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Boston Symphony Orchestra Concert Programs, Season 43,1923-1924, Trip

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SANDERS THEATRE • . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, December 6, at 8.00 %. S§V r's'i W ffM^p BOSTON SYMPHONY ORQ1ESTRK INC. FQRTY-THIRD SEASON I923-J924 PR5GRHAME 13 % M. STEINERT &. SONS New England Distributors for STEINWAY STEINERT JEWETT WOODBURY PIANOS Duo -ART Reproducing Pianos Pianola Pianos JIMITTflTflti VICTROLAS VICTOR RECORDS DeForest Radio Merchandise STEINERT HALL 162 Boylston Street IH)s]()N MASS. SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY FORTY-THIRD SEASON, 1923-1924 INC. PIERRE MONTEUX, Conductor SEASON 1923-1924 THURSDAY EVENING, DECEMBER 6, at 8.00 o'clock WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE ....:. Vice-President ERNEST B. DANE . Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager l — '-BEETHOYt \ and c \itu/x ' Ar J\T : STEINWAY T/7£ INSTRUMENT OF THE IMMORTAL T the 26th of March, 1827, died Liszt and Rubinstein, for \X agncr, Ber ONLudwig van l'>cthovcn,of whom and Gounod. And today, a still grc it has been said that he was the Steinway than these great men kn« st of all musicians. A generation responds to the touch of Pa. lati-r was born the Stein way Piano, which Rachmaninoff and Hofmann. Such if ackno" tO be the greatest of all fact, are the fortunes ol time, that tod pianofortes. What a pity it is that the this Instrument of the Immorti st mister could not himself have this piano, more perfect than the greatest Instrument Beethoven ever dreamed of, can be p that these two could not have b.vn horn : and played and cherished noto Though the Steinwa; by the few who are the masters ol nw i, it was hi r.' in tunc for but by the many who are its lovers. •u amf their dealers hai< made it comnnienttu possible for miotic /oivm to own a StctnU I \ i, es: $H/') and up, plus freight at point* distant j rum \eW York- STEINWAY 8 SONS, Steinway Hall, 109 E. 1 4th Street, NewY Forty-third Season, 1923-1924 PIERRE MONTEUX, Conductor Violins. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Siegl, F. Kassman, N. Cherkassky, P Leveen, P. Mariotti, V. Thillois, F. Gorodetzky, L Kurth, R. Riedlinger, H. Murray, J. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, L. Tap ley, R. Del Sordo, R. Messina, S. Diamond, S. Erkelens, H. Seiniger, S. Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A. ArtiSres, L. Van Wynbergen, C. Shirley, P. Mullaly, J. Gerhardt, S. Kluge, M. Deane, C. Zahn. F. • \Violoncellos. Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendoen, J. Schroeder, A. Barth, C. Stockbridge, C. Fabrizio, E. Marjollet, L. Basses. Kunze, M. Seydel, T. Ludwig, 0. Kelley, A. Girard, H. Keller, K. Gerhardt, G. Frankel, I. Demetrides, L. Flutes Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Bladet, G. Lenom, C. Arcieri, E. • Allard, R. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F. Piccolo. English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L. Hobns. Horns. Trumpets. Trombones. Wendler, G. Valkenier, W. Mager, G. Hampe, C. Schindler, G. Hain, F. Mann, J. Adam, E. Hess, M. Van Den Berg, C. Perret, G. Mausebach, A. Lorbeer, H. Gebhardt, W. Kloepfel, L. Kenfield, L. Schmeisser, K. Tuba. Harps. Timpani. Percussion. Sidow, P. Holy, A. Ritter, A. Ludwig, C. Zahn, F. Delcourt, L. Polster, M. Sternburg, S Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. 3 te^vi PIANOMAKERS FOR 100 YEARS V roposing the exchange of your P little used or silent piano — FOR one which brings with it a rich endowment of the playing of the greatest pianists in the world — the AM PICO IN THE J '-0Mw^t " ** ^^Established 1823O* Then — the great Rachmaninoff— the captivating Levitzlci —the amazing Nyiregyhazi — and scores of others will play for you whenever you M your piano desire to hear them. The cultivating, uplifting, restorative power of music becomes yours — through the daily companionship with the masters. Let us tell you lion easily you may make this treasure of music your onn CH1CKERING WAREROOMS 169 TREMONT STREET, BOSTON .7 SANDERS THEATRE ..,.". CAMBRIDGE HARVARD UNIVERSITY Forty-third Season, 1923-1924 PIERRE MONTEUX, Conductor THIRD CONCERT THURSDAY EVENING, DECEMBER 6 AT 8.00 PROGRAMME Weber . Overture to "Der Freischutz" Brahms Concerto No. 2 in B-flat major for Pianoforte and Orchestra, Op. 83 I. Allegro non troppo. II. Allegro appassionato. III. Andante. IV. Allegretto grazioso. Paine Prelude to the "Oedipus Tyrannus" of Sophocles Faure . "Pelleas and Melisande;" Suite from the Stage Music to Maeterlinck's Tragedy, Op. 80 I. Molto adagio. II. Prelude; Quasi adagio. III. '"The Spinning Woman": Andantino quasi allegretto. Borodin Polovtsian Dances from the Opera "Prince Igor" SOLOIST HAROLD BAUER The Prelude to the music for the Oedipus Tyrannus of Sophocles is played at this concert to mark the Fiftieth Anniversary of the appointment in 1873 of John Knowles Paine to the Professorship of Music in Harvard University then first established. MASON & HAMLIN PIANO USED There will be an intermission of ten minutes after Brahms's concerto 5 4th Annual Raymond-Whitcomb MIDNIGHT-SUN CRUISE visiting Iceland North Cape Norwegian Fjords To sail June 26, 1924 by the S. S. "Franconia" of the Gunard Line Round-the-World Cruise With the South Sea Islands The finest winter cruise, visiting in four months Egypt, India, Ceylon, Java, Philippines, China-, Japan, each in its best season. Fiji, Samoa, Tahiti, picturesque islands of the South Seas, are also included—the first time in the history of pleasure travel. The Cruise-ship "Resolute" has already proved perfect for Round-the-World Cruises. Sailing January 19, 1924 Mediterranean Cruise A two months' voyage through the beautiful Mediter- ranean. All the standard ports are included, as well as both Egypt and the Holy Land; both Algiers and 'Funis; and Corsica, Cattaro and Venice which are visited by no other cruise. Limited to 450 passengers. Sailing on the r< S.S. "Reliance," Sister-ship of the Resolute." Sailing February 9. 1924 Make reservations now Winter tours to California, Mexico, Hawaii, Florida, Kurope, South America Raymond & Whitcomb Co. Overture, "Der Freischutz" Carl Maria von Weber (Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826) "Der Freischutz/ 7 a romantic opera in three acts, book by Fried- rich Kind, music by Weber, was first performed at Berlin, June 18, 1821. The first public performance of the overture was at Copen- hagen, October 8, 1820, when Weber was making a tour. Two hun- dred and nineteen of the three hundred and forty-two measures of this overture are in the opera itself, yet there is no thought of patchwork. The overture begins adagio, C major, 4-4. After eight measures of introduction there is a part-song for four horns. This section of the overture is not connected in any way with subsequent stage action. After the quarter the Samiel motive appears, and there is the thought of Max and his temptation. The main body of the over- ture is molto vivace, C minor,, 2-2. The sinister music rises to a climax, which is repeated during the casting of the seventh bullet in the Wolf's Glen. In the next episode, E-flat major, themes associ- ated with Max (clarinet) and Agathe (first violins and clarinet) appear. The climax of the first section reappears, now in major, and there is use of Agathe's theme. There is repetition of the demoniac music that introduces the Allegro, and Samiel's motive dominates the modulation to the coda, C major, fortissimo, which is the apotheosis of Agathe. The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, and strings. Concerto No. 2 in B-flat major, for Pianoforte and Orchestra, Op. 83 Johannes Brahms (Born at Hamburg on May 7, 1833 ; died at Vienna on April 3, 1897) This concerto was performed for the first time at Budapest, from manuscript, November 9, 1881, when the composer was the pianist.* On April 8, 1878, Brahms in company with Dr. Billroth and Carl Goldmark made a journey to Italy. Goldmark, who went to Rome to be present at the last rehearsals of his opera "Die Konigin von Saba,"—production was postponed until the next year on account of the illness of the leading soprano,—did not accompany his friends to Naples and Sicily. Returning to Portschach, Brahma sketched themes of the Concerto in B-flat major on the evening before his birthday ; but he left the sketches, in which "he mirrored the Italian spring turning to summer," undeveloped. His violin concerto originally contained a scherzo movement. Conferring with Joachim he omitted this movement. Max Kalbeck thinks that this Scherzo found a home in the second pianoforte concerto. The concerto was published in 1882 with the dedication to "his *The statement made by Miss Florence May in her Life of Brahms (Vol. II., p. 194) that the first performance was at Stuttgart on November 22, 1881, is incorrect. ; clear friend and teacher Ednard Marxsen."* An edition for two pianofortes was also published in 1882. It was made by Brahms. At the first performance at Budapest in a Philharmonic concert in the Keclouten Saal, the concerto followed, as second number, Cherubim's "Medea" overture.
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    1895. Mille huit cent quatre-vingt-quinze Revue de l'association française de recherche sur l'histoire du cinéma 56 | 2008 Le film d'Art & les films d'art en Europe (1908-1911) Au-delà du film d’art. Sur deux films retrouvés à la Cinémathèque de Toulouse Beyond film d’art. On two films rediscovered at the Cinémathèque de Toulouse Christophe Gauthier Édition électronique URL : http://journals.openedition.org/1895/4083 DOI : 10.4000/1895.4083 ISBN : 978-2-8218-0990-1 ISSN : 1960-6176 Éditeur Association française de recherche sur l’histoire du cinéma (AFRHC) Édition imprimée Date de publication : 1 décembre 2008 Pagination : 337-334 ISBN : 978-2-913758-57-5 ISSN : 0769-0959 Référence électronique Christophe Gauthier, « Au-delà du film d’art. Sur deux films retrouvés à la Cinémathèque de Toulouse », 1895. Mille huit cent quatre-vingt-quinze [En ligne], 56 | 2008, mis en ligne le 01 décembre 2011, consulté le 23 septembre 2019. URL : http://journals.openedition.org/1895/4083 ; DOI : 10.4000/1895.4083 © AFRHC Au-delà du film d’art Sur deux films retrouvés à la Cinémathèque de Toulouse par Christophe Gauthier 1895 / n° 56 décembre 2008 Prologue Dans les années 1970, Raymond Borde fit entrer dans les collections de la Cinémathèque de 327 Toulouse un ensemble de films nitrate des années 1909-1915, issus entre autres des séries d’art produites par Pathé. On y recense notamment la Vengeance du sire de Guildo de Gérard Bourgeois (1909), Fouquet, l’homme au masque de fer de Camille de Morlhon (1910) ou encore le Siège de Calais d’Henri Andréani (1910).
  • Symphony Hall. Boston Huntington and Massachusetts Avenues

    Symphony Hall. Boston Huntington and Massachusetts Avenues

    SYMPHONY HALL. BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephones Ticket Office j ]^^^^ g ' 1492 Branch Exchange | Administration Unices ) THIRTY- THIRD SEASON. 1913 AND 1914 Dr. KARL MUCK. Conductor etiKeaif^;'SJ(SIH. Q£)(BJ icer WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON. DECEMBER 26 . AT 2.30 O'CLOCK SATURDAY EVENING. DECEMBER 27 AT 8.00 O'CLOCK COPYRIGHT, 1913, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER " u S>P teir the Symplhoiiy Concert a prolonging of musical pleasure by home-firelight awaits the owner of a " Baldw^in. 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, w^ho 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. 366 FIFTH AVENUE. NEW YORK CITY 614 Thirty-third Season, 1913-1914 Dr. KARL MUCK. Conductor PEEf lEL Violins. Witek, A. Roth, 0. Concert-master. Kuntz, D. Noack, S. ^ •16g-TREM0?{T-3T- • • D05T0?lMfl5S- The leadership of the Chlckering Piano has never been better exemplified than in our Anniversary Grand, here shown. Its moderate size but serves to impress the user with its power and brilliancy of tone, while the de- sign and finish of the case fit it to a niche in any home.
  • VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item

    VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh.