NEW NATIONAL THEATRE, WASHINGTON Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor Programme at % FOURTH MATINEE WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, FEBRUARY 18 AT 430 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : ^^ Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strabe, G. Rissland, K. Ribarsch, A. Traupe, W. i second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn Bass Clarinet. Contra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz. Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. 3 tattu Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano' worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S.A. t=!a!ti!Stolti{t=;fc!t=!t=ifetofc3iau5J Represented in "Washington by THE W. F. FREDERICK MUSIC COMPANY 1328 F STREET 4 BOStOn N?w National Theatre, Symphony ft Washington. A Twenty-seventh Season, J907-J908. ^ \^rCllC^trcl Seventy-first performance in "Washington. Dr. KARL MUCK, Conductor. FOURTH MATINEE, TUESDAY AFTERNOON, FEBRUARY 18, AT 4.30 PRECISELY. PROGRAMME. Chadwick Symphonic Sketches: Suite for Orchestra First time in Washington I. Jubilee. II. Noel. III. Hobgoblin. IV. A Vagrom Ballad. Mendelssohn-Bartholdy Concerto in E minor for Violin, Op. 64 I. Allegro molto appassionato. II. Andante. III. Allegretto non troppo. Allegro molto vivace. Rimsky- Korsakoff Capriccio on Spanish Airs First time in Washington I. Alborada. II. Variations. III. Alborada. IV. Scene and Gypsy Song. V. Fandango of the Asturias. SOLOIST, Mr. FRITZ KREISLER. There will be an intermission of ten minutes before the concerto. 5 Ready to be played by means ofperfo- by any one rated rolls MUSICAL EXPRESSION Many pianists play mechanically* Their technique is often admirable, but their touch is so uncompromisingly uniform from end to end and from top to bottom of a piece that the effect is inevitably automatic* The same is true of player-pianos lacking adequate means of proper accent. On the other hand, it is practically AUTOTONEimpossible to play mechanically on the The Piano ALL can play Either by hand or by perforated music-rolls. The technique of the Autotone is faultless ; and, in addition, it possesses most wonderful means of musical expression found in no other instrument. One of the most important of these exclusive features is THE ACCENTOR It places at the finger tips of the most unpractised music-lover the perfect means of proper accent. It enables any one to subdue the accompaniment and bring out the melody ; to accent any chord, note, or series of notes,—all with the utmost ease and simplicity. This accenting is not arbitrarily mechanical, as when cut in tJie mtisic-roll, but has all the fasaination of individual interpretation. A simple trial of the Autotone at our warerooms or at the warerooms of our representatives in- stantly demonstrates its overwhelming advantages. The Autotone is not a combination of an exterior player made in one factory and a piano made in another. The Autotone is a com- plete and perfect whole, every part being made under one roof. cAU makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST HARDMAN, PECK a CO., ^ 138 Fifth Avenue (corner 19th Street), New York 524 Fulton Street, Brooklyn Represented in Washington by W. F. FREDERICK MUSIC CO,, 1328 F Street Ready to be played A utotone parts are by hand invisible — ! Symphonic Sketches: Suite Eor Orchestra, George Whitfield Chadwick (Born at Lowell, Mass., on November 13, 1854; now living in Boston.) This suite contains four movements, which are intended to be played consecutively, but may be performed separately if it is thought more expedient. The movements are entitled "Jubilee/' "Noel," "Hob- goblin/' "A Vagrom Ballad." "Jubilee" and "Noel" were composed in December, 1895; "A Vagrom Ballad" bears the date February, 1896; "Hobgoblin" was composed in the summer of 1904. "Jubilee," "Noel," and "A Vagrom Ballad" were played in various cities during the spring trip of the Boston Festival Orchestra, led by Mr. Mollenhauer. "Noel" was also played at the Forty-sixth Annual Festival of the Worcester County Musical Association, at a concert in Worcester, October 2, 1903. "Jubilee" and "A Vagrom Ballad" were played for the first time in Boston at a Chickering Production Concert, March 23, 1904. Mr. Chadwick conducted his pieces. "Hobgoblin" was performed for the first time at Mr. Chadwick's concert in Jordan Hall, Boston, November 21, 1904. The "Symphonic Sketches," dedicated to Frederick S. Converse,, were published in 1907. They are scored for piccolo, two flutes, two oboes (one interchangeable with English horn), two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones,, a set of three kettledrums, military drum, bass drum, cymbals, triangle, tambourine, xylophone, harp, strings. I. Jubilee: Allegro molto vivace, A major, 6-4. The movement has this motto : Jubilee. No cool gray tones for me! Give me the warmest red and green, A cornet and a tambourine, To paint my jubilee LATEST ADDITIONS TO THE LIST OF MINIATURE SCORES MOZART. Symphony in D major $0.50 AUBER. " Le Cheval de Bronze " Overture ----- .50 BOIELDIEU. "La Dame Blanche" Overture .50 MENDELSSOHN. "Calm Sea and Prosperous Voyage" - - - .50 ROSSINI. "Semiramide" .50 E. ELGAR. "Military Marches" "Pomp and Circumstance" No. 1 in D $1.00 No. 2 in A 1.00 No. 3 in C 1.00 No. 4 in G 1.00 E. ELGAR. "Sea Pictures." Cycle of Five Songs for Contralto - 1.50 BRAHMS. German Requiem 3.0O HAYDN. "Creation" 2.50 LISZT. Second Piano Concerto in A major - 2.00 MOZART. Requiem 1.50 4 B00SEY £ COMPANY, 9 East Seventeenth St., New YorK City — ! ; : For, when pale flutes and oboes play, To sadness I become a prey; |J Give me the violets and the May, But no gray skies for me D. R. The movement opens with a jubilant theme for full orchestra. After the full exposition a still more characteristic and strongly-rhythmed motive appears (4-4, bass clarinet, bassoons, violas, and 'cellos). A "patting Juba" horn-call introduces a contrasting, suavely melodic motive (C major), which is developed. There is a return of the first jubilant expression, A major, 6-4, which is followed by the cantabile theme (now in F major). After a crescendo, built on the first and chief theme, a few measures for wind instruments (piano) lead to a section (assai tranquillo, 2-2) of an expressive and lyrical nature, which is followed by a final presto in the mood of the opening. II. Noel: Andante con tenerezza, D-flat major, 3-4. There is this motto : Through the soft, calm moonlight conies a sound A mother lulls her babe, and all around The gentle snow lies glistening On such a night the Virgin Mother mild In dreamless slumber wrapped the Holy Child, While angel hosts were listening. —Translation. When "Noel" was performed at the Worcester Festival, the pro- gramme book said: " 'It is reasonably described,' to use the composer's words, 'by the title, i.e., a little Christmas song.' The curious might TWELVE LESSONS IN THE Fundamentals of Yoice Production By ARTHUR L. MANCHESTER (IN PRESS) Price, postpaid, $1.00 Good singing is built upon a good foundation, which in turn depends upon a correct tone production. The Twelve Lessons, by Mr. Manchester, present, in a succinct, clearly stated form, the fundamental principles, which statements are illustrated by simple practical exercises. The special aim is to train the pupil to recognize the conditions, comfort, and firmness which accompany tone production, and are inseparable from good singing. The teacher will find the book an invalua- able aid in the first term's work with a pupil.