Symphony Hall, Boston Huntington and Massachusetts Avenues
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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephones \ Ticket Office £ R W R * 1 492 Branch Exchange } Administration Offices \ INCORPORATED THIRTY-EIGHTH SEASON. 1918-1919 HENRI RABAUD, Conductor ten WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, DECEMBER 20 AT 2.30 O'CLOCK SATURDAY EVENING, DECEMBER 21 AT 8.00 O'CLOCK COPYRIGHT, 1918, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 337 "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 IINWAY & SONS, STEINWAY HALL 107-109 EAST 14th STREET, NEW YORK CITY Subway Express Stations at the Door Represented by the Foremost Dealers Everywhere 33§ Boston S monj Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor Violins. Fradkin, F. Concert-master Noack, S. Faneuil Hall and Bunker Hill > <rTB.ESE famous monuments to the beginning of American History you instinctively associate with America's Great Piano, the rod The Chickering-Ampico Reproducing Piano marvelously recreates the playing of great artists, faithfully duplicat- ing their finest concert stage interpretations. To own a Chickering-Ampico is to add an unusually gifted member to your home circle. Symphony patrons are cordially invited to call any after- noon and hear their favorite compositions played by eminent concert pianists. A memorable experience awaits your convenience. Informal recitals daily from 2 to 5 p.m. Established 1823 169 Tremont Street (near Mason Street) . THIRTY-EIGHTH SEASON. NINETEEN HUNDRED EIGHTEEN AND NINETEEN Se¥eetli Programme FRIDAY AFTERNOON, DECEMBER 20, at 2.30 o'clock SATURDAY EVENING. DECEMBER 21, at 8 o'clock D'Indy . "Wallenstein," Trilogy (after the Dramatic Poem of Schiller), Op. 12 I. Wallenstein' s Camp. II. Max and Thekla (The Piccolomini) III. The Death of Wallenstein. Chopin Concerto in E minor, Op. 11, No. i I. Allegro maestoso. II. Romanze: Larghetto. III. Rondo: Vivace. Berlioz Overture, "King Lear," Op. 4 SOLOIST JOSEF HOFMANN STEINWAY PIANO USED There will be an intermission of ten minutes before 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. Those 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. 202-216 BOYLSTON STREET, BOSTON EXCLUSIVE, USEFUL HOLIDAY GIFTS We have prepared fully to meet the Christmas demands, and an Early Inspection is advised while the assortment is complete TOYS GAMES DOLLS ATTRACTIVE COLLECTION MODERATE PRICES ||ent^|f.lli!ljer PIANOFORTES 395BoylstonSt. Boston 342 "Wallenstein," Trilogy (after the Dramatic Poem of Schiller) Vincent d'Indy (Born at Paris, March 27, 1852* ; now living in Paris.) The first work of Vincent d'Indy that was performed in Paris was his "Ouverture des Piccolomini," which was produced at a Pasdeloup concert, January 25, 1874. This overture, the second part of the "Wallenstein" trilogy, showed, it is said, the marked influence of Schumann. It was afterwards changed materially, thoroughly rewritten. The "Wallenstein" trilogy was begun in 1873-71. It was com- pleted about 1881. The third movement, "La Mort de Wallenstein," was first performed at a Pasdeloup concert ("Concert Populaire") in Paris, March 14, 1880. The first movement, "Le Camp de Wallen- stein," was first performed at a concert of the National Society, Paris, April 12, 1880. It was performed March 30, 1884, at a Concert Populaire, Pasdeloup conductor, in Paris. There were performances of this or that movement at the concerts of the National Society in Paris, at Angers, and at Antwerp, but the first performance of the trilogy, complete, was at a Lamoureux concert in Paris, March 4, 1888. The first performance of the trilogy in the United States was at one of Anton Seidl's concerts in Steinway Hall, New York, Decem- ber 1, 1888. * This year is given by the composer. The catalogue of the Paris Conservatory gives 1851, and 1851 is given by Adolphe Jullien, who says he verified the date by the register of d'Indy's birth. FROM RECENT CONCERT PROGRAMMES IANOFORTE COMPOSITION! :am COMPOi PLAYED BY (DRUIDS Oliver Denton BAUER, MARION . ^THE TIDE Mrs. Maurice Seitz (VISION Cadence Meakle Op. 15, No. 4. FIREFLIES . BEACH, Mrs. H. H. A. I Josef Hofmann 1 Op. 28. No. 2. MENUET ITALIAN Mrs. Carl Boyle BURNHAM, CHARLES S. DESIRE . ... Mrs. Carl Boyle CHADWICK, G. W. CAPRICE IN G MINOR . Mrs. H. H. A. Beach DENNEE, . CHARLES Op. 40, CONCERT ETUDE . Elizabeth Siedhoff Op. 15, No. 1. PRELUDE AND FUGUE Mme. Sturkow-Ryder Op. 37. No. I, PRELUDE— FOOTE, ARTHUR . ETUDE FOR THE LEFT HAND ALONE Mme. Sturkow-Ryder Op. 41,5 POEMS (AFTER OMAR KHAYYAM) .... James A. Bliss Op. 49, No. 2, . [ RIGAUDON Heinrich MacDOWELL, Gebhard EDWARD Op. 36, ETUDE DE CONCERT . Frank La Forge 'Op. 59, KELTIC SONATA . Harold Bauer SEEBOECK. W. C. E. BY THE FROG POND . Ernest R. Kroeger SMITH, . GERRIT . VALSE FOR THE LEFT HAND . Helen Wolf Op. 30, No. I, AMOURETTE DE PIERROT Rudolph Ganz STOJOWSKI, S. Op. 30, No. 3, PRES DU RUISSEAU Ignaz Paderewski (BY THE BROOKSIDE) THE ARTHUR P. 120 BOYLSTON STREET, BOSTON, MASS. For Sale by all Music Dealers 343 — — The first performance of the trilogy in Boston was on October 19, 1907, Dr. Muck conductor. Among the other performances in the United States are the follow- ing: Chicago: Chicago Orchestra, Theodore Thomas conductor, "Wallenstein's Camp," October 27, 1900 ; the complete trilogy, April 6, 1901; "Wallenstein's Camp," April 6, 1907, Frederick A. Stock conductor. Cincinnati : Cincinnati Orchestra, Mr. Van Der Stucken conductor, "Wallenstein's Camp," December 19, 1903, January 27, 1906. When "The Death of Wallenstein" was first performed in Paris, there was an argument, an explanatory programme, for a contem- porary reviewer then discussed the possibility of translating into music "Reves heroiques de gloire et de liberte," "Trahison," "Mort," while he admitted d'Indy's success in the sections, "Souvenir de Thecla" and "Triomphe." The score of the trilogy is without a programme of any sort. Hugues Imbert's sketch of the trilogy was Englished by Stanley V. Makower as follows : "The distinguishing feature of the symphonic music of Vincent d'Indy is that it paints with forcible truth, marvellous vividness, and astonishing vigor the various episodes in the drama of Schiller. For instance, in the first part, 'Le Camp,'* after the slow valse, comes the * James Churchill's translation into English of "Wallenstein's Camp" is thus pre- faced : "The Camp of Wallenstein is an introduction to the celebrated tragedy of that name, and, by its vivid portraiture of the state of the General's army, gives the best clue to the spell of his gigantic power. The blind belief entertained in the unfailing success of his arms, and in the supernatural agencies by which that success is secured to him ; the unrestrained indulgence of every passion, and utter disregard of all law, an ft/Fie (Joprano Miss ALICE SIEVER ACCOMPANIST Repertoire: Arias. Italian, French and English. Songs and Ballads. Songs in Costume Copy of Col. Taylor's letter.—Shubert Thea- tre. Boston, June 24, 1918. My dear Miss Kingman.—The devotion to your country as expressed in your generous contribution given at the Shubert Theatre on Saturday evening was sincerely appreciated by all who had the privilege of listening to you, especially by myself, who was responsible for half the programme. Your beautiful voice together with your charming personality cap- tivated everybody. I predict for you a most successful future and shall watch your career as it develops, with a keen interest. Very sincerely. CHAS. W. TAYLOR. Colonel U.S. Army—Cavalry. Management R. E. Johnston. 1451 Broadway. N.Y. Residence. 24 West 59th St.. N.Y. Telephone, Plaza 6876. & Cfjrtsitma* <§tft from Is the currency of good will and mutual affection, never squandered, alwaysjm circulation, always par value ! THE .