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Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip INFANTRY HALL . PROVIDENCE Itoaimt ^gmpfjmuj (§xttytBtxu Thirty-second SeaBon, J9J2-J9J3 Dr. KARL MUCK, Conductor Programme oftfo> SECOND CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, NOVEMBER 19 AT 8.15 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER — %l#uiinlfano iuiu' "After the Symphony Concert" 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. Sole Representative MRS. LUCY H. MILLER 28 GEORGE STREET - - PROVIDENCE, R.I. Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Koessler, M. Bak t A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Hayne, E. Tischer-Zeitz, H. Kurth, R. Grunberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H. Kluge, M. Van Wynbergen, G Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Blumenau, W. Violoncellos. Warnke, 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. Foss€, P. Vannini, A. Fuhrmann, M. Chevrot, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, 0. Lorbeer, H. Gebhardt, W. Mann, J. Alloo, M. Hain, F. Hackebarth, A. Heim, G. Mausebach, A Phair, J. Hiibner, E. Merrill, C. Kenfield, L. Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Zahn, F. Senia, T. Kandkr, F. Burkhardt, H. Organ. Librarian. Marshall, J. P. Sauerquell, J. This Piano is Endorsed by Hundreds of the Leading Music Teachers of New England They know the satisfaction of owning pianos that come up to the highest standards. They appreciate the wonderful Jewett tone. THE JEWETT IS THE FAVORITE PIANO OF NEW ENGLAND More Jewett Pianos are bought by the people of New England each year than of any other make of equal cost. PRICES: Notwithstanding many important improvements — in the past two years, the various Jewett Pianos are sold at the same prices — from $375 up, and on the same easy terms if desired. Sold exclusively at our own Stores throughout New England M. STEINERT & SONS CO Steinert Hall Building, 505 Westminster St. PROVIDENCE, R.I. Stores in all principal cities of New England INFANTRY HALL ; . PROVIDENCE One Hundred and Twenty-sixth Concert in Providence Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor SECOND CONCERT TUESDAY EVENING, NOVEMBER 19 AT 8.15 PROGRAMME " Beethoven Overture, Leonora," No. 3, Op. 72 Beethoven . Concerto in D major for Violin and Orchestra, Op. 61 I. Allegro ma non troppo. II. Larghetto. III. Rondo. Sibelius Symphony No. 1, 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. SOLOIST Mr. FRITZ KREISLER Has0«&l»ntlttt Boston's Great Art "Product Q Everywhere recognized as musically the most beautiful piano the world has ever seen GOFF & DARLING 276 WESTMINSTER STREET Sole Agents Overture to "Leonora" No. 3, Op. 72. Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) Beethoven's opera, "Fidelio, oder die eheliche Liebe," with text adapted freely by Joseph Sonnleithner from the French of Bouilly ("Leonore; ou, 1' Amour Conjugal," a "fait historique" in two acts and in prose, music by Gaveaux, Opera-Comique, Paris, February 19, 1798), was first performed at Vienna, November 20, 1805, with Anna Pauline Milder,* afterward Mrs. Hauptmann, as the heroine. The first performance in Boston was on April 1, 1857, with Mrs. Johannsen, Miss Berkiel, Beutler,f Neumann, Oehlin, and Weinlich as the chief singers. "Leonore" No. 2 was the overture played at the first performance in Vienna. The opera was withdrawn, revised, and produced again on March 29, 1806, when "Leonore" No. 3, a remodelled form of No. 2, was played as the overture. The opera was performed twice, and then withdrawn. There was talk of a performance at Prague in 1807, and Beethoven wrote for it a new overture, in which he retained the * Pauline Anna Milder was born at Constantinople,. December 13, 1785. She died at Berlin, May 29, 1838. The daughter of an Austrian courier, or, as some say, a pastry cook to the Austrian embassador at Constantinople, and afterward interpreter to Prince Maurojeni, she had a most adventurous childhood. (The story is told at length in von Ledebur's " Tonkiinstler-Lexicon Berlin's.") Back in Austria, she studied three years with Sigismund Neukomm. Schikaneder heard her and brought her out in Vienna in 1803, as Juno in Siismayer's "Der Spiegel von Arkadien." She soon became famous, and she was engaged at the court opera, where she created the part of Leonora in "Fidelio." In 1810 she married a jeweller, Hauptmann. She sang as guest at many opera-houses and was offered brilliant engagements, and in 1816 she became a member of the Berlin Royal Opera House at a yearly salary of four thousand thalers and a vacation of three months. She retired with a pension in 183 1, after having sung in three hundred and eighty operatic performances. She was also famous in Berlin as an oratorio singer. She appeared again in Berlin in 1834, but her voice was sadly worn, yet she sang as a guest in Copenhagen and St. Petersburg. Her funeral was conducted with pomp and ceremony, and it is said that the "Iphigenia in Tauris," "Alceste," and "Armide," her favorite operas, were put into her coffin,—a favor she asked shortly before her death. t Mr. Beutler sang that night for the last time. He had a cold, and the physician warned him against singing, but the audience filled the theatre, and he was persuaded. He became hoarse immediately after the performance, and, as, his vocal chords were paralyzed, he never sang again. Mendelssohn, who had given him musical instruction, praised his voice, but urged him not to use it in opera, as it would not stand the wear and tear. Beutler then gave up the ambition of his life, but m the Revolution of 1848 he and other students at Heidelberg were obliged to leave the country. He came to the United States, and yielded to the temptation of a good offer from an opera manager. He became an understudy of Mario, then the misfortune befell him. I am indebted for these facts to Beutler's daughter, Mrs. Clara Tippett, of Boston. PROVIDENCE MUSICAL ASSOCIATION SEASON 1912=1913 "Students* Course" of Four Concerts IN MEMORIAL HALL Apollo Club of Boston — Emil Mollenhauer, Conductor Friday, November 22, 8.15 p.m. The Flonzaley String Quartet Friday, December 13, 8.15 p.m. Tina Lerner — In Piano Recttal Friday, January 24, 8.15 p.m. Effrem Zimbalist — In Violin Recital Friday, February 21, 8.15 p.m. Tickets for the entire Course, $3.50 Tickets for Single Concert, $1.50 Subscriptions may be sent now to Mrs. L. H. Miller, Treas., P. O. Box 616, Provi- dence, R. I. Subscribers of previous seasons may obtain their regular seats upon application to the Treasurer. — theme drawn from Florestan's air, "In des Lebens Fruhlingstagen," but none of the other material used in Nos. 2 and 3. The opera was not performed, and the autograph of the overture disappeared. "Fi- delio" was revived at Vienna in 18 14, and for this performance Beet- hoven wrote the "Fidelio" overture. We know from his diary that he "rewrote and bettered" the opera by work from March to May 15 of that year. The No. 3 begins, to quote Mr. Apthorp, "with one of Beethoven's most daring harmonic subtleties. The key is C major; the strings, trumpets, and kettledrums strike a short fortissimo G (the dominant of the key), which is held and diminished by the wood-wind and horns, then taken up again piano by all the strings in octaves. From this G the strings, with the flute, clarinets, and first bassoons, now pass step by step down the scale of C major, through the compass of an octave, landing on a mysterious F-sharp, which the strings thrice swell and diminish, and against which the bassoons complete the chord of the dominant seventh and at last of the tonic of the key of B minor. From this chord of B minor the strings jump immediately back to G (domi- nant of C major), and pass, by a deceptive cadence, through the chord of the dominant seventh and minor ninth to the chord of A-flat major. Here we have in the short space of nine measures a succession of keys C major, B minor, A-flat major—such as few men before Beethoven MEHLIN PIANOS always respond to the most exacting demands made upon them.
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