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Boston Symphony Orchestra Concert Programs, Season 33,1913-1914, Trip

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Boston Symphony Orchestra Concert Programs, Season 33,1913-1914, Trip PARSONS THEATRE HARTFORD i©itoi Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE i 11 i I !'<?. \L WEDNESDAY EVENING, NOVEMBER 26 AT 8.15 COPYRIGHT, 1913, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER llllliiinilii No Piano of American make has been so favored by the musical pub- lic as this famous old Boston make. The world's greatest musicians have demanded it and discriminating people have purchased it. THE CHICKERING PIANO enjoys the distinction of being the recipient of 129 First Medals and Awards for Superiority Its wonderful tone and action call it to the studio to stimulate and encourage the pupil, and it is sought by teachers and musical people when the best is desired. 269 ASYLUM STREET HARTFORD, CONN. PARSONS THEATRE HARTFORD Forty-first Concert in Hartford Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor FIRST CONCERT WEDNESDAY EVENING, NOVEMBER 26 AT 8.15 PROGRAMME Glazounoff . Symphony in B-flat major, No. 5, Op. 55 I. Moderato maestoso; Allegro. II. Scherzo: Moderato; Pochissimo meno mosso. III. Andante. IV. Allegro maestoso. Smetana . Overture to "The Sold Bride" Saint-Saens . Concerto in B minor for Violin and Orchestra, No. 3, Op. 61 I. Allegro non troppo. II. Andantino quasi allegretto. III. Molto moderato e maestoso: Allegro non troppo. Dvorak . Dramatic Overture, "Husitska," Op. 67 SOLOIST SYLVAIN NOACK There will be an intermission of ten minutes after the symphony 3 A NEW STYLE OF THE NEW ENGLAND'S FAVORITE PIANO GIVE YOUR CHILDREN this piano. Its full, rich tone will be a delight to you and an education to them. They can- not begin too early to develop an artistic feeling for tone quality. Hundreds of music teachers in New England use and recommend the Jewett Pianos. They are durable, reliable pianos — uniformly of the highest quality and good for a lifetime's musical satisfaction. See this handsome new style at any Steinert store Prices of Jewett Pianos range from $375 up. Old Pianos taken in exchange. Liberal credit terms. MASSASOIT BUILDING, 242 MAIN STREET, SPRINGFIELD, MASS. CHAMBER OF COMMERCE BUILDING, 183 CHURCH STREET NEW HAVEN, CONN. AND OTHER PRINCIPAL CITIES OF NEW ENGLAND Symphony in B-fxat major, No. 5, Op. 55. Alexander GivAzounof* (Born at St. Petersburg, August 10, 1865; now living there.) Glazounoff's fifth symphony was composed at St. Petersburg in 1895. It was published in 1896. It was performed for the first time in March, 1896, at one of the concerts of the New Russian School, organized by the publisher Belaieff in St. Petersburg. The scherzo was then repeated in response to compelling applause. The first performance of the symphony in the United States was at a concert of the Philharmonic Society of New York, Anton Seidl conductor, March 5, 1898. The first performance in Boston was at a concert of the Boston Symphony Orchestra, November 24, 1906, Dr. Muck conductor. The symphony, dedicated to Serge Taneieff,* is scored for three flutes (one interchangeable with piccolo), two oboes, three clarinets, one bass clarinet, two bassoons, four horns, three trumpets, three trom- bones, one bass tuba, kettledrums, bass drum, triangle, cymbals, little bells, harp, and strings. I. Moderate maestoso, B-flat, 4-4. In this introductory section the sturdy chief theme of the allegro which follows is hinted at forcibly, and it is given to clarinets, bassoons, horns, tuba, and lower strings. There is preluding. The Allegro is in 2-2 and then 3-4. The first theme, which has been likened to the Sword motive in the "Ring," •Serge Tan6ieff was born in the government \1adimir, Russia, November 25, 1856. He is now living at Moscow. He studied the pianoforte with Nicholas Rubinstein and composition with Tschaikowsky at the Moscow Conservatory, of which he was afterward for some time (1885-89) the director, and was also teacher of theory in the school, a position that he still holds, or, at least, did hold a short time ago. (The Russian music schools have seen troublous times during the last year and a half, and resignations and dismissals have been frequent.) Taneieff made his first appearance as a pianist at Moscow in January, 1875, when he played Brahms's Concerto in D minor, and was loudly praised by critics and the general public, although the con- certo was dismissed as an "unthankful" work. Tschaikowsky, as critic, wrote a glowing eulogy of the per- formance. It had been said, and without contradiction until the appearance of Modest Tschaikowsky' s Life of his brother, that Taneieff was the first to play Peter's Concerto in B-fiat minor in Russia. But the first performance in Russia was at St. Petersburg, November 1, 1875, when Kross was the pianist. Taneieff was the first to play the concerto at Moscow, November 12 of the same year, and he was the first to play Tschai- kowsky's Concerto in C minor, Pianoforte Fantasia, Trio in A minor, and the posthumous Concerto in E-flat major. Taneieff spent some months at Paris, 1876-77. On his return he joined the faculty of the Moscow Conservatory. That Tschaikowsky admired Taneieff's talent, and was fond of him as a man, is shown by the correspondence published in Modest Tschaikowsky s Life. Taneieff has_ composed a symphony (played here at a Symphony concert, November 23, 1902); an opera, "The Oresteia" (1895); a concert overture "The Oresteia" (played here at a Symphony concert, February 14, 1903); a cantata, "Johannes Damasce- nus"; a half-dozen quartets (the one in B-flat minor, Op. 4, was performed here at a Symphony Quartet concert, November 27, 1905), choruses. One of his part songs, "Sunrise, has been sung here two or three times. THE MUSICAL CLUB presents the following Schedule for the Season of 1913-1914: FAMOUS MEZZO-SOPRANO who is without doubt one of the greatest recital artists in the world to-day. PARSONS' THEATRE, Thursday Evening, January 22, 1914 at 8:15 o'clock UNITY HALL, Tuesday Evening, March 17, 1914, at 8:15 o'clock For the first Concert, Monday, January 5, at 8 A.M., at the Music Store of Sedgwick & Casey. For the Second Concert, Thursday, March 12, at 8 A.M., at the Music Store of Gallup & Alfred. M a prolonging of musical pleasure by home-firelight awaits the owner of a " Baldwin." 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, who 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. UVVV is announced by bassoon and violoncellos, while clarinets sustain. It is then given to oboe and first violins, and at last is sounded by the whole orchestra. The second and suave theme is sung by flute and clarinet against wood-wind chords, with harp arpeggios and strings pizz. This theme is developed to a mighty fortissimo. The use of these themes is easily discernible. There is a stirring coda. II. Scherzo, moderato, G minor, 2-4. After a few measures of sportive preluding the first theme is given to flutes, oboe, clarinet. The second theme, of a little more decided character, is announced by flutes, clarinets, and violins. Pochissimo meno mosso. The flutes have a fresh theme, which, undergoing changes and appearing in various tonalities, is expressed finally by the full orchestra. III. Andante, E-flat, 6-8. The movement is in the nature of a Romance. The chief and expressive theme has been likened to the opening measures of Radames' famous air, "Celeste Aida." Heavy chords for the brass change the mood. There is a cantilena for violins and violoncellos. After preluding on the dominant there is a return of the leading motive. IV. Allegro maestoso, B-flat, 2-2. The movement begins at once, forte, with a martial theme (full orchestra). The other important themes used in this turbulent movement are a heavy motive, announced by bassoons, tuba, and lower strings, and, anirnato, one announced by clarinets, bassoons, violas, violoncellos, while double-classes and kettledrums maintain a pedal-point. Alexander Constantinovitch GlazounofI is* the son of a rich pub- lisher and bookseller of St. Petersburg, whose grandfather established the firm in 1782. Alexander was in the "Real" school until his eigh- teenth year, and he then attended lectures at the University of St. Petersburg as a "voluntary," or non-attached, student. He has devoted himself wholly to music. When he was nine years old, he began to take pianoforte lessons with Elenovsky, a pupil of Felix Dreyschock and a pianist of talent, and it is to him that GlazounofI owed a certain swiftness in performance, the habit of reading at sight, and the rudimentary ideas of harmony. Encouraged by his Formerly of the Vienna Opera House THE ART OF SINGING IN ALL ITS BRANCHES Special courses for teachers of the voice Scientific Voice Culture based upon the methods of the European Masters. Recommended by Metropolitan Opera Artists. Special Attention to Voice-Building (tone-work). Appointments for voice trials by letter "Oscar Leon, the well-known teacher of singing, has produced results even with voices that were given up by other teachers as hopeless cases."—From the New York Tribune. "Some cf Oscar Leon's pupils are world-renowned singers." —From the New York Evening Mail.
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