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Boston Symphony Orchestra Concert Programs, Season 34,1914-1915, Trip

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Boston Symphony Orchestra Concert Programs, Season 34,1914-1915, Trip ACADEMY OF MUSIC, PHILADELPHIA Thirtieth Season in Philadelphia Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, MARCH 15 AT 8.15 COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER DPI H V l C T O R S The Talking Machine You Want is to be found at Heppe's Whether it be an ordin- ary Victor or a superb Victrola, every artistic possibility of the Talking Machine is assured when it comes from Heppe's. Experts adjust every ma- chine that leaves our establish- ment and our service is best because we are both wholesale and retail distributors. LOWEST FACTORY PRICES GUARANTEED, WHETHER YOU BUY FOR CASH OR ON TIME Victors, $10 to $60 $ $ Victrolas, 1 5 to 200 1117-1119 Chestnut Street, 6th and Thompson Streets Wholesale and Retail Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor per: Violins. r Witek, A. m*W£ .If Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Kurth,R s Griinberg, M. Pinfield, C. Gerardi, A. Ringwall, R. | Gunderson, B Gewirtz, J. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Warake, H. Keller, J. MpTBarth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R.^ JsFKlNast, L. Folgmann, E. Warake, J. 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. Sand, A.* Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Chevrot, A. Stanislaus, H Vannini, A. Fuhrmann, M. Battles, A. EnglishIHorn. Bass Clarinet. Contra-Bassoon. Mueller, F Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. Alloo, M. Lorbeer, H. Miersch, E: Mann, J. Belgiorno, S. Hain, F. Hess, M. Bach, V. MSusebach, A. Resch, A. Hubner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Senia, T. White, L.| Kandler, F. Burkhardt, H (J Organ Librarian. Assistant Librarian. Marshall, J. P. Sauerquell, J. Rogers, L. J. 3 — TO ifojm&i|antlin(!k Boston, March 6, 1914. MASON & HAMLIN CO., Gentlemen: On arriving in Boston after my trans-continental concert tour of the past several months, one of the first things I wish to do is to tell you of the unfailing satis- faction your pianos have given me. The high opinion which I had of these superb instruments before the tour has been but strengthened, and / believe that the Mason & Hamlin Piano today represents the highest achievement in piano making. No doubt your Tension Reson- ator is the greatest advance in piano construction for many years. It contributes largely to the carry- ing, or singing, capacity of your pianos, as well as to their remark- able depth of tone. Their sensi- tiveness is extraordinary, and it seems to me that the preference on the part of an individual for your pianos is indicative of a superior musical nature on the part of that individual. The advent of the Mason & Hamlin Piano marks an epoch in the development and progress of piano making, and I feel confident that in them is found the apogee of truly musical, artistic piano building. I congratulate you on your achievement, and your building of these unrivalled pianos must be a source of inspiration and of gratulation on the part of every serious musician. Believe me, Very truly yours, (Signed) MASON & HAMLIN CO. BOSTON NEW YORK ACADEMY OF MUSIC . PHILADELPHIA Thirtieth Season in Philadelphia Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor FIFTH AND LAST CONCERT MONDAY EVENING, MARCH 15 AT 8.15 PROGRAMME Brahms Symphony No. i, in C minor, Op. 68 I. Un poco sostenuto; Allegro. II. Andante sostenuto. III. Un poco allegretto e grazioso. IV. Adagio; Allegro non troppo, ma con brio. Wagner A Faust Overture Tschaikowskv Variations on a Rococo Theme for Violoncello with Orchestral Accompaniment, Op. 33 Weber . Overture to the Opera, "Der Freischiitz" SOLOIST Miss BEATRICE HARRISON There will be an intermission of ten minutes after the symphony 5 FREDERICK HAHN, Director EMINENT FACULTY A thorough musical education in all branches HEADS OF DEPARTMENTS VIOLIN — Frederick Halm, who has the influence of Sevcik and Auer. PIANO— Gregory Kannerstein, Exponent of Safonoff. PIANO— Mahlon Yardley. VOICE—Henry Hotz—Madam Brinker-D'Albites. CELLO — Philipp Schmitz (now in Europe). (Mr. Carl Kneisel has kindly consented to fill the place until his return.) Mr. Hahn begs to announce the installation of the wonderful Ostrovsky Method for Hand Development for Pianists, Violinists, and Cellists, which is endorsed by Auer, Elman, Zimbalist, Brodsky, Sauret, Drdla, Shattuck, Helen Ware, and hosts of others. SEND FOR CATALOGUE 1714 CHESTNUT ST., PHILADELPHIA Symphony in C minor, No. i, Op. 68 ..... Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) Brahms was not in a hurry to write a symphony. He heeded not the wishes or demands of his friends, he was not disturbed by their impatience. As far back as 1854 Schumann wrote to Joachim: "But where is Johannes? Is he flying high or only under the flowers? Is he not yet ready to let drums and trumpets sound? He should always keep in mind the beginning of the Beethoven .symphonies : he should try to make something like them. The beginning is the main thing; if only one makes a beginning, then the end comes of itself." Max Kalbeck, of Vienna, the author of a life of Brahms in 2138 pages, is of the opinion that the beginning, or rather the germ, of the Symphony in C minor is to be dated 1855. In 1854 Brahms heard in Cologne for the first time Beethoven's Ninth Symphony. It impressed him greatly, so that he resolved to write a symphony in the same tonality. That year he was living in Hanover. The madness of Schumann and his at- tempt to commit suicide by throwing himself into the Rhine (February 27, 1854) had deeply affected him. He wrote to Joachim in January, •1855, from Diisseldorf: "I have been trying my hand at a symphony during the past summer, have even orchestrated the first movement, and have composed the second and third." This symphony was never completed. The work as it stood was turned into a sonata for two piano- fortes. The first two movements became later the first and the second of the pianoforte concerto in D minor, and the third is the movement "Behold all flesh" in "A German Requiem." A performance of Schumann's "Manfred" also excited him when he was twenty-two. Kalbeck has much to say about the influence of these works and the tragedy in the Schumann family over Brahms as the 10 and op: (ITALIAN METHOD) (Pupil of Luigi Vannuccini. Florence. Italy.) FORMERLY CONDUCTOR OF GRAND OPERA OCTOBER TO MAY MAY TO OCTOBER 1 705 Chestnut St., Philadelphia 32 Clemens Str., Muenchen, Germany Assistant Teachers: ALICE LEWIS, Soprano, H. ROGER NAYLOR, Tenor For further information address either "The Gladstone," Pine and 11th Streets, or the studio, 1705 Chestnut Street, Philadelphia. composer of the C minor Symphony. The contents of the symphony, according to Kalbeck, portray the relationship between Brahms and Robert and Clara Schumann. The biographer finds significance in the first measures poco sostenuto that serve as introduction to the first allegro. It was Richard Grant White who said of the German commen- tator on Shakespeare that the deeper he dived the muddier he came up. Just when Brahms began to make the first sketches of this symphony is not exactly known. He was in the habit, as a young man, of jotting down his musical thoughts when they occurred to him. Later he worked on several compositions at the same time and let them grow under his hand. There are instances where this growth was of very long duration. He destroyed the great majority of his sketches. The few that he did not destroy are, or were recently, in the Library of the Gesellschaft der Musikfreunde at Vienna. We know that in 1862 Brahms showed his friend Albert Dietrich* an early version of the first movement of the symphony. Brahms was then sojourning at Minister. He composed in the morning, and the afternoon and evening were spent in excursions or in playing or hearing music. He left Hamburg in September of that year for his first visit to Vienna, and wrote to Dietrich shortly before his departure that the symphony was not ready, but he had completed a string quintet in F minor. In 1866 Dietrich asked Brahms for a symphony, that he might perform it in Oldenburg. Brahms told him in answer that he could not expect a symphony, but he should like to play to him the "so-called 'German Requiem.'" * Albert Hermann Dietrich was born August 28, 1829, near Meissen. He studied music in Dresden and at the Leipsic Conservatory. In 1851 be went to Diisseldorf to complete his studies with Schumann. He conducted the subscription concerts at Bonn from 1855 till 1861, when he wascalled to Oldenburg as court conductor. He retired in 1890 and moved to Berlin, where he was made an associate member of the Konigliche Akademie der Kiinste and in 1899 a Royal Professor. He composed two operas, a symphony, an overture, choral works, a violin concerto, a 'cello concerto, chamber music, songs, piano pieces.
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