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Boston Symphony Orchestra Concert Programs, Season 26,1906

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Boston Symphony Orchestra Concert Programs, Season 26,1906 MUSIC HALL . CINCINNATI Twenty-sixth Season, 1906-J907 DR. KARL MUCK, Conductor Programme nf GRAND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE SATURDAY AFTERNOON, FEBRUARY 2 AT 2*30 PUBLISHED BY C. A. ELLIS, MANAGER THI5 SEASON'S UrtnLIM ACTIVITY Evidenced by the Artists Publicly Using PIANOS THE LIST Gabrilowitsch Rudolph Ganz Emil Paur Mme. Szumowska Katharine Goodson Mary Angell Mme. Nordica Heinrich Gebhard Charles Anthony Arthur Whiting Carl Stasny L. Conradi Jan Sickesz A. De Voto Richard Piatt Chr. Schiott From Maine to California the MASON & HAMLIN will be heard with orchestras, musical societies, and in recitals. 0. Cincinnati Representative THE CABLE C0I1PANY, corner Fourth and Elm Streets 2 Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, Concertmeister^ and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Moldauer, A. Adamowski, T. Heberlein, H. Mullaly, J. Akeroyd, J. Heindl, A. Muller, F. 'Heindl, H. Bak, A. Helleberg, J. Nagel, R. Bareither, G. Hess, M. Nast, L. Barleben, C. Hoffmann, J. Barth, C. Hoyer, H. Phair, J. Berger, H. Bower, H. Keller, J. Regestein, E. Brenton, H. Keller, K. Rettberg, A. Brooke, A. Kenfield, L. Rissland, K. Burkhardt, H. Kloepfel, L. Roth, O. Butler, H. Kluge, M. Kolster, A. Sadoni, P. Currier, F. Krafft, W. Sauer, G. Debuchy, A. Krauss, H. Sauerquell, J. Kuntz, A. Sautet, A. Dworak, J. Kuntz, D. Schuchmann, F. Eichheim, H. Kunze, M. Schuecker, H. Eichler, J. Kurth, R. Schumann, C. Elkind, S. Schurig, R. Lenom, C. Senia, T. Ferir, E. Loeffler, E. Seydel, T. Fiedler, B. Longy, G. Sokoloff, N. Fiedler E. Lorbeer, H. Strobe, G. Fiumara, P. Ludwig, C. F. Swornsbourne, W Fox, P. Ludwig, C. R. fl Fritzsche, O. Tischer-Zeitz, H. Gerhardt, G. Mahn, F. Traupe, W. t Gietzen, A. Mann, J. Goldstein, S. Maquarre, A. Vannini, A. Grisez, G. Maquarre, D. Marble, E. Warnke, H. Hackebarth, A. Mausebach, A. Hadley, A. Merrill, C. Zach, M. Hain, F. Mimart, P. Zahn, F. 8 Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED IN CINCINNATI BY THE1W. G. WOODMANSEE PIANO CO. 105 W. Fourth Street Boston J MUSIC HALL, Symphony ft Cincinnati, ohio. #" Twenty-sixth Season, J906- J907. f\ IT* Y\ C± C tf* O Dr. KARL MUCK, Conductor. GRAND CONCERT, SATURDAY AFTERNOON, FEBRUARY 2, AT 230. PROGRAMME. " Weber ...... Overture to the Opera " Oberon Beethoven .... Concerto in D major, for Violin, Op. 61 I. Allegro ma non troppo. II. Larghetto. III. Rondo. Sibelius ....... Symphony No. i, in E minor I. Andante ma non troppo ; Allegro energico. II. Andante, ma non troppo lento. III. Allegro. IV. Finale (Quasi una fantasia) : Andante; Allegro molto. SOLOIST, Professor WILLY HESS. There will be an intermission of ten minutes before the symphony. 5 HARDMAN PIANO A tone that is rich, full, sweet, musically beau- tiful, and a strength and order of construc- tion that resist the strain of climatic changes, — this is the kernel of Hardman merit. Mod- erate prices and easy terms. Booklets of information upon request. HARDMAN, PECK & CO., Makers Established 1842 Fifth Avenue and 19th Street .... New York Represented in Cincinnati by THE BEINKAMP PIANO CO M 132 West Fourth Street Overture to the Opera "Oberon" . Carl Maria von Weber (Born at Eutin, Oldenburg, December 1 8, 1786; died at London, June 5, 1826.) "Oberon; or, the Elf-king's Oath," a romantic opera in three acts, book by James Robinson Planche, music by Carl Maria von Weber, was first performed at Covent Garden, London, on April 12, 1826. Weber conducted the performance. Weber was asked by Charles Kemble in 1824 to write an opera for Covent Garden. A sick and discouraged man, he buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously. Planche sent the libretto an act at a time. Weber made his first sketch on January 23, 1825. The autograph score contains this note at the end of the overture: "Finished April 9, 1826, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria/!! C. M. V. Weber." This entry was made at London. The story was founded by Planche on Wieland's " Oberon, " which in turn was derived from an old French romance, " Huon de Bordeaux." Although Weber in London was so feeble that he could scarcely stand without support, he was busy at rehearsal, and directed the performance at the pianoforte." According to Parke, the first oboist of Covent Garden, "the music of this opera is a refined, scientific, and characteristic composition, and the overture is an ingenious and masterly production. It was loudly encored. This opera, however, did not become as popular as that of 'Der Freischutz.'" Weber died of consumption about two months after his last and great success. The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings. The overture begins with an introduction (Adagio sostenuto LATEST SONG CYCLES Three Indian Songs, by Herbert Bath Dorothy's Wedding Day. Song for Three Baritone Songs, by Edward German four solo voices Four Songs from the Garden of Kama, by A Lover in Damascus, by Amy Woodfordt- Alma Goetz Finden Six Characteristic Songs, by Joseph Hol- On Jhelum River. A Kashmiri Love Story, brooke by Amy Woodforde-Finden A Lover's Moods, by C. A. Lidgey A Cycle of Life, by Landon Ronald. Two Camella, by Graham Peel keys Three Shakespeare Songs, by Roger Quilter Songs of the Desert, by G. Clutsam To Julia, Six Lyrics of Robert Herrick In Sunshine and Shadow, by Landon Ron- Songs of Travel, by R. Vaughan Williams ald BOOSEY & COMPANY, 9 East 17th Street, New York Gt« ; 7 ed il tutto pianissimo possibile, D major, 4-4). The horn of Oberon is answered by muted strings. The, figure for flutes and clarinets is taken from the first scene of the opera (Oberon's palace ; introduction and chorus of elfs). After a pianissimo little march there is a short dreamy passage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (Allegro con fuoco in D major, 4-4). The brilliant opening measures are taken from the accompaniment figure of the quartet, "Over the dark blue waters," sung by Rezia, Fatime, Huon, Scherasmin (act ii., scene x.). The horn of Oberon is heard again; it is answered by the skipping fairy figure. The second theme (A major, sung first by the clarinet, then by the first violins) is taken from the first measures of the second part of Huon's air (act i., No. 5). And then a theme taken from the peroration, presto con fuoco of Rezia's air, "Ocean! Thou mighty monster" (act ii., No. 13), is given as a conclusion to the violins. This theme ends the first part of the overture. The free fantasia begins with soft repeated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods; a new theme is introduced and treated in fugato against a running contrapuntal counter-theme in the strings. The second theme is treated, but not elaborately; and then the Rezia motive brings the spirited end. At the first performance of the opera the overture was repeated. It may here be said that "a new version" of "Oberon," with the Used and recommended by over 350 leading American Educational Institutions, Ivers & Pond Pianos represent the highest standard ever attained in artistic piano building. The most costly materials that the world affords and the most expert labor only are used in their construc- tion. You are invited to inspect the 1907 models or to write for catalogue, prices, and information of interest to every piano purchaser. SOLD BY SMITH (Si MILIAR PIANO CO., 124 West Fourth Street, Cincinnati HERBERT JOHNSON' .MEDIUM VOICE,, COMPOSITIONS FACE TO FACE. Wards and Mueto bv , HERBERT Andantino con espreesione JOHNSON tC\ IJ Herbert John- VOICE son's songs are among the best PIANO, selling composi- tions written by an American com- poser. The song "Face to Face" is our leading pub- lication, and this list give s the names of other sacred son gs equally good. Original copyright MDCCCXCVII by Herbert Johnson. Traurferrrd to the Waldo Mi.sic Co., Bolton, .M .*- Eighth eopynfrkt lef-Hr-rd. KtorJiog » AH «f tko PwtllUHal »f Canada In tie yanr I90J by the Canadian Ajneiiom S:»ele Co. (Limited I at tie bruerlnunj ti AKrlotilHire. face to Face $0.60 The Eternal Goodness. (Poem by Whittier) $0.60 High, Medium, and Low Voice High, Medium, and Low Voice Angels Sing .70 The Broken Pinion or the ) On .... .70 (Violin Obligate) Bird with the Broken Wing J Soprano or Tenor. High, Medium, and Low Voice Home Ties .60 Mixed or The Homeland . .70 Soprano or Tenor Solo, High, Medium, and Low Voice Male Chorus The Endless Day 60 'Twill not be Long .60 High, Medium, and Low Voice Sopiano or Tenor Solo, Mixed or I'm a Pilerim .60 Male Chorus High, Medium, and Low Voice Heavenly Treasures. (Introducing Nearer, The New World ...... .70 My God, to Thee.) High or Low Voice .70 High, Meium, and Low Voice Friends of Old .50 Hand in Hand ...... .60 Soprano or Tenor Voice High, Medium, and Low Voice Ave Maria. (English and Latin Text) .75 Rock of Ages .60 High, Medium, and Low Voice High, Medium, and Low Voice .60 Welcome Home .
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