Seventeenth Rehearsal and Concert

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES : : : Telephone, 1492 Back Bay TWENTY-SIXTH SEASON, 1906-1907 Uoaton ^ympl|0njj (§vt\}tatv^ DR. KARL MUCK, Conductor Seventeenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MARCH 8 AT 2.30 O'CLOCK SATURDAY EVENING, MARCH 9 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER }28f PROFESSOR WILLY HESS Concert-master of the Boston Sym- phony Orchestra, founder and First Violin of the Boston Sym- phony Quartet, one of the world's greatest violinists, a musician through and through, writes as follows of the PIANO Boston, February 25, 1907» Mason & Hamlin Co., Boston, Mass. Gentlemen : I write to offer you my sincere congratulations on the manufacture of your very beautiful pianos: they are to nie matcJiless. As you are jgyare, I have heard the Mason & Hamlin piano at many concerts given by my quartet, with orchestra, and it has been my constant companion at my home. It has never failed to meet all the demands, however ex- acting, made upon it, and I believe that the Mason & Hamlin pianos excel all others in the essential qualities which go to make up an artistic piano of the very first quality. \ (M y truly yours, (Signed) WILLY HESS. 128« Boston Symphony Orchestra PERSONNEL TWENTY=SIXTH SEASON, 1906-1907 Dr. KARL MUCK. Conductor Willy Hess, Ccncertmeister, and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Adamowski, T. Akeroyd, J. Bak, A. Bareither, G. Barleben, C. Barth, C. Berger, H. Bower, H. Brenton, H. Brooke, A. Burkhardt, H. Butler, H. Currier, F. Debuchy, A. Dworak, J. Eichheim, H. Eichler, J. Elkind, S. Ferir, E. Fiedler, B. Fiedler, E. Fiumara, P. Fox, P. Fritzsche, O. Gerhardt, G. Gietzen, A. Goldstein, S. Grisez, G. Hackebaxth, 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 Wearer00ms TremoKt Street Retail ^ 791 1288 TWENTY-SDCTHI SEASON, 1 NINETEEN HUNDRED SIX AND SEVEN Seventeenth Rehearsal and G)ncert* FRIDAY AFTERNOON, MARCH 8, at 2.30. SATURDAY EVENING, MARCH % at 8 o'clock. PROGRAMME. J. S. Bach . Brandenburg Concerto, No. 3, in G major, for three Violins, three Violas, three Violoncellos, and Bass. First time at these concerts I. (Alia breve.) II. Allegro. J. Haydn .... Symphony in D major (B. & H., No. 2) I. Adagio; Allegro. II. Andante. III. Menuetto; Trio. IV. Allegro spiritoso. " " Mozart . ... Overture to the Opera, The Magic Flute Beethoven .... Symphony No 8, in F major, Op. 93 I. Allegro vivace e con brio. II. Allegretto scherzando. III. Tempo di menuetto. IV. Allegro vivace. There will be an intertnisston of ten minutes before the Beethoven symphony. The doors of the hall will be closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers. City of Beaton. Revised ReiJalatlon of August 5. 1 898.— Chapter 3. relating to th« coverlnii of the head in places of public amusement. Eywy licensee shall not, in his place of amusement, allow any person to wear upon the head a coreriiig which obetructs 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 •tetruct Mch n«w, may b« wora. Attest: J. M. GALVIN, QtyCler. 1SS9 L P. Hollander & Co. NEW 5ILKS NEW W^OOLLENS NEW WASH FABRICS We are showing our Spring ImportzitioiiS of Dress Materials. All exclusive and in short lengths, and most of the goods being at very r • i. Moderate Prices 302 [to 216 Boyiston Street and Park Square Smith Patterson COMPANY Wedding Invitations ANDi flNE STATIONEUY Wholesale 6- Retail 52 Sumner St. BOSTON Concerto in G major, No. 3 (op the Brandenburg set), for Three Violins, Three Violas, Three Violoncellos, with Bass. JoHANN Sebastian Bach (Born at Eisenach, March 21, 1685; died at Leipsic, July 28, 1750.) This composition is the third of the six Brandenburg concertos. They were completed March 24, 1721. They were written in answer to the wish of a Prussian prince, Christian Ludwig, Margraf of Branden- burg, the youngest son of the Great Elector by a second wife. The prince was provost of the Cathedral at Halberstadt. He was a bachelor, and he lived now at Berlin and now on his estate at Malchow. Fond of music, and not in an idle way, he was extravagant in his tastes and mode of life, and often went beyond his income of nearly fifty thousand thalers. He met Bach—some say at Carlsbad—in 17 18 or 1720, and asked him to write some pieces for his private orchestra, which contained players of high reputation. Bach sent the pieces entitled "Concerts avec Plusieurs Instruments" to Berlin, with a dedication in French. This dedication was probably written by some courtier at Cothen, where Bach was then living. Nothing is known about the reception, nor is it known whether they were ever played at the palace of the prince. It was his habit to cata- logue his music; but the name of Bach was not found in the list, although the names of Vivaldi, Venturini, Valentiri, Brescianello, and other writers of concertos, were recorded. Spitta thinks that the pieces were probably included in miscellaneous lots, as "77 concertos by different masters and for various instruments at 4 ggr (altogether 12 thlr, 20 ggr)"; or "100 concertos by different masters for various instruments—No. 3, 3 i6th." The Brandenburg concertos came into the possession of J. P. Kirnberger. They were then owned by the Princess Amalie, sister of Frederick the Great and a pupil of MINIATURE SCORED OF SYMPHONIES, OVERTURES, CONCERTOS, ETC., AS PLAYED AT THESE CONCERTS. Miniature Scores of Rtissiao Music SYMPHONIES, OVERTURES, AND CHAMBER MUSIC. Ask your dealer for lists of the above or apply to BOOSEY & COMPANY, 9 East 17th Street, INcw York'Citg 1291 GV^BAltAFR^dC^ONS) SPRING OPENING New Models, Imported and Original T>esigns Wc take gfreat pleasure in exhibiting the season's models, which from an artistic standpoint are the most attractive we have shown. Tailor Street Suits and Riding Habits Rich Visiting Costumes Dinner and Evening Toilettes Day and Evening Coats Embroidered Lingerie ^Dresses and Waists, Shirt Waists and Stocks 2S6 BOYLSTON STREET AC 1292 Kirnbergcr. Their next and final home was the Royal Library, Berlin. They were edited by vS. W. Dehn and published by Peters, I/Cipsic, in 1850. * * The concerto in Bach's day had these meanings: "(i) a music school; (2) either vocal or instrumental chamber music, a piece that is called 'concerto'; (3) violin pieces which are so arranged that each player will at a certain time be prominent, and play in turn with the other parts in rivalry. In such pieces, when only the first player dominates, and where only one of many violinists is prominent for remarkable agility, this player is called 'violono concertino.' " ("Musicalisches Lexicon," by J. G. Walther, Leipsic, 1732.) It is stated that the word "concerto," as applied to a piece for a solo instrument with accompaniment, first appears in a treatise by Scipio Bargaglia, published at Venice in 1587, and that Giuseppe Torelli, who died in 1703, was the first to suggest a larger number of instruments in a concerto and to give the name to this species of composition, concerto grosso. But Michelletti, seventeen years before, had published his "Simfonie et concerti a quatro" and in 1698 his "Concerti niusicali," while the word concerto occurs frequently in the musical terminology of the seventeenth century. Up to the middle of the seventeenth century the music specially for violin was composed almost exclusively of dance tunes, as courantes, gaillardes, pavanes, etc. These compositions bore the title, simfonia, capricio, fantasia, toccata, canzone, ricercare. The first five words were used for instrumental pieces; the last two for pieces either for voices and instruments : sometimes for both. The title ricercare soon disappeared, canzone dropped out of sight, toccata was then a title reserved for harpsichord pieces, and toward the second half of the sixteenth century simfonia meant either an instrumental inters Paul Rcvcrc's Ride NEW EDITIO/M An Interpretation of Long= Grove's Dictionary fellow's Poem THREE VOLUMES For the PIANOFORTE NOW READY By FRANK LYNES Op. 38. PRICE $1.00 $5.00 A VOLUnE Well adapted ;f or all Patriotic Occasions in the schools and within the reach of the average piano player in the graduating class of the grammar All music performed at these concerts constantly school. As the performance of the whole miglit un- on hand. duly tax the powers of one player, the various move- mtnts may be assigned to several pupils. For sale by Arthur P, Schmidt CHARLES W. HOMEYER & CO. 120 BOYLSTON STREET 165 Tremont Street BOSTON, MASS. Boston 1JS03 lude or an overture. It was toward 1650 that the word sonata took the special meaning of an instrumental piece with accompaniment of organ or harpsichord and several other instruments, and in those days the sonata encroached on the rights of the capricio and fantasia. The claim of Torelli to the invention of the concerto grosso may be disputed ; but it was he that determined the form of the grand solo for vioHn and opened the way to Archangelo Corelli, the father of modern violinists, composers or virtuosos. * * The autograph title of this work is as follows: "Concerto 3^° a tre VioHni, tre Viole, e tre Violoncelli col Basso per il Cembalo." The first movement in a somewhat different form was used by Bach in the cantata, "Ich liebe den Hochsten von ganzem Gemiithe." Bach added two horns and three oboes obbligati.

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