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Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip

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Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip / CARNEGIE HALL, NEW YORK. : Boston SumDtlonu Orchestra Mr. WILHELM GERICKE, Conductor.. Nineteenth Season in New York,, PROGRAMMES OF THE FIRST CONCERT THURSDAY EVENING, NOVEMBER 3, AT 8.J5 PRECISELY, AND THE FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 5, AT 2.30 PRECISELY. "With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. 1 Established Established 1823 1823 CfjtttttTtng PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY JOHN WANAMAKER, New York, N.Y. 1 " DOStOn , CARNEGIE HALL, Symphony | NEW V0RK - " y~fourth h Twent Season, 1904-J905- Orchestra Nineteenth Season in New York. Mr. WILHELM GERICKE, Conductor. FIRST CONCERT, THURSDAY EVENING, NOVEMBER 3, AT 8.15 PRECISELY. PROGRAMME. Beethoven .... Symphony No. 4, in B-flat major, Op. 60 I. Adagio ; allegro vivace. II. Adagio. III. Allegro vivace. Trio : Un poco meno allegro. IV. Finale : Allegro ma non troppo. Joachim . Concerto (in the Hungarian manner) for Violin and Orchestra, Op. 1 I. Allegro un poco maestoso. II. Roman ze : Andante; piu. moto, poco allegretto ; allegretto. III. Finale alia zingara : Allegro con spirito, presto. Dukas ..... Scherzo, " The Sorcerer's Apprentice " (After a ballad by Goethe.) (First time at these concerts.) • " Wagner . Overture to Tannhauser SOLOIST: Professor WILLY HESS. There v. ill be an intermission of ten minules after ihe symphony. 3 ; All Lovers of Music SHOULD NEVER FAIL TO BUY EACH SUCCEEDING ISSUE OF THE Musicians Library This library consists of a series of volumes which, when complete, will contain all of the masterpieces of song and piano music. Every volume is edited by the highest authority, and contains an elaborate biographical and critical introduction, together with the best obtainable portrait of the composer. The vocal numbers are adapted for high and low voices, and the songs by foreign composers are poetic and singable translations. The " Musicians Library " will be published in uniform size and bind- ing, representing the highest excellence in music, printing, and typography. Already four vocal and three pianoforte numbers have appeared, and within the next few days there will be issued the following : — ** Songs by Thirty Americans," edited by Rupert Hughes; Wagner — " Lyrics for Soprano," edited by, Carl Armbruster; Wagner — «« Lyrics for Tenor," edited by Carl Armbruster; " Modern French Songs," in two volumes, edited by Philip Hale Liszt — «« Ten Hungarian Rhapsodies," edited by August Spanuth and John Orth. Price, in paper, gl.50; cloth, ^2.JO, each. "LESSONS IN MUSIC FORM" By Percy Goetschius, Mus. Doc. A manual and analysis of all the structural factors and designs neard in musical composition, explaining each design, from the smallest to the largest, with numerous illustrations, accompanied by frequent reference to classic literature. This book is especially designed for the general music lover or student rather than for those studying composition, and is intend- ed to give increased enjoyment and understanding, as well as the power to interpret with intelligence and authority, for music lovers. Price, cloth, post-paid, $1.25. "EAR TRAINING FOR TEACHER AND PUPIL" By C. A. ASchin This work does not aim to take the place of the text-book and har- mony, but is designed rather for the training of the sense of hearing, to teach the reader to think in tones, so that he may sing, write, and play what he hears. This book is the direct outcome of the author's practical experience in teaching, and embodies in a concise and lucid form those principles which have demonstrated their value through repeated experi- ments. The book is convenient in form, neat in appearance, and of admirable typography. Price, post-paid, $1.00. OLIVER DITSON COMPANY C. H. DITSON & CO. BOSTON J. E. DITSON & CO. New York Philadelphia Order of your home dealer or arvy of the above houses — Symphony in B-flat major, No. 4, Op. 60 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) This symphony was written during the summer of 1806, published in 1809, and dedicated to the Count von Oppersdorf. Before working on this symphony Beethoven had spent considerable time on the Sym- phony in C minor, which he put aside. The first performance of the one in B-flat was at a private concert given for Beethoven's benefit in March, 1807, at Vienna. The Journal des Ltixus und der Moden published this review early in April of that year : "Beethoven gave in the dwelling-house of Prince L. two concerts in which only his own compositions were performed: the first four symphonies, an overture to the tragedy 'Coriolanus,' a pianoforte concerto, and some arias from 'Fidelio.' Wealth of ideas, bold origi- nality, and fulness of strength, the peculiar characteristics of Beetho- ven's Muse, were here plainly in evidence. Yet many took exception to the neglect of noble simplicity, to the excessive amassing thoughts, which on account of their number are not always sufficiently blended and elaborated, and therefore often produce the effect of uncut dia- monds." Was this "Prince L." Lobkowitz or Lichnowsky? Thayer decided in favor of the former. The symphony was also played in public at a charity concert at the Burg Theatre, Vienna, on November 15, 1807, when it was conducted by the composer. The correspondent of Kotzebue's Freimuthige (Jan- uary 14, 1808) wrote: "Beethoven has composed a new symphony, which has pleased at least his furious admirers, and an overture to Collin's 'Coriolanus,' which has pleased everybody." The first performance in Boston was probably at a concert of the Musical Fund Society on December 8, 1849. To Artists and Teachers of Singing The task of getting the latest English Songs can no longer be a difficult one, since we publish here all the new compositions of leading composers exactly on the same date they appear on the European market. Ask for BOOSEY & COMPANY'S Novelties If you cannot get them, write to Boosey & Company, 9 East 17th Street, Mew York THE NEW ENGLAND CONSERVATORY OF MUSIC G. W. CHADWICK, Director Announces the opening of the SCHOOL OF GRAND OPERA Under the personal direction of Signer ORESTE BIMBOINI Chef d'orchestre of the Vienna, Berlin, Italian, Spanish, and London Royal Opera Houses, and of the Grau and Mapleson Grand Opera Com- panies of New York. In addition to performances in Jordan Hall, the usual performances will be given in Boston Theatre (dates to be announced). INSTRUCTORS Oreste Bimboni, Coaching, Action, and Stage Management Clayton D. Gilbert, Dramatic Action, Panto- mime, and Stage Deportment Mrs. Lilla Viles Wyman, Classic Dancing Marco Piacenti, Fencing Repetiteurs, English, Italian, French, and Ger- man Opera Camille ThurwangerI Georg Van Wieren V Diction, Translation, etc. Miss Elsa Bimboni J SOLOISTS' INTERMEDIATE CLASS Tuition for the school year, $250 SOLOISTS' ADVANCED CLASS Tuition for the school year, $300 For further particulars apply to RALPH L. FLANDERS, Manager, Huntington Avenue and Gainsborough Street, Boston, Mass. 6 Some now try to account for the postponement of the Fifth Sym- phony, begun before the Fourth, "by the fact that in May, 1806, Beethoven became engaged to the Countess Theresa The B-flat symphony has been mentioned as 'the most tenderly classical' of all works of its kind; its keynote is 'happiness' —a contentment which could have come to the master only through such an incident as the one above set forth—his betrothal." I do not see the force of this reasoning. No one has written more acutely, discriminatively, and with more poetic appreciation of the symphonies of Beethoven than Hector Berlioz, still the prince of critics. * * "Here Beethoven abandons wholly the ode and the elegy," —a ref- erence to the "Eroica" Symphony,—"to return to the less lofty and sombre but perhaps no less difficult style of the Second Symphony. The character of this score is generally lively, nimble, joyous, or of a heavenly sweetness. If we except the meditative adagio, which serves as an introduction, the first movement is almost entirely given up to joyfulness. The motive in detached notes, with which the al- legro begins, is only a canvas, on which the composer spreads the other more real melodies, which thus render the apparently chief idea of the beginning an accessory. This artifice, although it is fertile in curious and interesting results, had already been employed by Mozart and Haydn with equal success. But we find in the second section of this same allegro an idea that is truly new, the first measures of which captivate the attention; this idea, after leading the hearer's mind through mysterious developments, astonishes it by its unexpected ending. It consists of this : after a rather vigorous tutti the first vio- lins pick the first theme to pieces, and form with it a pianissimo dia- logue with the second violins, which leads to holds on the chord of the dominant seventh in B-natural: each one of these holds is inter- rupted by two measures of silence, which are filled out only by a light tremolo of kettledrums on B-flat, the enharmonic major third of the fundamental F-sharp. After two apparitions of this nature, the drums are silent to allow the strings to murmur gently other fragments of the theme, and to arrive by a new enharmonic modulation to the chord of the sixth and the fourth of B-flat. The kettledrums then enter on the same note, which is not now a leading note, as it was the first PH'^Cacoo, time, but a true tonic, and they continue the tremolo for twenty meas- ures or so. The force of tonality of this B-flat, scarcely perceptible at first, waxes greater and greater as the tremolo is prolonged; then the other instruments, scattering little unfinished bits of phrases in their onward march, lead with the continuous roll of the drums to a general forte in which the perfect chord of B-flat is at last established by the orchestra in its full majesty.
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