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Boston Symphony Orchestra Concert Programs, Season 33,1913-1914, Trip

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Boston Symphony Orchestra Concert Programs, Season 33,1913-1914, Trip CARNEGIE HALL NEW YORK Twenty-eighth Season in New York Dr. KARL MUCK, Conductor ¥tm THURSDAY EVENING, MARCH 19 AT 8.15 AND THE SATURDAY AFTERNOON, MARCH 21 AT 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1914, BY C. A. ELLIS PUBLISHED BY C, A. ELLIS, MANAGER MELBA KUBEL1K These world famous artists prefer and use exclusively [Everywhere acknowledged to be, musically, the most beautiful piano the world has ever known. Send for a description of the MASON & HAM- LIN TENSION RESONATOR, the greatest discovery in pianoforte construction in the last fifty years. ESTABLISHED 1854 313 FIFTH AVENUE NEW YORK CITY - ---- ^MM ——-vu^y Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor PERSONNEL Violins. Witek, A. Roth, 0. Hoffmann, J. Mahn, F. Concert-master, Kuntz, D. Tak, E. Theodorowicz, J. Noack, S. Koessler, M. Bak, A. Traupe, W. Goldstein, H. Rissland, K. Ribarsch, j\. Baranieeki, A. Siilzen, H. Habenicht, W. Fiedler, B. Berger, H. Gundersen, R. Fiumara, P. Spoor, S. Hayne, E. Goldstein, S. Grtinberg, M. Kurth, R. Gerardi, A. Ringwall, R. Pinfield, C . E. Gewirtz, J. ; Violas. Ferir, E. Werner, H. Wittmann, F. Pauer, 0. H. Van Wynbergen, C. Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Blumenau, W. Violoncellos. Wamke, H. Keller, J. Barth, C. Belinski, M. Warnke, J. Urack, 0. Nagel, R. Nast, L. Folgmann, E. Steinke, B. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Foss6, P. Vannini, A. Fuhrmann, M. Chevrot, A. English Horn, Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Tuba. Wendler, G. Jaenicke, B. Kloepfel, L. Hampe, C. Mattersteig, P. Lorbeer, H. Miersch, E. Mann, J. Alloo, M. Hain, F. Hess, M. Heim, G. Mausebach, A. Reach, A. Hubner, E. Kenfield, L. Harp. Tympani. Percussion. Holy, A. Neumann, S. Zahn, F. Senia, T. Kandler, I Burkhardt, H. Organ. Librarian. Assistant Librarian. Marshall rJ.P. Sauerquell, J. Rogers, L. 3 — €i 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. CARNEGIE HALL NEW YORK Twenty-eighth Season in New York W^kft •CX! Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor FIFTH AND LAST CONCERT THURSDAY EVENING, MARCH 19 AT 8.15 PROGRAMME Chadwick Symphony No. 3, F major I. Allegro sostenuto. II. Larghetto. III. Vivace non troppo: L'istesso tempo. IV. Finale: Allegro molto energico. Rubin Goldmark Tone Poem "Samson" (MS.) First time in New York Samson — Delilah — The Betrayal — The Temple. Paderewski . Concerto in A minor for Pianoforte and Orchestra, Op. 17 I, Allegro. II. Romanza: Andante. III. Allegro molto vivace. SOLOIST Mr. PADEREWSKI Steinway Piano Used There will be an intermission of ten minutes after the symphony 5 m WILL LAST- NO ONE HAS YET SEEN ONE WORN OUT It's seventy-five years since the first KNABE PIANO was made in Baltimore, and they are being made there right now. In all these years it has never been regarded — even by its severest critics — as anything but the best that human hands could produce. LIBERAL ALLOWANCE FOR PIANOS TAKEN IN EXCHANGE 5th Avenue, corner 39th Street ._—__ ^M lUi Symphony No. 3, in F major . George Whitfield Chadwick (Born at Lowell on November 13, 1854; living in Boston.) Newspapers of April 15, 1894, announced the fact that a prize of $300 offered by the National Conservatory of Music in New York for the best symphony by an American had been awarded to Mr. Chad- wick. Dvorak was then at the head of this institution. The symphony was performed for the first times on October 19-20, 1894, at Boston, by the Boston Symphony Orchestra. Mr. Chadwick conducted his work. The programme—Mr. Paur was then the con- ductor of the orchestra—also included Berlioz's ''Roman Carnival," overture and ballet music from Rubinstein's opera, "The Demon." Miss Emma Juch sang a recitative and air, "Mine did I once a lover call," from Dvorak's "Spectre Bride," and, with pianoforte accom- paniment, Wagner's "Traume" and cradle song, "Dors entre mes bras." Mr. Krehbiel, of the New York Tribune, came to Boston to hear the symphony, and his article, containing amusing reflections on musical conditions in Boston and an epigrammatic characterization of Mr. Paur, provoked rejoinders, among them an entertaining editorial article in the Boston Transcript. Mr. Chadwick dedicated his symphony to Theodore Thomas. The score was published by Arthur P. Schmidt, of Boston, in 1896. The symphony is scored for these instruments: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, and the usual strings. The following description of the musical contents is based on the analysis written by William Foster Apthorp for the Programme Book of October 19-20, 1894. I. Allegro sostenuto, F major, 3-4. The movement begins with four *r I AM LIKE A REMNANT OF A CLOUD OF AUTUMN USELESSLY ROAMING IN THE SKY"—TAGORE. (SONG-OFFERINGS) POEMS BY RABINDRANATH TAGORE MUSIC BY JOHN ALDEN CARPENTER PRICE, COMPLETE, $1.25 NET (Inc.) 3 EAST 43d STREET NEW YORK !tl !*.! I'-'AJ-'. ' . introductory measures for wind instruments and drums. The four horns sound fortissimo the notes F, E, D. "As the horns stand in the key of F, these notes stand in their parts as C, B-natural, A,—accord- ing to the German nomenclature, C. H. A: the first three letters of Mr. Chadwick's name. This short phrase occurs again in the course of the movement, although it is treated more as an episodic 'motto' than as a theme; it does not play the part in the symphony that the famous F, A-flat, F does in the first movement of Brahms's F-major symphony, but is used more sparingly, somewhat as the 'Te ma reale' is in some of the movements of Sebastian Bach's ' Musikalisches '" Oper. The strings attack the vigorous first motive which is de- veloped until the wind instruments have a staccato phrase, the first subsidiary. The first theme returns and is developed. There are harmonies for horns and clarinets, then an episodic song for violon- cellos against a figure for the oboe. This figure is used thematically later on. The second theme enters in A minor for the horns over a pizzicato accompaniment for strings. This theme is carried out at considerable length. In the free fantasia section the episodic phrase and counter figure, as well as the two chief motives, are treated ex- tensively. In the recapitulation section the first theme returns (flute) in B-flat major, in augmentation, and with rhythmic changes. The second theme (flutes and bassoons) returns in D minor. There is a short coda. II. Larghetto, B-flat major, 3-8. The movement begins with the chief theme given out in full harmony by the strings. The second theme is of a sturdy nature, and is treated more contrapuntally until there is a passionate cantilena. The movement ends pp with a short coda on a figure taken from the second theme. III. Vivace non troppo, D minor, 6-8. The movement begins with OP. 27 116021 Hand in Hand (Christina Rossetti) 50c. 116022 Under the Lindens (Walter Savage Landor) . 50c. 116023 In the Old Time (Christina Possetti) ...... 50c. 116024 It Was the Time of Lilac (F. G. Bowles) 50c. 116025 Long Ago (G. Marschal-Loepke) ...... 50c. 116029 Lady Leave Thy Silken Thread (Thomas Hood) . 50c. Three-Part Choruses for Ladies ' Voices. 116026 Long Ago ... ...... 12c. 116030 Lady Leave Thy Silken Thread 1 2c. CORDI & CO., 14 East 43d Street, NEW YORK And Milan, Rome. Naples, Palermo. London, Paris. Leipzig, Buenos-Ayres ^viui< * a saltarello melody (violins) . An obbligato phrase for horn has the- matic significance later. A second theme is composed of alternate phrases for strings and figures for the wood-wind. The trio, D major, 2-2, is built on a gay theme, first for horns, and then taken up by the rest of the orchestra. In the short coda the theme of the trio returns (muted horns). IV. Finale: Allegro molto Bnergico, F major, 6-4. After two measures for full orchestra, the horns give out the chief motive against full chords for the strings. The second motive, C major, 4-4, is for violins and violas in unison. There is elaborate development. The two themes are at last worked together. There is an imposing coda. * Saltarello, a dance in 6-8 or 6-4 time, of the fifteenth and sixteenth centuries at Rome and in the neigh- borhood of that city. It is a duet dance "of a skipping nature, as its name implies." The man played a guitar and his partner struck a tambourine during the dance, although some say she held her apron and per- formed graceful evolutions. The number of the couples was not limited. Each couple moved in a semi- circle, and the dance became faster and faster.
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