THE LYRIC .... BALTIMORE Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor JJrogramm? of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, MARCH 18, AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used bv 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 OberhofTer Wilhelm Gericke Emil Paur Felix Weingartner Represented in Baltimore by THE KRAN2 SMITH PIANO GO. 100 North Charles Street 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. Mann, 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. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, 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 Horkr. 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. Tympanl Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. rv an flier, r . Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. Wbt Cftttkermg Piano 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. Represented in Baltimore by THE KRANZ-SMITH PIANO COMPANY 100 N. Charles Street Boston The Lyric, £ Mount Royal and SVfnOhOnV S- Maryland Avenues, * X Baltimore. f\ f/v t« r± ^4" #*0 ' TwentTwenty-seventh Season* J907-J908. Twenty-third Season in Baltimore* Dr* KARL MUCK, Conductor* FIFTH AND LAST CONCERT, WEDNESDAY EVENING, MARCH J 8, AT &A5 PRECISELY. PROGRAMME* Handel . Concerto in F major for Strings and Two Wind Orchestras (Edition of Gustav F. Kogel). First time in Baltimore I. Pomposo. II. Allegro. III. A tempo ordinario. IV. Largo. V. Allegro. Reger . Variations and Fugue on a Merry Theme of J. A. Hiller (1770), Op. 100. First time in Baltimore Rimsky-Korsakoff . Caprice on Spanish Themes, Op. 34 First in I. Alborada. time Baltimore II. Variations. III. Alborada. IV. Scene and Gypsy Song. V. Fandango of the Asturias. There will be an intermission of ten minutes after the concerto* 5 There are 5,000 different parts in a single piano; 10 different materials used,—<wood, iron, felt, etc*; 14 different <woods,—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 pases ; 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 pavment for the balance can be arranged ART CATALOG SENT ON REQUEST HARDMAN, PECK & GO. 138 Fifth Avenue (corner 19th Street), New York 524 Fulton Street, Brooklyn, N.Y. REPRESENTED IN BALTIMORE BY COHEN & HUGHES, 304 No. Howard Street Improves Established with use 18J& — Concerto in F major for Strings and Two Wind Orchestras. George Frideric Handel (Born at Halle, February 23, 1685; died at London, April 14, 1759.) Extracts from this work—Pomposo, Allegro; Allegro manon troppo; Largo ; A tempo ordinario ; Allegro—were performed for the first time in Boston at a concert of the Boston Symphony Orchestra, Mr. Nikisch conductor, December 26, 1891. The present arrangement of movements from Handel's concerto is by Gustav Friedrich Kogel,* and it is now performed for the first time in this city. Little is known about the history of the original work. It is composed for two bands of two oboes, two horns, bassoons, and for strings. The date of composition is not known. Handel hardly ever dated a manuscript. Chrysander thinks the concerto belongs to Handel's later period, and that it was written between 1740 and 1750. It was published for the first time in the edition of the German Handel Society, 1886. We do not know where or when the work was first performed, or whether it were performed while Handel was alive, though there is every probability that it was. W. S. Rockstro, in his Life of Handel (1883), gave the following account of the concerto : "The volume in the Royal Collection labelled 'Sketches/ which contains the disputed Magnificat and the two unpublished versions of 'How beautiful/ contains, also, a long and extremely elaborate * Kogel was born January 16, 1840, at Leipsic. He studied at the Conservatory of that city (1863-67), lived some years in Alsace as a music teacher, returned home when the war broke out. worked for the firm of Peters, the music publisher, and in 1874 began his career as a conductor. He conducted in the theatres of Nuremberg, Dortmund, Ghent, Aix-la-Chapelle, Cologne, Leipsic (1883-86), was conductor of the Phil- harmonic Orchestra, Berlin, in 1887, and in 1801 he became conductor of the Museum Concerts at Frankfort- on-the-Main. In 1903 he was removed, to make a place for Sigismimd von Hausegger. He has edited editions of operas and orchestral works, among the latter two concertos of Handel. He conducted on December 4. 5, 18, 10, 1003, and on November n and 12. 1004, concerts of the Philharmonic Society of New York in Carnegie Hall. 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, $100 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 ; composition, which has never yet been brought before the public. M. Schoelcher was evidently aware of the existence of the manuscript; for, at page 139 of his Life of Handel, he quotes it as a proof that certain portions of 'The Messiah' were more fully accompanied than the world has generally supposed.* . The manuscript, filling eighty-four pages of paper, exactly similar in size, texture, and water-mark to that used for the Magnificat, resembles that work so closely in the character of its handwriting that there can be no doubt that it was produced at very nearly the same period ; that is to say, between the years 1737 and 1740. It consists of nine distinct movements . the first is a stately pomposo. The second introduces the descending passage of semiquavers which forms so prominent a feature in the Hailstone Chorus. The subject of the third begins like that of 'Lift up your heads.' The ninth breaks off at the end of the second bar, and the remaining pages are missing but the loss is less deplorable than might have been supposed, for the seventh, eighth, and ninth movements are reproduced in a complete though modified form in an organ concerto published by Arnold in 1797." Kogel has taken five of the movements. The first, Pomposo, F major, 4-4, —"Mr. George Frideric Handel is by far the most superb personage * Rockstro refers to this remark of Schoelcher: "The volume of MS. (which has been entitled Sketches) contains a piece of instrumentation which evidently applies to the chorus 'Lift up your gates'" (sic). And then Schoelcher gives the instrumentation of this concerto.—P. H. more Trust and Guarantee Co. J EQUITABLE BUILDING Calvert and Fayette Streets Allows interest on accounts subject to check. Solicits small deposits in its Savings Department, and allows s}4% interest.