Boston Symphony Orchestra Concert Programs, Season 33,1913
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ELMWOOD MUSIC HALL BUFFALO Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, JANUARY 27 AT 8.15 COPYRIGHT, 1913, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER No Piano of American make has been so favored by the musical pub- lic as this famous old Boston make. The world's greatest musicians have demanded it and discriminating people have purchased it. THE CHICKERING PIANO enjoys the distinction of being the recipient of 129 First Medals and Awards for Superiority Its wonderful tone and action call it to the studio to stimulate and encourage the pupil, and it is sought by teachers and musical people when the best is desired. BUFFALO, NEW YORK ^r ELMWOOD MUSIC HALL BUFFALO Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor TUESDAY EVENING, JANUARY 27 AT 8.15 PROGRAMME Beethoven . Symphony in A major, No. 7, Op. 92 I. Poco Sostenuto; Vivace. II. Allegretto. III. Presto: Presto meno assai. IV. Allegro con brio. Saint-Saens . "My Heart at thy Dear Voice," from "Samson and Delilah" Bizet . Suite No. 1, from the Music for Alphonse Daudet's Play, "L'Arlesienne" I. Prelude. II. Minuetto. III. Adagietto. IV. Carillon. Schubert "Der Erlkonig" (Orchestrated by Franz Liszt) Smetaha .' . Overture to "The Sold Bride" SOLOIST RUTH LEWIS ASHLEY There will be an intermission of ten minutes after the symphony 3 — nTTiii a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus -De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. NUMBER 366 FIFTH AVENUE, NEW YORK Symphony in A major, No. 7, Op. 92 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died aX Vienna, March 26, 1827.) The first sketches of this symphony were made by Beethoven prob- ably before 181 1 or even 18 10. Several of them in the sketch-book that belonged to Petter of Vienna, and was analyzed by Nottebohm, were for the first movement. Two sketches for the famous allegretto are mingled with phrases of the Quartet in C major, Op. 59, No. 3, dedicated in 18 18 to Count Rasoumoffsky. One of the two bears the title: "Anfang Variations." There is a sketch for the Scherzo, first in F major, then in C major, with the indication: "Second part." Another sketch for the Scherzo bears a general resemblance to the beginning of the "Dance of Peasants" in the Pastoral Symphony, for which reason it was rejected. In one of the sketches for the Finale Beethoven wrote: "Goes at first in F-sharp minor, then in C-sharp minor." He preserved this modulation, but he did not use the theme to which the indication was attached. Another motive in the Finale as sketched was the Irish air, "Nora Creina," for which he wrote an accompaniment at the request of George Thomson, the collector of Scottish, Welsh, and Irish melodies. Thayer states that Beethoven began the composition of the Seventh Symphony in the spring of 18 12. Prod'homme believes that the work was begun in the winter of 1811-12. The autograph manuscript that belongs to the Mendelssohn family of Berlin bears the inscription: "Sinfonie. L. v. Bthvn 1812 i3ten M." A clumsy binder cut the paper so that only the first line of the M is to be seen. There was therefore a dispute as to whether the month were May, June, or July. Beethoven wrote to Varena on May 8, 18 12: "I promise you imme- diately a wholly new symphony for the next Academy, and, as I now have opportunity, the copying will not cost you a heller." He wrote on July 19: "A new symphony is now ready. As the Archduke Ru- dolph will have it copied, you will be at no expense in the matter." It is generally believed that the symphony was completed May 13, in the hope that it would be performed at a concert of Whitsuntide. The first performance of the symphony was at Vienna, in the large hall of the university, on December 8, 18 13. Formerly of the Vienna Opera House THE ART OF SINGING IN ALL ITS BRANCHES Special courses for teachers of the voice Scientific Voice Culture based upon the methods of the European Masters. Recommended by Metropolitan Opera Artists. Special Attention to Voice- Building (tone-work). Appointments for voice trials by letter "Oscar Leon, the well-known teacher of singing, has produced results even with voices that were given up by other teachers as hopeless cases."—From the New York Tribune. "Some of Oscar Leon's pupils are world -renowned singers." —From the New York Evening Mail. Studio: AEOLIAN HALL, New York Malzel, the famous maker of automata, exhibited in Vienna during the winter of 1812-13 his automatic trumpeter and panharmonicon. The former played a French cavalry march with calls and tunes; the latter was composed of the instruments used in the ordinary military band of the period,—trumpets, drums, flutes, clarinets, oboes, cymbals, triangle, etc. The keys were moved by a cylinder, and overtures by Handel and Cherubini and Haydn's Military Symphony were played with ease and precision. Beethoven planned his "Wellington's Sieg," or "Battle of Vittoria," for this machine. Malzel made arrangements for a concert,—a concert "for the benefit of Austrian and Bavarian soldiers disabled at the battle of Hanau." The arrangements for this charity concert were made in haste, for several musicians of reputation were then, as birds of passage, in Vienna, and they wished to take parts. Among the distinguished executants were Salieri and Hummel, two of the first chapel -masters of Vienna, who looked after the cannon in "Wellington's Sieg"; the young Meyerbeer, who beat the bass drum and of whom Beethoven said to Tomaschek : "Ha! ha! ha! I was not at all satisfied with him; he never struck on the beat; he was always too late, and I was obliged to speak to him rudely. Ha! ha! ha! I could do nothing with him; he did not have the courage to strike on the beat!" Spohr and Mayseder were seated at the second and third violin desks, and Schuppanzigh was the concert-master; the celebrated Dragonetti was among the double-basses. Beethoven conducted. The programme was as follows: "A brand-new symphony," the Seventn, in A major, by Beethoven; two marches, one by Dussek, the otner by Pleyel, played by Malzel's automatic trumpeter with full orchestral accompaniment; "Wellington's Sieg, oder die Schlacht bei Vittoria." "Wellington's Sieg" was completed in October of 18 13 to celebrate the victory of Wellington over the French troops in Spain on June 21 of that year. Malzel had persuaded Beethoven to compose the piece for his panharmonicon, and furnished material for it, and had even given him the idea of using "God save the King" as the subject of a lively fugue. Malzel's idea was to produce the work at concerts, so as to raise money enough for him and Beethoven to go to London. BUFFALO, N.Y. Absolutely Fire Proof EUROPEAN PLAN ^fflpfc- $1.50 per day and upwards Under same management HOTEL MARIE ANTOINETTE Broadway, 66th and 67th Sts.. New York '> - \'~'v GRAND UNION HOTEL Saratoga Springs, N.Y. vvw v.\m i ii He was a shrewd fellow, and saw that, if the "Battle Symphony" were scored for orchestra and played in Vienna with success, an arrange- k ment for his panharmonicon would then be of more value. Beethoven dedicated the work to the Prince Regent, afterward George IV., and forwarded a copy to him, but the "First Gentleman in Europe" never acknowledged the compliment. "Wellington's Sieg" was not per- formed in London until February 10, 1815, when it had a great run. The news of this success pleased Beethoven very much. He made a memorandum of it in the note-book which he carried with him to taverns. This benefit concert was brilliantly successful, and there was a repetition of it December 12 with the same prices of admission, ten and five florins. The net profit of the two performances was four thousand six gulden. §pohr tells us that the new pieces gave "extraordinary pleasure, especially the symphony; the wondrous second movement was repeated at each concert; it made a deep, enduring impression on me. The performance was a masterly one, in spite of the uncertain and often ridiculous conducting by Beethoven." Gloggl was present at a rehearsal when the violinists refused to play a passage in the symphony, and declared that it could not be played. " Beethoven told them to take their parts home and practise them; then the passage would surely go." It was at these rehearsals that Spohr saw the deaf composer crouch lower and lower to indicate a long diminuendo, and rise again and spring into the air when he demanded a climax. And he tells of a pathetic yet ludicrous blunder of Beethoven, who could not hear his own soft passages. The Chevalier Ignaz von Seyfried told his pupil Krenn that at a rehearsal of the symphony, hearing discordant kettledrums in a passage of the Finale and thinking that the copyist had made a blunder, he said circumspectly to the composer: "My dear friend, it seems to me there is a mistake: the drums are not in tune." Beethoven answered: "I did not intend them to be." But the truth of this tale has been disputed.