BOSTON SYAPnONY ORCnCSTRH ")> PRoGRSnAE 124:^ The DURABILITY of PIANOS and the permanence of their tone quality surpass anything that has ever before been obtained, or is possible under any other conditions. This is due to the Mason & Hamlin system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion—The Mason & Hamlin Tension Resonator Catalogue Mailed on Jtpplication Old Pianos Taken in Exchange MASON & HAMLIN COMPANY Established i854 Opp. Institute of Technologfy 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON 6-MASSACHUSETTS AVENUES , - Ticket Office, 1492 , „ Telephones^ i [^Back Bay j Administration Offices. 3200 ( TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor Programme af tijp Twenty-fourth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, APRIL 29 AT 2.30 O'CLOCK SATURDAY EVENING, APRIL 30 AT 8.00 O'CLOCK C/ COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 1797 Mme. TERESA CARRENO On her tour this season will use exclusively ^^ Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY G. L SCHIRMER & CO., 338 Boyiston Street, Boston, Mass. 1798 Boston S3rmphony Orchestra PERSONNEL \^ pw iw iw iw iw iw im w» w» #m wi »w r« #m,w»^»m^iv« n^.^^ ikam ^A^nnnz^l H Perfection m Piano Making THE Quarter Grand Style V, in figured Makogany, price $650 It is tut FIVE FEET LONG and in Tonal Proportions a Masterpiece or piano Duilamg. It IS Cnickering & Sons most recent triumph, tke exponent of EIGHTY-SEVEN YEARS experience m artistic piano builamg', ana tne lieir to all tne qualities that tne name oi its makers implies. CHICKERING & SONS pianoforte makers E-tabHshed 1623 791 TREMONT STREET. Corner Northampton Street, near Mass. Ave. BOSTON ^ wy^ tfwtfw ¥wwv¥v ^w¥Vmi tntf vw mum¥V irwv M^¥^ tf^ wv iAi ff 1800 TVENTY- NINTH SEASON^ NINETEEN HUNDRED NINE AND TEN Twenty- fourth Rehearsal and Concert FRIDAY AFTERNOON, APRIL 29, at 2.30 o'clock SATURDAY EVENING, APRIL 30, at 8 o'clock PROGRAMME Beethoven .... Symphony No. i, in C major, Op. 21 I. Adagio molto ; Allegro con brio. II. Andante cantabile con moto. III. Menuetto: Allegro molto e vivace; Trio. IV. Finale: Adagio; Allegro molto e vivace. Beethoven . Symphony No. g, with Final Chorus on Schiller's "Ode to Joy," Op. 125 I. Allegro, ma non troppo, un poco maestoso. II. Molto vivace: Presto. III. Adagio molto e cantabile. IV. Presto. Allegro assai. ^ Presto. Baritone Recitative. Quartet and Chorus : Allegro assai. Tenor Solo and Chorus: Allegro assai vivace, alia marcia' Chorus: Allegro assai. Chorus: Andante maestoso. Adagio, ma non troppo, ma divoto. Allegro energico, sempre ben marcato. Quartet and Chorus: Allegro ma non tanto: Prestissimo. SOLOISTS Mrs. MARY HISSEM DE MOSS, Soprano Miss MARGARET KEYES, Contralto Mr. BERRICK VON NORDEN, Tenor Mr. FREDERICK WELD, Bass And the CHORUS OF THE CEQLIA SOCIETY There will be an intermissioa of ten minutes before the Ninth symphony The doors of the hall will he closed during tJie performance of each number on the programtne. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the nu7nbers. City of Boston, Revised Re((ulatlan of Auiiust 5, 1898.— Chapter 3. relatinii to the coverinii 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 baing understood that a low head covering without projection, which does not •bitruct such view, may be worn. Attest! J. M. GALVIN, City CUrk. 1801 GRAND"upright*' Style V Size 4 feet 6 inches MAHOGANY CASE- BEAUTIFULLY VENEERED ^550 THE WORLD'S BEST PIANO is the one piano not only abreast of the times, but today, more than ever, is solely and purely representative of faultless con- struction, exceptional durability and that tonal sublimity that cannot be successfully imitated or equalled. C C HARVEY CO. 144 BOYLSTON STREET BOSTON 1802 — Symphony No. i, in C major, Op. 21 Ludwig van Beethoven (Born al Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) Beethoven had composed two works for orchestra before the completion and performance of his first season,—the Concerto for pianoforte and orchestra, Op. 15 (1796); the Concerto for pianoforte and orchestra, Op. 19 (1794-95). It is probable that Beethoven meditated a symphony in C minor. There are sketches for the first movement. Nottebohm, studying them, came to the conclusion that Beethoven worked on this symphony in 1794 or early in 1795. He then abandoned it and composed the one in C major. Whether he used material designed for the abandoned one in C minor, or invented fresh material, this is certain: that the concert at which the Symphony in C major was played for the first time was announced in the Wiener Zeitung, March 26, 1800. It should be observed, however, that one of the phrases in the sketches for the earlier symphony bears a close resemblance to the opening phrase of the allegro molto in the Finale of the one in C major. It is thought that Beethoven composed a few symphonies in Bonn, and one of these supposed symphonies was found and played in Ger- many last season. The first performance was at a concert given by Beethoven at the National Court Theatre, "next the Burg," Vienna, of April 2, 1800. The program was a formidable one: 1. Grand symphony by the late Chapelmaster Mozart. 2. Aria from Haydn's "Creation," sung by Miss Saal.* 3. A grand concerto for pianoforte, played and composed by Beethoven. * Miss Saal was the daughter of a bass, Ignaz Saal, a Bavarian, who was a favorite operatic singer at Vienna. She was the first to sing the soprano parts in Haydn's "Creation" and "Seasons." In 1801 she was engaged as a member of the National Opera Company, with a salary of fifteen hundred florins. She married in 1805, and left the stage. The picture of her made early in the nineteenth century is said to be unflattering to the verge of caricature. TO TEACHERS AND SCHOOLS. Educational Music in All its Branches. The Most Representative Music Publishing House in America. Sole Agents for ENOCH & SONS, London. ENOCH & CO., Paris. ELKIN & CO., London. G. RICORDI & CO., Milan. E. DOTESIO & CO., Spain. 4 BOOSEY & COMPANY, 9 East Seventeenth Street, NEW YORK CITY. 1803 L P. Hollander & Co. PARASOLS Exclusive Novelties from London and Paris in Coaching Shades Parasolettes Especially Adapted for Motoring Parasols made to order from a large assortment of exclusive silks and imported handles which we have recently received. Parasols re-covered Furs Stored and Insured BOYLSTON STREET EVERY BUSINESS MAN has some receptacle for valuable papers — an office safe or a vault in his office building. Yet safes are not proof against burglary, and fire will destroy a building, vault and all. A safe-deposit box affords the only absolute pro- tection against fire or flood, burglary, and acci- dental loss. It is easily accessible to the owner, and to him alone. We ofi"er you absolutely modern safe-deposit vaults at our Court Street and Temple Place buildings One of these is sure to be conveniently accessible, and we cordially invite your inspec*"ion of the facilities provided. Old Colony Trust Company Resources over $70,000,000 COURT STREET TEMPLE PLACE 1804 4- A septet for four strings and three wind instruments, composed by Beethoven and dedicated to her Majesty the Empress, and played by Messrs. Schitppanzigh, Schreiber, Schindlecker, Bar, Nickel, Matauschek, and Dietzel. 5. A duet from Haydn's "Creation," sung by Mr. and Miss Saal. 6. Improvisation by Beethoven on Haydn's "Emperor's Hymn." 7. A new grand symphony for full orchestra by Beethoven. The concert began at 6.30 p.m. The prices of admission were not raised. It was the first concert given in Vienna by Beethoven for his own benefit. A correspondent of the Allgemeine Musikalische Zeitung (October 15, 1800) gave curious information concerning the perform- ance. It is not known which concerto Beethoven played; but the cor- respondent said it contained many beauties, "especially in the first two movements." The septet, he added, was written "with much taste "and sentiment." Beethoven improvised in masterly fashion. "At the end a symphony composed by him was performed. It contains much art, and the ideas are abundant and original, but the wind instruments are used far too much; so that the music is more for a band of wind instruments than an orchestra." The performance suffered on account of the conductor, Paul Wranitzky.* The orchestra men disliked him, and took no pains under his direction. Furthermore, they thought Beethoven's music too difficult. "In accompaniment they did not take the trouble to pay attention to the solo player; and there was not a trace of delicacy or of yielding to his emotional desires. In the second movement of the symphony they took the matter so easily that there was no spirit, in spite of the conductor, especially in the performance of the wind instruments. What marked effect, then, can even the most excellent compositions make?" The septet gained * Paul Wranitzky (or Wraniczky), violinist, composer, conductor, was born at Neureisch, in Moravia, in 1756; and he died September 28, 1808, as conductor of the German Opera and Court Theatre at Vienna. He was a fertile composer of operas, symphonies, chamber music.