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Boston Symphony Orchestra Concert Programs, Season 26,1906-1907, Trip

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Boston Symphony Orchestra Concert Programs, Season 26,1906-1907, Trip INFANTRY HALL . PROVIDENCE Twenty-sixth Season, J906-J907 DR. KARL MUCK, Conductor fljrmjramm? nf % Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 7 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER 1 \ OSSIP WITSGH the Russian Pianist will play in America this season with the Principal Orchestras, the Kneisel Quartet, the Boston Symphony Quartet, Leading Musical Organizations throughout the country, and in Recital CABRILOWITSCH will play only the PIANO Conrad Building, Westminster Street For particulars, terms, and dates of Gabrilowitsch, address HENRY L. MASON 492 Boylston Street, Boston 1 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. Muller, 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. Swornsbourne, 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, Established Established 1823 1823 w fjttfetrins &&0XI& PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY GOFF AND DARLING 276 Westminster Street • Providence, R. I Boston* INFANTRY HALL, Symphony Providence. Twenty-sixth Season, J906-J907. ? One Hundred and Fourth Concert in Orchestra Providence. Dr. KARL MUCK, Conductor. THIRD AND LAST CONCERT, THURSDAY EVENING, MARCH 7, AT 8.15 PRECISELY. PROGRAMME. " Berlioz Overture, The Roman Carnival," Op. 9 Liszt Concerto in E-flat major, No. 1, for Pianoforte and Orchestra Allegro maestoso, quasi adagio. Allegretto vivace. Allegro animato. Allegro marziale, animato. Presto. 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, Mr- GEORGE PROCTOR. The pianoforte is a Chickering. There will be an intermission of ten minutes before the symphony. 5 HARDMAN PIANO A tone that is rich, full, 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 19th Street .... New York Represented in Providence by GOFF & DARLING 276 Westminster Street ' Overture, "The Roman Carnival,' Op. 9 . Hector Berlioz (Born at la Cote Saint-Andre, December n, 1803; died at Paris, March 9, 1869.) Berlioz's overture, "Le Carnaval Romain," dedicated to Prince de Hohenzollern-Hechingen, was performed for the first time, and under the direction of the composer, at the Salle Herz, Paris, on February 3, 1844. The first performance in Boston was at a Philharmonic concert, led by Mr. Carl Zerrahn, at the Melodeon on January 24, 1857. The overture then reminded Mr. J. S. Dwight of "Mr. Fry's 'Christmas' symphony." The chief thematic material of the overture was taken by Berlioz from his opera, ''Benvenuto Cellini," which was originally in two acts. It was produced at the Opera, Paris, on September 10, 1838, when Duprez took the part of the hero, and Julie Aimee Dorus-Gras the part of Teresa. The text was written by Leon de Wailly and Auguste Barbier. The music was then thought so difficult that there were twenty-nine full rehearsals. The opera failed dismally. There were three performances in 1838, four in 1839. The opera, with a German text, was produced by Liszt at Weimar on March 20, 1852, with Beck as Cellini and Mrs. Milde as the heroine. Berlioz was not able to be present. He wrote on February 10 to Morel before the performance: "They have been at work on it for four months. I cle*aned it well, re-sewed and restored it. I had not looked at it for thirteen years; it is devilishly vivace." Trie opera failed at London on June 25, 1853. Chorley said: "The evening was one of the most melancholy evenings which I ever passed in any theatre. 'Benvenuto Cellini' failed more 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 Woodfordt- Alma Goetz Finden 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 Y#rk Gt<| : decidedly than any foreign opera I recollect to have seen performed in London. At an early period of the evening the humor of the audience began to show itself, and the painful spectacle had to be endured of seeing the composer conducting his own work through every stage of its condemnation." Some say there was a cabal led by Costa in the interest of Italian art. There was even an attempt to prevent the performance of "The Roman Carnival," which was played before the second act, although this same overture had been applauded by a London concert audience in 1848. Chorley criticised the music of the opera apparently without prejudice and with keen discrimina- tion. The following quotation from his article bears on the overture 1 'The ease of the singers is disregarded with a despotism which is virtu- ally another confession of weakness. As music, the scene in the second act, known in another form as its composer's happiest overture, 'The Roman Carnival,' has the true Italian spirit of the joyous time ; but the chorus -singers are so run out of breath, and are so perpetually called on to catch or snatch at some passage, which ought to be struck off with the sharpest decision, —that the real spirit instinct in the music is thoroughly driven out of it." At this performance the chief singers were Mmes. Julienne- Dejean and Nantier-Didiee, and Tamberlik Formes, and Tagliafico. The opera was revived by von Bulow at Hannover in 1879 and afterward at other German cities, as Leipsic ANTHOLOGY OF* FRENCH PIANO MUSIC (TWO VOLUMES) Edited by ISIDOR PHILIPP Volume I., Early Composers. Volume II., Modern Composers Bound in paper, cloth back, $1.50, postpaid In full cloth, gilt . 2.50, postpaid THESE two volumes of The Musician's Library constitute a comprehensive col- lection of French piano music, which covers the ground from the beginning of the seventeenth century down to the present day. From the harpsichord school, so brilliantly developed in France, a wealth of interesting and beautiful compositions is a host of chosen ; and not only are the familiar Lully, Rameau, and Couperin represented, but other talented musicians, whose works likewise bespeak from modern hearers both admiration and liking. As a supplement to Volume I. are given a number of old-time dances, tran- scribed from works for the theatre. In Volume II. the editor has grouped brilliant and com- pelling compositions by Franck, Saint-Saens, Dubois, Godard, and others scarcely less gifted, and has demonstrated how rich is the treasure-house of modern French works for the piano. Each volume contains a preface with biographical notes in French, with an English translation. OLIVER DITSON COMPANY, Boston CHAS. H. DITSON & CO., New York J. E. DITSON & CO., Philadelphia LYON & HEALY, Chicago Order ofyour home dealer or the above houses 8 RHODE ISLAND HOSPITAL TRUST COMPANY CAPITAL = -*' •- - $1,000,000 SURPLUS EARNINGS, OVER $1,800,000 Invites business relations with those desiring the service of a strong and conservative banking institution. SAFE DEPOSIT VAULTS Of the most modern and best approved construc- tion, carefully guarded both night and day by armed watchmen. ' THE HANDSOMEST WAREROOMS in New England for the sale of. PIANOS. The rooms formerly occupied by "The Wellington.' The Greatest Assemblage of different makes of pianos under any one roof in New England KNABE, MEHLIN, CROWN, MERRILL, KOHLER & CAMPBELL PIANOS ANGELUS PIANO-PLAYER, AUTOPIANO, EMERSON-ANGELUS, and the great KNABE-ANGELUS RELIABLE INSTRUMENTS ONLY ABSOLUTELY ONE PRICE $50 TO $150 SAVING OVER THE PRICES OF ORDINARY DEALERS EASY TERMS OF PAYMENT IF DESIRED Visit our new warerooms. A quarter of an hour or more can be spent here with pleasure by any lover of music or of things beautiful SECOND FLOOR. DIRECT ELEVATOR SERVICE. 10 (1883), Dresden (1888), Carlsruhe. The original translation into German was by A. F. Riccius. The one used later was made by Peter Cornelius, the composer.
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    Symphony No. 2 in D major, Op. 43 Jean Sibelius hanks to benefactions arranged by Axel four tone poems based on characters from TCarpelan, a Finnish man-about-the-arts Dante’s Divine Comedy . But once Sibelius re - and the eventual dedicatee of this work, Jean turned to Finland that June, he began to rec - Sibelius and his family were able to undertake ognize that what was forming out of his a trip to Italy from February to April 1901. So sketches was instead a full-fledged sym - it was that much of the Second Symphony phony — one that would end up exhibiting was sketched in the Italian cities of Florence an extraordinary degree of unity among its and, especially, Rapallo, where Sibelius sections. With his goal now clarified, Sibelius rented a composing studio apart from the worked assiduously through the summer and home in which his family was lodging. fall and reached a provisional completion of Aspects of the piece had already begun to his symphony in November 1901. Then he form in his mind almost two years earlier, al - had second thoughts, revised the piece pro - though at that point Sibelius seems to have foundly, and definitively concluded the Sec - assumed that his sketches would end up in ond Symphony in January 1902. various separate compositions rather than in The work’s premiere, two months later, a single unified symphony. Even in Rapallo marked a signal success, as did three sold-out he was focused on writing a tone poem. He performances during the ensuing week. The reported that on February 11, 1901, he enter - conductor Robert Kajanus, who would be - tained a fantasy that the villa in which his come a distinguished interpreter of Sibelius’s studio was located was the fanciful palace of works, was in attendance, and he insisted Don Juan and that he himself was the that the Helsinki audiences had understood amorous, amoral protagonist of that legend.
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