Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip
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PARSONS THEATRE . HARTFORD Thirty-first Season, J9U-19J2 X MAX FIEDLER, Conductor flrogramm? of tip SECOND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 15 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Pianos that Appeal to Musicians UR pianos have the very highest reputation with musical people, for every piano, from the highest-priced to the least ex- U pensive we offer, has not merely the essentials of tone and touch, but also exquisite refinements of quality which delight the musician. We invite you to inspect our stocks, which are at once the largest, the most varied, and most interesting to be found in New England. We call particular attention to the following pianos: STEINWAY pianos, the instruments of highest prestige among music lovers everywhere—through their incomparable tone the choice of royalty and of all connoisseurs. 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Allegro affettuoso. II. Intermezzo: Andantino grazioso. III. Allegro vivace. Debussy Iberia: " Images" pour Orchestre, No. 2 I. Par les rues et par les chemins. II. { Les parfums de la nuit. III. ( Le matin d 'un jour de fete. Berlioz " . Rakoczy March, from The Damnation of Faust SOLOIST Mr. HAROLD BAUER Mas >n & Hamlin Piano Used There will be an intermission of ten minutes after the concerto 3 : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " . It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. 8 EAST 34th STREET, NEW YORK U£= Symphony in D minor, for Orchestra . C£sar France (Born at Liege, Belgium, on December 10, 1822; died at Paris on November 8, 1890.) This symphony was produced at the Conservatory, Paris, February 17, 1889.* It was composed in 1888 and completed August 22 of that year. It was performed for the first time in Boston at a concert of the Boston Symphony Orchestra on April 15, 1899, and it was also played at its concerts on December 23 of that year, February 11 and April 22, 1905, and January 29, 19 10. It was played also at the bene- fit concert to Mr. Wilhelm Gericke, April 24, 1906. The symphony, dedicated to Henri Duparc, is scored for two flutes, two oboes, one English horn, two clarinets, one bass clarinet, two bassoons, four horns, two trumpets, two cornets-a-piston, three trom- bones, one bass tuba, a set of three kettledrums, harp, and strings. Vincent d'Indy in his Life of Franck f gives some particulars about the first performance of the Symphony in D minor. "The perform- ance was quite against the wish of most members of the famous orchestra, and was only pushed through thanks to the benevolent ob- stinacy of the conductor, Jules Garcin. The subscribers could make neither head nor tail of it, and the musical authorities were much in the same position. I inquired of one of them—a professor at the Con- servatoire, and a kind of factotum on the committee—what he thought of the work. 'That, a symphony?' he replied in contemptuous tones. But, my dear sir, who ever heard of writing for the cor anglais in a I symphony? Just mention a single symphony by Haydn or Beethoven * Franck wrote a symphony for orchestra and chorus, "Psyche," text by Sicard and Fourcaud, which was composed in 1887 and produced at a concert of the National Society, March 10, 1888. He also wrote in his earlier years a symphony, "The Sermon on the Mount," aft^r the manner of Liszt's symphonic poems. The manuscript exists, but the work was never published. t Translated by Mrs. Newmarch. The MUSICAL CLUB of HARTFORD Presents the following Schedule for the Season of 1911-1912 SONATA RECITAL Mr. and Mrs. DAVID MANNES VIOLIN and PIANO UNITY HALL, WEDNESDAY EVENING, DECEMBER 6, AT 8.15 O'CLOCK LECTURE RECITAL Mr. WM. J. HENDERSON Assisted by Mrs. LUCIA LILLY DUNHAM "Russian Folk Song in its Relation to Russian Music" UNITY HALL, TUESDAY EVENING, JANUARY 30, AT 8.15 O'CLOCK OPPOSITE BOSTON COMMON 154 and 155 TREMONT STREET EXCLUSIVE STYLES IN A\yl\ {f#*?'«. Suits, Gowns Coats and Hats For the Horse Show, Opera and other social functions. MANY people of refinement who have ample means to pur- chase abroad, prefer to make their selections from the already carefully ] chosen assortments of E. T. Slattery Company, where they can be assured of a perfect fit in any garment. — introducing the cor anglais. There, well, you see—your Franck's music may be whatever you please, but it will certainly never be a sym- phony!' This was the attitude of the Conservatoire in the year of grace 1889. "At another door of the concert hall, the composer of 'Faust' es- corted by a train of adulators, male and female, fulminated a kind of papal decree to the effect that this symphony was the affirmation of incompetence pushed to dogmatic lengths. For sincerity and disinter- estedness we must turn to the composer himself, when, on his return from the concert, his whole family surrounded him, asking eagerly for news. 'Well, were you satisfied with the effect on the public? Was there plenty of applause?' To which 'Father' Franck, thinking only of his work, replied with a beaming countenance: ' Oh, it sounded well, just as I thought it would!'" The following analysis is based, in a measure, on a synopsis prepared by C£sar Franck for the first performance at the Paris Conservatory concert: I. Lento, D minor, 4-4. There is first a slow and sombre introduc- tion, which begins with the characteristic figure, the thesis of the first theme of the movement ('cellos and basses). This phrase is developed for some thirty measures, and leads into the Allegro, or first movement proper. Allegro non troppo, D minor, 2-2. The theme is given out by all the strings and developed with a new antithesis. Mr. Apthorp remarks in his analysis of this symphony: "It is noticeable that, when- ever this theme comes in slow tempo, it has a different antithesis from when it comes in rapid tempo. The characteristic figure (thesis) re- minds one a little, especially by its rhythm and general rise and fall, of the 'Muss es sein?' (Must it be?) theme in Beethoven's last quartet, in F major." There is. a short development, and the opening slow pas- PARSONS THEATRE Tuesday Evening, November 28, 1911 The Choral Club of Hartford 80 MALE VOICES RALPH L. BALDWIN, Conductor Soloist, FRITZ BRUCH, Violoncellist Reserved Seats, 75c, $1.00, and $1.50, on sale Monday, November 20, at John M. Gallup & Co.'s Music Store. 7 * sage returns, now in F minor, which leads to a resumption of the Alle- gro non troppo, now also in F minor. This leads to the appearance of the second theme, molto cantabile, F major, for the strings, which in turn is followed by a third theme of a highly energetic nature, which is much used in the ensuing development, and also reappears in the Finale. The free fantasia is long and elaborate. Then there is a re- turn of the theme of the introduction, which is now given out for- tissimo and in canonic imitation between the bass (trombones, tuba, and basses) and a middle voice (trumpets and cornets) against full harmony in the rest of the orchestra.