees, on May 10, 1913. Ulysse, Muratore; Eumee, Blancard; Antinous, Tirmont; Eurymaque, Danges; Penelope, Lucienne Breval; Euryclee, Cecile Thevenet. Louis Hasselmans conducted. There were fifteen performances that year. The part of Penelope was taken also by Rose Feart. The bill of the first performance contained this note: " 'Penelope,' which the Theatre des Champs-Elysees reveals to us to-day, will succeed in dissipating the misunderstanding which has separated the stage from pure music for a long time." "Penelope" was performed at the Opera-Comique, Paris, the last week of January, 1919. "The occasion was the inauguration of the directorship of Albert Carre and Vincent Isola." Ulysse, Rousseliere; Eumee, Vieuille; Penelope, Germaine Lubin; Euryclee, Cecile Thevenet. Mmes. Delemarre, Bourguignon, and Messrs. Parmentier, (Schmidt's Edi, g SELECTED PIANOFORTE SONATAS PIANOFQCTE EDITED BY EDITED IS\ DOTE 10 SONATAS by BEETHOVEN Vol. I. Vol. II. jil Op. 2, No. I. Op. 14, No. 2. TE2S Op. 10, No. 2. Op. 26. selected sonatas Op. 10. No. 3. Op. 27. No. 2. Op. 13. * Op. 49, No. 1. vol.i vol.h Op. 14, No. I. Op. 49, No. 2. V>: Price, $1.00 each volume ;'?-. v 9 SONATAS by MOZART Vol. I. Vol. II. SELECTED SONATAS 3 Sonatas in C, G 3 Sonatas in A, D and F. and F. Vol.! Vo/,.11 Fantasia in minor. D Fantasia in C minor. Rondo in A minor. Price, 75 cents Price, 90 cents IIII3J 120 Boylston Street, Boston, Mass. For Sale by all Music Dealers 1015 Decreus, Audoin, Gilles, d'Espinay and Pujot also took part. Ruhlmann conducted. The story is a condensation of that told by Homer in the Odyssey beginning with the return of Ulysses, but the second act shows a cliff by the sea. Penelope offers flowers to the gods and prays for the return of her husband. He stands, as yet unrecognized by her, and talks with her about Ulysses. After she has left, he reveals himself with a mighty shout to the crowd. The first act, opening with a spinning scene, shows Penelope vexed by the impatient suitors. Ulysses enters as a beggar and is recognized, not by a dog, but by his old nurse. The third act is concerned with Ulysses bending the bow, slaying the chief suitor, and putting the others to rout and death. It is said that in 1907 or 1908 at a dinner given at Monte Carlo, Raoul Gunsbourg, the director of the opera house, asked Faure when he would have an opera ready for Monte Carlo. "I should be obliged to have an interpreter like my amiable neighbor," answered the com- poser, turning to Miss Breval. "I take you at your word," said the singer; "I have a libretto," and some days later she brought Rene Fauchois and Faure together. The libretto did not then exist. Fauchois pretended that the copy had not yet been delivered to him, but in the course of a walk he related the scenario, improvising it. Faure was delighted, and soon the two signed a contract with Heugel, the publisher. This Prelude, Andante moderato, 3-4, is built on two themes, which may be taken as illustrative of Ulysses and Penelope. In operatic performance it goes directly into the music of the first scene. Faure scored this Prelude for these instruments: two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, bass tuba, three kettledrums, bass drum, cymbals, harp, strings. For concert performance Mr. Rabaud has added two flutes, two oboes, one clarinet, two bassoons, two horns, two trumpets and one trombone. * There are widely differing and strange accounts of the life and char- EL! HILDEGARDE BRANDEGEE Violin MARJORIE PATTEN FRIEND Violoncello MARION HYDE Piano Organized for the study and presentation of representative and novel programs of Sonata and Trio Literature Available for Concerts, Musicales and Lecture Recitals Address MARJORIE PATTEN FRIEND, 58 Marshal Street, Brookline Telephone, 3747 W Brookline 1016 The proper care of furs during mild and hot weather does so much to prolong their beauty and usefulness that we consider such service an essential feature of our fur business. Our IMPROVED COLD STORAGE SYSTEM receives attention fully as painstaking as the purchase of a stock of new furs for new sales.
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