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Boston Symphony Orchestra Concert Programs, Season 26,1906

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Boston Symphony Orchestra Concert Programs, Season 26,1906 MECHANICS HALL . WORCESTER Twenty-sixth Season, J906-J907 DR. KARL MUCK, Conductor Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, APRIL 2 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER " PIANOS " Without exception finest HAROLD BAUER the piano I have ever met with." " I have never before been so completely satisfied with any OSSIP GABRILOWITSCH piano as with the Mason & Hamlin." "Mason & Hamlin pianos HESS WILLY are matchless." " Truly artistic instruments of ARTHUR NIKISCH the very first rank." " Unsurpassed by any Ameri- GEORGE CHADWICK can orEuropean instruments. "One can sing expressively VINCENT D'INDY on your piano." "Great beauty- of tone and CH. M. LOEFFLER- unusual capacity for expres- siveness." " I congratulate you on the ANTOINETTE SZUMOWSKA perfection of your instru- ments." "Musical instrument of the KNEISEL FRANZ highest artistic stamp." " I believe the Mason & Ham- RUDOLPH GANZ lin piano matchless, an artis- tic ideal." " I congratulate you on these HEINRICH GEBHARD wonderful instruments." EMIL PAUR " Superb, ideal." " Unequalled in beauty of TIMOTHEE ADAMOWSKI tone, singing capacity, and perfection of mechanism." ' 'Pre-eminently sympathetic to WALLACE GOODRICH the player in both touch and tone." MASON & HAMLIN CO. 492-494 Boykon Street Opposite Institute of Technology Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, Concertmeister^ and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Moldauer, A. Adamowski, T. Heberlein, H. Mullaly, J. Akeroyd, J. Heindl, A. Miiller, F. Heindl, H. Bak, A. Helleberg, J. Nagel, R. Bareither, G. Hess, M. Nast, L. Barleben, C. Hoffmann, J. Barth, C. Hoyer, H. Phair, J. Berger, H. Bower, H. Keller, J. Regestein, E. Brenton, H. Keller, K. Rettberg, A. Brooke, A. Kenfield, L. Rissland, K. Burkhardt, H. Kloepfel, L. Roth, O. Butler, H. Kluge, M. Kolster, A. Sadoni, P. Currier, F. Krafft, W. Sauer, G. Debuchy, A. Krauss, H. Sauerquell, J. Kuntz, A. Sautet, A. Dworak, J. Kuntz, D. Schuchmann, F. Eichheim, H. Kunze, M. Schuecker, H. Eichler, J. Kurth, R. Schumann, C. Elkind, S. Schurig, R. Lenom, C. Senia, T. Ferir, E. Loeffler, E. Seydel, T. Fiedler, B. Longy, G. Sokoloff, N. Fiedler, E. Lorbeer, H. Strube, G. Fiumara, P. Ludwig, C. F. Swomsbourne, W Fox, P. Ludwig, C. R. Fritzsche, O. Tischer-Zeitz, H. Gerhardt, G. Mahn, F. Traupe, W. Gietzen, A. Mann, J. Goldstein, S. Maquarre, A. Vannini, A. Grisez, G. Maquarre, D. Marble, E. Warnke, H. Hackebarth, A. Mausebach, A. Hadley, A. Merrill, C. Zach, M. Hain, F. Mimart, P. Zahn, F. 3 Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED IN WORCESTER BY S. R.jjLELAND & SON , Boston . K PrHAlvnr<; H . f MECHANICS HALL, Symphony i Worcester. g^ * i f Twenty-sixth Season, J906-J907. Dr. KARL MUCK, Conductor. THIRD AND LAST CONCERT, TUESDAY EVENING, APRIL 2, AT 8.15 PRECISELY. PROGRAMME, Elgar Overture, " In the South," Op. 50 Francesco Rossi . Air, "Ah! give me back that heart," from the Opera "Mitrane" Berlioz Melody, " The Captive," Op. 12 Sibelius . Symphony No. 1, in E minor I. Andante ma non troppo ; Allegro energico. II. Andante, ma non troppo lento. III. Allegro. IV. Finale (Quasi una fantasia): Andante; Allegro molto. SOLOIST, Mrs. BERTHA CUSHING CHILD, There will be an intermission of ten minutes before the Berlioz selection, 5 ' - I I I I J« I A tone that is rich, fall, sweet, musically beau- tiful, and a strength and order of construc- tion that resist the strain of climatic changes, — this is the kernel of Hardman merit. Mod- erate prices and easy terms. Booklets of information upon request. HARDMAN, PECK & CO., Makers Established 1842 Fifth Avenue and 1 9th Street .... New York Represented in Worcester by F. J. CHARRON & SON 107 Park Street — — Overture, "In the South" (Alassio), Op. 50. Edward William Elgar (Born at Broadheath, near Worcester, England, June 2, 1857 ; now living at Malvern.) This overture was produced at the Elgar Festival at Covent Garden Theatre, London, March 16, 1904, the third day of the festival. The composer conducted the overture. The programme was as follows, Part I.: "Froissart" Overture: Selection from "Caractacus" (Mme. Suzanne Adams, Mr. Lloyd Chandos, Mr. Charles Clark); Variations on an Original Theme. Part II. : New Overture, "In the South" ; "Sea Pictures," sung by Mme. Clara Butt; Overture, "Cockaigne"; Military Marches, "Pomp and Circumstance." The first performance in the United States was by the Chicago Or- chestra at Chicago, Theodore Thomas conductor, November 5, 1904. The overture was played in New York by the New York Symphony Orchestra, November 6, 1904. The overture was performed in Boston at a concert of the Boston Symphony Orchestra, December 30, 1905. The overture, as we are told, "was conceived on a glorious spring day in the Valley of Andora," and it is meant "to suggest the Joy of Living in a balmy climate, under sunny skies, and amid surroundings in which the beauties of nature vie in interest with the remains and recollections of the great past of an enchanting country," This in- scription is on the last page of the manuscript score: "Alassio, Moglio, Malvern, 1904. Dedicated to L. F. Schuster" ; also these lines from Byron's "Childe Harold's Pilgrimage" (Canto IV., xxv., xxvi.): " ... a land Which was the mightiest in its old command, And is the loveliest, . Wherein were cast . the men of Rome! Thou art the garden of the world." LATEST SONG CYCLES Three Indian Songs, by Herbert Bath Dorothy's Wedding Day. A Song for Three Baritone Songs, by Edward German four solo voices Four Songs from the Garden of Kama, by A Lover in Damascus, by Amy Woodforde Alma Goetz Fin den Six Characteristic Songs, by Joseph Hol- On Jhelum River. A Kashmiri Love Story, brooke by Amy Woodforde-Finden A Lover's Moods, by C. A. Lidgey A Cycle of Life, by Landon Ronald. Two Camella, by Graham Peel keys Three Shakespeare Songs, by Roger Quilter Songs of the Desert, by G. Clutsam To Julia, Six Lyrics of Robert Herrick In Sunshine and Shadow, by Landon Ron- Songs of Travel, by R. Vaughan Williams ald BOOSEY & COMPANY, 9 East 17th Street, New York City — Mr. A. A. Jaeger is the author of a long and detailed analysis of tfait overture. We quote from this as follows, for the analysis is said to have the sanction of the composer: "After two introductory bars the first subject (or rather the first of a series of themes, all in E-flat, forming together the first subject, as it were) is announced by clarinets, horns, violas, and 'cellos, to the accom- paniment of joyously whirring string tremolandos and chords for harps and wood-wind. Vivace, E-flat, 3-4. It is constructed sequentially of a lusty, spontaneously conceived open-air phrase of six notes. This may be said to form the motto of a work which is altogether as healthy a piece of open-air music as modern art can show." Tributary motives and developments follow. 'After a brilliant presentation of the whole of the first subject by the full orchestra (except harps) a descending quaver scale-passage, strongly accentuated off the beat, so as to antici- pate a change of rhythm, plunges headlong into a broad and very richly scored passage. It is of an exulting character, as if the composer were in a mood to sing his version of 'Be embraced in love, ye millions. ' We imagine him in the happiest, serenest frame of mind, at peace with him- self and all mankind, and satisfied with life and the best of all possible worlds. Note the way in which the trombones, '/ ma dolce e con gran espressione,' creep up by semitones through a whole octave, and how immediately afterwards the passage is treated in double counterpoint. MENDELSSOHN'S SONGS WITHOUT WORDS DITSON EDITION, NO. 98 Edited by Dr. PERCY GOETSCHIUS This is a new and altogether superior edition. OT only has every detail of notation, fingering, and phrasing been carefully scrutinized, but the formal structure of each number has been carefully indicated. This publication is distinguished from all others as the Analytic Edition. No modern composer has shown a more sensitive feeling for form, pro- portion, and balance of design than Mendelssohn ; therefore the conscientious study of the structure of the Songs without Words is in itself an education in the fundamentals of music form. The names given by Stephen Heller, which have become iden- tified with the songs in the popular mind, will be found in this edition. A valuable feature of the book is the critical introduction by Daniel Gregory Mason. These features, combined with engraving, printing, and binding of the highest class, make this the very best edition of this popular classic published. Price, postpaid ,$1.00 OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO., New York J. E. DITSON & CO., Philadelphia LYON 8i HEALY, Chicago I — — That is to say, the same chromatic ascent of the scale of E-flat is made by flutes, clarinets, and strings (in three octaves), while the descending upper part is assigned to oboes, English horn, horns, 'cellos, and harps, but with this difference, that the melody is slightly varied by the sub- stitution of a brighter rhythm for the even dotted crotchets. Mean- while, between this nobly sustained flow of deep sentiment we hear the three trumpets in unison ///, and later on the trombones, etc., give ex- pression to a healthy joie de mvre by jubilant blasts of the motto phrase. "Gradually a calmer mood comes over the music, and we reach an episode in C minor.
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