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Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip

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Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thirty-second Season, J9J2-J9J3 Dr. KARL MUCK, Conductor flrogramm? of % FOURTH CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, JANUARY 16 AT 8.00 COPYRIGHT, 1912, BY C A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Shown EXCLUSIVELY at Steinert Hall and our stores throughout New England STEINWAY Grand and Upright pianos in all regular models, and PIANOS in special designs of distinctive architectural styles. PIANOLA Steinway,Weber and other makes of Pianos, in 88-note PLAYER-PIANOS styles with all the exclusive Pianola features, including the Metrostyle and The- modist, at prices as low as $550. THE NEW ENGLAND- A series of quality pianos MADE PIANOS of distinctive musical char- acteristics—superb values THE HUME at their respective prices, THE JEWETT from $275 up. THE WOODBURY M. STEINERT & SONS CO. Steinert Hall, 162 Boylston Street New England's Largest Piano House Owing to the illness of Dr. Muck, Mr. Otto Urack will conduct. V SANDERS THEATRE .... CAMBRIDGE HARVARD UNIVERSITY Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor FOURTH CONCERT THURSDAY EVENING, JANUARY 16 AT 8.00 PROGRAMME Borodin Symphony No. 2, in B minor I. Allegro moderate II. Molto vivo. III. Andante. IV. Allegro. Arias with Orchestra a. Marcello Recitative "II mio bel foco" and Aria "Quella fiamma" b. Gluck Aria of Paride from "Paride ed Elena," Act I., No. 3 Brahms Academic Festival Overture, Op. 80 Strauss Songs with Orchestra a. Morgen, Op. 27, No. 4. b. Wiegenlied, Op. 41, No. 1 c. Cacilie, Op. 27, No. 2. Chabrier Espana/' Rhapsody for Orchestra SOLOIST Miss ELENA GERHARDT There will be an intermission of ten minutes after the symphony 3 ifeint&lMltit Boston 's Great Art 'Product Q Everywhere recognized as musically the most beautiful piano the world has ever seen JHa20it^lamIm€0. ESTABLISHED 1854 492 Boylston Street Boston Symphony in B minor, No. 2, Op. 5 Alexander Borodin (Born at St. Petersburg, November 12, 1834, died there February 27, 1887.) Borodin's Symphony in B minor was written during the years 1871-77. The first performance was at St. Petersburg in the Hall of the Nobility, February 14, 1877, and Eduard Napravnik was the conductor. The symphony is scored for piccolo, three flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, three kettledrums, bass drum, cymbals, triangle, tambourine, harp, and the usual strings. It appears from the score that this symphony was edited by Rimsky- Korsakoff and Glazounoff. I. Allegro, B minor, 2-2. The first movement opens with a vig- orous theme given out by the strings in unison, while bassoons and horns reinforce each alternate measure. This theme may be taken for the motto of the movement, and it is heard in every section of it. Another motive, animato assai, is given to the wood-wind. After the alternation of these two musical thoughts, the expressive second theme, poco meno mosso, 3-2 time, is introduced by the violoncellos, and afterward by the wood-wind. The vigorous first theme is soon heard again from the full orchestra. There is development. The time changes from 2-2 to 3-2, but the Motto dominates with a devel- opment of the first measure of the second subject. This material is worked at length. A pedal point, with persistent rhythm for the drum, leads to the recapitulation section, in which the themes undergo cer- tain modifications. The coda, animato assai, is built on the Motto. II. Scherzo, prestissimo, F major, 1-1 time. There are a few introductory measures with repeated notes for first and second horn. The chief theme is followed by a new thought (syncopated unison of all the strings). This alternates with the first theme. Trio: Allegretto, 6-4. A melody for the oboe is repeated by the clarinet, and triangle and harp come in on each alternate half of every measure. This material is developed. The first part of the movement is repeated, and the coda ends pianissimo. III. Andante, D-flat major, 4-4. There are introductory measures in which a clarinet is accompanied by the harp. A horn sings the song of the old troubadours. Poco animato. There is a tremolo for strings, and the opening melody, changed somewhat, is heard from wood-wind instruments and horns. Poco piu animato, 3-4. A new thought is given to the strings with a chromatic progression in the bass. After the climax the opening theme returns (strings), and the movement ends with the little clarinet solo. Then comes, without a pause, the IV. Finale. Allegro, B major, 3-4. The movement is in sonata orm. There is an introduction. The chief theme, forte, is given to 5 the full orchestra. It is in 5-4. The second subject, less tumultuous, is given to clarinet, followed by flute and oboe. The chief theme is developed, lento, in the trombones and tuba, and in a more lively man- ner by strings and wood-wind. The second subject is developed, first by strings, then by full orchestra. The recapitulation section is pre- ceded by the introductory material for the opening of the movement. Miss Elena Gerhardt was born in Leipsic on November 11, 1883, At the age of sixteen she began to study singing with Mrs. Marie Hedmont, and was her pupil for four years. When she was twenty years old, she made her first public appearance in Leipsic. Since then she has given Lieder concerts in leading European cities, and has sung a few times in opera. She made her first appearance in the United States at New York, January 9, 191 2. She gave a song recital in Boston, January 12, 1912, and her pro- gramme included songs by Franz, Schubert, Brahms, Strauss, Wolf. At her second recital, January 18, she sang songs by Schumann, Brahms, Liszt, Wolf, Strauss. At a concert of the Boston Symphony Orchestra in Boston, February 17, 1912, she sang the scena "Die Kraft versagt" from Goetz's opera " Der Widerspenstigen Zahmung " and three songs with orchestra by Hugo Wolf: "Der Freund," " Verborgenheit," "Erist's." She gave a third recital in Boston on February 23, 191 2: songs by Franz, Tschaikowsky, Grieg, Weingartner, Goldmark, Rubinstein. At a concert in aid of the Pension Fund of the Boston Symphony Orchestra, March 3, 191 2, she sang songs of Wagner with orchestra: "Stehe still," "Traume," "Schmerzen"; and these songs of Schumann with pianoforte: " Provencalisches Lied," "Mondnacht," "Die Solda- tenbraut," "Ich grolle nicht," "Fruhlingsnacht." Air, "II mio bel foco" Benedetto Marcello (Born at Venice, July 24, 1686; died on July 24, 1739, at Brescia.) Marcello is chiefly known to-day as the composer of music to Giro- lamo Ascanio Giustiniani's Italian paraphrase of the first fifty psalms, "Estro poetico-armonico " (1724-27), and as the author of "Teatro alia modo" (s. d., 2d edition, 1722), a biting satire on operatic conditions and life in Italy. But Marcello also composed Concerti a 5 stromenti, Canzoni madrigalesche ed arie per camera a 2, a 3, a 4 voci, a Pastorale "Calisto in Orsa," the opera "La fede riconosciuta," a pianoforte so- 6 — nata, a violoncello sonata, sonatas for flute, and Cantate per camera, both text and music (17 13). Born of a noble family, he was a pupil of Gasparini and Lotti. He studied law, and filled various offices. For fourteen years he was a member of the Venetian Council. In 1730 he was proweditore at Pola, where the climate affected his health. In 1738 he was appointed chamberlain at Brescia, but his health was not restored by the change. It is said that he secretly married one of his pupils, a girl of lowly origin who fell passionately in love with him. Recitative. II mio bel foco, o lontano o vicino ch' esser poss* io, senza cangiar mai tempre per voi, care pupille, ardera sempre. Air. Allegretto affettuoso, G minor, 3-4. Quella fiamma che m' accende Piace tanto all' alma mia, Che giammai s' estinguera. E se il fato a voi mi rende Vaghi rai del mio bel sole, Altra luce ella non vuole Ne voler giammai potra. *My joyful ardor, whether near or far distant from thee I tarry, unchang'd and constant ever, for thee, O my beloved, shall languish never. In my heart the flames that burn me, All my soul do so enravish, That they ne'er shall cease to glow. And should fate to ye return me, Wand'ring rays of my fair sun, Other light I covet none, Nor the wish can ever know. Air of Paride, "O, del mio doixe ardor," from the Opera "Paride Ed Elena," Act I., No. 3. Christoph Wildibadd, Ritter von Gluck (Born at Weidenwang near Berching, July 2, 17 14; died at Vienna, November 15, 1787.) Gluck's opera, "Paride ed Elena," was produced at Vienna, Novem- ber 3, 1770.1 The text is by Raniero di Calzabigi, who represents Helen not as the wife, but as the betrothed of Menelaus. Paris woos her with the assistance of Eros disguised as Erasto, the confidant of Elena, and bears her away at night over a tranquil sea. The char- acters are as follows: Elena, soprano; Paride, soprano; Amore (Erasto), * This translation into English by Dr. Th. Baker is here printed through the courtesy of G. Schirmer and is to be found in the "Anthology of Italian Song" (vol. i. pp. 78-83), vol. 290 of Schirmer's Library of Musical Classics. t Some give 1769 as the year. ——— soprano; the goddess Pallas, soprano; a Trojan, tenor; and chorus of Trojans and Spartans.
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