Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip

CITY HALL, PORTLAND. BostonSympIpu Orchestra WILHELM GERICKE, Conductor. Twenty-fifth Season, J 905-1 906. PROGRAMME OF THE FIRST CONCERT WEDNESDAY EVENING, NOVEMBER 22, AT 8. J 5 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C A. ELLIS, Manager. l A PIANO FOR THE MUSICALLY INTELLIGENT classes, artists' ^[ Pianos divide into two pianos and popular pianos. The proportion of the first class to the second class is precisely the proportion of cultivated music lovers to the rest of society. A piano, as much as a music library, is the index of the musical taste of its owner. 1[ If you are among the musically intelligent, the PIANO is worth your study. You will appreciate the cc theory and practice of its makers : Let us have an artist's piano ; therefore let us employ the sci- ence, secure the skill, use the materials, and de- vote the time necessary to this end. Then let us count the cost and regulate the price" \ In this case hearings not seeing, is believing. Let us send you a list of our branch houses and sales agents (located in all important cities), at whose warerooms our pianos may be heard. Boston, Mass., 492 Boylston Street New York, 139 Fifth Avenue Chicago, Wabash Avenue and Jackson Boulevard Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor First Violins Hess Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. Hoffmann, Fiedler, ( Kuntz, D. J E. Mullaly, J. Moldauer, A. Strube, G. Rissland, K. Second Violins. Barleben, C. Schuchmann, F. E. Kurth, R. Kuntz, A Akeroyd, J. Tischer-Zeitz, H. Goldstein, S. Fiedler, B. Fiumara, P. Marble, E. B. Berger, H Traupe, W. Swornsbourne, W. W. Eichler, J. Edw. Violas. Zach, M. Sauer, G. F. Hoyer, H. Krauss, O. H. Ferir, E. Kolster, A. Kluge, M. Gietzen, A. Heindl, H Zahn, F. Violoncellos. Warnke, H. Loeffler, E. Barth, C. Hadley, A. Heindl, A. Nast, L. Keller, J. Nagel, R. Adamowski, J. Heberlein, H. Basses. Keller, K. Bareither, G. Butler, H. Schurig, R. Kunze, M. Seydel, T. Gerhardt, G. Elkind, S. Flutes. Oboes. Maquarre, A. Brooke, A Longy, G. Sautet, G. Fox, Paul Maquarre, D. Lenom, C. English Horn Clarinets. Bass Clarinet. Fritzsche, O. Miiller, F. Grisez, G. Mimart, P. Vannini, A. Bassoons. CONTRA-BASSOON. Giinzel, F. H. Sadoni, P. Debuchy, A. Helleberg J. Regestein, E. Horns Hain, F. Hackebarth, A. Lorbeer, H. Schumann, C. Hess, M. Phair, J. Trumpets. Trombones. Hampe, C. Mausebach, A Kloepfel, L. Mann, J. F. Kenfield, L. S. Brenton, H. E Merrill, C. Drums. Harp. Tuba. Tympani. Rettberg, A. Ludwig, C. R. Schuecker, H. Dworak, J. F. Librarian Cymbals Triangle, etc. Bass Drum. Castanets. Ludwig, C. F. Sauerquell, J. Senia, T. Burknardt, H. Bower, H, 5^ i£=gk£ PIANO that has been manufactured continuously for over Eighty-two years, which has been honored and distinguished by States and Sovereigns, by learned societies and World's Expositions, by the greatest contemporaneous musicians who have bestowed upon it the highest testimonials, awards, and decorations, embracing every known method of publicly recog- nizing distinguished merit. The public honors alone include 129 First Medals and Awards. A vast experience is thus exemplified in the Chickering Piano of to-day. CHICKERING & SONS Established 1823 791 TREMONT STREET BOSTON, MASS. B<>st<m CITY HALL bympiiony f Portland. Twenty-fifth f)l*Ch^k Q'l"f*£l Season, 1905 1906. WILHELM GERICKE, Conductor. FIRST CONCERT, WEDNESDAY EVENING, NOVEMBER 22, AT 8.15 PRECISELY, PROGRAMME. Brahms Academic Overture, Op. 80 " Wagner. Elisabeth's Greeting, from Act II., "Tannhauser " Dvorak . Symphonic Poem, " The Wood Dove (after Erben's like-named ballad), Op. no. " " " Mozart . Recitative, How Susanna delays ! and Aria, Flown " forever," from " The Marriage of Figaro Tschaikowsky . Symphony No. 4, in F minor, Op. 36 I. Andante sostenuto. Moderato con anima in movimento di valse. II. Andantino in modo di canzona. " III. Scherzo, " Pizzicato ostinato : Allegro. IV. Finale : Allegro con fuoco. SOLOIST: Mme. GADSKI. There will be an intermission of ten minutes before the symphony. 6 HARDMAN PIANO THE genius employed for the past sixty- four years in the manufacture of these instruments has produced a piano with a pure musical tone. Besides possessing this tone they have a peculiar feature in that they actually improve with use. Established in 1842. Booklets of information. Hardman, Peck £&f Co., Makers Fifth Avenue and 19th Street, New York — —— Academic Overture, Op. 8o j0HA1 (Bora at Hamburg, May died 7, 1833; at Vienna, April 3, 1897.) Brahms wrote two overtures in 1880,—the "Academic " and the "Tragic." They come between the symphony in D major and thai in F major in the list of his orchestral works. The "Tragic" overture bi the later opus number, but it was written before the "Academic,"—as Reimann says, "The satyr-play followed the tragedy." Tin- "Aca- " first demic was played at Breslau, January 4, 1881. The university of that town had given him the degree of Doctor of Philosophy (March 11, 1879),* and this overture was the expression of his thanks. The Rector and Senate and members of the Philosophical Faculty sat in the front seats at the performance, and the composer conducted his work, which may be described as a skilfully made pot-pourri or fantasia on students' -songs. Brahms was not a university man, but he had known with Joachim the joyous life of students at Gottingen,—at the university made famous by Canning's poem: Whene'er with haggard eyes I view This dungeon that I'm rotting in, I think of those companions true Who studied with me at the U —niversity of Gottingen niversity of Gottingen; the university satirized so bitterly by Heine. *"Q. D. B. V. Summis auspiciis Serenissimi ac potentissimi principis Guilelmi Imperatoris Augusti Germanici Regis Borussicae, etc., eiusque auctoritate regia Universitatis Litterarum Vratislavieusis Rcctore Magnifico Ottone Spiegelberg Viro Illustrissimo Joanni Brahms Holsato artis musicae severioris in Germa- nia nunc principi ex decreto ordinis philosophorum promotor legitime constitutus Petrus Josephus Eh; nich Ordinis Philosophorum h a. Decanus philosophiae doctoris nomen iura et privilegia honoris causa contulit collataque publico hoc diplomate declaravit die XI mensis Martii A. MDCCCLXXIX. (L. S.)" Miniature Scores of Wagner's WorKs Trauermarsch aus " Gotterdammerung." Prelude, " Parsifal." Siegfried Idyll. Wotan's Abschied von Briinnhilde und Feuerzauber. Siegmund's Liebeslied aus " Die Walkure." Overture, " Die Meistersinger von Nurnberg." BOOSEY & COMPANY, 9 East 17th Street, /NEW YORK 7 "\ Seventy Scottish Songs Edited with Accompaniments by HELEN HOPEKIRK {^ To the student of folk-music Scotland has ever been one of the most fruitful and interesting of countries. The origin of Scottish folk-music is very remote, some of it dating from the time when the most primitive scale forms were in use. f| Mention of Scottish music recalls to many merely a few such songs as " Auld Lang Syne," "The Blue Bells of Scotland," "Annie Laurie," etc. These, however, are not the most signifi- cant; in fact, the most beautiful songs are often the ones that are least known. The music of the Gael is most interesting on ac- count of its weird, emotional quality. Their melodies are full of the long, tender, melancholy northern twilights. ^ In her interesting prefatory essay on Scottish music the com- piler of this collection has endeavored to explain the misconception that has arisen from the association of two racially different peoples, the Celtic Scot and the Saxon Scot, so as to help to a better appreciation of their music. The translations from the Gaelic have been made with the greatest care or selected from sources less calculated to rob either words or music of their haunt- ing beauty. The banal " arrangements " found in most editions are conspicuously absent, for artistic accompaniments for each song have been written by Mme. Hopekirk,— written, too, with the deep sympathy and understanding of a Scot and with the artistry of an accomplished musician. €J These Seventy Songs have been gathered from the Lowlands, the Highlands, the remote mountainous regions, and from the Western Isles, and are loved and sung wherever there beats a Scottish heart. C| Published in The Musicians Library in two editions, for high voice and for low voice. ^ Price in heavy paper, cloth back, $1.50; in cloth, full gilt, $2.50, postpaid. OLIVER DIT50N COttPANY, Boston C. H. DITSON & CO., New York J. E. DITSON & CO., Philadelphia LYON & HEALY, Chicago Order of your home dealer or the above houses 8 The first of the student-songs to be introduced is Hi,,, V ir hatten gebauet ein stattliehes Hatts"*; "\\V had buil and trusted in God therein through bad weather, storm, and hon The first measures are given out by the trumpets with a peculi stately effect. The melody of "Der Landesvater"1 is second violins. And for then the first lime is tlier drlil,, to ' attempt portray the jollity of university life The (Freshman song), "Was kommt dort von der Hoh\" is introdu suddenly by two bassoons accompanied by 'celli and violas pi There are hearers undoubtedly who remember the singing of thi in Longfellow's "Hyperion"; how the Freshman entered the Ktu and was asked with ironical courtesy concerning the health of the leathery Herr Papa who reads in Cicero. Similar impertinent tions were asked concerning the "Frau Mama" and the "Man Sceur"; and then the struggle of the Freshman with the first pip tobacco was described in song. "Gaudeamus igitur,"§ the melody that is familiar to students of all lands, serves as the finale. The overture is scored for piccolo, two flutes, two oboes, two cl nets, two bassoons, double-bassoon, four horns, three trumpets, three trombones, bass tuba, a set of three kettledrums, bass drum, cyml triangle, strings.

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