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Boston Symphony Orchestra Concert Programs, Season 38,1918

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Boston Symphony Orchestra Concert Programs, Season 38,1918 SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, January 16, at 8.00 PRoGRTWVE M. Steinert S i & STEINWAY PJEWETT lanos STEINERT WOODBURY B DUO ART PIANOS PIANOLA PIANOS AEOLIAN PIPE ORGANS VICTOR VICTROLAS VICTOR RECORDS i Kl Steinert Hall 62 Boylston Street SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY INCORPORATED Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, JANUARY 16 AT 8.00 COPYRIGHT, 1919, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager The world needs music more when it's in trouble than at any other time. And soldiers, and the mothers and wives and sweethearts and children of soldiers get more of the breath of life from music than the man on the street has any notion of."—JOHN McCORMACK MUSIC is an essential of every well-regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing gener- ation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old, in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every household. And the greatest among pianos is the STEINWAY, prized and cherished throughout the wide world by all lovers of good music. Or. in the words of a well-known American writer: "Wherever human hearts are sad or glad, and songs arc sung, and strings vibrate, and keys respond to loves caress, there is known, respected, revered loved- the name and fame of STEINWAY." Catalogue and prices on application Sold on convenient paymuitt Old piano* taken in exchange Inipection invited STEINWAY & SONS, STEINWAY HAUL 107 109 F.ast I4tl. STREET, NEW YORK (Tiv Suf'n -nj } iprrii Stations at the /Wr lirprr'\entr,i 1 1/ the fnrcmnil Dealer* l.veri/adirre Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor Violins. Fradkin, F. Roth, O. Rissland, K. Bak, A. Concert-master. Hoffmann, J. Theodorowicz, J. Mahn, F. Noack, S. Ribarsch, A. Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Gerardi, A. Griinberg, M. Di Natale, J. Thillois, F. Spoor, S. Goldstein, S. Gunderson, R. Fiedler, B. Ringwall, R. Henkle, R. Diamond, S. Deane, C. Kurth, R. Bryant, M. Balas, J. Fiedler, G. Zsiga, L. Violas. Barrier, C. Werner, H. v.Veen, H. Fiedler, A. Van Wynbergen, C. Wittmann, F. Berlin, V. Mager, G. Langley, A. Tartas, M. Violoncellos. Malkin, J. Miquelle, G. Barth, C. Belinski, M. Fabrizio. E. Schroeder, A. Nagel, R. Nast, L. Mingels, E. Stockbridge, C. Basses. Villani, A. Agnesy, K. Seydel, T. Ludwig, 6. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. DeMailly, C. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Forlani, N. Mueller, E. Knight, W. Stanislaus, H. Vannini, A. Piller, B. Piccolo. English Horn. Bass Clarinet. Battles, A. Mueller, F. Stievenard, E„ Horns. Trumpets. Trombones. Wendler, G. Heim, G. Sordillo, F. Lorbeer, H. Mann, J. Mausebach, A. Hain, F. Nappi, G, Kenfield, L. Gebhardt, W. Kloepfel, L. Hess, M. Tuba. Harps. Tympani. Percussion. Jaeger, A. Holy, A. Neumann, S. Ludwig, C. Burkhardt, H. Cella, T. Gardner, C. Zahn, F. Organ. Librarian. Snow, A. Mann, J. — 1 1 1 COMING EVENTS at SYMPHONY HALL SUN. AFT. JAN. 19 Galli-Curci AT 3.30 Tickets. $1.00, $1.50, $2.00, $2.50—plus war tax SUN. AFT. PIANOFORTE RECITAL JAN. 26 AT 3.30 Josef Hofmann Last appearance in Boston this season Tickets, 50c. to $2.00—plus war tax SUN. AFT. Jascha Heifetz FEB. 2 AT 3.30 ONE OF THE MOST REMARKABLE PERFORMERS ON THE VIOLIN IN THE WORLD TODAY Tickets, 75c. to $2.00 — plus war tax SUN. AFT. FEB. 9 Alma Gluck AT '3.30 THE FAVORITE CONCERT SINGER Tickets, 50c. to $2.00. Mail orders only SUN. AFT. FEB. 16 AT 3.30 John McCormack FRl.EVE; THE WORLDS GREATEST CONCERT TENOR FEB. 21 AT 8.15 SUN. AFT. Tickets, $1.00. $1JO. and $2.00 plus war tax FEB. 23 On sale now AT 3.30 Mail Dffderi for fcfM IB arrotnpanircl l.y clirrk or mnnry or<]rr and ad- or. It rrrripf ymphony 11*11 Morton. Mast . filled IB ol and • i n»-ar Kl • ponibl<- 1 SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor FOURTH CONCERT THURSDAY EVENING, JANUARY 16 AT 8.00 PROGRAMME Beethoven Overture to "Leonore" No. 3, Op. 72 Converse "The Mystic Trumpeter," Orchestral Fantasy, Op. 19 (after the Poem of Walt Whitman) ' Mendelssohn . Concerto for* Violin in E minor, Op. 64 I. Allegro molto appassionato. II. Andante. III. Allegretto non troppo; Allegro molto vivace. Giles Farnaby and anonymous Suite of the XVIth Century English composers (Arranged by Henri Rabaud) Maestoso. Moderate Allegro. Andante. Maestoso. Lalo . Rhapsody for Orchestra in A SOLOIST FREDRIC FRADKIN There will be an intermission of ten minutes after Converse's Orchestral Fantasy A t< w OvBftTUBl T0 L«ONORl No. 3, Op. 72 . Ludwig van Beethoven (Born at P.onn, December 10 (?), 1770; died at Vienna, March 26, 1827.) w Beethoven's opera "Fidelio, bder die Eheliche tiebe, with text adapted freely by do/Ad" Sonnleithner from the French of Bouilly ("Leonore; ou L'Amour Conjugal," a "i'ait histor^que" in two acts and in prose, music by Gaveaux, Opera-Comique. Paris, February 19, L798), was first performed at the Theater an der Wien, Vienna, November 20, 1S (J5, with Anna Pauline Milder, afterwards Mrs. Hauptmann. as the heroine. The other parts were taken as follows: Don Fernando, Weinkopf ; Don Pizarro, Meier; Florestan, Demmer; Rocco, Rothe; Marzelline (sic), Miss Muller; Jacquino, Cach6; Wachehanptniann, Meister. We quote from the original bill. "Leonore" No. 2 was the overture played at the first perform- ance in Vienna. The opera was withdrawn, revised, and produced again on March 2!*. 1806, when "Leonore" No. 3, a remodelled form of No. 2, was played as the overture. The opera was performed twice, and then withdrawn. There was talk of a performance at Prague in 1807, and Beethoven wrote for it a new overture, in which he retained the theme drawn from Florestan's air, "In des Lebens Friihlingstagen," but none of the other material used in Nos. 2 and 3. The opera was not performed, and the autograph of the over- ture disappeared. "Fidelio" was revived at Vienna in ISM. and for this performance Beethoven wrote the "Fidelio' 1 overture. We know from his diary that he "rewrote and bettered" the opera by work from Hard] to May L6 of that year. The dress rehearsal was on May 22, but the promised overture was not ready. On the 20th OX 21st licet hoven was dining at a tavern with his friend Bartolini. After the meal was over, Beethoven took a bill of fare, drew lines on the back M' it, and began to write. M "Come, let us go, said P>;irtolini. "No, wait a while: I have the scheme of my overture/' answered Beethoven, and he sat until he had finished his sketches. Nor was he at the dress rehearsal* They waited for him a long time, then went to his lodgings. He was asleep in bed. A cup and wine ami biscuits were near him, and sheets of the overture were on the bed and the lloor. The candle was burnt out. It was impossihle to use the new overture, which was not even finished, Srhindler said a Leonore overture was played. According to Seyfried the overture used was that to "The Ruins <-i Alliens," and his \ iew is now accepted, although Treitsche asserted th.it tin- "Prometheus" pverture was the one chosen. After ihovcn's deatli a score id an overture in C was found among manuHcriptH. h was not ;m autograph score, as I have said, but it was bought b\ Tobias llaslingcr at the sab; of Heethoven's effects in November, 1827. This score was not dated, but a first violin part bore the words in the composer's handwriting: "Over- tura in C, charakteristische Ouverture. Violino Imo ." This work was played at Vienna at a concert given by Bernhard Romberg, February 7, 1828, and it was then described as a "grand character- istic overture" by Beethoven. It was identified later, and circum- stances point to 1807 as the date of composition. The overture was published in 1832 or 1833. The order, then, of these overtures, according to the time of composition, is now supposed to be "Leonore" No. '2, "Leonore" No. 3, "Leonore" No. 1, "Fidelio." But the manager of the theatre and friends of Beethoven insisted with equal force on "Fidelio," be- cause the same story had been used by Gaveaux ("Leonore," Opera- Comique, Paris, 1798) and Paer ("Leonore," Dresden, 1805). It is said that "Leonore" No. 2 was rewritten because certain passages given to the wood-wind troubled the players. Others say it was too difficult for the strings and too long, In No. 2, as well as in No. 3, the chief dramatic stroke is the trumpet signal, which announces the arrival of the Minister of Justice, confounds Pizarro, and saves Florestan and Leonore. The "Fidelio" overture is the one generally played before per- formances of the opera in Germany, although Weingartner has tried earnestly to restore "Leonore" No. 2 to that position. "Leonore" No. 3 is sometimes played between the acts.
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