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Boston Symphony Orchestra Concert Programs, Season 35,1915

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Boston Symphony Orchestra Concert Programs, Season 35,1915 AUDITORIUM ST. JOSEPH, MO. Thirty-afth Season, 1915-1916 Dr. KARL MUCK, Conductor FRIDAY EVENING, OCTOBER 8 AT 8.15 PROGRAMME Beethoven Symphony No. 8, F major, Op. 93 I. Allegro vivace e con brio. II. Allegretto scherzando. III. Tempo di menuetto. IV. Allegro vivace. Weber Overture to the Opera, "Oberon" Rimsky-Korsakoff . Caprice on Spanish Themes, Op. 34 I. Alborada. II. Variations. III. Alborada. IV. Scene and Gypsy Song. V. Fandango of the Asturias. (Played without pause) Bizet Suite, "L'Arlesienne," No. 1. Music to I. Prelude. Alphonse Daudet's Play II. Minuetto. III. Adagietto. IV. Carillon. Wagner . Prelude to "The Mastersingers of Nuremberg There will be an intermission of ten minutes after the symphony HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1 Symphony in F major, No. 8, Op. 93 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) This symphony was composed at Linz in the summer of 18 12. The autograph manuscript in the Royal Library at Berlin bears this inscrip- tion in Beethoven's handwriting: "Sinfonia—Lintz, im Monath Octo- ber 18 12." Gloggl's Linzer Musikzeitung made this announcement u October 5: We have had at last the long-wished-for pleasure to have for some days in our capital the Orpheus and the greatest musical poet of our time, Mr. L. van Beethoven; and, if Apollo is gracious to us, we shall also have the opportunity of wondering at his art." The same periodical announced November 10: "The great tone-poet and tone-artist, Louis van Beethoven, has left our city without fulfilling our passionate wish of hearing him publicly in a concert." • Beethoven was in poor physical condition in 18 12, and Stauden- heim, his physician, advising him to try Bohemian baths, he went to Toplitz by way of Prague; to Carlsbad, where a note of the postilion's horn found its way among the sketches for the Eighth Symphony; to Franzenbrunn and again to Toplitz; and lastly to his brother Johann's * home at Linz, where he remained until into November. At the beginning of 18 12 Beethoven contemplated writing three symphonies at the same time; the key of the third, D minor, was already determined, but he postponed work on this, and as the auto- graph score of the first of the remaining two, the Symphony in A, No. 7, is dated May 13, it is probable that he contemplated the Seventh before he left Vienna on his summer journey. His sojourn in Linz was not a pleasant one. Johann, a bachelor, lived in a house too large for his needs, and so he rented a part of it to a physician, who had a sister-in-law, Therese Obermeyer, a cheerful and well-pro- portioned woman of an agreeable if not handsome face. Johann looked on her kindly, made her his housekeeper, and, according to the gossips of Linz, there was a closer relationship. Beethoven meddled with his brother's affairs, and, finding him obdurate, visited the bishop and the police authorities and persuaded them to banish her from the town, to send her to Vienna if she should still be in Linz on a fixed day. Natu- rally, there was a wild scene between the brothers. Johann played the winning card: he married Therese on November 8. Ludwig, furious, went back to Vienna, and took pleasure afterward in referring to his sister-in-law in both his conversation and his letters as the "Queen of Night." This same Johann said that the Eighth Symphony was completed from sketches made during walks to and from the Postlingberge, but Thayer considered him to be an untrustworthy witness. * Nikolaus Johann, Beethoven's second younger brother, was born at Bonn in 1776. He died at Vienna in 1848. He was an apothecary at Linz and Vienna, the Gutsbesitzer of the familiar anecdote and Ludwig's pet aversion. The two symphonies were probably played over for the first time at the Archduke Rudolph's in Vienna, April 20, 18 13. Beethoven in the same month endeavored to produce them at a concert, but without success. The Seventh was not played until December 8, 18 13, at a concert organized by Malzel, the mechanician. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings. The first movement, Allegro vivace e con brio, F major, 3-4, opens immediately with the first theme. The first phrase is played by the full orchestra forte; wood-wind instruments and horns respond with a phrase, and then the full orchestra responds with another phrase. A subsidiary motive leads to the more melodious but cheerful second theme in D major. The first part of the movement ends in C major, and it is repeated. The working out is elaborate rather than very long, and it leads to the return of the first theme at the beginning of the third part ('cellos, double-basses, and bassoons). The theme is now treated more extensively than in the first part. There is a long coda. II. Allegretto scherzando, B-flat major, 2-4. The characteristics of this movement have been already described. First violins play the first theme against the steady "ticking" of wind instruments, and each phrase is answered by the basses. There is a more striking second theme, F major, for violins and violas, while the wind instruments keep persistently at work, and the 'cellos and double-basses keep repeating the initial figure of the first theme as a basso ostinato. Then sighs in wind instruments introduce a conclusion theme, B-flat major, inter- rupted by the initial figure just mentioned and turning into a passage in thirds for clarinets and bassoons. The first part of the movement is repeated with slight changes. There is a short coda. III. Tempo di minuetto, F major, 3-4. We have spoken of the difference of opinion concerning the proper pace of this movement: whether it should be that of an ordinary symphonic minuet or that of a slow and pompous minuet, so that the movement should be to the second as a slow movement to a Scherzo. The trio contains a dialogue for clarinet and two horns. IV. Allegro vivace, F major, 2-2. The finale is a rondo worked out on two themes. The drums are tuned an octave apart, and both give F instead of the tonic and dominant of the principal key. The move- ment ends with almost endless repetitions of the tonic chord. Sudden changes in harmony must have startled the audience that heard the symphony in 18 14. The first movement of this symphony was in the original version shorter by thirty-four measures. Overture to the Opera "Oberon" . Carl Maria von Weber (Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826.) "Oberon; or, the Elf-king's Oath," a romantic opera in three acts, book by James Robinson Planche, music by Carl Maria von Weber, was first performed at Covent Garden, London, on April 12, 1826. Weber conducted. The cast was as follows: Rezia, Mary Anne Paton; Mermaid, Mary Anne Goward; Fatima, Mme. Vestris; Puck, Harriet Cawse; Huon, John Braham; Oberon, Mr. Gownell; Scherasmin, acted by Mr. Fawcett, "but a bass singer, named Isaacs, was lugged in head and shoulders to eke out the charming quatuor, 'Over the Dark Blue Waters.'" The first performance in Boston was in Music Hall by the Parepa- Rosa Company, May 23, 1870.* The first performance of "Oberon" in "its original shape" was at Leipsic, December 23, i826.f * * * Weber was asked by Charles Kemble in 1824 to write an opera for Covent Garden. A sick and discouraged man, he buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously. Planche sent the libretto an act at a time. Weber made his first sketch on January 23, 1825. The autograph score contains this note at the end of the overture: "Finished April 9, 1826, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria! II C. M. V. Weber." This entry was made at London. The overture, scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings, begins with an introduction (Adagio sostenuto ed il tutto pianissimo possible, D major, 4-4). The horn of Oberon is answered by muted strings. The figure for flutes and clarinets is taken from the first scene of the opera (Oberon's palace; introduction and chorus of elfs) . After a pianissimo little march there is a short dreamy pas- sage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (Allegro *The cast was as follows: Rezia, Mme. Parepa-Rosa; Fatima, Mrs. E. Seguin; Puck, Miss Geraldine Warden; Sir Huon, William Castle; Scherasmin, A. Laurence (sic); Oberon, G. F. Hall; Mermaid, Miss ( Isaacson (?). Carl Rosa conducted. A song "Where Love is, there is Home," arranged by Howard Glover from a theme in one of Weber's pianoforte sonatas, was introduced. The audience was not large, and it was cool. t The part of Rezia was then taken by Miss Canzi, and that of Sir Huon by Vetter. Catherine Canzi, daughter of a Hungarian mother, was born at Baden, Austria, in 1805.
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