Boston Symphony Orchestra Concert Programs, Season 24,1904
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ACADEMY OF MUSIC, PHILADELPHIA. BostonSumpIjonyOrcfoestra Mr. WILHELM GERICKE, Conductor. Twentieth Season in Philadelphia. PROGRAMME OF THE Fifth and Last Concert FIRST SERIES, MONDAY EVENING, MARCH 13, AT 8. J 5 PRECISELY. With Historical and Descriptive Notes by Philip Hale* Published by C A. ELLIS, Manager. l js^ai •^Mxrfi « THE MAKERS OF THESE INSTRUMENTS have shown that genius for piano- forte making that has been defined as 'an infinite capacity for taking pains'. The result of over eighty- one years of application of this genius to the production of musical tone is shown in the Chickering of to-day." Catalogue upon Application CHICKERING & SONS Established 182J 7m Tremont St., Boston REPRESENTED IN PHILADELPHIA BY JOHN WANAMAKER : DOStOn ACADEMY OF MUSIC, Symphony § Philadelphia. T Twenty-fourth Season, J904-J905. Of*CnCStt*3. Twentieth Season in Philadelphi a. Mr. WILHELM GERICKE, Conductor. FIFTH AND LAST CONCERT, FIRST SERIES, MONDAY EVENING, MARCH 13, AT 8.15 PRECISELY. PROGRAMME. Sinding " fipisodes Chevaleresques," Suite in F major, for Orchestra, Op. 35. First time at these concerts I. Tempo di marcia. II. Andante funebre. IV. Finale : Allegro moderate Liszt . Concerto No. i, in E-flat major, for Pianoforte and Orchestra Brahms ..... Symphony No. i, in C minor, Op. 68 I. Un poco sostenuto ; Allegro. II. Andante sostenuto. III. Un poco allegretto e grazioso. L' istesso tempo. IV. Adagio ; Allegro non troppo, ma con brio. SOLOIST Mr, ERNEST SCHELLING- The pianoforte Is a Mason & Hamlin. There will be an intermission of ten minutes before the symphony. Opera Singers By QUSTAV KOBB^ A beautiful collection of photographs with biographical sketches of all the grand opera stars, including the newer artists. Such favorites as Sembrich, Nordica, Ternina, Melba, Eames, Calve, Plancon, and Caruso are represented in a variety of roles. One hundred and twenty-seven illustrations in all are given, twenty-nine of which are full-page portraits, forming the most interesting and complete collection of its kind ever published. The biographies are absolutely authentic, the facts being taken down from the lips of the singers themselves. The latter part of the volume, entitled " Opera Singers off Duty," shows the lighter pastimes indulged in when not occupied with the arduous duty of public performance. The book is printed on finely finished, heavy paper from large, clear type, is substantially bound in strong board covers, and bears a lifelike picture of Nordica as BrUnnhilde on its title cover. Price, $1.50 OLIVER DITSON COMPANY, Boston C. H. DITSON & CO. J. E. DITSON & CO. New York Philadelphia ORDER OF YOUR HOME DEALER OR THE ABOVE HOUSES. <J Episodes Chevaleresques," Op. 35 . Christian Sinding (Born at Kongsberg, Norway, January 11, 1856; now living at Christiania.) This orchestral suite in F major is. dedicated to Felix Weingartner. It is scored for two piccolos, two flutes, two oboes, two clarinets, two bassoons, one double-bassoon, four horns, three trumpets, three trom- bones, one bass tuba, a set of three kettledrums, bass drum, cymbals, harp, strings. The work, without title, was published as a suite for four hands, Op. 35, in 1898. This suite was performed by the Chicago Orchestra, Theodore Thomas conductor, at Chicago on January 20, 1900. (The first performance in London was on November 11. 1899.) It was performed by the Philadelphia Orchestra at Philadelphia on March 7, 1903. The composer has given no motto, no explanatory note. The title, " Knightly Episodes or Adventures," must suffice. I. Tempo di marcia, F major, 2-4. The movement opens with the simultaneous statement of two themes. Flutes have descending and ascending arpeggios, while the 'cellos and double-basses have a melodic figure, which later assumes much importance. This material is worked for a comparatively short time. The bass theme is developed in To Artists and Teachers of Singing The task of getting the latest English Songs can no longer be a difficult one, since we publish here all the new compositions of leading composers exactly on the same date they appear on the European market. Ask for BOOSEY & COMPANY'S Novelties If you cannot get them, write to Boosey & Company, 9 East 17th Street, /Mew York The " Heppe," " Marcellus," and " Edouard Jules," made by us, arc the only pianos in the world with 3 Sounding-boards (Patented, October, 1902) All of them are Certified Pianos, too, with the certificates of a Hugh A. Clark, Mus, Doc, W. W. Gilchrist, Mus. Doc. Jury Thomas a'Becket Samuel L. Hermann ©^ Tone Experts > William Stoll, Jr. Rudolph Hennig sealed to the back of every high-grade piano we sell. Not high in price either, as they go direct from our factories to your home at one profit. One price — the lowest — or money back. Igp^The large volume of our business brings us many pianos of other makes in exchange. Write for bargain list and terms. , "-"" c --' 6th . J. HEPPE & SON (2=) and Thompson Everything Musical PHILADELPHIA, PA. imitation, chiefly in the strings, which have a long unison passage with chords for wood-wind and horns. There, is a climax for full orchestra, and the thematic material is again developed with fuller instrumenta- tion. The trio of the March is in A-flat major. The trumpet has a solo, dolce, over a syncopated accompaniment of horns and strings. This theme is taken up by other instruments and developed with other material. There is a return to the original tonality, and the opening themes are developed polyphonically. Toward the end the bass mo- tive is introduced in augmentation. II. Andante funebre, B-flat minor, 4-4. The opening measures determine the mood. The chief theme is sung first by the clarinet; then strings take up the song, and later the brass gives out the theme with embellishment by strings and wood-wind instruments. Trio in D-flat major. Two horns sing in canon, while the bassoon has a counter-theme, and there is figuration for the strings. Two solo violins have an opposing theme. The horn motive soon reappears with the violin counter-motive given to the wood-wind. The opening theme returns and is developed, and use is made of the introductory measures of the movement for a coda. Dry cleaning women's gowns By the improved French process in- sures thoroughness in freshening up the colors without shrinking or fading the fabric. No powerful chemicals used to rot the texture. We also clean carpets, upholstered furniture, blankets, lace curtains, men's clothing, etc. We dye goods in all the fashionable colors. 17th St. and Fairmount Ave. 1535 Chestnut St. A. F. Bornot & Bro. N. E. 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Chestnut and 11th ^Streets, Philadelphia I Factory, 50th Street, Parkside Avenue, and Viola Street, Philadelphia We sell the LYRAPHONE, "The Piano-player with the Human I Touch " ^^i^Mmm^Mmm^MmMf^M^M^Mm^Mm IV. Finale, Allegro moderato, F major, 3-4. There is no intro- duction. The chief theme is announced by clarinets, bassoons, and horns over a staccato accompaniment of strings, double-bassoon, ket- tledrums. The movement opens piano. A crescendo leads to a new motive for strings and wood-wind, which is somewhat developed- The chief theme returns with fresh counter material. A new and more melodic theme is sung by the horns, later by clarinet with harp arpeggios and tremolo work for strings. After many harmonic turns it appears (trumpets) in A major and brings in the first theme, but returns later in B-flat major. After the fermata (C major) the clari- net remembers the first theme of the first movement over a new chro- matically descending basso ostinato. The chief theme of the Finale asserts itself, and, in company with the basso continuo figure in dimi- nution, brings the end. Mr. Philip H. Goepp says in the course of his remarks concerning this suite: "The last episode [the Finale] has a new maze and mass of interweaving tunes. Indeed, throughout the work we must be alert to a certain modern kind of polythematic art that is not the same as the older polyphony. New phrases are added all about, with less Pennsylvania Conservatory of Music \6\6 NORTH SEVENTEENTH STREET Branch Studio ROOM 3J3, J520 CHESTNUT STREET VIVIAN INGLE, Director CATALOG MAILED UPOIV APPLICATION aim of themal relevance than of general richness of resulting harmo- nies. More apt is the touch of the very sense and motion of the Knight in his original role of horseman, the Ritter of the German, Chevalier of the French. We have not in English the precise word, the strict mark of the trade, though we probably do not think of the Knight afoot. Yet in the word that stands for the idea and the ab- stract virtue, in chivalry itself, knighthood is still mounted.