• Abstract and Figures
• Public Full-text

DETROIT ARMORY Under the Auspices of the Detroit Orchestral Association DIRECTORS EXECUTIVE COMMITTEE President WILLIAM H. MURPHY, NEWTON J. COREY, FREDERICK M. ALGER, Vice-President Secretary and Manager LEM W. BOWEN CHARLES MOORE, Treasurer CHARLES L. FREER EDWIN S. GEORGE JOHN SCOTT, Auditor WILFRED C. LELAND J. HARRINGTON WALKER Thirty-second Season, J9J2-J9J3 Dr. KARL MUCK, Conductor Programme WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE SATURDAY EVENING, FEBRUARY 1 AT 8.15 COPYRIGHT, 1912, BY C A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER cIke Makers of merxtt PIANOS Have shown that genius for piano-making tnat has been described as "an infinite capacity for taking ftains cIne result of over eighty- five years application of that genius to the production of musical tone is shown m tne matchless Chickermg Pianos of today. Represented by Tke FARRAND COMPANY Owing to the illness of Dr. Muck, Mr. Otto Urack will conduct. DETROIT ARMORY loatfltt g>gmplf0tt}} (©rrfjtfHint Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor SATURDAY EVENING, FEBRUARY 1 AT 8J5 PROGRAMME Sibelius Symphony No. i, in E minor, Op. 39 I. Andante ma non troppo; Allegro energico. II. Andante, ma non troppo lento. III. Allegro. IV. Finale (Quasi una fantasia) : Andante; Allegro molto. Brahms . Academic Festival Overture, Op. 80 Bruch . Concerto No. 2 for Violin, with Orchestral Accompaniment, Op. 44 I. Adagio ma non troppo. II. Recitative. III. Finale. Allegro molto. Chabrier " Espafia," Rhapsody for Orchestra SOLOIST Mr. ANTON WITEK, Violinist There will be an intermission of ten minutes after the symphony • / — ^Ipfiiiumlfano g£f li* * ESfe. - - Bte^iAoS^vy * n llnM \" - o^ 1 1 ^ r^ # ^ 1 . juf U; \\!'...---~^; "After the Symphony Concert 99 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. PIANOS PLAYER-PIANOS CINCINNATI ' Symphony in E minor, No. i, Op. 39 Jan Sibelius (Born at Tavastehus, Finland, December 8, 1865; now living at Helsingfors.) Sibelius has thus far composed four symphonies. The first was composed in 1899 and published in 1902. The first performance of it was probably at Helsingfors, but I find no record of the date. The symphony was played in Berlin at a concert of Finnish music, led by Kejanus, in July, 1900. The first performance in Boston was at a concert of the Boston Symphony Orchestra, January 5, 1907, when Dr. Muck conducted. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, bass drum, cymbals, triangle, harp, and strings. I. Introduction: Andante ma non troppo, E minor, 2-2. Over a drum-roll that rises and falls in intensity a clarinet sings a mournful melody, which is of much importance in the Finale of the symphony. The first violins, after the short introduction, give out the first theme with imitative passages for violas and violoncellos. Allegro energico, E minor, 6-4. There are two subsidiary motives, one for wind instruments and one, derived from this last, for strings. A crescendo leads to a climax, with the proclamation of the first chief theme by full orchestra with a furious drum-roll. The second and Ganapol School of Musical Art (One of the Best Music Schools in America) BORIS L. GANAPOL, Director 25 Adelaide Street . Detroit, Mich. The branches taught are : Singing, Pianoforte, Violin, Violoncello, Organ, Ensemble, Normal Training, Theory, Harmony, Accompanying, Sight Singing, Sight Playing, Oratory, Languages, Journalism, etc. The Faculty includes a large number of famous artists and teachers, among whom number BORIS L. GANAPOL HENRI MATHEYS GEORGE SHORTLAND KEMPTON HUGH RIDOUT Mrs. BORIS L. GANAPOL JACOB HOLSKIN, and ABRAM RAY TYLER Mme. ELSA RUEGGER A large number of skilled instructors and assistants A thorough course in all the above branches FREE ADVANTAGES ALENA K. EAYRS, Secretary Tel., Grand 3488 SEND FOR CATALOG 5 contrasting chief motive is given to the flutes, piano ma marcato, against tremulous violins and violas and delicate harp chords. The conclusion of this theme is developed and given to the flutes with syncopated rhythm for the strings. The pace is quickened, and there is a crescendo, which ends in B minor. The free fantasia is of a passion- ate nature with passages that suggest mystery ; heavy chords for wind instruments are bound together with chromatic figures for the strings; wood-wind instruments shriek out cries with the interval of a fourth, cries that are taken from one in the Introduction; the final section of the second theme is sung by two violins with strange figures for the strings, pianissimo, and with rhythms taken from the second chief theme. These rhythms in the course of a powerful crescendo dom- inate at last. The first chief theme endeavors to assert itself, but it is lost in descending chromatic figures. Again there is a crescendo, and the strings have the second subsidiary theme, which is developed until the wild entrance of the first chief motive. The orchestra rages until, after a great outburst and with clash of cymbals, a diminuendo leads to gentle echoes of the conclusion of the second theme. Now the second theme tries to. enter, but without the harp chords that first accompanied it. Rhythms that are derived from it lead to defiant blasts of the brass instruments, and the movement ends in this mood. II. Andante, ma non troppo lento, E-flat major, 2-2. Muted violins and violoncellos an octave lower sing a simple melody of resignation. A motive for wood-wind instruments promises a more cheerful mood, but the promise is not fulfilled. The first bassoon, un poco meno andante, and other wood-wind instruments take up a lament which becomes vigorous in the employment of the first two themes. A motive for strings is treated canonically. There are triplets for wood- wind instruments, and the solo violoncello endeavors to take up the first song, but it gives way to a melody for horn with delicate figuration for violins and harp, molto tranquillo. The mood of this episode governs the measures that follow immediately in spite of an attempt at more forcibly emotional display, and it is maintained even when the NOWN throughout New Eng- land for its unexcelled cuisine. Its apartments of two to five rooms with bath appeal particularly to families Dartmouthjnd Newbury Sts. or ^O are plannmg tO Spend a long short time in Boston. For Both transient and permanent guests Rates furnished upon application first theme returns. Trills of wood-wind instruments lead to a more excited mood. The string theme that was treated canonically re- appears heavily accented and accompanied by trombone chords. The orchestra rages until the pace is doubled, and the brass instruments sound the theme given at the beginning of the movement to the wood- wind. Then there is a return to the opening mood with its gentle theme. III. Allegro, C major, 3-4. The chie'f theme of the scherzo may be said to have the characteristically national humor which seems to Southern nations wild and heavily fantastical. The second theme is of a lighter and more graceful nature. There is also a theme for wood- wind instruments with harp arpeggios. These themes are treated capriciously. The trio, E major, is of a somewhat more tranquil nature. IV. Finale (Quasi una fantasia), E minor. The Finale begins with the melody of the introduction of the first movement. It is broadly treated (violins, violas, and violoncellos in unison, accompanied by heavy chords for the brass). It is now of an epic, tragic nature, and not merely melancholy. There are hints in the lower strings at the chief theme, which at last appears, 2-4, in the wood-wind. This theme has a continuation which later has much importance. The prevailing mood of the Finale is one of wild and passionate restlessness, but the second chief theme, Andante assai, is a broad, dignified, melodious motive for violins. The mood is soon turned to one of lamentation, and the melody is now derived from the first theme of the second movement. A fugato passage, based on the first theme with its con- tinuation in this movement, rises to an overpowering climax. There is a sudden diminuendo, and the clarinet sings the second theme, but it now has a more anxious and restless character. This theme is de- veloped to a mighty climax. From here to the end the music is tem- pestuously passionate. HOTEL PURITAN COMMONWEALTH AVENUE, BOSTON ®Ije Sfflitttrtte IBafitott Ifyrxwt A booklet of the Hotel, or " The Story of New England," a little book for those interested in its beginnings, will be mailed on request. S. M. COSTELLO, Manager — Academic Festival Overture, Dp. So .... Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) Brahms wrote two overtures in 1880,—the " Academic " and the "Tragic." They come between the Symphony in D major and that in F major in the list of his orchestral works. The "Tragic" overture bears the later opus number, but it was written before the "Academic," —as Reimann says, "The satyr-play followed the tragedy." The "Aca- demic" was first played at Breslau, January 4, 1881.

Load more

  34

Copy Link