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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip

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CARNEGIE HALL - - NEW YORK Twenty-second Season in New York DR. KARL MUCK, Conductor fnigrammra of % FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 PRECISELY AND THK FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 9 AT 2.30 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY . 37 West 32d Street, New York Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. < Second Violins. • Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. t Violoncellos. Warnke, H. Nagel, R. Barth, C. Loefner, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. 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. Litke, H. 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, C. Burkhardt, H. Librarian. Sauerquell, J. 3 gs*s»aea&sBgiaeasB»^ Wht 11 Ot!) ttferin l^aito 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. fiBB8BBBMHSEBB3BBB§ii^BBSSBSSBBBBSS^B§SS^ Represented by JOHN WANAMAKER, Broadway and ioth Street NEW YORK, N.Y. Boston . CARNEGIE HALL, Symphony i y-y A Twenty-seventh Season, 1907-1908. \J I t'l ICS LI CL Twenty-second Season in New York. Dr. KARL MUCK, Conductor. FIRST CONCERT, THURSDAY EVENING, NOVEMBER 7, AT 8.15 PRECISELY. PROGRAMME. in Bruckner . Symphony D minor, No. 9 {Unfinished) I. Feierlich. II. Scherzo: Bewegt, lebhaft. Trio : Schnell. III. Adagio: Sehr langsam. Bach .... Suite No. 2, in B minor, for Flute and Strings (Hans von Bulow's Arrangement.) I. Overture: Largo; Allegro. II. Rondo: Allegretto espressivo. III. Sarabande: Andante. IV. Bourree I. and Bourree II. : Allegro molto. V. Polonaise with Double: Moderate VI. Minuet. VII. Badinerie: Presto. Solo Flute, Mr. Andre Maquarre. Beethoven Overture to "Leonora" No. 1 There will be an intermission of ten minates after the symphony* 5 There are 5,000 different parts in a single piano ; 10 different materials used, — <wood, iron, felt, etc; 14 different cwoods,—ash, spruce, maple, etc. And it has taken 200 years to develop the instrument to its present perfection as represented by the HARDMAN PIANO It is evident that only the most expert knowledge and long experience are capable of combining these multi- tudinous elements so as to produce a truly artistic piano. For sixty-five years Hardman, Peck & Co. have been solving piano construction problems. Long enough to acquire expert knowledge and ripe experience; long enough to perfect the famous Hardman Tone, the exquisitely respon- sive touch, the beautiful cases ; long enough to demonstrate the remarkable durability of these vital qualities. Call at our warerooms or at the warerooms of any of our representatives, and verify these significant truths. All makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST HARDMAN, PECK fit CO. 138 Fifth Avenue (corner 19th Street), New York Improves Established with use Symphony in D minor (Unfinished), No. 9 . Anton Bruckner (Born at Ansfelden, in Upper Austria, September 4, 1825; died at Vienna, October 11, 1896.) Ferdinand Lowe,* the editor of Bruckner's Unfinished Symphony, writes in a prefatory note to the score that it was the original intention of the composer to end the work with a purely orchestral Finale. This remark is in answer, no doubt, to the sorry jest of von Biilow that Bruckner's Ninth Symphony ''must end with a choral finale." The composer was hurt by this display of malice, nor did he see why he should apologize to admirers of Beethoven—of whom he was chief —for choosing the tonality of D minor for the chief theme of the svmphony. This tonality was his favorite. Bodily sufferings often obliged Bruckner to put aside his work, and death came before the Finale was shaped. Although sketches of this Finale are in existence, they are only faint indications of the composer's intentions. He is said to have remarked to friends that, if the three movements were performed after his death, his "Te Deum"f might be added as a Finale. The manuscript of the Ninth Symphony is in the Court Library at Vienna. We learn from it that the first movement was begun toward the end of April, 1891, and finished October 14, 1892. The Scherzo was completed on February 15, 1894, but the Trio was finished as early as February 27, 1893. The Adagio was completed October 31, 1894. The first performance was by the Vienna Academic Wagner Society and the Vienna Concert Society at Vienna, February 11, 1903. The conductor was Lowe, and as an act of piety Bruckner's "Te Deum" was performed as the Finale. The three movements were soon after- * Ferdinand Lowe, born at Vienna, February 19, 1865, was taught at the Vienna Conservatory of Music by Bruckner and Dachs. He taught the pianoforte and also chorus singing at the Conservatory. In 1897-98 he was conductor of the Kaim Orchestra at Munich. In 1898 he was called to Vienna to assist the Court Opera. He became in 1900 the conductor of the Gesellschafts concerts—he resigned this position in 1904 —and conductor of the Concert Society Orchestra. He has edited several works of Bruckner, and he was a great friend of Hugo Wolf. fBruckner's "Te Deum " was produced at Vienna in 1886. It was performed for the first time in the United States at St. Louis in December, 1891, on the occasion of the golden jubilee of Archbishop Kendrick. Joseph Otten conducted. It was performed at the Tenth Biennial Festival at Cincinnati, Theodore Thomas conductor, May 26, 1892. The first performance in Boston was by the Cecilia Society, Mr. Lang conductor, December 12,1905. The Worcester County Musical Association, Mr. W. Goodrich conductor, performed it September 28, 1905. NEW SONG CYCLES GEORGE H. CLUTSAM. Love Letters. Five Songs. 2 keys . Price, $1. 00 net AMY WOODFORDE-FINDEN. Five Japanese Songs. 2 keys . Price, $1.00 net LIZA LEHMANN. Golden Threshold. Quartette Cycle . Price, #1.50 net HERBERT G. LOVEDAY. Minstrel Songs from Scott's Rokeby. 2 keys Price, $ 1. 00 net LANDON RONALD. Love Tokens. Six Songs. 2 keys . Price, $1. 00 net HUBERT S. RYAN. Six Elizabethan Aires. 2 keys . Price, $1 00 net GERRIT SMITH. Thistledown Price, $1.50 net REGINALD SOMERVILLE. Love Themes. Cycle of Three Songs. Price, $1.00 net ARTHUR SOMERVELL. James Lee's Wife. Song Cycle for Contralto Price, #1.50 net 1 BOOSEY & COMPANY, 9 East Seventeenth St., New YorK City . — ; ward played in other German cities, as at Berlin by the Philharmonic, led by Nikisch, October 26, 1903 ; and they were performed at Munich for the third time in the season of 1 903-1 904. The first performance at a Philharmonic Concert in Vienna was on March 4, 1906 (Dr. Muck, conductor) The first performance in the United States was at Chicago by the Chicago Orchestra, Theodore Thomas conductor, February 20, 1904. The first performance in Boston was at a concert of the Boston Symphony Orchestra, April 2, 1904 (Mr. Gericke, conductor). The symphony is scored for three flutes, three oboes, three clarinets, two bassoons, double-bassoon, eight horns, three trumpets, three trom- bones, contrabass tuba, a set of three kettledrums, and strings. In the third movement the horns 5-8 are replaced by two tenor and two bass tubas. I. Feierlich (misterioso) , t) minor, 2-2. There is a departure in this movement from classic models, for the second grand division, the free fantasia, is practically omitted ; or it may be said that the free fantasia is blended with the recapitulation (the third grand division) in such a manner as to divide the movement into two grand divisions. Mr. Hubbard William Harris, of Chicago, prepared this synopsis of the form and its principal elements: "First part: Introduction; first theme (statement only—no devel- opment) ; second theme ; third theme ; fourth theme.
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  • Music Director Riccardo Muti Leads Two Programs to Conclude the Chicago Symphony Orchestra's 125Th Season

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    For Immediate Release: Press Contacts: June 2, 2016 Eileen Chambers, 312-294-3092 Photos Available By Request [email protected] MUSIC DIRECTOR RICCARDO MUTI LEADS TWO PROGRAMS TO CONCLUDE THE CHICAGO SYMPHONY ORCHESTRA’S 125TH SEASON June 16–26, 2016 Muti Leads Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto with Julia Fischer as Soloist (June 16–21) Muti Leads an All-Bruckner Program including the Symphony No. 9 and Te Deum featuring the Chicago Symphony Chorus and Soloists (June 23–26) CHICAGO—Music Director Riccardo Muti returns in June to lead the Chicago Symphony Orchestra in two programs to conclude the 125th season (June 16–26). Throughout the 2015/16 season, Muti and the Orchestra have honored the ensemble’s distinguished history with performances of works that received either their world or U.S. premieres from the CSO. The final season program includes two of these works—Bruckner’s Symphony No. 9, which was given its U.S. premiere by the CSO in 1904, and his choral masterwork, Te Deum, which was given its U.S. premiere by the CSO in 1892. Both premieres were led by the CSO’s first music director, Theodore Thomas. Muti opens his June residency with the CSO with a program (June 16–21) that includes Brahms’ Serenade No. 1 and Beethoven’s Violin Concerto with Julia Fischer as soloist. Originally composed as chamber music, Brahms later adapted his Serenade No. 1 for full orchestra, offering a preview of the rich compositional style that would emerge in his four symphonies. The six-movement work is filled with lyrical wind and string passages, as well as exuberant writing in the allegro and scherzo movements.
  • The 20 Crucial Compositions of Anton Bruckner Alonso Delarte Published by Alonso Delarte at Smashwords Copyright 2010 Alonso Delarte

    The 20 Crucial Compositions of Anton Bruckner Alonso Delarte Published by Alonso Delarte at Smashwords Copyright 2010 Alonso Delarte

    The 20 Crucial Compositions of Anton Bruckner Alonso Delarte Published by Alonso Delarte at Smashwords Copyright 2010 Alonso Delarte Smashwords Edition, License Notes This eBook is licensed for your personal enjoyment only. This eBook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you're reading this book and did not purchase it, or it was not purchased for your use only, then please return to Smashwords.com and purchase your own copy. Thank you for respecting the hard work of this author. 11. Symphony No. 6 in A major (1879) Repertoire formation is a funny business. Musical merit is one factor, certainly, but often not the only factor or even the most important one. With any composer, there are pieces which are rarely heard, yet when they are heard, people wonder why they have never heard it before, since they are such good pieces of music. And so, with Bruckner, it is somewhat of a puzzlement that the Sixth Symphony is so rarely heard despite being so well-done and so fascinating, whereas the Fourth Symphony, with its various flaws and problems, is one of Bruckner's most popular. Various reasons are given for this, such as that Bruckner was trying too hard to pare down his conception to a smaller scale, or the predominance of the Bruckner rhythm (2 + 3 or 3 + 2 in the time-space of 2 + 2) in the first movement in overlapping triplets of different note values.