7./ Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-THIRD SEASON, I903-I904. WILHELM GERICKE, CONDUCTOR. PROGRAMME OF THE THIRTEENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE ^ ^ ^ ^ FRIDAY AFTERNOON, JANUARY 29, AT 2.30 O'CLOCK. SATURDAY EVENING, JANUARY 30, AT 8.00 O'CLOCK. Published by C A. ELLIS, Manager. 729 Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated rnstruments are To-day better than ever Retail Warerooms^ 791 Tremont Street 730 1 TWENTY^THIRD SEASON, 1903-1904. Thirteenth Rehearsal and Concert* FRIDAY AFTERNOON, JANUARY 29, at 2.30 o'clock. SATURDAY EVENING, JANUARY 30, at 8.00 o'clock. PROGRAMME. Rubinstein .... Symphony No. 6, in A minor, Op. 1 1 I. Moderate con moto. II. Moderate assai. III. Allegro vivace. IV. Moderate assai. Presto. Liszt . Concerto No. i , in E-flat major, for Pianoforte and Orchestra " Hugo Kaun . Symphonic Poem, Minnehaha," Op. 43, No. i (First time.) " Smetana .... Overture to the Opera, " The Sold Bride SOLOIST: Mr. GEORGE PROCTOR. The Pianoforte is a Steinway. Tfiere will be an intermission of ten minatei after the Liszt concerto. The doors of the hall will he closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in the interval be- tween the numbers. City of Boston, Revised Regulation of August 5, 1898.— Chapter 3, relatlnfir to the coverlngr of the head In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which docs not obstruct such view, may be worn. Attest : J. M. GALVIN, City Clerk. 731 ,_ L. P. HOLLANDER & CO. EXHIBITION OF SUMMER SILKS. FRENCH FOULARDS, SATIN FOULARDSFACONNES, LOUISINES, MESSALINES, Etc, Comprising the LARGEST and MOST EXCLUSIVE COLLEC- TION we have EVER SHOWN. DRESSMAKING DEPARTMENT. WE SHALL TAKE ORDERS during the months of JANUARY and FEBRU- ARY from VERY ATTRACTIVE NEW MODELS in the above materials at a MARKED REDUCTION from our usual prices. DIAMOND ORNAMENTS. Our position as lar^e 'wrKolesstlers o^ diamontls enables us to sell tHem — ai&d, i>\deecl, all otHer precious stones— at prices ^reatls' to tHe pur> cHaser's advantage. R^in^s, Pendants, Bracelets, IvOckets, etc. Superb Quality, botK in stones and in settis^^s. SMITH, PATTERSON (Si CO., IVHolesale and Retail Je^vellers. 52 Stiminer Street, - - Boston Symphony in A minor, No. 6, Op. hi : : : Anton Rubinstei.nt. /i3/ (Born at Wechvvotynez, near Balta, in Podolia, Nov. 28, 1829; died at PeterhofT, near St. Petersburg, Nov. 26, 1894.) This symphony was composed for the Society of the Gewandhaus Concerts at Leipsic and dedicated to the Society. It was produced at a Gewandhaus Concert, Oct. 28, 1886. The composer conducted. The first performance in the United States was at a concert conducted I y Mr. Van der Stucken at New York, in Chickering Hall, April 23, 1887. The New York Evening Post of April 25, 1887, said: "It is one of the most extraordinary facts in the history of local concert affairs that this symphony, after having been played at Leipsic, Hamburg, and Paris, and received with great favor, was examined by Messrs. Thomas, Seidl, and Damrosch for their respective concerts and re- jected by all as not worth a performance. It called for some courage on Mr. Van der Stucken's part, therefore, to produce a work which had thus been given a bad name to start with. Some of his musicians, indeed, objected to the performance of the work, and one impudent fellow actually had to be expelled from the orchestra. But by per- severing in this matter Mr. Van der Stucken has earned the gratitude of the whole musical public, vindicated the name of a great composer, and taught a lesson to hasty score-readers which ought to have a salu- tary effect." The first performance in Boston was by the Boston Symphony Or- chestra, Mr. Gericke conductor, Nov. 12, 1887. I. Moderato con moto, A minor, 4-4. The very beginning excited discussion when this symphony was new. The first loud chord, with C-natural against the leading note, G-sharp, and the two next meas- ures, in which G-sharp and C-natural are repeated as extremes and with an K-natural as intermediate, caused shaking of heads, although the tonality is established conventionally in the fifth measure. The • leading subject (violins) is energetic and in the nature of an exordium. After development there is an episode in F major (espressivo), which contains two sections of importance. The first consists of a series of short phrases (strings, with solo clarinet opposing melody), the other of a flowing song for violins while the clarinet has an independent [MEW CYCLES OP SONGS, Etc. WIND FLOWERS Quartette of Solo Voices By Arthur Somervell SONGS OF LOVE AND SPRING Cycle for Two Voices By Liza Lehmann A LOVER'S MOODS Cycle of Songs By C. A. LiDGEY INDIAN LOVE SONGS Song Cycle in Two Keys By A. WOODFORDE-FINDEN LORDS OF THE SEA Cycle for Baritone or Bass By William Wallace BALLAD OF THYRA LEE BOOK OF JUNGLE SONGS TRIUMPH I Boosey & Company, 9 East 17th St., /Mew York. 733 Reduction Sale of Models AT NEARLY HALF PRICE Cloth Gowns with Rich Trimmings Plain Tailor Gowns^ Coats^ Ulsters ETC. Shirtwaists in Silk, Flannel, and Mercerized Cotton This sale will appeal to those ladies who appreciate garments of the highest grade V. BALLARD & SONS No. 256 BOYLSTON STREET, BOSTON, MASS. iMW'^^l thc^me. There is a hint at the opening motive, and after a climate there is a contrasting episode. Meno mosso, C major, 12-8. This vigorous episode completes the first part, which is not repeated. The working out and recapitulation are elaborate. The themes are repeated in order with changed orchestral dress. II. Moderato assai, E major, 6-8. The chief and expressive theme is given first to the violins. This theme is developed at length with relieving passages, until it makes way for an episode in E minor, un poco animato. The clarinet has solo phrases which are derived from the preceding melody, and the episode is joined to one in B major, a tempo piii animato, in which clarinet and horn sing to accompani- ment of strings. A transitional passage, chiefly for strings and of a bravura character, leads to a return of the chief theme, which appears as before. III. Allegro vivace, C major, 3-4. A movement that is full of scherzo spirit. The treatment of the chief theme throughout is fan- tastically playful. "Once." writes an analyst, "the flow of the com- poser's fun is checked by an expressive cantilena for the violins, yet even here we find a touch of real humor. The new and comparatively sedate melody has proceeded only eight bars when various instru- ments assail it with lively and impertinent suggestions. The drums come in with a spirited rhythm, the first bassoon scampers up two octaves of its scale, while flutes and clarinets interpose detached syn- copated chords. This succeeds in banishing the cantilena, which stops abruptly; there is a bar of silence, and then the saucy pizzicato figure leads off once more." The section that corresponds to the trio is in C minor. The coda contains matter taken from both sections. IV. Moderato assai, A minor, 3-4. It is said that Rubinstein used in the finale Russian folk-song's as thematic material. The opening melody is stated several times by ever different combinations of instru- ments, while the accompaniment is changed each time and grows more elaborate. The second theme. Allegro, F major, 2-4, announced by the oboe, is short, and is repeated over and over again with varied accompaniment. There is a return of the first theme, but only for a short time. A modulatory transition leads to the third theme. New Compositions for the Pianoforte By HENRY K. HADLEY. Presto, A major, 2-4, which is also repeated sev^eral times, and is then merged in a long fantasia. New thematic matter is introduced in an episode, moderato assai, 4-4. Then the iirst theme is reintroduced, and there is a prestissimo coda, 2-4. The symphony is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, kettledrums, and strings. * * * Here is a list of works of Riibinstein played at concerts of prominent societies in Boston. Such lists are of little interest to the general reader, but they may be of service to the future historian of Music in Boston and save him drudgery. Dates asterisked are those of first performances in the city. The editor of the programme-book would be glad to receive corrections or additions. T. T. stands for concerts given here by Theodore Thomas; H. M. A., for the Harvard Musical Association; P. S., for the Philharmonic Society; and B. S. O., for the Boston Symphony Orchestra. ACCORDING TO WORKvS Operas: "The Tower of Babel," sacred opera, Handel and Haydn, May 1, 1883;* C. R. iVdams. J. F. Winch, M.\V. Whitney, solo singers. "Nero," National Opera Company, Boston Theatre, Jan. 9, 1888.* Emma Juch, Amanda Fabris, Clara Poole, Eloi Sylva, W. H. Fessen- den, William Ludwig; Gustav Hinrich, conductor.