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Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip CARNEGIE HALL - - NEW YORK Twenty-seventh Season in New York itasimt l§>ptpfjmttj ©rrffMra Dr. KARL MUCK, Conductor Programmes nf % FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 AND THE FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 9 AT 230 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER ifam&Iara 4 Boston's Great Art ^Product Q Everywhere recognized as musically the most beautiful piano the world has ever seen Jtefltt&iJHrolmdltf. ESTABLISHED 1854 313 Fifth Avenue NEW YORK Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Haynes, E. Tischer-Zeitz, H. Kurth, R. Griinberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H JECluge, M. Van Wynbergen, C Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Warnke, J. Urack, 0. Nagel, R. Nast, L. Folgmann, E. Steinke, B. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Foss6, P. Vannini, A. Fuhrmann, M. Chevrot, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, 0. Lorbeer, H. Gebhardt, W. Mann, J. Alloo, M. Hain, F. Hackebarth, A. Heim, G. Mausebach, A Phair, J. Hubner, E. Merrill, C. Kenfield, L. Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Zahn, F. Senia, T. Kandler, F. Burkhardt, H. Organ. Librarian. Marshall, J. P. Sauerquell, J. — "After the Symphony Concert" a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. PIANOS PLAYER-PIANOS No. 366 FIFTH AVENUE, NEW YORK ' CARNEGIE HALL .... NEW YORK Twenty-seventh Season in New York Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor FIRST CONCERT THURSDAY EVENING, NOVEMBER 7 AT 8.15 PROGRAMME " ' Beethoven . Symphony No. 3, in E-flat major, Eroica, Op. 55 I. Allegro con brio. II. Marcia funebre: Adagio assai. III. Scherzo: Allegro vivace; Trio. IV. Finale: Allegro molto. Berlioz . Overture, "Le Carnaval Romain," Op. 9 Liszt "Mazeppa," Symphonic Poem No. 6 (after Victor Hugo) Wagner Prelude to "Die Meistersinger von Nurnberg" There will be an intermission of ten minutes after the symphony 5 — NO ONE KNOWS HOW LONG A PIANO WILL LAST- No one has yet seen one worn out It's seventy-five years since the first KNABE PIANO was made in Balti- more, and they are being made there right now. In all these years it has never been re- garded — even by its severest critics as anything but the best that human hands could produce. Liberal allowance for pianos taken in exchange KNABE WAREROOMS 5th Avenue, corner 39th Street l^BMI^^^^^M^ w^a^m Symphony No. 3, in E-flat major, "Eroica," Op. 55. I/Udwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) Anton Schindler wrote in his Life of Beethoven (Minister, 1840): "First in the fall of 1802 was his [Beethoven's] mental condition so much bettered that he could take hold afresh of his long-formulated plan and make some progress : to pay homage with a great instrumental work to the hero of the time, Napoleon. Yet not until 1803 did he set himself seriously to this gigantic work, which we now know under the title of 'Sinphonia Eroica': on account of many interruptions it was not finished until the following year. The first idea of this sym- phony is said to have come from General Bernadotte, who was then French Ambassador at Vienna, and highly treasured Beethoven. I heard this from many friends of Beethoven. Count Moritz Lichnow- sky, who was often with Beethoven in the company of Bernadotte, . told me the same story." Schindler also wrote, with reference to the year 1823 : "The correspondence of the King of Sweden led Beethoven's memory back to the time when the King, then General Bernadotte, Ambassador of the French Republic, was at Vienna, and Beethoven had a lively recollection of the fact that Bernadotte indeed first awak- ened in him the idea of the 'Sinphonia Eroica.'" These statements are direct. Unfortunately, Schindler, in the third edition of his book, mentioned Beethoven as a visitor at the house of Bernadotte in 1798, repeated the statement that Bernadotte inspired the idea of the symphony, and added: "Not long afterward the idea The ORATORIO SOCIETY OF NEW YORK FORTIETH SEASON, 1912-1913 LOUIS KOEMMENICH = = = = = Conductor CONCERTS AT CARNEGIE HALL ELIJAH -------- Mendelssohn Tuesday Evening, December 3, 1912 Miss Florence Hinkle Miss Margaret Keyes Mr. Paul Althouse Mr. Clarence Whitehill rHE MESSIAH -------- Handel Thursday Afternoon, December 26, 1912 Saturday Evening, December 28, 1912 i CHORAL SERVICE (Eine Deutsche Messe) - - - Otto Taubman New — first time in America. Friday Evening, March 28, 1913 Subscription tickets at Ticket Office of the Oratorio Society, No. 1 West 34th Street Tickets for Single Concerts at Box Office of Carnegie Hall after November 25, 1912 7 into laid blossomed a deed"; he also stress on the fact that Beethoven l was a stanch republican, and cited, in support of his admiration of \ Napoleon, passages from Beethoven's own copy of Schleiermacher's translation of Plato. Thayer admits that the thought of Napoleon may have influenced the form and the contents of the symphony; that the composer 1 may have based a system of politics on Plato; "but," he adds, "Ber-| nadotte had been long absent from Vienna before the Consular form of government was adopted at Paris, and before Schleiermacher's Plato was published in Berlin." The symphony was composed in 1803-04. The story is that the title-page of the manuscript bore the word "Buonaparte" and at the bottom of the page "Luigi van Beethoven"; "and not a word more," | said Ries, who saw the manuscript. "I was the first," also said Ries, j "who brought him the news that Bonaparte had had himself declared! Emperor, whereat he broke out angrily: 'Then he's nothing but an! ordinary man ! Now he'll trample on all the rights of men to serve his \ own ambition ; he will put himself higher than all others and turn out a tyrant!'" Furthermore, there is the story that, when the death of Napoleon ' at St. Helena was announced, Beethoven exclaimed, "Did I not foresee the catastrophe when I wrote the funeral march in the 'Eroica'?" M. Vincent d'Indy in his remarkable Life of Beethoven argues Schind- ler's theory that Beethoven wished to celebrate the French Revolution en bloc. "C'itait Vhomme de Brumaire" that Beethoven honored by his dedication (pp. 79-82). The original score of the symphony was bought in 1827 by Joseph Dessauer for three florins, ten kreuzers, at auction in Vienna. On the title-page stands "Sinfonia grande." Two words that should follow immediately were erased. One of these words is plainly "Bona- parte;" and under his own name the composer wrote in large charac- ters with a lead-pencil: "Written on B6naparte." Thus it appears there can be nothing in the statements that have come down from Czerny, Dr. Bartolini, and others: the first allegro describes a sea-fight; the funeral march is in memory of Nelson or Sixth Season, 1912=13 BELASCO THEATRE - 44th STREET, NEAR BROADWAY D D d ^I R r MANNES Two Sonata Recitals Sunday Evening, December 1 5, 1 9 1 2,at 8.30 Sunday Evening, January 19, 1913, at 8.30 STEINWAY PIANO Tickets, $1.50, SI. 00, 50c, on sale at Aeolian Hall, 29 West 42nd Street, Room 1528, Telephone, 6427 Murray Hill. Direction HAENSEL & JONES wammmt^mm General Abercrombie, etc. There can be no doubt that Napoleon, the young conqueror, the Consul, the enemy of kings, worked a spell over Beethoven, as over Berlioz, Hazlitt, Victor Hugo; for, according to W. E. Henley's paradox, although, as despot, Napoleon had "no love for new ideas and no tolerance for intellectual independence," yet he was "the great First Cause of Romanticism." The first performance of the symphony was at a private concert at Prince Lobkowitz's in December, 1804. The composer conducted, and in the second half of the first allegro he brought the orchestra to grief, so that a fresh start was made. The first performance in public was at a concert given by Clement at the Theater an der Wien, April 7, 1805. The symphony was announced as "A new grand Symphony in D- sharp by Herr Ludwig van Beethoven, dedicated to his Excellence Prince von Lobkowitz." Beethoven conducted. Czerny remembered that some one shouted from the gallery: "I'd give another kreuzer if they would stop." Beethoven's friends declared the work a master- piece.
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