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Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip

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Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip THE LYRIC, BALTIMORE. BostonSymptionuOicfiesti; Mr. WILHELM GERICKE, Conductor. Twenty-fourth Season, J904-J905. PROGRAMME OF THE THIRD CONCERT TUESDAY EVENING, JANUARY 10, AT 8.15 PRECISELY. With Historical and Descriptive Notes by Philip Hale* Published by C. A. ELUS, Manager. l THE MAKERS OF THESE INSTRUMENTS have shown that genius for pianoforte making that has been defined as "an infinite capacity for taking pains." The result of eighty years of application of this genius to the production of musical tone is shown in the Chickering of to-day. Catalogue upon Application CHICKERING & SONS 79J Tfemont Sireei. Boston. REPRESENTED IN BALTIMORE BY KRANZ-SMITH PIANO COMPANY Boston The Lyric, Mount Royal and ty ^VlTinhnnV "W" Maryland Avenues, ^^IIipiIUIlJ S. Baltimore. l^tt/v tlAgi' fgl Twenty-fourth Season, J904-J905. V-rl C'llt^LlCl Twentieth Season in Baltimore. Mr. WILHELM GERICKE, Conductor. THIRD CONCERT, TUESDAY EVENING, JANUARY 10, AT 8.15 PRECISELY. PROGRAMME. Beethoven .... Symphony No. 5, in C minor, Op. 67 I. Allegro con brio. II. Andante con moto. III. Allegro: Trio. IV. Allegro. " " Bruch . Penelope's Recitative and Prayer from Odysseus Brahms .......... Waltzes (Orchestrated by W. Gericke.) Edward Elgar . " Sea Pictures," Three Songs from a Cycle of Five for Contralto and Orchestra, Op. 37 " Wagner ..... Overture to " The Flying Dutchman SOLOIST: Miss MURIEL FOSTER. There wjll be aa intermission of ten minutes after the Bruch selection. 3 THE Musicians Library No contemporary venture in music publishing is fraught with more interest to lovers of the art than the Musicians Library, issued by the Oliver Ditson Company. The volumes already in hand show conscientious adherence to high musical ideals. The English translations are far better than usual, having been selected from various sources or made for the volume. The aspect of the printed page is clear and attractive. The engravers have done their work well.— The New York Mail and Express. Volumes recently published Modern French Songs Edited by Philip Hale Vol. I. Bemberg to Franck. Vol. II. Georges to Widor. These two volumes represent the most successful effort which has ever been made to compile an anthology of the work of modern French song com- posers. The editor's task has been performed in a most painstaking and thorough manner. In addition to an essay upon the genesis of French song, a subject which Mr. Hale is qualified to handle with authority, he has provided biographical sketches of every composer represented. Each volume contains portraits of nine of the most prominent song writers represented therein, and an index in both French and English completes it. Schubert, Fifty Songs Edited by Henry T. Finck Franz Schubert created and perfected the lyric art-song, and in his par- ticular field stands unrivalled to this day. The editor has shown unusual good taste in the selection, and has written a description of each of the fifty songs, which with the biographical introduction makes the book of exceptional literary as well as musical value. It also contains a reproduction of the original water- color portrait of the composer by Wilhelm Riedel. This volume, comprising two hundred and forty pages, is the largest of the series. Songs by Thirty Americans Edited by Rupert Hughes A collection of thirty songs by as many composers who have won dis- tinction in this form of composition. The list of contributors includes such well-known names as John K. Paine, Dudley Buck, Clayton Johns, William Arms Fisher, Ethelbert Nevin, Frederic Field Bullard, Homer A. Norris, H. Clough-Leighter, and others of national reputation; while it also shows, in generous proportion, the names of the younger men who represent the progressive, ultra-modern element in American composition. Mr. Hughes's introduction, besides a brief preface, gives a sketch of each composer and an estimate of his work, the interest of which is enhanced by the portrait and autograph of each man. Price of each, for high or low voice, in heavy paper, cloth back, $1.50; cloth, full gilt, $2.50, postpaid. Sample type and music pages, portrait of Brahms, and book- let giving full description of the " Musicians Library " sent free to any address on request. OLIVER DITSON COMPANY, Boston C. H. DITSON & CO. J. E. DITSON & CO. New York Philadelphia ORDER OF YOUR HOME DEALER OR THE ABOVE HOUSES. Symphony No. 5, in C minor, Op. 67 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 16, 1827.) Beethoven sketched motives of the allegro, andante, and scherzo of this symphony as early as 1800 and 1801. We know from sketches that, while he was at work on "Fidelio" and the pianoforte concerto in G major,— 1 804-1 806, —he was also busied with this symphony, which he put aside to compose the fourth symphony, in B-flat. The symphony in C minor was finished in the neighborhood of Heili- genstadt in 1807. Dedicated to the Prince von Lobkowitz and the Count Rasumoffsky, it was published in April, 1809. It was first performed at the Theater an der Wien, Vienna, Decem- ber 22, 1808. All the pieces were by Beethoven: the symphony de- scribed on the programme as "A symphony entitled 'Recollections " of Life in the Country,' in F major, No. 5 (sic) ; an Aria, "Ah, perfido," sung by Josephine Kilitzky; Hymn with Latin text written in church style, with chorus and solos; Piano Concerto, played by Beethoven; Grand Symphony in C minor, No. 6 (sic); "Sanctus" with Latin text written in church style, with chorus and solos; Fantasie for piano solo; Fantasie for piano, "into which the full orchestra enters little by little, and at the end the chorus joins in the Finale." The con- cert began at half-past six. We know nothing about the pecuniary result. There was trouble about the choice of a soprano. Anna Pauline Milder, born at Constantinople in 1785, the singer for whom Beethoven wrote the part of Fidelio, was chosen. Beethoven happened to meet Hauptmann, a jeweller, who was courting her, and in strife of words called him "stupid ass!" Hauptmann, who was apparently a sensi- tive person, forbade Pauline to sing, and she obeyed him. (She married NEW ALBUHS OF SONGS Songs from the Turkish Hills Two Sets. By G. H. CLUTSAM. Songs from the Hills By LANDON RONALD. As sung by Miss Muriel Foster. Songs of the Sea By C. VILLIERS STANFORD. (With Male Chorus Accompaniment.) To be had of all Dealers or BOOSEY & COMPA/NY, 9 East 17th Street, NEW YORK THE NEW ENGLAND CONSERVATORY OF MUSIC GEORGE W, CHADW1CK, Director PUPILS ARE RECEIVED FOR SPE- CIAL WORK or full courses in any de- partment at any time during the school year, and may arrange for private or class lessons, as desired. GRADUATING COURSES may be taken entirely in private lessons or in class lessons, or in both private and class lessons. THE CONSERVATORY CONCERTS IN THE NEW JORDAN HALL and the Lecture courses and Recitals in the Conservatory Re- cital Hall are open to all pupils, and form an important part of their education. The Opera and Orchestral departments afford special opportunity for the public appearance of advanced pupils. The Conservatory is open to visitors daily from nine until five o'clock. Address all applications to RALPH L. FLANDERS, Manager, Boston, Mass. Hauptmann in 1810, blazed as a star at Berlin from 181 5 to 1829, sang in Russia and Sweden, and died at Berlin in 1838.) Antonia Campi, born Miklasiewicz (1773), was then asked, but her husband was angry because Miss Milder had been invited first, and he gave a rude refusal. Campi, who died in 1822 at Munich, was not only a remarkable singer: she bore seventeen children, among them four pairs of twins and one trio of triplets, yet was the beauty of her voice in no wise affected. Finally Josephine Kilitzky (born in 1790) was persuaded to sing "Ah, perfido." She was badly frightened when Beethoven led her out, and could not sing a note. Rockel says a cordial was given to her behind the scenes; that it was too strong, and the aria suffered in consequence. Reichardt describes her as a beautiful Bohemian with a beautiful voice. "That the beautiful child trembled more than sang was to be laid to the terrible cold; for we shivered in the boxes, although wrapped in furs and cloaks." She was later celebrated for her "dramatic colorature." Her voice was at first of only two octaves, said von Ledebur, but all her tones were pure and beautiful, and later she gained upper tones. She sang from 1813 to 1831 at Berlin, and pleased in many parts, from Fidelio to Arsaces, from Donna Elvira to Fatime in "Abu Hassan." She died, very old, in Berlin. "Ah, perfido" had been composed in 1796 for Josephine Duschek. The "Fantasie," for piano, orchestra, and chorus, was Op. 80. J. F. Reichardt wrote a review of the new works. He named, and incorrectly, the sub -titles of the Pastoral Symphony, and added: "Each number was a very long, complete, developed movement full of lively painting and brilliant thoughts and figures ; and this, a pastoral symphony, lasted much longer than a whole court concert lasts in Berlin." Of the one in C minor he simply said: "A great, highly- developed, too long symphony. A gentleman next us assured us he had noticed at the rehearsal that the 'cello part alone—and the 'cellists were kept very busy—covered thirty-four pages. It is true that the copyists here understand how to spread out their copy, as the law scriveners do at home." No record of the reception by the audience of the new works has come down to us.
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