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Syapnony Orcnestrh BOSTON SYAPnONY ORCnESTRH 1901-1902 ^cc PRoGRSAAE HIGH OPINIONS REGARDING THE PIANOFORTEvS " In my opinion, they rank with the best pianos made." Wm. Mason. " I beheve your pianos to be of the very first rank." Arthur Nikisch. Dr. Wm. riason. Arthur Nikisch. Harold Bauer. "In my opinion, no finer instrument exists than the Mason & HamHn of to-day." Harold Bauer. " It is, I believe, an instru- ment of the very first rank." MORITZ MOSZKOWSKI. " It IS unsurpassed, so far as I know." Emil Paur. Moritz noszkowslci. Emil Paur. NEW ENGLAND REPRESENTATIVES M. STEINERT & SONS COMPANY 162 BOYLSTON STREET Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. Ticket """T'Office, 1492 ' ""!' BACK BAY. TELEPHONE, | TI [ Administration Offices, 1471 TWENTY-FIRST SEASON, I 901 -I 902. WILHELM GERICKE, CONDUCTOR. PROGRAMME OF THE THIRD REHEARSAL and CONCERT WITH HISTORICAL AND DESOUPTIVE NOTES BY PHILIP HALE jt jt ^ ji FRIDAY AFTERNOON, NOVEMBER 1, AT 2.30 O'CLOCK. SATURDAY EVENING, NOVEMBER 2, AT 8.00 O'CLOCK. PUBLISHED BY C. A. ELLIS, MANAGER. (101) QUARTER G R A N D% THIS instrument, which we have just produced, defines an epoch in the history of piano- forte making and is the only success- ^ ful very small grand ever made. ^ Beautiful quality of tone and delightful touch — taking but little more space than an upright, it sur- passes it in all the qualities desired in a pianoforte. CHICKERING ^ Sons IPianoforte flPafterg 7p/ TREMONT STREET B S T N , U . S . A . (102) TWENTY-FIRST SEASON, 1901-1902. Third Rehearsal and Concert* FRIDAY AFTERNOON, NOVEMBER i, ait 2.30 o'clock. SATURDAY EVENING, NOVEMBER 2, at 8.00 o'clock. WAGNER PROGRAMME. " '' Tannhaoscr . Overture, Bacchanale, and Scene between Tannhatjser and Venos from the First Act. (Paris Version) ''DieMeistersinger'' Walther's Prize Song Intermission. '' ^'Die Gotterdammerungf . Siegfried's Parting from Briinnhilde Siegfried's Death Funeral March Closing Scene SOLOISTS: Miss MILKA TERNINA. Mr. ELLISON VAN HOOSE. There will he no Public Rehearsal and Concert next week. SPECIAL NOTICE.— As the "Overture, Bacchanale, and Duet" from "Tannhauser" will be played as one number of unusual length and without pause, patrons are earnestly requested to be in their seats promptly at half-past two o'clock on Friday afternoon and at eight o'clock on Saturday evening. City of Boston, Revised Regulation of Aug-ust 5, 1898 —Chapter 3, relating to the covering of the head in places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, .it being understood that a low head covering without projection, which does not ob- struct such view, may be worn. Attest- J. M. GALVIN, City Clerk. (103; L. P. HOLLA/NDERFURS & CO. ...RUSSIAN SABLBS... We have imported an unusually fine lot of Skins from which to take orders, and have had made up a choice assortment in NEW DESIGNS OF SCARFS AND MUFFS, which we are able to sell at very reasonable prices, qualities considered. We are also showing a large line of Far=lined Oarments, Some very smart shapes for DRIVING and others for EVENING WEAR, also FUR COATS, NECK PIECES, MUFFS, etc., in all the fashionable furs. Diamonds, Watches PINE JEWELRY MODERATE PRICES One oF the largest assortments in the country SMITH, PATTERSON & CO. [WHOLESALE A/ND RETAIL JEWELLERS 52 SUMMER STREET (104) Overture, Bacchanale, and Scene in the Venus Mountain, from " Tannhauser," Act I., Scenes i and 2, " Tannhauser und der Sangerkrieg auf Wartburg," romantic opera in three acts, book and music by Richard Wagner, was first performed at the Royal Opera House in Dresden, under the direction of the composer, on Oct. 19, 1845. The hero was impersonated by Joseph Alois Tichat- schek (1807-86), who was a member of the Dresden Opera House from 1838 to 1872. The part of Venus was created by Wilhelmine Schroder- Devrient (1804-60). The passionate lovers of the story were shown on the stage as mature persons of discreet years, for the Tannhauser was thirty-eight years old and Venus was in her forty-first year. Tichatschek was for years the glory of the Dresden Opera House ; but there were cavillers even when he was at the zenith of his glory. He was a dramatic, not a lyric singer. He was accused of stiffness in gesture and certain mannerisms that grew upon him while he was under the influence of Schroder-Devrient. His voice was not naturally free or flexible, and he was ill at ease in the Italian operas of the repertory of the period. " Al. Sincerus," the author of "Das Dresdner Hoftheater " (1852), does not attempt to suppress the criticisms unfavorable to his hero : on the contrary, he publishes them at length, and then he exclaims in a fine " burst : Tichatschek is a German singer. We are in Germany, and, thank God, we are not without old and new German works, which can stand honorably in competition with the new Italian weak and sickly productions." But let us listen to the testimony of an outsider, an acute, most expe- rienced, discriminating judge of singing. Henry F. Chorley heard Tichatschek in several operas, among them " Tannhauser." He wrote of " him : Among the tenors of Germany, Herr Tichatschek bears a high repu- in the stage with an ampler tation ; and few, any country, have ever crossed proportion of natural advantages. He is of the right height, handsome, his voice strong, sweet, and extensive, taking the altissimo notes of its register in chest tones. He possessed, too, in 1839, a youthful energy of manner calculated to gain the favor of all who hear and see him. But, on returning to Dresden in 1840, I found that he had abused this energy NEW ENGLAND CONSERVATORY SCHOOL OF OPERA UNDER THE DIRECTION OF Sig. ORESTE BimBONI Of the Vienna, Berlin, Moscow, London, and Italian Royal Opera Houses Sig, BIMBONI Mrs. ERVING WINSLOW SOLOISTS and general CLASSES nnAOUIUP I VDin CVDRCCCinU COALHINh ACTION and stage management ''""' tAHHtbblUN Mrs. LILLA VILLES WYMAN Sig. MARCO PIAGENTI CLASSICAL and STAGE DANCING FENCING Classes : Advanced, Intermediate, and General Registration now open Open to all vocal gtttdents, whether pupils of the Contervatory or not (105) V. BALLARD & SONS, We are showing handsome PARIS Models of Evening Waists and Shirt Waists And a most Exclusive line of Novelties in Silks, Flannels, Velveteen Cords, etc., etc. Prices for Silk Waists, $15 and up. Flannel Waists, $7.50 up. We carry a rich assortment of PARIS NECKWEAR and a full line of Keiser Stocks. 256 BOYLSTON STREET. Pearl Necklaces and Collarettes Diamonds and Rare Gems In Unique Settings . By '' Things Unique " we mean articles which are beautiful, which are useful, which are attractive. A. StOWell & CO.f Incorporated. 24 Winter Street (106) to the evident deterioration of his voice and st\4e ; and there was cause to fear that a few seasons more may rivet him in bad habits never to be thrown oft", such as sink their owner among the disappointing legion of " those who ' might have done great things.' After Chorley had heard "Tannhauser" at Dresden in the forties, lie " wrote as follows of the great scene in the third act : I remember the howling, whining, bawling of Herr Tichatschek (to sing or vocally to declaim this scene is impossible)." In Germany the tradition still lives that Tichatschek was the ideal Tannhauser. Schrodrr-Devrient created the part of Venus. She was an ardent admirer of Wagner ; she was in sympathy with his desire to make the German operatic stage still more illustrious ; she was delighted with his enthusiasm, his scorn of the conventionalities ; and some say that she shared his revolutionary views concerning politics. She accepted the part of Venus as a friendly act toward him. The music itself was repugnant to her, and she said frankly : "I do not know how to make anything out of it." Yet the tradition has come down to us that her Venus was unap- proachable and never to be forgotten. This extraordinary woman was not a singer : she was a play-actress, who for some strange reason preferred the opera house to the theatre. She was irresistible in " Fidelio," and her Lady Macbeth in Chelard's forgotten opera was " one of those visions concerning which young men are apt to rave and old men to dote." Chorley first heard her in London in 1832. What he then wrote of her is well worth reading and consideration, especially in these days, when rough, uncontrolled temperament is accepted as an excuse for vocal indif- ference or ignorance. " She was a pale woman. Her face, a thoroughly German one, though plain, was pleasing, from the intensity of expression which her large features and deep, tender eyes conveyed. She had profuse fair hair, the value of which she thoroughly understood, delighting, in moments of great emotion, to fling it loose with the wild vehemence of a ma;nad. Her figure was superb, though full, and she rejoiced in its display. Her voice was a strong soprano, not comparable in quality to other German n/lKIONETTES ORGANISTS Eigfht Little Pianoforte Pieces New Organ Music COMPOSED BY Lemare, Symphony, G minor, 2 EDWARD MacDOWELL Bossi, Op. 118. 2 books, each Op. 38 Ravanello, Op. 50. 6 pieces, Capocci, 10 compositions, 2 No. 1. Prologue. No. 5. Clown. No. 2. Soubrette No. 6. Villain. books, each No. 3. Lover. No. 7. Sweetheart. Botazzo, Op. 120. 6 pieces, No. 4. Witch. No. 8. Epilogue. The music for the entire pro- Revised and Augmented Edition gram of Mr.
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