Rehearsal and Concert

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES : Telephone, 1492 Back Bay TWENTY-SIXTH SEASON, 1906-1907 DR. KARL MUCK, Conductor programme of tij^ Fifth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, NOVEMBER 16 AT 2.30 O'CLOCK SATURDAY EVENING, NOVEMBERl'l? AT 8.00 O'CLOCK PUBLISHED BY C. A, ELLIS, MANAGER 321 MME. SZUMOWSKA- OWSKA writes as follows concerning the M^m PIANO Mason & Hamlin Co.: Gentlemen,— The tone of the Mason & Hamlin Pianofortes is beautiful and noble, and "it carries," — a most important quality. As to their action I can only say that I never yet used a piano which responded as readily to every most delicate as well as fortissimo effect which I wished to produce. It gives me pleasure to tell you that 1 have often been com- plimented, after my concerts, on the beauty of the piano on which I had been performing, and I want to congratulate you heartily on the great success achieved by the constant and untiring work devoted to the perfection of your instruments. Believe me Sincerely yours, (Signed) Antoinette Szumowska-Adamowska. 492 Boylston Street BOSTON (Opposite Institute of Technology) 322 Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, Concertmeister, and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Adamowski, T. Akeroyd, J. Bak, A. Bareither, G. Barleben, C. Earth, C. Berger, H. Bower, H. Brenton, H. E. Brooke, A. Burkhardt, H. Butler, H. Debuchy, A. Dworak, J. F. Eichheim, H. Eichler, J. Edw. Elkind, S. Ferir, E. Fiedler, B. Fiedler, E. Fiumara, P. Fox, P. Fritzsche, O. Gerhardt, G. Gietzen, A. Goldstein, S. Grisez, G. Hackebarth, A. Hadley, A. Hain, F. Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever Retail W^arerooms^ 791 Tremont Street -\\ /' '^m^^ SS" w^mM\ nci 1 TWENTY -SIXTH SEASON, NINETEEN HUNDRED SIX AND SEVEN Fifth Rehearsal and Concert* FRIDAY AFTERNOON, NOVEMBER J6, at 2,30. SATURDAY EVENING, NOVEMBER 17, at 8 o'clock. PROGRAMME. " Weber Overture to the Opera " Oberon Chopin . Concerto in E minor, for Pianoforte and Orchestra, Op. 1 I. Allegro maestoso. II. Romanze: Larghetto. III. Rondo : Vivace. Sinding Symphony in D minor, No. i, Op. 21 I. Allegro moderate. II. Andante. III. Vivace : Piii moderato. IV. Maestoso. SOLOIST, Mme. ANTOINETTE SZUMOWSKA. The pianoforte is a Mason & Hamlin. There will be an intermission of ten minutes before the symphony. The doors of the hall ivill be closed during the performance of each number on the progratnm,e. Those tvho wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers. City of Boston, Revised Retiulation of Autiust 5. 1 898.— Chapter 3, relatini{ to the covertaii 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 obstruct such view, may be worn. Attest: J. M. GALVIN, City Clerk. 326 L P. Hollander & Co. LADIES' GLOVES « New Importation of Long Gloves, in French Glace, Suede, and English Cape Skin for street wear. We call special attention to our new colorings in long gloves for dress occasions. Children's Dancing School and Street Gloves. I 202 to 216 Boylston Street and Park Square SMITHS PATTERSON COMPANY Diamonds Rubies Emeralds Pearls Sapphires Overture to the Opera "Oberon" . Carl Maria von Weber ;Born at Eutin, Oldenburg, December i8, 1786; died at London, June 5, 1826.) "Oberon; or, the Elf-king's Oath," a romantic opera in three acts, book by James Robinson Planche, music by Carl Maria von Weber, was first performed at Covent Garden, London, on April 12, 1826. Weber conducted the performance. The first performance in Boston was at Music Hall by the Parepa Rosa Company, May 23, 1870. Weber was asked by Charles Kemble in 1824 to write an opera for Covent Garden. A sick and discouraged man, he buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously. Planchd sent the libretto an act at a time. Weber made his first sketch on Jan- uary 23, 1825. The autograph score contains this note at the end of the overture: "Finished April 9, 1826, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria! ! ! C. M, V. Weber." This entry was made at London. The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings. The overture begins with an introduction (Adagio sostenuto ed il tutto pianissimo possibile, D major, 4-4). The horn of Oberon is answered by muted strings. The figure for flutes and clarinets is taken from the first scene of the opera (Oberon's palace ; introduction and chorus of elfs). After a pianissimo little march there is a short dreamy passage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (Allegro con fuoco in D major, 4-4). The brilliant opening measures are taken from the accompaniment figure of the quartet, "Over the dark blue waters," sung by Rezia, Fatime, Huon, Scherasmin (act ii.. scene x). The horn of Oberon is heard again; it is answered by the skipping fairy figure. The second theme (A major, sung first by the clarinet, then by the first violins) is taken from the first measures of the second part of Huon's air (act i.. No. 5). And then a theme taken from the peroration, presto con fuoco, of Rezia's air, "Ocean! Thou mighty monster" (act ii., No. 13), is given as a conclusion to the violins. This theme ends the first part of the overture. The free The Imperial Edition of Song Books Unquestionably the finest collection of highest class Popular, Standard, and Classical Songs, with original text and English translation. SOPRANO ALBUM, 42 Songs TENOR ALBUM, 43 Songs MEZZO ALBUM, 46 Songs BARITONE ALBUM, 46 Songs CONTRALTO ALBUM, 49 Songs BASS SONGS, 43 Songs Price, $1.00 each, paper cover, or handsomely bound in limp cover, gilt edges, $1.50 LIST OF CONTENTS FREE ON APPLICATION TO YOUR DEALER or BOOSEY & COMPA/NY, 9 East 17th Street, New York'Cit«| 327 256 Boylston Street, Boston Invite inspection of their splendid display of MODELS of imported and original design TAILOR STREET and CARRIAGE GOWNS and COATS and RIDING HABITS VISITING GOWNS DINNER AND EVENING DRESSES LACE WAISTS, Etc From which copies may be ordered at reasonable prices 328 fantasia begins with soft repeated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods; a new theme is introduced and treated in fugato against a running contrapuntal counter-theme in the strings. The second theme is treated, but not elaborately; and then the Rezia motive brings the spirited end. At the first performance of the opera the overture was repeated. * * * The story of Oberon was founded by J. R. Planch6 on Wieland's "Oberon," which in turn was derived from an old French romance, "Huon de Bordeaux." As much fault has been found with the libretto, and several have endeavored to tinker the opera, the remarks of Planche himself are of interest. They may be found in his "Recollections and Reflections" (London, 1872), vol. i. pp. 79-84: "Such was the state of music in England six-and-forty years ago that when, in conjunction with Bishop, I had made an attempt in my second opera, 'Cortez; or, the Conquest of Mexico' (produced November 5, 1823), to introduce concerted pieces and a finale to the second act more in accordance with the niles of true operatic construction, it had proved, in spite of all the charm of Bishop's melody, a signal failure. Ballads, duets, choruses, and glees, provided they occupied no more than the fewest number of minutes possible, were all that the play-going public of that day would endure. A dramatic situation in music was 'caviare to the general,' and inevitably received with cries of 'Cut it short!' from the gallery and obstinate coughing or other significant signs of impatience from the pit. Nothing but the Huntsman's Chorus and the diablerie in 'Der Freischiitz' saved that fine work from immediate condemna- tion in England ; and I remember perfectly well the exquisite melodies in it being compared by English music critics to 'wind through a key- hole ' !* "An immense responsibility was placed upon my shoulders. The fortunes of the season were staked upon the success of the piece. Had I constructed it in the form which would have been most agreeable to me and acceptable to Weber, it could not have been performed by the company at Covent Garden, and if attempted must have proved a * In a number of the Qtiarterly Musical Magazine and Review for June, 1825, a critic, describing the music of "Der Freischiitz," says: "Nearly all that was not irresistibly ridiculous was supremely dull."—^J. R. P. Vj^RUTIONS Violin and Piano On BALKAN THEMES A /NEW SET OP PIECES FOR THE Pianoforte BY rirs.

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