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BOSTON r# SYAPMONY ORCnCSTRH TWCNT^-riI<^3T p" 1901-1902 ^^^^^ pRoGRsnnE Conductor of the Handel and Haydn Society, Conductor of the Apollo Club, Conductor of the Boston Festival Orchestra, Musician, Vio- linist, Pianist, writes to MASON & HAMLIN CO. December 12, 1901. Mason & Hamlin Co, Gentlemen,— The Grand pianoforte of your make which I purchased of you two years or so ago has proven itself a most superb instrument. It stands remarkably well, and, in fact, like a Stradi- varius violin, it imoroves with age. I am sure you are 2 your production, and I am sure the r rrstenil to you /or your production. The I instruments you are now producing are not only fine pianofortes, but they are a potent influence working for the best in the highest of all the arts,— music. With admiration for the loyalty with which you work toward your lofty ideal, and with sincere wishes for your continued success, I am. Very truly yours, (Signed) EMIL MOLLENHAUER. Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. Office, ( Ticket 1492f^ )i TELEPHONE, \ BACK BAY. * Administration Offices, 1471 ) TWENTY-FIRST SEASON, I90J-J902. WILHELM GERICKE, CONDUCTOR. PROGRAMME OF THE TWENTIETH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE ji jt jt ^ FRIDAY AFTERNOON, APRIL 4, AT 2.30 CKCLOCK. SATURDAY EVENING, APRIL 5, AT 8.00 O'CLOCK. PUBLISHED BY C. A. ELLIS, MANAGER. <929) CHICKERING PIANOS IHE underlying princi- ples and generally ac- cepted theories of modern piano-building emanate primarily and to the great- est extent from the house of Chick- ering. Pianoforte construction in its various phases has attained its greatest development at the hands of Chickering & Sons. Results of the most artistic value are demon- strated to the highest degree in the modern CHICKERING Pianos. Chickering(^Sons 791 Tremont Street Boston (9W) TWENTY-FIRST SEASON, I90I-t902. Twentieth Rehearsal and Concert* FRIDAY AFTERNOON, APRIL 4, at 2.30 o'clock. SATURDAY EVENING, APRIL 5, at 8.00 o'clock. PROGRAMME. Mendelssohn ...» Overtore, ** Fingal's Cave/' Op. 26 D'Indy Symphony on a Mountain Air for Orchestra and Pianoforte, Op. 25 I. Assez lent, moderement anime, un peu plus vite, etc. II. Assez modere, mais sans lenteur. III. Anime. (Mr. HAROLD BAUER, Pianist.) (First time.) Dvorak Excerpts from " Legends/' Op. 59 I. Allegretto. II. Molto moderato. III. Allegro glusto. IV. Molto maestoso. ** Tschaikowsky . Francesca da Rimini/' Orchestral Fantasia after Dante, Op. 32 The Pianoforte is a Mason & Hamlin. There will be an intermission of ten minutes after the Symphony. Patrons unable to remain until the close of the concert are urgently requested to leave the hall during a pause in the programme, 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 ob- struct such view, may be worn. Attest: J. M. GALVIN. atyOerk. (931) . LP.HOLLANDER&CO. NEW DEPARTMENT On Third Floor . For . Ladies' Dresses Keady to wear The object of this new department is to offer a large selection of simple smart gowns in Veilings, Foulards, Linens, and fluslins, which we want it thoroughly understood are not ready-made in the sense usually meant, but every one of which is made in our building, under the personal supervision of the head of our order dressmaking department, equal in style and finish to our custom work, and giving our patrons the satisfaction of selecting from a ready-made stock unlike anything they can find else- where. The dresses will be marked at Extremely Reasonable Prices, and special orders will be taken from them at a small advance. Sterling' Forks and Spoons Tea and Coffee Sets vSilver Tete-a-Tete Sets Fruit Bowls Bread Trays Table Meat Dishes Entree Dishes Ware Vegetable Dishes LATEST PRODUCTIONS IN MOST DESIRABLE WEIGHTS vSmitK, Patterson (Si Co. WHolesale and R.etail Jewellers 52 •Stimmer Street, Boston, Mass. (932) Overture, " Fingal's Cave," Opus 26. Felix Mendelssohn-Bartholdy. (Born at Hamburg, Feb. 3, 1809; died at Leipsic, Nov. 4, 1S47.) In August, 1829, Mendelssohn saw Staffa and Fingal's Cave. He at once determined to picture the scenes in music, and he wrote to his sister on August 7 : "In order to make you understand how extraor- dinarily the Hebrides affected me, the following came into my mind there," Then he gave the twenty measures which form the opening of the overture. Ferdinand Hiller, who lived with Mendelssohn in Paris dur- ing the winter of 1831-32, wrote: "Mendelssohn has brought with him ' also the sketched score of the Hebrides ' overture. He told me how the thing came to him in its full form and color when he saw Fingal's Cave, and he also informed me how the first measures, which contain the chief theme, had come into his mind. In the evening he was making a visit with his friend Klingemann on a Scottish family. There was a piano in the parlor ; but it was Sunday, and there was no possibility of music. He employed all his diplomacy to get at the piano for a moment ; and, when he had succeeded, he dashed off the theme out of which the great work grew. It was finished at Diisseldorf, but only after an interval of years." Mendelssohn finished his first version of the overture in Rome. The autograph score is dated Dec. 16, 1830, and on December 30 he wrote: " ' ' The Hebrides is finished at last." So Mr. Stratton says ; but Lampa- dius quotes a letter written Nov. 16, 1830, in which Mendelssohn sa)'s he has finished the overture. He also quotes from a letter dated December " ' ' 20 : The Hebrides is done at last and is a curious thing." Mendelssohn took the score to Paris, and he wrote Jan. 12, 1832, that he did not produce it then, because it was not "quite right" : "The middle portion in E {forte) is too stupid, and the whole working-out smells more NEW ENGLAND CONSERVATORY SCHOOL OF OPERA UNDER THE DIRECTION OF Sig. ORESTE BIMBONI Of tha Viennai Berlin, Moscow, London, and Italian Royal Opera Houses Sig. BIMBONI Mrs. ERVING WINSLOW COACHING !2;:?<!S^f„rs"T"" M:i.oE»lN" LVRIC EXPRESSION Mrs. LILLA VILES WYMAN Sig. MARCO PIACENTI CLASSICAL and STAGE DANGINB FENCING Classes ; Advanced, Intermediate, and General Registration now open Open to all vocal students, tohether pupils of the Conservatory or not (933) We have just received from London a new line of Shirt Waist Goods in riercerized Oxfords in white and colors, plain and fancy designs, crepe shirtings, and dimities. These goods are the handsomest and most effective in Boston. We carry a very large line of materials for .... Shirt Waists and Tub Dresses Madras, Linens, Oxford Cheviots, Piques, Wash Silks. Waist lengths in Silks and Linens, with beautifully embroidered fronts done in France. Orders executed perfectly and promptly. V. BALLARD & SONS :2SO Boxlston Street, BOSTON. Specialties for Easter Gifts* Aft Plaques in Ivory and Color. Size, JO x 18, $2.00 each. Imported Glass Flower Vases, $1.00 to $10.00 each. Hand-painted Flower Sets for Waists. J 4 karat Gold Brooch Pins, new desigfns, $3.00 to $ J 0.00. Inspection invited. 24 Winter Street, Makers and Finders of the Unusual. (934) : ; of counterpoint than of train-oil, sea-gulls, and salt fish, and must be all altered." The overture was performed at a Philharmonic Concert in London, May 14, 1832. The composer, who conducted, wrote: "It went splendidly, and sounded so droll amongst all the Rossini things." The Athenceum said that, as descriptive music, it was a failure. George Hogarth says of " the overture in his "Philharmonic Society of London (1862) : "It at once created a great sensation, — a sensation, we need scarcely add, that has not been diminished by numberless repetitions. At a general meeting of the Society on the 7th of June, 1832, Sir George Smart read a letter from Mendelssohn requesting the Society's acceptance of the score of this overture;* and it was resolved to present him with a piece of plate in token of the Society's thanks, which was forthwith done." The Ilar- nwtiicon praised the overture highly, and said that the key of B minor was well suited to the purpose. The overture has borne various titles. When it was first performed by the Philharmonic, London, it was called " The Isles of Fingal." Men- delssohn in letters referred to it as " The Hebrides," "The Solitary Island." The first published score bore the title, "Die Fingals-Hohle " but " Die Hebriden " was on the orchestral parts. The first performance in the United States was by the Philharmonic Society of New York, Nov. 16, 1844. The overture was performed at a concert of the Boston Academy of Music, Feb. 22, 1845. -^^ ^^^ played at a concert on March 1 5 of the same year, and the programme published " this explanatory note : This piece seems to be intended, in some degree, as a description both of the scene itself and of the feelings produced by it." " ' ' *Mr. Stratton says : Mendelssohn gave the original score of the Hebrides overture to Moscheles, and some fifty years later it was perused by Gounod, who placed a D for the double-basses in the third bar, making a note to the effect that Mendelssohn must have forgotten it.
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  • Il Romancero Gitano Di Mario Castelnuovo-Tedesco Da

    Il Romancero Gitano Di Mario Castelnuovo-Tedesco Da

    IL ROMANCERO GITANO DI MARIO CASTELNUOVO-TEDESCO DA FEDERICO GARCIA LORCA ANGELO GILARDINO La poesia di Federico García Lorca ha esercitato una vera e propria fascinazione sui compositori del Novecento. Un elenco delle musiche scritte su testi del poeta spagnolo, o comunque ispirate alle sue poesie e alle sue opere teatrali, occuperebbe molte pagine. Mi limito a osservare che non sono stati soltanto compositori di madre lingua e di cultura ispanica a scrivere musiche vocali e strumentali lorchiane, ma anche – anzi soprattutto – compositori di altre nazionalità e culture. Fra loro, spicca la figura del compositore fiorentino Mario Castelnuovo-Tedesco (1895-1968), che scrisse un ciclo di sette composizioni per coro misto e chitarra intitolato Romancero Gitano. Questo scritto prende in esame tale composizione, con il proposito di mettere in luce le relazioni esistenti tra il testo poetico e la musica. MARIO CASTELNUOVO-TEDESCO E LA LETTERATURA SPAGNOLA Nato a Firenze nel 1895 da una agiata famiglia di banchieri, Mario Castelnuovo-Tedesco fu istruito da precettori privati e anche la sua precoce vocazione musicale fu inizialmente coltivata da un rinomato insegnante di pianoforte, Edgardo del Valle de Paz, che gli impartì lezioni a domicilio. In età adolescenziale, fu ammesso al Conservatorio della sua città, dove compì gli studi di pianoforte e di composizione. Gli furono maestri Antonio Scontrino e poi Ildebrando Pizzetti. Il severo insegnamento di Pizzetti lasciò nella formazione di Castelnuovo-Tedesco una traccia indelebile, irrobustendo la sua fertile musicalità naturale con una formidabile tecnica compositiva, 2 che contraddistinguerà tutta la sua opera. Dopo un favorevolissimo sviluppo della sua carriera di compositore, che si svolse sotto il segno della buona sorte per almeno vent’anni, nel 1938 Castelnuovo-Tedesco fu colpito, come tutti i cittadini italiani di religione ebraica, dalle leggi razziali.