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Boston Symphony Orchestra Concert Programs, Season 29,1909-1910, Trip

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Boston Symphony Orchestra Concert Programs, Season 29,1909-1910, Trip ACADEMY OF MUSIC, PHILADELPHIA Twenty-fifth Season in Philadelphia MAX FIEDLER, Conductor fjrogramm? nf % FOURTH CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, FEBRUARY 23 AT 8.J5 COPYRIGHT, 1909, BY C. A. ELLI8 PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively ^^ Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY THE ELECTRELLE GO. 1205 Walnut Street . Boston Symphony Orchestra PERSONNEL Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowici, J. Noack, S. 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. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S. Kurth, R. Werner, II Violas. Fenr, E. Heindl, H. Rennert, B. Kolster, A. Zahn, F. Gietzen, A. Hoyer, H. Kluge, M. Forster, E Kautzenbach, W Violoncellos. Warnke, H. Nagel, R. Barth, C. Belinski, M. Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, P. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorcnz, O 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. Schu»cker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. IflMiM.AWIUt'.liaftJt W» MMM1MM,WM,M,M M.M MMMM fW'.M Gl Perfection in Piano Making THE -£3f?nft£> Quarter Grand Style V, m figured Manogany, price $650 It is tut FIVE FEET LONG and in Tonal Proportions a Masterpiece or piano building. It is Chickering G? Sons most recent triumph, tke exponent of EIGHTY-SEVEN YEARS experience m artistic piano building, and the heir to all the qualities that the name of its makers implies. REPRESENTED BY JOHN WANAMAKER CITY HALL SQUARE, PHILADELPHIA, PA. f nnuvvv v* vw vvtMww wwmi w\t vw vw vuvuvu im wiini p ACADEMY OF MUSIC . PHILADELPHIA Twenty-fifth Season in Philadelphia Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor FOURTH CONCERT WEDNESDAY EVENING, FEBRUARY 23 AT 8.15 PROGRAMME Schubert Unfinished Symphony in B minor I. Allegro moderate II. Andante con moto. Brahms . Concerto in A minor for Violin and Violoncello, with Orchestra, Op. 102 I. Allegro. II. Andante. III. Vivace non troppo. Rachmaninoff . " The Island of the Dead," Symphonic Poem for full orchestra to the picture by A. Bocklin, Op. 29. First time in Philadelphia Richard Strauss . "Till Eulenspiegel's Merry Pranks, after the Old- fashioned Roguish Manner — in Rondo Form." Op. 2S SOLOISTS Mr. WILLY HESS Mr. ALWIN SCHROEDER There will be an intermission of ten minutes after the concerto 5 "upright" GRAND Style V Size 4 feet 6 inches MAHOGANY CASE- BEAUTIFULLY VENEERED $550 THE WORLD'S BEST PIANO is the one piano not only abreast of the times, but today, more than ever, is solely and purely representative of faultless con- struction, exceptional durability and that tonal sublimity that cannot be successfully imitated or equalled. REPRESENTED BY JOHN WANAMAKER PHILADELPHIA PA. Unfinished Symphony in B minor Franz Schubert (Born at Lichtenthal, near Vienna, January 31, 1797; died at Vienna, November 19, 1828.) Two brothers, Anselm and Joseph Htittenbrenner, were fond of Schubert. Their home was in Graz, Styria, but they were living at Vienna. Anselm was a musician; Joseph was in a government office. Anselm took Schubert to call on Beethoven, and there is a story that the sick man said, "You Anselm, have my mind; but Franz has my soul." Anselm closed the eyes of Beethoven in death. These brothers were constant in endeavor to make Schubert known. Anselm went so far as to publish a set of " Erl King Waltzes," and assisted in putting Schubert's opera, "Alfonso and Estrella" (1822) in rehearsal at Graz, where it would have been performed if the score had not been too difficult for the orchestra. In 1822 Schubert was elected an honorary member of musical societies of Linz and Graz. In return for the compliment from Graz, he began the Symphony in B minor, No. 8 (October 30, 1822). He finished the Allegro and the Andante, and he wrote nine measures of the Scherzo. Schubert visited Graz in 1827. but neither there nor elsewhere did he ever hear his unfinished work. Anselm Htittenbrenner went back to his home about 1820, and it was during a visit to Vienna that he saw Beethoven dying. Joseph remained at Vienna, and in i860 he wrote from the office of the Minister of the Interior a singular letter to Johann Herbeck, who then conducted the concerts of the Gesellschaft der Musikfreunde. He begged permission to sing in the concerts as a member of the society, and urged him to look over symphonies, overtures, songs, quartets, choruses, by Anselm. He added, toward the end of the letter: "He [Anselm] has a treasure in Schubert's B minor symphony, which we put on a level with the great symphony in C, his instrumental swan- song, and any one of the symphonies by Beethoven." SONGS WORTH SINGING Sung by Madame Nordica. "NOW SLEEPS THE CRIMSON PETAL." Composed by Roger Quilter. 3 keys. Sung by Madame Marchesi. "A COTTAGE SONG." Composed by Laura G. Lemon. 3 keys. Sung by John McCormack. "THE PHILOSOPHY OF LOVE." Composed by John F. Larchet. 3 keys. Sung by Harry Dearth. "TOMMY LAD." Composed by E. J. Margetson. 2 keys. BOOSEY & COMPANY, 9 East Seventeenth Street NEW YORK And London, England 7 THE HAROMAN PIANO FAMOUS SINCE 1842 A Grand Piano to Meet Any Requirements THE Hardman Grand Piano is not confined to one size or to one style. If your room is only of mod- erate size the Hardman Small Grand, a grand piano from every musicianly point of view, takes up hardly more room than an ordinary upright. For larger rooms there are the Baby Grand, the Parlor Grand and the Concert Grand. All these are shown in a variety of cases from the simplest (the Sheraton) to the most sumptuous (the Louis XV.). In a Utter to the makers Enrico Caruso refers enthusiastically to the "superb and unique tone quality of The Hardman.'"' Hardman Pianos may be purchased on easy monthly payments. The highest possible allowance for your old piano. ' ' * Send for beautifully illustrated book of ' Period designs. Hardman, Peck & Co. Established 1842 138 Fifth Avenue, New York Represented in Philadelphia by GIMBLE BROS. Herbeck was inactive and silent for five years, although several times he visited Graz. Perhaps he was afraid that, if the manuscript came to light, he could not gain possession of it and the symphony like the one in C, would be produced elsewhere than at Vienna. Perhaps he thought the price of producing one of Anselm Hiitten- brenner's works in Vienna too dear, and there is reason to believe that Joseph insisted on this condition (see "Johann Herbeck," by L. Her- beck, Vienna, 1885, p. 165). In 1865 Herbeck was obliged to journey with his sister-in-law, who sought health. They stopped in Graz, and on May 1 he went to Ober- Andritz, where the old and tired Anselm, in a hidden, little one-story cottage, was awaiting death. Herbeck sat down in a humble inn. He talked with the landlord, who told him that Anselm was in the habit of breakfasting there. While they were talking, Anselm appeared. After a few words Herbeck said, "I am here to ask permission to pro- duce one of your works at Vienna." The old man brightened, his indifference dropped from him, and after breakfast he took him to his home. The work-room was stuffed with yellow and dusty papers, all in confusion. Anselm showed his own manuscripts, and finally Herbeck chose one of the ten overtures for performance. "It is my purpose," he said, "to bring forward three contemporaries, Schubert, Hiittenbrenner, and Lachner, in one concert before the Viennese public. It would naturally be very appropriate to represent Schubert by a new work." "Oh, I have still a lot of things by Schubert," answered the old man; and he pulled a mass of papers out of an old-fashioned chest. Herbeck immediately saw on the cover of a manuscript "Sym- phonic in H moll," in Schubert's handwriting. Herbeck looked the symphony over. "This would do. 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