ACADEMY OF MUSIC, PHILADELPHIA Twenty-fourth Season in Philadelphia MAX FIEDLER, Conductor Programme of % SECOND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, NOVEMBER 30, AT 8.15 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. CECILE CHAMINADE The World's Greatest Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE I^AHO. THE JOHN CHURCH CO., 37 West 32d Street New York City REPRESENTED BY MUSICAL ECHO GO. 1217 Chestnut Street, Philadelphia Boston Symphony Orchestra PERSONNEL TWENTY- EIGHTH SEASON, 1908-1909 MAX FIEDLER, Conductor • First Violins. Hess, Willy Roth, O. Hoffmann, }. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. F. Eichheim, H, Mahn, Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. i Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Werner, H. Eichler, J. Tischer-Zeitz, H. Kuntz, A, Marble, E. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, Go Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. \ Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Mueller, E. Brooke, 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. Schmid, K. Kloepfel, L. Hampe, C Lorenz, 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. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, Co Burkhardt, H. Librarian. Sauerquell, J. 3 Qflhttttirntfl iltaito Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S.A. Represented in Philadelphia by JOHN WANAMAKER " BOStOn ACADEMY OF MUSIC, Symphony L ™«""**«*- A Twenty-eighth Season, 1908-1909. ^~ I \JVCl\QSX,1TSL Twenty-fourth Season in Philadelphia. MAX FIEDLER, Conductor. SECOND CONCERT, MONDAY EVENING, NOVEMBER 30, AT 8.15 PRECISELY. PROGRAMME. Beethoven .... Overture to Goethe's "Egmont," Op. 84 Richard Strauss .... Tone Poem, ll A Hero Life," Op. 40 " " Weber . Scene, How Tranquilly I Slumbered,'' and Aria, Softly Sighing," from the Opera " Der Freischiitz" Gre'try . Three Dance Pieces from "Cephalus and Procris," Heroic Ballet. First time in Philadelphia I. Tambourin. II. Menuet ("The Nymphs of Diana"). III. Gigue. (Freely arranged for concert use by Felix Mottl.) Songs with Pianoforte Accompaniment: a. Richard Strauss "Allerseelen b. Mozart "Das Veilchen" Traum" c. Grieg . "Ein " and " Love Death " from " Tristan and Isolde . Prelude "wagner . SOLOIST, Mme. MARIE RAPPOLD. The pianoforte is a Steinway. There will be an intermission of ten minutes after the Strauss selection. 5 BEC 'Mi'* That aside from their regular models; they have in their ART ROOMS, AN EXCELLENT ASSORTMENT OF GRAND AND UPRIGHT PIANOS In the principal historic art periods, such a* Louis, XIV, XV, XVI, Empire, Early English, Chippendale, Colonial, Mission, Renaissance, Sheraton, Adams, Gothic, (n Natural Woods, Enamels, Gold, Etc. Special Designs and Estimates Furnished upon Application. WM. KNABE & CO. BALTIMORE. NEW YORK WASHINGTON Represented in Philadelphia by JOHN WANAMAKER Overture to "Egmont," Op. 84 .... Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) This overture was composed in 18 it 10; was published in 181 1, The music to Goethe's play—overture, four entr'actes, two songs sung by Clarchen, "Clarchen's Death," "Melodram," and "Triumph Symphony" (identical with the coda of the overture) for the end of the play, nine numbers in all —was performed for the first time with the tragedy at the Hofburg Theatre, Vienna, May 24, 18 10. Antonie Adamberger was the Clarchen. The first performance of the overture in Boston was at a concert of the Boston Academy of Music, November 16, 1844. All the music of "Egmont" was performed at the fourth and last Philharmonic concert, Mr. Zerrahn conductor, on March 26, 1859. This concert was in commemoration of the thirty-second anniversary of Beetho- ven's death. The programme included the "Egmont" music and the Ninth Symphony. The announcement was made that Mrs. Barrows had been engaged, "who, in order to more clearly explain the com- poser's meaning, will read those portions of the drama which the music especially illustrates." Mr. John S. Dwight did not approve her reading, which he characterized in his Journal of Music as "coarse, inflated, over-loud, and after all not clear." Mrs. Harwood sang Clarchen's solos. The programme stated: "The grand orchestra, perfectly complete in all its details, will consist of fifty of the best Boston musicians." All the music to "Egmont" was performed at a testimonial concert to Mr. Carl Zerrahn, April 10, 1872, when Professor Evans read the poem in place of Charlotte Cushman, who was prevented by sickness. This music was performed at a Symphony Concert, December 12, 1885, when the poem was read by Mr. Howard Malcolm Ticknor. When Hartl took the management of the two Vienna Court theatres, January 1, 1808, he produced plays by Schiller. He finally determined to produce plays by Goethe and Schiller with music, and he chose Schiller's "Tell" and Goethe's "Egmont." Beethoven and Gyrowetz were asked to write the music. The former was anxious to compose NEW CYCLES OF SONG Price, net BIRD SONGS by Liza Lehmann. 2 keys . £1.50 PAGODA OF FLOWERS, a Burmese Story in Song, by A. Woodforde-Finden . Price, J2.00 net EIGHT NURSERY RHYMES for Quartette of Solo Voices, by Walford Davies Price, 75 cents Price, cents Also published for Ladies' Voices, 3 parts 75 SONGS OF FAITH. Set 1, words by Tennyson. Set 2, words by Whitman. Music by C. V. Stanford Price, $1.00 SIX POEMS by Joan Trevalsa Price, $1.00 2 BOOSEY & COMPANY, Publishers, 9 East Seventeenth Street NEW YORK CITY 7 ; MADAME TETRAZZINI Uses exclusively the HARDMAN PIANO In both her American and European homes Te my Friends Hardman, Peck <5n Co. The Hardman Piano is my choice. I therefore use it exclusively. <>£<ik__^ London, May 29, igo8. HARDMAN, PECK & COMPANY Established 1842 FIFTH AVENUE, NEW YORK Represented in Philadelphia by JAHES BELLAK'S 50N5, 1129 CHESTNUT STREET the music for ' 'Tell but, as Czerny " ; tells the story, there were intrigues and, as "Egmont" was thought to be less suggestive to a composer! the music for that play was assigned to Beethoven. Gyrowetz's music to "Tell" was performed June 14, 18 10, and it was described by a correspondent of a Leipsic journal of music as "characteristic and written with intelligence/' No allusion was made at the time anywhere to Beethoven's "Egmont." Long and curious commentaries have been written in explanation of his overture. As though the masterpiece needed an explanation! We remember one in which a subtle meaning was given to at least every half-dozen measures: the Netherlanders are under the crushing weight of Spanish oppression; Egmont is melancholy, his blood is stagnant, but at last he shakes off his melancholy (violins), answers the cries of his country-people, rouses himself for action; his death is portrayed by a descent of the violins from C to G ; but his country- men triumph. Spain is typified by the sarabande movement; the heavy, recurring chords portray the lean-bodied, lean-visaged Duke of Alva; "the violin theme in D-flat, to which the clarinet brings the under-third, is a picture of Clarchen," etc. One might as well illustrate word for word the solemn ending of Thomas Fuller's life 01 Alva in "The Profane State" : "But as his life was a mirror of cruelty so was his death of God's patience. It was admirable that his tragical acts should have a comical end; that he that sent so many to the grave should go to his own, and die in peace. But God's justice on offenders goes not always in the same path, nor the same pace: and he is not pardoned for the fault who is for a while reprieved from the punishment; yea, sometimes the guest in the inn goes quietly to bed before the reckoning for his supper is brought to him to discharge." The overture is at first a mighty lamentation. There are the voices of an aroused and angry people, and there is at the last tumultuous rejoicing. The "Triumph Symphony" at the end of the play forms the end of the overture. * * The overture has a short, slow introduction, sostenuto ma non troppo, F minor, 3-2. The main body of the overture is an allegro, Dry cleaning women's gowns By the improved French process in- sures thoroughness in freshening up the colors without shrinking or fading the fabric. No powerful chemicals used to rot the texture. 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