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Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip

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Boston Symphony Orchestra Concert Programs, Season 24,1904-1905, Trip CARNEGIE HALL, NEW YORK. BostonSymplpijOrcliestra Mr. WILHELM GERICKE, Conductor. Nineteenth Season in New York PROGRAMMES OF THE SECOND CONCERT THURSDAY EVENING, DECEMBER 8, AT 8.15 PRECISELY, AND THE SECOND MATINEE SATURDAY AFTERNOON, DECEMBER 10, AT 2.30 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C A. ELLIS. Manager. Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY JOHN WANAMAKER, New York, N.Y. : tSOStOll CARNEGIE HALL, Symphony newyork f Twenty-fourth Season, J904-J905. Orchestra Nineteenth Season in New York. Mr. WILHELM GERICKE, Conductor. SECOND CONCERT, THURSDAY EVENING, DECEMBER 8, AT 8.15 PRECISELY. PROGRAMME. Berlioz ....... Overture, " King Lear ,? Bach . Concerto for Violin, in E-flat major, No. 2, with accom- paniment for Orchestra and Organ I. Allegro. II. Adagio. HI. Allegro. " Liszt-Mottl . Legend. The Sermon of Saint Francis of Assisi " to the Birds Orchestrated by Felix Mottl. (First time at these concerts.) Bruch . Fantasia on Scottish Airs for Violin and Orchestra, Op. 46 I. Introduction : Grave. Adagio cantabile. II. Scherzo : Allegro. III. Andante sostenuto. IV. Finale : Allegro guerriero. Brahms ..... Symphony No. 3, in F major, Op. 90 I. Allegro con brio. II. Andante. III. Poco allegretto. 1 IV. Allegro. SOLOIST Mr. YSAYE. The Piano Is a Knabe. There will be at* intermission of ten minute* before the symphony. 3 jrf&^frj. THE f|p Musicians Library No contemporary venture in music publishing is fraught with more interest to lovers of the art than the Musicians Library, issued by the Oliver Ditson Company. The volumes already in hand show conscientious adherence to high musical ideals. The English translations are far better than usual, having been selected from various sources or made for the volume. The aspect of the printed page is clear and attractive. The engravers have done their work well.— The New York Mail and Express, Volumes recently published Modern French Songs Edited by Philip Hale Vol. I. Bemberg to Franck. Vol. II. Georges to Widor. These two volumes represent the most successful effort which has ever been made to compile an anthology of the work of modern French song com- posers. The editor's task has been performed in a most painstaking and thorough manner. In addition to an essay upon the genesis of French song, a subject which Mr. Hale is qualified to handle with authority, he has provided biographical sketches of every composer represented. Each volume contains portraits of nine of the most prominent song writers represented therein, and an index in both French and English completes it. Schubert, Fifty Songs Edited by Henry T. Fintck Franz Schubert created and perfected the lyric art-song, and in his par- ticular field stands unrivalled to this day. The editor has shown unusual good taste in the selection, and has written a description of each of the fifty songs, which with the biographical introduction makes the book of exceptional literary as well as musical value. It also contains a reproduction of the original water- color portrait of the composer by Wilhelm Riedel. This volume, comprising two hundred and forty pages, is the largest of the series. Songs by Thirty Americans Edited by Rupert Hughes A collection of thirty songs by as many composers who have won dis- tinction in this form of composition. The list of contributors includes such well-known names as John K. Paine, Dudley Buck, Clayton Johns, William Arms Fisher, Ethelbert Nevin, Frederic Field Bullard, Homer A. Norris, H. Clough-Leighter, and others of national reputation ; while it also shows, in generous proportion, the names of the younger men who represent the progressive, ultra-modern element in American composition. Mr. Hughes's introduction, besides a brief preface, gives a sketch of each composer and an estimate of his work, the interest of which is enhanced by the portrait and autograph of each man. Price of each, for high or low voice, in heavy paper, cloth back, $1.50; cloth, full gilt, $2.50, postpaid. Sample type and music pages, portrait of Brahms, and book- let giving full description of the " Musicians Library" sent free to any address on request. OLIVER DITSON COMPANY, Boston C. H. DITSON & CO. J. E. DITSON & CO. New York Philadelphia ORDER OF YOUR HOME DEALER OR THE ABOVE HOUSES. Overture to "King Lear," Op. 4 .... ; Hector Berlioz (Born at la Cfite-Sairlt-Andre, Isfere, France, on December u, 1803; died in Paris on March g, 1869.) This overture was written at Nice and Rome in May, 1831. It has been said that the overture was first played at a concert given in Paris on December 9, 1832. I am not able to substantiate this statement. Berlioz's Symphonie Fantastique and "Lelio" were then performed, the latter for the first time, but I find no mention of the production of this overture. The overture was performed on Novem- ber 9, 1834, at a concert given by Berlioz in Paris. An article published in the Gazette Musicale the Sunday after this concert leaves the reader in doubt as to whether this performance was the first. Adolphe Jullien, in his monumental work, * 'Hector Berlioz," gives the date of this con- cert as Sunday, November 6. He was misled, probably, by a misprint in the Gazette Musicale. Berlioz himself was notoriously careless about giving dates in his Memoirs, but he states distinctly that the programme of the concert on December 9, 1832, was composed of his Symphonie Fantastique and "Lelio." Unfortunately, the Gazette Musicale was first published in 1834, and we have no records in Boston of Parisian con- cert-life in 1832-33. Berlioz was awarded the prix de Rome in 1830. He was profoundly unhappy in consequence of the coquetry of a pianist, Camille Moke,* afterward famous as Mme. Pleyel. The story of his relations with her and her relations with Ferdinand Hiller is a curious one, and has been told at length by Hippeau, Jullien, Tiersot, and by Berlioz himself in his Memoirs, letters, and in his bitter "Kuphonia, ou la ville musicale," a "novel of the future," published in Berlioz's "Les Soirees de TOr- chestre." In the spring of 1831 Berlioz was at Nice, and he wrote to his friend, Humbert Ferrand, on "May 10th or nth" : "My repertory is enlarged by a new overture. I completed yesterday an overture to Shake- speare's 'King Lear.' " He had writtenpn May 6, in abetter addressed Marie Fdlicite Denise Moke 'the daughter of a BelgmnTteacherof languages^waslbornlatlParis^Sep- tember 4, 181 1; she died at St. Josse-ten-Noode, March 30, 1875. As a virtuoso, she shone in her fifteenth year in Belgium, Austria, Germany, and Russia. She was a pupil of Herz, Moscheles, Kalkbrenner. From 1848 to 1872 she taught at the Brussels Conservatory. of A use Rodolpbe Berger's ( 7a°r ) Eatest 1 «« DAINS LES LARMES WALTZ " Now being played by all the leading Orchestras ia Europe To be had of all Dealers or BOOSEY & COMPANY, 9 East 17th Street, NEW YORK THE NEW ENGLAND CONSERVATORY OF MUSIC GEORGE W, CHADWICK, Director PUPILS ARE RECEIVED FOR SPE- CIAL WORK or full courses in any de- partment at any time during the school year, and may arrange for private or class lessons, as desired. GRADUATING COURSES may be taken entirely in private lessons or in class lessons, or in both private and class lessons. THE CONSERVATORY CONCERTS IN THE NEW JORDAN HALL and the Lecture courses and Recitals in the Conservatory Re- cital Hall are open to all pupils, and form an important part of their education. The Opera and Orchestral departments afford special opportunity for the public appearance of advanced pupils. The Conservatory is open to visitors daily from nine until five o'clock. Address all applications to RALPH L, FLANDERS, Manager, Boston, Mass. to Messrs. Gounet, Girard, Hiller, Destnaret, Richard, and Sichel. "I have almost finished the overture to 'King Lear'; I have only the in- strumentation to do." The overture was performed m Boston at one of Theodore Thomas's concerts on December 3, 1872. The overture is scored for two flutes (the second of which is inter- changeable with piccolo), two oboes, two clarinets, four bassoons, four horns, two trumpets, three trombones, one ophicleide, kettledrums, and strings. The. score is dedicated to Armand Bertin. The Introduction, Andante non troppo lento, ma maestoso, C major, 4-4, begins with an imperious phrase in the violas, 'cellos, and double- basses. It dies away, and the last figure is echoed twice by the horns. These echoes are followed by an empty fifth in the flutes, piano. The whole phrase is repeated pianissimo by the muted violins in octaves, and the echoes come from oboe and flute. The phrase is continued once more, fortissimo, by violas, 'cellos, and double-basses, and the last figure of each section is again echoed softly by the horns, while muted violins answer in softest pianissimo. The oboe now sings a pathetic melody over a pizzicato string accompaniment, and each section is answered by a sigh in the first violins. This melody is taken up by all the wood-wind; the first violins play a running passage against it, and the other strings keep up the harmonic pizzicato accom- paniment; then horns and trombones have the melody, with the re- peated chords of the accompaniment in the wood-wind and with harp- like arpeggios in the strings. The strings now give out the imperious,- threatening phrase fortissimo against rolls of the kettledrums, and the wind instruments strike crashing chords every second measure.
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