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Third Rehearsal and Concert SYMPHONY HALL, BOSTON HUNTINGTON ^•MASSACHUSETTS AVENUES „ , , \ Ticket Office, 1492 > Telephones ^^^^„ , ^^^^ j Administration Offices, 3200 } THIRTIETH, SEASON, 1910 AND 1911 MAX FIEDLER, Conductor programme nf tir^ Third Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, OCTOBER 21 AT 2.30 O'CLOCK SATURDAY EVENING, OCTOBER 22 AT 8.00 O'CLOCK COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 145 WM. L. WHITNEY International School for Vocalists BOSTON NEW YORK SYMPHONY CHAMBERS 134 CARNEGIE HALL 246 HUNTINGTON AV%. CORNER OF 57th AND 7th AVE. PORTLAND HARTFORD Y. M. C. A. BUILDING HARTFORD SCHOOL OF MUSIC CONGRESS SQUARE 8 SPRING STREET 146 Boston Symphony Orchestra PERSONNEL Thirtieth Season, 1910-1911 MAX FIEDLER, Conductor Violins. Witek, A., Roth, O. Hoffmann, J. Theodorewicz, J. Conc«rt-master. Kuntz, D. Krafft, F. W. Mahn, F. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Eichheim, H. Bak, A. MuIIaly, J. Goldstein, H. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Werner, H. Goldstein, S. Kurth, R. Fabrizio, C. Violas. Ferir, E. Heindl, H. Rennert, B. Kolster, A. VanWynbergen, C. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W. Violoncellos. Schroeder, A. Keller, J. Earth, C. Belinski, M. Warnke, J. Warnke, H. Nagel, R. Nast, L. Hadley, A. Smalley, R. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Jaeger, A. 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-Bassoons. Mueller, F. Stumpf, K. Helleberg, J. Mosbach, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. 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. Neumann, S. Rettberg, A. Senia, T. Kandler, F. Zahn, F. Burkhardt, H. Librarian. Sauerquell, J. 147 BUJXLUJJ^^ Perfection m Piano Making 5 feet long THE -0Mamxin Quarter Grand Style V , in ngured Manogany, price ^650 It IS tut five feet long and in Xonal Proportions a Masterpiece or piano building. It IS CnicKering GT* Sons' most recent triumph, tlie exponent oi EIGHTY-SEVEN YEARS experience in artistic piano building, and tne neir to all tne qualities tnat tne name or its makers implies. GHICKERING ^ SONS Established 1823 791 TREMONT STREET, Comer Northampton Street, near Mass. Ave. BOSTON 'iA<iAiiA«iAiiniin«in«kn«iA«ini wvwVwVw W^VwVwVwVwVwVw(wy ff I 148 THIRTIETH SEASON. NINETEEN HUNDRED TEN AND ELEVEN ®I|tr& S^tf^aratil anh (Hcnttvt FRIDAY AFTERNOON, OCTOBER 21, at 2.30 o'clock SATURDAY EVENING, OCTOBER 22, at 8 oVIock PROGRAMME Bach Brandenburg Concerto, No. 3, in G major, for Three Violins, Three Violas, Three Violoncellos, and Bass I. Allegro moderato. II. Allegro. (Harpsichord, Mr. Marshall.) Beethoven .... Symphony in D major, No. 2, Op. 36 I. Adagio molto; Allegro con brio. II. Larghetto. III. Scherzo : Allegro ; Trio. IV. Allegro molto. Scriabin Symphonic Poem, "Le Poeme de I'Extase," Op. 54 First time in Boston Organ, Mr. Marshall. Sibelius •Finlandia," Symphonic Poem for Orchestra, Op. 26, No. 7 The Harpsichord is from Chicfcering & Sons There will be an intermission of ten minutes after the symphony The doors of the hall will be closed during the performance of each number on the programine. 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 Boston, Revised Regulation of August 5. 1898.— Chapter 3. relating to tfae 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 obstruct such view, may be worn. Attest: J. M. GALVIN, City Clerk. 149 Concerto in G major, No. 3 (of* 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. Noth- ing 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 catalogue 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 Kirnberger. FURS FURS The question is often asked. Where can I get furs that have style, beauty, and quahty, without paying the high prices that this combination usually entails ? We have the facilities which solve this problem. We are offering: Sable Squirrel Coats from $100 up Hudson Seal Coats from $150 up Russian Pony Coats from $50 up Also Coats and Sets in all the fashionable furs at moderate prices WERNER-PAZOLT CO., Inc. 420 BOYLSTON ST. BERKELEY BUILDING w 150 Their next and final home was the Royal Ivibrary, Berlin. They were edited by S. W. Dehn and published by Peters, Leipsic, 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, I^eipsic, 1732.) It is stated that the word "concerto," as applied to a piece for a solo instrument with accom- paniment, 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 musicali," 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 inter- 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 violin and New Song Cycles for Solo and Quartet of Voices DREAM OF EGYPT • • •THREE OLD ENGLISH LYRICS" By Amy Woodforde-Finden. Two By F. Keel $1.00 net keys $1.50 net THREE SONGS OF THE HIMA- FIVE FAIRY BALLADS" LAYAS" By S. Coleridge-Taylor. Two keys 1.50 net ByE. Torrace 1.00 net PETER PAN" Trevalsa . 1 net By Joan . .50 WELSH MELODIES." Parti. 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