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Boston Symphony Orchestra Concert Programs, Season 32,1912

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ACADEMY OF MUSIC, PHILADELPHIA Twenty-eighth Season in Philadelphia Dr. KARL MUCK, Conductor JJnigramm? of % FOURTH CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, FEBRUARY 17 AT 8.15 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER HEPPE-VICTORS The Talking Machine You Want is to be found at Heppe's Whether it be an ordinary Victor or a superb Victrola, every artistic possibility of the Talking Machine is assured when it comes from Heppe's. Experts adjust every machine that leaves our establishment and our service is best because we are both whole- sale and retail distributors. LOWEST FACTORY PRICES GUARANTEED, WHETHER YOU BUY FOR CASH OR ON TIME $ $ Victors, 1 to 60 * $ Victrolas, 1 5 to 200 C. J. HEPPE & SON 1117-1119 Chestnut Street, 6th and Thompson Streets Wholesale and Retail, Victor and Edison 2 Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F, Conceri-mastcr. 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. Hayne, E. Tischer-Zeitz, H. Kurth, R. Griinberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H. Kluge, 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. Foss£, 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, O. 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. ifamt&Iamfitt Boston 's Great Art Product Q Everywhere recognized as musically the most beautiful piano the world has ever seen OTIH20H ESTABLISHED 1854 313 FIFTH AVENUE 492 BOYLSTON STREET NEW YORK BOSTON — ACADEMY OF MUSIC . PHILADELPHIA i Twenty-eighth Season in Philadelphia • Thirty-second Season, 1912-1913 -\ Dr. KARL MUCK, Conductor FOURTH CONCERT MONDAY EVENING, FEBRUARY 17 AT 8.15 PROGRAMME " Mozart . Symphony in C major, with Fugue Finale, Jupiter "(K. 551) I. Allegro vivace. II. Andante cantabile. III. Menuetto: Allegretto; Trio. IV. Finale: Allegro molto. u Wagner . "A Siegfried Idyl Mendelssohn . Concerto* No. 1, in G minor, for Pianoforte, Op. 25 I. Molto Allegro con fuoco. II. Andante. III. Presto. IV. Molto Allegro e Vivace. Strauss ..." Till EulenspiegePs Merry Pranks, after the Old- fashioned Roguish Manner, in Rondo Form," Op. 28 SOLOIST Mr- MAX PAUER Steinway Piano used There will be an intermission of ten minutes after the symphony 5 — u After the Symphony Concert 99 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. 1 1 THE BOOK OF THE BALDWIN free upon request. Sole Representatives H. WEYMANN & SON 1010 CHESTNUT STREET - PHILADELPHIA, PA. Symphony in C major, " Jupitsr" (K. 551). Wolfgang Amadeus Mozart (Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791.) Mozart wrote his three greatest symphonies in 1788. The one in E-flat is dated June 26, the one in G minor July 25, the one in C major with the fugue-finale, August 10. His other works of that year are of little importance with the excep- tion of a piano concerto in D major which he played at the coronation festivities of Leopold II. at Frankfort in 1790. There are canons and piano pieces, there is the orchestration of Handel's "Acis and Galatea," and there are six German dances and twelve minuets for orchestra. Nor are the works composed in 1789 of interest with the exception of the clarinet quintet and a string quartet dedicated to the King of Prussia. Again we find dances for orchestra,—twelve minuets and twelve German dances. Why is this? 1787 was the year of "Don Giovanni"; 1790, the year of "Cosi fan tutte." Was Mozart, as some say, exhausted by the feat of producing three symphonies in such a short time? Or was there some reason for discouragement and consequent idleness? The Ritter Gluck, composer to the Emperor Joseph II., died No- vember 15, 1787, and thus resigned his position with salary of two thousand florins. Mozart was appointed his successor, but the thrifty Joseph cut down the salary to eight hundred florins. And Mozart at this time was sadly in need of money, as his letters show. In a letter of June, 1788, he tells of his new lodgings, where he could have better air, a garden, quiet. In another, dated June 27, he says: "I have done more work in the ten days that I have lived here than in two months in my other lodgings, and I should be much better* here, were it not for dismal thoughts that often come to me. I must drive VOCAL STUDIO AND OPERA SCHOOL (Italian Method) KARL SCHNEIDER (Pupil of Luigi Vannuccini, Florence, Italy.) OCTOBER TO MAY MAY TO OCTOBER 1705 Chestnut St., Philadelphia 9 Friedrich Str., Muenchen, Germany The Summer School in Muenchen is preceded by a two weeks' study trip through Italy. The Summer School offers instruction in Voice Culture, Grand Opera, Piano, German, Italian and Art. The traveling party will be personally conducted by Mr. Schneider, and Mrs. Schneider will act as chaperon. For further information address either "The Gladstone," Pine and 11th Streets, or the studio, 1705 Chestnut Street, Philadelphia. Y them resolutely away; for I am living comfortably, pleasantly, and cheaply." We know that he borrowed from Puchberg, a merchant with whom he became acquainted at a Masonic lodge, for the letter with Puchberg's memorandum of the amount is in the collection edited by Nohl. Mozart could not reasonably expect help from the Emperor. The composer of "Don Giovanni" and the "Jupiter" symphony was unfortunate in his Emperors. The Emperor Joseph was in the habit of getting up at five o'clock; he dined on boiled bacon at 3.15; he preferred water, but he would drink a glass of Tokay; he was continually putting chocolate drops from his waistcoat pocket into his mouth; he gave gold coins to the poor; he was unwilling to sit for his portrait; he had remarkably fine teeth; he disliked sycophantic fuss; he patronized the English who introduced horse-racing; and Michael Kelly, who tells us many things, says he was "passionately fond of music and a most excellent and accurate judge of it." But we know that he did not like the music of Mozart. Mozart in 1788 was unappreciated save by. a few, among whom was Frederick William II., King of Prussia; he was wretchedly poor; he was snubbed by his own Emperor, whom he would not leave to go into foreign, honorable, lucrative service. This was the Mozart of 1788 and 1789. We know little or nothing concerning the first years of the three symphonies. Gerber's "Lexicon der Tonkiinstler" (1790) speaks appreciatively of him: the erroneous statement is made that the Emperor fixed his salary in 1788 at six thousand florins; the varied ariettas for piano are praised especially; but there is no mention what- ever of any symphony. The enlarged edition of Gerber's work (18 13) contains an extended notice of Mozart's last years, and we find in the summing up of his career: "If one knew only one of his noble symphonies, as the over- poweringly great, fiery, perfect, pathetic, sublime symphony in C." And this reference is undoubtedly to the "Jupiter," the one in C major. Mozart gave a concert at Leipsic in May, 1789. The programme HYPEBION SCHOOL OF MUSIC 1505 Arch Street Branch, 57 £ast Penn Street, Germantown F A C U LT ' JOHN W. POMMER, Jr. FRANKLIN E. CRESSON LUCIUS COLE F. EDMUND EDMUNDS RAYMOND L. YEAKEL RUDOLPH ENGEL CARL KNEISEL CLEMENTI BARONE FRITZ DIETERICHS RICHARD L. WEAVER HELEN A. CHEW ANNA G. MUKENFUS EDITH HOUSTON MILDRED S. MOORE Mrs. SARA P. GARDINER FRANKLIN E. CRESSON JOHN W. POMMER, Jr. Directors 8 : was made up wholly of pieces by him, and among them were two symphonies in manuscript. A story that has come down might easily lead us to believe that one of them was the one in G minor. At a rehearsal for this concert Mozart took the first allegro of a symphony at a very fast pace, so that the orchestra soon was unable to keep up with him. He stopped the players and began again at the same speed, and he stamped the time so furiously that his steel shoe buckle flew into pieces.
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    Robert Münster Bernhard und Luise Scholz im Briefwechsel mit Max Kalbeck und Johannes Brahms (Zugleich ein Beitrag zur Musik in Breslau 1871–1883) Ausgangspunkt dieses Beitrags war die Absicht der Publizierung des Brief- wechsels zwischen Bernhard und Luise Scholz mit Max Kalbeck. 48 Briefe und Postkarten von Scholz und seiner Frau Luise aus den Jahren 1874 bis 1914 an den musisch vielseitig begabten Musikkritiker und Schriftsteller Max Kal- beck blieben in Privatbesitz erhalten. Sie werden hier erstmals veröffentlicht und kommentiert, besitzen in ihrer Abfolge zwar inhaltlich unterschiedliches Gewicht, enthalten aber doch mehrfach Aussagen von besonderem Interesse und bieten Einblicke in das Breslauer Musikleben während des Wirkens von Bernhard Scholz. An Gegenbriefen besitzt die Bayerische Staatsbibliothek fünf Briefe und Karten an Bernhard Scholz und zwei Briefe an Luise Scholz aus den späten Jahren ab 1895.1 Weitere Schreiben aus dieser Korrespondenz konnten bisher nicht aufgefunden werden. Da sowohl Scholz als auch Kalbeck in engem Kontakt zu Johannes Brahms standen, erschien eine zusätzliche Berücksichtigung des Briefwechsels Scholz–Brahms durch kurze Inhaltsangaben aus dem veröffentlichten Brief- wechsel sinnvoll, die Brahms’ Beziehungen zu Scholz und zu Breslau beleuch- ten. Quelle ist der von Wilhelm Altmann veröffentliche Briefwechsel.2 Die Wiedergabe erfolgt kursiv im Kleindruck mit der vorangestellten lateinischen Nummerierung Altmanns. Darüber hinaus können aber weitere fünf bisher unveröffentlichte Briefe und Postkarten von Brahms an Bernhard Scholz, ei- ne Karte von Brahms an Luise Scholz und fünf anrührende Briefe von Luise Scholz an Brahms, die Altmann noch nicht bekannt waren, erstmals im vol- 1 Bayerische Staatsbibliothek (BSB), Handschriftenabt., Nachlass Bernhard Scholz, Ana 319. 2 Johannes Brahms im Briefwechsel mit Karl Reinthaler, Max Bruch, Hermann Deiters, Friedr.
  • The British Connection Text Booklet

    The British Connection Text Booklet

    A Century of English Music What makes English music typically English? Until the end of the nineteenth century the English themselves had no idea. As a matter of fact, for a long time they preferred foreigners, who gained such a prominent place in English music life that, despite their origin, they were regarded as ‘British’. Mendelssohn’s oratorios, for example, appeared to be written expressly to keep the numerous English choral societies busy. George Frideric Handel, who lived in England for a substantial part of his life, was considered English par excellence. Remarkably the explanation for this, as given by George Grove in 1890, was: ‘There is something expressly English in Handel’s characteristic. His size, his large appetite, his great writing, his domineering temper, his humour, his power of business, all are our own.’ The way Ernst Pauer (1826-1905) won the hearts of the Londoners ties in with this tradition. This pianist and composer, who was born in Vienna, studied harmony and counterpoint with Simon Sechter, who was to teach Bruckner later on. He was trained as a pianist by Franz Xaver Mozart, the son of the great composer. In 1845 he moved to Munich where he studied composition with Franz Lachner, a friend of Schubert. Having been trained in the best Viennese tradition, Pauer started his career as a pianist. In 1851 he gave his first performance in London. He had such great success in the city that he decided to go and live there. From 1861 he organised concert series in which he gave an overview of the history of piano music.