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PANAMA=PACIFIC INTERNATIONAL EXPOSITION FESTIVAL HALL, SAN FRANCISCO, CALIFORNIA Sunday Afternoon, May 23, 1915 PROGRZWVE Tickets 5^"%)? Exposition Ticket Office, for the remaining concerts Sg 1 fl ^* 343 Powell Street on sale at the 3M^S55r....«#§ (St. Francis Hotel) Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, 0. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Befger, H. Goldstein, S. Fiumara, P. Spoor, S. Sulzen, H. Kurth, R. Griinberg, M. Pinfield, C. Gerardi, A. Ring-wall, R. Gunderson, F Gewirtz, J. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P Berlin, W. Kautzenbach, W Van Wynbergen, C. Blumenau, W. Violoncellos. Keller Warnke, H. , J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel R. Nast, L. Folgmann, E Warnke, J. 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. Sand, A. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Chevrot, A. Stanislaus, H Vannini, A. Fuhrmann, M. Battles, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. Alloo, M. Lorbeer, H. Miersch, E. Mann, J. Belgiorno, S. Hain, F. Hess, M. Bach, V. Mausebach, A. Resch, A. Hubner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Senia, T. Cella, T. Kandler, F. Burkhardt, H. Organ. Librarian. Assistant Librarian. Marshall, J. P. Sauerquell, J. Rogers, L. J. PANAMA-PACIFIC INTERNATIONAL EXPOSITION FESTIVAL HALL SAN FRANCISCO, CALIFORNIA ( . o ) shun Swwmhony Ot clhe. Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor SUNDAY AFTERNOON, MAY 23 FRENCH PROGRAMME Saint-Saens . Symphony, No. 3, in C minor for Orchestra and Organ, Op. 78 I. Adagio; Allegro moderato. Poco adagio. II. Allegro moderato. Presto. Maestoso. Allegro. Debussy . Prelude to "The Afternoon of a Faun" (After an Eclogue of Stephane Mallarme Berlioz . Three Pieces from "The Damnation of Faust," Op. 24 I. Minuet of the Will-o'-the Wisps. II. Dance of the Sylphs. III. Hungarian March (Rakoczy) Chabrier ..... Overture to the Opera, "Gwendoline" There will be an intermission of ten minutes after the symphony HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1 ; Symphony in C minor, No. 3, Op. 78. Charts Camiixe Saint-Sa£ns (Born at Paris, October g, 1835; still living there.) This symphony was composed for the London Philharmonic Society, and first performed at a concert of that society in London, May 19, 1886, when the composer conducted. It was performed at Aix-la- Chappelle in September of that year under the direction of the composer at a concert of the Paris Conservatory, January 9, 1887 ; in New York at a concert of the Philharmonic Society (Theodore Thomas conductor), February 19, 1887. This symphony was played in Boston at a special concert of the Boston Symphony Orchestra, November 26, 1906, when Saint-Saens took part. The programme, composed exclusively of compositions by him, was as follows: overture to " Les Barbares " ; Concerto in G minor for the pianoforte (Saint-Saens, pianist); Valse nonchalante, Valse mignonne, Valse canariote for piano; Symphony in C minor, No. 3. Dr. Muck conducted. A sketch of the symphony was prepared for the first performance in London, probably with the assistance, or at least the sanction, of the composer. The following analysis is translated from the French version of this sketch used at the Paris Conservatory concert in 1887. This symphony is divided into parts, after the manner of Saint- Saens's fourth concerto for piano and orchestra and sonata for piano and violin. Nevertheless, it includes practically the traditional four move- ments: the first, checked in development, serves as an introduction to the Adagio, and the Scherzo is connected, after the same manner, with the Finale. The composer has thus sought to shun in a certain meas- ure the interminable repetitions which are more and more disappearing from instrumental music. The composer thinks that the time has come for the symphony to benefit by the progress of modern instrumentation, and he therefore es- tablishes his orchestra as follows: three flutes, two oboes, one English horn, two clarinets, one bass clarinet, two bassoons, one double-bas- soon, four horns, three trumpets, three trombones, one tuba, three kettle- drums, organ, piano (now for two hands and now for four), one triangle, a pair of cymbals, bass drum, and the usual strings. After an introduction Adagio of a few plaintive measures the string quartet exposes the initial theme, which is sombre and agitated (Allegro moderato). The first transformation of this theme leads to a second motive, which is distinguished by greater tranquillity; and after a short development, in which the two themes are presented simultaneously, the motive appears in a characteristic form, for full orchestra, but only for a short time. A second transformation of the initial theme includes now and then the plaintive notes of the Introduction. Varied episodes bring gradually calm, and thus prepare the Adagio in D-flat. The extremely- peaceful and contemplative theme is given to the violins, violas, and 'cellos, which are supported by organ chords. This theme is then taken by clarinet, horn, and trombone, accompanied by strings divided into several parts. After a variation (in arabesques) performed by the violins, the second transformation of the initial theme of the Allegro appears again, and brings with it a vague feeling of unrest, which is en- larged by dissonant harmonies. These soon give way to the theme this of the violins, violas, . of the Adagio, performed time by some and 'cellos, with organ accompaniment and with a persistent rhythm of triplets presented by the preceding episode. This first movement ends in a Coda of mystical character, in which are heard alternately the chords of D-flat major and E minor. The second movement begins with an energetic phrase (Allegro mode- rate), which is followed immediately by a third transformation of the initial theme in the first movement, more agitated than it was before, and into which enters a fantastic spirit that is frankly disclosed in the Presto. Here arpeggios and scales, swift as lightning, on the piano, are accom- panied by the syncopated rhythm of the orchestra, and each time they are in a different tonality (F, E, E-flat, G) . This tricky gayety is inter- rupted by an expressive phrase (strings) . The repetition of the Allegro moderato is followed by a second Presto, which at first is apparently a repetition of the first Presto; but scarcely has it begun before a new theme is heard, grave, austere (trombone, tuba, double-basses) , strongly contrasted with the fantastic music. There is a struggle for the mastery, and this struggle ends in the defeat of the restless, 'diabolical element. The new phrase rises to orchestral heights, and rests there as in the blue of a clear sky. After a vague reminiscence of the initial theme of the first movement, a Maestoso in C major announces the approaching tri- umph of the calm and lofty thought. The initial theme of the first movement, wholly transformed, is now exposed by divided strings and the piano (four hands) , and repeated by the organ with the full strength of the orchestra. Then follows a development built in a rhythm of three measures. An episode of a tranquil and pastoral character (oboe, flute, cor anglais, clarinet) is twice repeated. A brilliant Coda, in which the initial theme by a last transformation takes the form of a violin figure, ends the work; the rhythm of three measures becomes naturally and logically a huge measure of three beats; each beat is represented by a whole note, and twelve quarters form the complete measure. • This symphony is dedicated to the memory of Eranz Eiszt. Eiszt died at Bayreuth, July 3 1,- 1 886. The symphony was performed at Eondon before his death. Prelude; to "The Afternoon oe a Faun (after the Eclogue oe StEphane MallarmE)" .... Achille Claude Debussy (Born at St. Germain (Seine and Oise), August 22, 1862; now living at Paris.) "Prelude a l'Apres-Midi d'un Faune (Eglogue de S. Mallarm^ *) " was played for the first, time at a concert of the National Society of Music, Paris, December 23, 1894. The conductor was Gustave Doret. The second performance was at a Colonne concert, Paris, October 20, 1895. The first performance in Boston—it was also the first in the United States—was at a concert of the Boston Orchestral Club, Mr. Longy conductor, April 1, 1902. The second was at a Chickering Production Concert, February 24, 1904, when Mr. Lang conducted. The Prelude has also been performed in Boston at concerts of the Boston Symphony Orchestra, December 31, 1904, March 10, 1906, January 16, 1909. The New York Symphony Orchestra, Mr. Damrosch conductor, played the Prelude in Boston, January 18, 1906. It- was performed at a con- cert of the Cincinnati Symphony Orchestra, Mr. Van der Stucken con- ductor, January 2, 1904, and at a concert of the New York Symphony Orchestra, Mr. Walter Damrosch conductor, November 12, 1905. Stephane Mallarme formulated his revolutionary ideas concerning style about 1875, when the Parnasse Contemporain rejected his first poem of true importance, "L'Apres-Midi d'un Faune." The poem was published in 1876 as a quarto pamphlet, illustrated by Manet. The eclogue is to the vast majority cryptic.

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