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Boston Symphony Orchestra Concert Programs, Season 37,1917-1918, Trip

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Boston Symphony Orchestra Concert Programs, Season 37,1917-1918, Trip CARNEGIE HALL - - . NEW YORK Thirty-second Season in New York B©§[ fiesta Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor THURSDAY EVENING, NOVEMBER 8 AT 8.15 AND THE SATURDAY AFTERNOON, NOVEMBER 10 AT 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1917, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER Stelnway FROM the very beginning of a musical education, nothing is so important as a correct appreciation of tone. Hence the child should receive its early impressions from a Steinway Piano. The exquisite Steinway tone is recognized as ideal, and it has made this instrument world- famous. Superior craftsmanship builds the Steinway for lifetime usage, and all the strain of "prac- tice years" does not make its action uneven or lessen its sweet- ness and resonance of tone. Under these circumstances, no other instrument is "good enough to begin on." Consider, too, that a Steinway costs but little more than an ordinary "good" piano. Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, 0. Rissland, K. Theodorowicz, J. Concert-master. Hoffmann, J. Schmidt, E. Bak, A. Noack, S. Mahn, F. Ribarsch, A. Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Baraniecki, A Griinberg, M. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Gerardi, A. Pinfield, C. Gewirtz, J. Kurth, R. Gunderson, R. Rosen, S. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R. Nast, L. Folgmann, E. Warnke, J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Mosbach, J. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H Vannini, A. Piller, B. Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Stumpf, K. Fuhrmann, M. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. AUoo, M. Lorbeer, H. Miersch, E. Mann, J. Belgiorno, S. Hain, F. Hess, M. Nappi, G. Mausebach, A. Resch, A. Hubner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Gardner, C. Cella, T. Kandler, F. Burkhardt, H. Organ. Librarian. Marshall, J. P. Rogers, L. J DURABILITY THE distinctive tone quality and sensitive touch of the Knabe make an irresistible appeal. The perfect craftsmanship and fine materials that enter into its making preserve this beauty of tone and action for generations. Exquisite workmanship, perfect action and wonderful dura- bility make the Knabe the wisest investment for your home. "The Piano for a Lifetime" Uprights from $550 Qrands from $750 ^M Mil Avenue at Ttiirty-ninfli Stmt ^ CARNEGIE HALL NEW YORK Thirty-second Season in New York Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor FIRST CONCERT THURSDAY EVENING, NOVEMBER 8 AT 8.15 The National Anthem will be played as the closing number of the programme Liszt 'Prometheus," Symphonic Poem No. 5 Wagner Prelude to "Parsifal" There will be an intermission of ten minutes after the Symphony The length of this programme is one hour and fifty minutes 5 ^JH DURABILITY THE distinctive tone quality and sensitive touch of the Knabe make an irresistible appeal. The perfect craftsmanship and fine materials-that enter into its making preserve this beauty of tone and action for generations. Exquisite workmanship, perfect action and wonderful dura- bility make the Knabe the wisest investment for your home. "The Piano for a Lifetime" Uprights from $550 Qrands from $750 irty-tiinlli Street. CARNEGIE HALL NEW YORK Thirty-second Season in New York Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor FIRST CONCERT THURSDAY EVENING, NOVEMBER 8 AT 8.15 PROGRAMME Brahms Symphony in E minor, No. 4, Op. 98 I. Allegro non troppo. II. Andante moderato. III. Allegro giocoso. IV. Allegro energico e passionato. Berlioz Overture to "King Lear," Op. 4 Liszt "Prometheus," Symphonic Poem No. 5 Wagner Prelude to "Parsifal" There will be an intermission of ten minutes after the Symphony The length of this programme is one hour and fifty minutes 5 . ™MALK1N. MUSIC SCHOOL OF NEW YORK 10 WEST 122d STREET MANFRED MALKIN, Director .. ANNOUNCES .. Its Fifth Season under conditions more favorable than ever. The course of study in the various departments will be continued in the same manner as set forth in the catalogue. The greatest tribute was paid to the school by the following celebrities, who appeared in the capacity of Board of Examiners on the occasion of a public examination held in Aeolian Hall. THE BOARD OF EXAMINERS DAVID BISPHAM RUBIN GOLDMARK # LEONARD BORWICK ALBERTO JONAS MISCHA ELMAN RAFAEL JOSEFFY Mme. PAVLA FRISCH THEODORE SPIERING LEOPOLD GODOWSKY Letters of encouragement and wishes for success were received from: PABLO CASALS JOSEF STRANSKY FRITZ KREISLER Mme. SCHUMANN-HEINK OTTO KAHN MAUD POWELL GERALDINE FARRAR JOSEF HOFFMAN EMMA CALyE • PASQUALE AMATO EFREM ZIMBALIST RUDOLF GANZ ELEANORA de CISNEROS ALMA GLUCK KATHERINE GOODSON Mme. SEMBRICH HAROLD BAUER MARK HAMBOURG Symphony in E minor, Op. 98 Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) This symphony was first performed at Meiningen, October 25, 1885, under the direction of the composer. Simrock, the publisher, is said to have paid Brahms forty thousand marks for the work. It was played at a public rehearsal of the Sym- phony Orchestra in Boston, November 26, 1886. Although Mr. Gericke "did not stop the orchestra,"—to quote from a review of the concert the next day,—he was not satisfied with the performance, and Schumann's Symphony in B-flat was substituted for the concert of November 27. There were further rehearsals, and the work was played for the first time at a concert of the Boston Symphony Orches- tra on December 23, 1886. The first performance in the United States was by the Symphony Society, New York, December 11, 1886. This symphony was composed in the summers of 1884 and 1885 at Miirz Zuschlag in Styria. The Allegro and Andante were composed during the first summer, the Scherzo and Finale during the last. Miss Florence May, in her Life of Brahms, tells us that the manuscript was nearly destroyed in 1885: "Returning one afternoon from a walk, he Brahms] found that the house in which he lodged had caught fire, and that his friends were busily engaged in bringing his papers, and amongst them the nearly finished manuscript of the new symphony, into the garden. He immediately set to work to help in getting the fire under, whilst Frau Fellinger sat out of doors with either arm outspread on the precious papers piled on each side of her." A scene for the "his- torical painter"! We quote the report of this incident, not on account Df its intrinsic value, but to show in what manner Miss May was able to write two volumes, containing six hundred and twenty-five octavo A standard vocal method based on scientific principles BY FRANK E. MILLER, M.D. Price, $2.50 net 3 East 43d St. G. SCHIRMER New York pages, about the quiet life of the composer. But what is Miss May in comparison with Max Kalbeck, whose Life of Brahms contains 2,138 pages? In a letter, Brahms described this symphony as "a couple of entr'actes," also as "a choral work without text." Franz Wullner, then conductor of the Gurzenich concerts at Cologne, asked that he might produce this new symphony. Brahms answered that first performances and the wholly modern chase after novelties did not interest him. He was vexed because Wullner had performed a symphony by Bruckner, and he acted in a childish manner. Wullner answered that he thought it his duty to produce new works, and a symphony by Bruckner was certainly more interesting than one by Gernsheim, Cowen, or Schar- wenka. Brahms was doubtful about the value of his fourth symphony. He wished to know the opinion of Elisabeth von Herzogenberg and Clara Schumann. He and Ignaz Briill played a pianoforte arrangement in the presence of Hanslick, Dr. Billroth, Hans Richter, C. F. Pohl, Gustav Dompke, and Max Kalbeck. He judged from their attitude that they did not like it, and he was much depressed. "If persons like Billroth, Hanslick, and you do not like my music, whom will it please?" he said to Kalbeck. There was a preliminary rehearsal at Meiningen for correction of the parts. Biilow conducted it, and there were present the Landgraf of Hesse, Richard Strauss, then second conductor of the Meiningen orchestra, and Frederick Lamond, the pianist. Brahms arrived in time for the first performance. The symphony was most warmly applauded, and the audience endeavored, but in vain, to obtain a repetition of the third movement. The work was, repeated November 1 under Billow's direction, and was conducted by the composer in the OF BROOKLYN VOCAL DEPARTMENT THIRTEENTH YEAR Madame Melanie Guttman Rice Mr. Edward Falck ASSOCIATE PRINCIPALS Assisted by Faculty of Experts on Voice Training and Singing DICTION — LANGUAGES — THEORY — HISTORY OF MUSIC Write for Catalogue Free Voice Trials by Appointment 110 REMSEN STREET - - - - BROOKLYN, N.Y. course of a three weeks' tour with the orchestra and Bulow in Germany and in Netherlands. The first performance in Vienna was at a Philharmonic concert, led by Richter, January 17, 1886. "Though the symphony was applauded by the public and praised by all but the inveterately hostile section of the press, it did not reach the hearts of the Vienna audience in the same unmistakable manner as its two immediate predecessors, both of which had made a more striking im- pression on a first hearing in Austria than the first symphony in C minor.
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