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Twenty-Fourth Rehearsal and Concert

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Twenty-Fourth Rehearsal and Concert SYMPHONY HALL, BOSTON HUNTINGTON & MASSACHUSETTS AVENUES Telephones Ticket Office ) j fc * ^ Branch Exchange ( Administration Offices ) THIRTY-FIRST SEASON, 1911 AND 1912 MAX FIEDLER, Conductor Programme at % Twenty-fourth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MAY 3 AT 2.30 O'CLOCK SATURDAY EVENING, MAY 4 AT 8.00 O'CLOCK COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1541 : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann 's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. 8 EAST 34th STREET, NEW YORK ^=iJ 1542 Boston Symphony Orchestra PERSONNEL J.IW.im MMMMM MM.MM.M.M M** W» MM** MMMMM C Perfection in Piano Making 5 feet long THE ^(^iWaxiri Quarter Grand Style V, in figured Mahogany, price $675 It is tut five feet long and in Tonal Proportions a Masterpiece or piano building. It is Ckickering &* Sons* most recent triumph, the exponent or nearly NINETY YEARS experience in artistic piano building, and tne heir to all the qualities that the name or its makers implies. CHICKERING WAREROOMS Established 1823 791 TREMONT STREET, Corner Northampton Street, near Mass. Affc BOSTON I tTTTirTTTTTTTTTTTT^ 1544 THIRTY-FIRST SEASON, NINETEEN HUNDRED ELEVEN and TWELVE Gtaentg-fnurtl} jRetjearaai mb (Htmmt FRIDAY AFTERNOON, MAY 3, at 2.30 o'clock SATURDAY EVENING, MAY 4, at 8.00 o'clock PROGRAMME Weber Overture to the Opera "Oberon' Brahms Symphony No. i, in C minor, Op. 68 I. Un poco sostenuto; Allegro. II. Andante sostenuto. III. Un poco allegretto e grazioso. IV. Adagio; Allegro non troppo, ma con brio. Prelude und Liebestod from "Tristan und Isolde' " Funeral Music from "Gotterdammerung Wagner . " Prelude to " Lohengrin Overture to "Tannhauser" There will be an intermission of ten minutes after the symphony The doors of the hall will be 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 an interval be- tween the numbers. City of Boston. Revised Regulation of August 5. 1808. — Chapter 3. relating to the covering of the head in places of public amusement Every licensee shall not, in bis 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 does not obstruct such view, may be worn. Attest: J. M. GALVIN, City Clerk. 1545 L. P. Hollander & Co, Our Complete Importations of SPRING GLOVES Have arrived and are being shown <J Expert care has been given to their cut and finish. <I English Washable Gloves in Mocha and Chamois. <J New Spring Colors in Glace and Cape Skin Gloves in all lengths suitable for prevailing styles. Individuality in Spring Apparel Every day sees a notable increase in our showing of spring creations. Our suits and dresses include all the new and wantable fabrics, colorings, and effects, so that a visit now is a genuine delight. Whipcords and heavy serges —silk serges — eolienne — glace taffeta and changeable chiffon taffetas are popular for early spring wear, and all are well represented in our stock. We also show new Eponge effects. The suits with coat edges mitered and three-tiered mitered skirts are distinct favorites. We cordially invite your careful inspection of our offerings. 157 TREMONT STREET 1546 Overture to the Opera "Oberon" . Carl Maria von/ Weber (Born at Eutin, Oldenburg, December 18, 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 cast was as follows: Rezia, Mary Anne Paton; Mermaid, Mary Anne Goward; Fatima, Mme. Vestris; Puck, Harriet Cawse ; Huon, John Braham ; Oberon, Mr. Gownell ; Scherasmin, acted by Mr. Fawcett, "but a bass singer, named Isaacs, was lugged in head and shoulders to eke out the charming quatuor, 'Over the Dark Blue Waters.'" The first performance in Boston was in Music Hall by the Parepa- Rosa Company, May 23, 1870.* 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. * The cast was as follows: Rezia, Mme. Parepa-Rosa; Fatima, Mrs. E. Seguin; Puck, Miss Geraldine Warden; Sir Huon, William Castle; Scherasmin, A. Laurence (sic); Oberon, G. F. Hall; Mermaid, Miss Isaacson (?). Carl Rosa conducted. A song "Where Love is, there is Home," arranged by Howard Glover from a theme in one of Weber's pianoforte sonatas, was introduced. The audience was not large, and it was cool. JUST ISSUED EDWARD MAC POWELL Critical and Historical Essays Lectures delivered at Columbia University Price, $1.50 I. THE ORIGIN OF MUSIC XI. FOLK-SONG AND ITS RELATION TO NATIONALISM IN MUSIC II. ORIGIN OF SONG vs. ORIGIN OF IN- STRUMENTAL MUSIC XH. THE TROUBADOURS, MINNESING- ERS AND MASTERSINGERS III. THE MUSIC OF THE HEBREWS AND THE HINDUS XIII. EARLY INSTRUMENTAL FORMS IV. THE MUSIC OF THE EGYPTIANS, XIV. THE MERGING OF THE SUITE INTO ASSYRIANS, AND CHINESE THE SONATA V. THE MUSIC OF THE CHINESE— (Con- XV. THE DEVELOPMENT OF PIANO- tinued) FORTE MUSIC VI. THE MUSIC OF GREECE XVI. THE MYSTERY AND MIRACLE PLAY VH. THE MUSIC OF THE ROMANS — THE XVII. OPERA EARLY CHURCH XVIII. OPERA (continued) VIII. FORMATION OF THE SCALE — NOTA- TION XIX. ON THE LIVES AND ART PRIN- CIPLES OF SOME SEVENTEENTH IX. THE SYSTEMS OF HUCBALD AND GUIDO D'AREZZO — THE BEGIN- AND EIGHTEENTH CENTURY NING OF COUNTERPOINT COMPOSERS XX. DECLAMATION IN MUSIC X. MUSICAL INSTRUMENTS — THEIR HISTORY AND DEVELOPMENT XXI. SUGGESTION IN MUSIC ARTHUR P. SCHMIDT 130 BOYLSTON STREET, BOSTON FOR SALE BY ALL MUSIC DEALERS 1547 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 III C. M. V. Weber." This entry was made at London. The overture, scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings, begins with an introduction (Adagio sostenuto 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 pas- sage 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, Fatima, 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 SOME EXCEPTIONAL BARGAINS IN RARE OLD BOOKS are on sale in the front part of our store this week, with the reduced prices all MARKED IN PLAIN FIGURES This is a final clearance sale that offers unusual inducements to book-lovers. CHARLES E. LAURIAT CO. 385 WASHINGTON STREET opp. franklin street 1548 EglatttrgCo. 154-155 TREMONT STREET BOSTON E. T. Slattery Company call attention to their new "Louis XVI. Salon" One of the most beautiful rooms for the display of Gowns in America. You are cordially invited to view this Salon at your leisure and to inspect their Elaborate Display of Exclusive Designs in Dresses for Street, Afternoon and Evening Wear The secret of dressing well on a limited income is correctly solved by securing their new and exclusive designs copied in the less costly materials, yet excellently made and bearing their guarantee.
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