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Boston Symphony Orchestra Concert Programs, Season 35,1915

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Boston Symphony Orchestra Concert Programs, Season 35,1915 NEW NATIONAL THEATRE . WASHINGTON oston Symphony Orchestra Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor Pf( WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, JANUARY 4 AT 4.30 COPYRIGHT, 1916, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER €€ Yes, It's a Steinway" ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor Violins. Witek, A. 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. Fiedler, A. Griinberg, M. Pinfield, C. Gerardi, A. Kurth, R. Gunderson, R. 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. Wamke, H. Keller, J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R. Nast, L. Folgmann, E. Warnke, J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, O. 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. de Mailly, C. Stanislaus, H. Vannini, A. Fuhrmann, M. Battles, A. English Horn. 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. Belgiomo, S. Hain, F. Hess, M. Nappi, G. Mausebach, A. Rescn, A. Hubner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zaun, F. Gardner, C. Cella, T. Kandler, F. Burkhardt, H. Organ. Librarian. Assistant Librarian. Marshall, J. P. Sauerquell, J. Rogers, L. J. 3 M -M M M M M M M » »- Remember that Percy S. Foster's is the best place to buy a piano, a player, a victrola or music. Foster Building, 1330 G Street. Local Mason & Hamlin Piano Agency i » MM U M—M M—M— M M n M M M » M M M M » • «M 4 NEW NATIONAL THEATRE . WASHINGTON One Hundred and Tenth Performance in Washington Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor THIRD MATINEE TUESDAY AFTERNOON, JANUARY 4 AT 4.30 PROGRAMME Mozart Symphony, E-flat major (K. 543) I. Adagio; Allegro. II. Andante. III. Minuetto: Trio. IV. Finale: Allegro. Rachmaninoff * "The Island of the Dead," Symphonic Poem, for full Orchestra, to the Picture by A. Bocklin, Op. 29 Schelling Impressions (from an Artist's Life) in form of Variations on an Original Theme for Orchestra and Pianoforte First time here Berlioz . Overture, "Le Carnaval Romain," Op. 9 SOLOIST ERNEST SCHELLING STEINWAY PIANO There will be an intermission of ten minutes after the symphony 5 Is only possible when three elements combine to make it so. These three elements may be classed: (1) A first-class artist or organization. (2) That the instruments used be perfect. (3) That you are in properly receptive mood. Do not attempt to supply elements numbers one and three, but we are in position to supply Number Two, for during the fifty-eight years that we have been in business we have sold only the best of everything- musical. The Wonderful " Welte-Mignon " which reproduces the playing of Paderewski and other great pianists. We extend a cordial invitation to those who would like to hear or try any of our beautiful instruments to visit our store. Established 1857 Symphony in E-flat major (K. 543). Wolfgang Amadkus Mozart (Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791.) Mozart wrote his three greatest symphonies in 1788. The one in E-flat is dated June 26, the one in G minor July 25, the one in C major with the fugue-finale August 10. His other works of that year are of little importance with the excep- tion of a piano concerto in D major which he played at the coronation festivities of Leopold II. at Frankfort in 1790. There are canons and piano pieces, there is the orchestration of Handel's "Acis and Galatea," and there are six German dances and. twelve minuets for orchestra. Nor are the works composed in 1789 of interest with the exception of the clarinet quintet and a string quartet dedicated to the King of Prussia. Again we find dances for orchestra,—twelve minuets and twelve German dances. Why is this? 1787 was the year of "Don Giovanni"; 1790, the year of "Cosi fan tutte." Was Mozart, as some say, exhausted by the feat of producing three symphonies in such a short time? Or was there some reason for discouragement and consequent idleness ? The Ritter Gluck, composer to the Emperor Joseph II., died No- vember 15, 1787, and thus resigned his position with salary of two thousand florins. Mozart was appointed his successor, but the thrifty Joseph cut down the salary to eight hundred florins. And Mozart at this time was sadly in need of money, as his letters show. In a letter of June, 1788, he tells of his new lodgings, where he could have better air, a garden, quiet. In another, dated June 27, he says: "I have done more work in the ten days that I have lived here than in two months in my other lodgings, and I should be much better here, were it not for dismal thoughts that often come to me. I must drive them resolutely away; for I am living comfortably, pleasantly, and cheaply." We know that he borrowed from Puchberg, a merchant with whom he became acquainted at a Masonic lodge, for the letter with Puchberg's memorandum of the amount is in the collection edited by Nohl. Mozart could not reasonably expect help from the Emperor. The A Collection of Songs from the Repertoire of Miss Cheatham Written with four exceptions expressly for her and heretofore only in manuscript form. THE CHRISTMAS SPIRIT CRYSTALIZED IN VERSE AND SONG FOR CHILDREN OLD AND YOUNG Cover design in colors drawn by Frontispiece, portrait in sepia W. Graham Robertson of Miss Cheatham For sale at all music and book stores. Price, boards, net, $2.00 NEW YORK BOSTON composer of "Don Giovanni" and the "Jupiter" symphony was unfortunate in his Emperors. The Emperor Joseph was in the habit of getting up at five o'clock; he dined on boiled bacon at 3.15; he preferred water, but he would drink a glass of Tokay; he was continually putting chocolate drops from his waistcoat pocket into his mouth; he gave gold coins to the poor; he was unwilling to sit for his portrait; he had remarkably fine teeth; he disliked sycophantic fuss; he patronized the English who introduced horse-racing; and Michael Kelly, who tells us many things, says he was "passionately fond of music and a most excellent and accurate judge of it." But we know that he did not like the music of Mozart. Joseph commanded from his composer Mozart no opera, cantata, symphony, or piece of chamber music, although he was paying him eight hundred florins a year. He did order dances, the dances named above. For the dwellers in Vienna were dancing-mad. Let us listen to Kelly, who knew Mozart and sang in the first performance of "Le Nozze di Figaro" in 1786: "The ridotto rooms, where the masquerades took place, were in the palace; and, spacious and commodious as they were, they were actually crammed with masqueraders. I never saw or indeed heard of any suite of rooms where elegance and convenience were more considered, for the propensity of the Vienna ladies for danc- ing and going to carnival masquerades was so determined that nothing was permitted to interfere with their enjoyment of their favorite amusement. The ladies of Vienna are particularly celebrated for their grace and movements in waltzing, of which they never tire. For my own part, I thought waltzing from ten at night until seven in the morning a continual whirligig, most tiresome to the eye and ear, to say nothing of any worse consequences." For these dances Mozart wrote, as did Haydn, Hummel, Beethoven. Thus was Mozart without royal protection. He wrote Puchberg that he hoped to find more patrons abroad than in Vienna. In the spring of 1789 he left his beloved Constance, and made a concert tour in hope of bettering his fortunes. Mozart was never fully appreciated in Vienna during his last wretched AN AMERICAN AUTHOR AN AMERICAN COMPOSER AND TWO AMERICAN MUSIC MOTIVES One of the greatest examples of American Music has just been published. Words by the great American author Music by the well-known American WALT WHITMAN H. T. BURLEIGH Dedicated to and Sung by the American Basso of the Metropolitan Opera Co.
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