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Boston Symphony Orchestra Concert Programs, Season 12, 1892-1893

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Boston Symphony Orchestra Concert Programs, Season 12, 1892-1893 FORD'S GRAND OPERA HOUSE, BALTIMORE. BOSTON SYMPHONY ORCHESTRA. ARTHUR NIKISCH, Conductor. Twelfth Season, 1892-93. ONLY CONCERT IN BALTIMORE THIS SEASON, Monday Evening, October 31, 1892, At Eight o'clock. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C A. ELLIS, MANAGER. The Mason &. Hamlin Piano has been exhibited in three Great World's Competitive Exhibitions, and has received the HIGHEST POSSIBLE AWARD at each one, as follows : AMSTERDAM, . 1888. NEW ORLEANS, . 1888. JAMAICA, . ... 1891. Because of an improved method of construction, in- troduced in 1882 by this Company, the Mason Sc Hamlin PIANOFORTES Are more durable and stand in tune longer than any others manufactured. CAREFUL INSPECTION RESPECTFULLY INVITED. BOSTON. NEW YORK. CHICAGO. Local Representatives, OTTO SUTRO & CO., - BALTIMORE (2) Boston Fords _ i 4i// Grand Opera Symphony f| House. \Jl Of Ifc/O Li CjL Season of 1892-93. Mr. ARTHUR NIKISCH, Conductor. Monday Evening, October 31, At Eight. PROGRAMME. " Karl Goldmark ------ Overture, " Sakuntala " K. M. von Weber - Aria from " Oberon," " Ocean, thou mighty monster y Richard Wagner - Vorspiel and "Liebestod" (Prelude and " Love-death') y " from " Tristan und Isolde Franz Liszt - - - - Song with Orchestra, "Loreley" Ludwig van Beethoven - - Symphony in C minor, No. 5, Op. 67 Allegro con brio (C minor), - 2-4. Andante con moto (A-flat major), - - 3-8. | Scherzo, Allegro (C minor), - 3-4. i Trio (C major), - 3-4. Finale, Allegro (C major), - 4-4. Soloist, Miss EMMA JUCH, (3) : SHORE LINE BOSTON TA NEW YORK NEW YORK TO1 \J BOSTON Trains leave either city, week-days, except as noted DAY EXPRESS at 10.00 A.M. Arrive at 4.30 P.M. BUFFET DRAWING-ROOM CARS. AFTERNOON SERVICE at 1.00 P.M. Arrive 7.30 P.M. BUFFET CARS THROUGH. "SHORE LINE FLYER" at 2.00 P.M. Arrive at 7.40 P.M. PARLOR CARS ONLY. DINING CAR BOSTON and NEW LONDON. GILT EDGE EXPRESS at 5.00 P.M. Daily, Sundays included. Arrive at 1 LOO P.M. DRAWING-ROOM and PARLOR SMOKING CARS THROUGH, and DINING CAR BETWEEN BOSTON and NEW LONDON. The last trains between the two cities to leave and arrive at terminal the same day. MIDNIGHT EXPRESS at 12 O'CLOCK. Daily, Sundays included, and arrive at 7.00 A.M. The last train from either city. Wagner Drawing-room Cars on Day Trains. Compartment Sleeping Cars on Night Trains. Open for occupation at 9. 1 5 P.M. TRAINS LEAVE BOSTON PROM PARK SQUARE STATION. TRAINS LEAVE NiSW YORK PROM GRAND CENTRAL STATION. " f01 ONIAI FXPRF^*\ " This is the route of the Celebrated Pullman Vestibuled Through- Day Train Service between Boston and Washington. J. R. KENDRICK, General Manager. OLD COLONY RAILROAD. GEO. L. CONNOR, Gen'l Pass'r Agent. L BLUE LINE Finest and Safest Trains in the World, between . New • YorK • &0<1 ' W&sbiogtoi? VIA JERSEY CENTRAL, PHILADELPHIA & READING AND BALTIMORE & OHIO RAILROADS. protected AH trains vestibuled, heated by steam, lighted by the Pintsch Gas System, and by Pullman's Anti-telescoping Device. PULLA\AN DAY COACHES, P/\RLOR CARS, SLEEPING CARS, DINING CARS. NEW YORK TO WASHINGTON IN FIVE HOURS. Tickets on Sale at all Railroad Offices. Boston Office, 211 Washington Street. (4) Overture to "Sakuntala" (F major), Op. 13. Karl Goldinark. Karl Goldmark was born at Keszthely, Hungary, on May 1 8, 1832. He first studied the violin at the Musikverein at Oedenburg in 1842, then in Vienna of Leopold Jansa, and during the winter of 1847-48 at the Con- servatorium of was also a pupil in the harmony class Joseph Bohm. He # at the Vienna Conservatorium ; but all his studies at that institution were cut short by the revolution of 1848, and in composition he was for the most part self-taught. The year 1858, which he spent in Pesth, was es- pecially devoted to earnest self-directed studies in the works of Bach, Beethoven, and Robert Schumann. He found a firm friend in Joseph Hellmesberger, the elder, who had much of his chamber music and orches- tral and choral work performed at his own concerts. For some time Goldmark was known mainly as a violinist, and his best known work was his suite for pianoforte and violin, Op. 11 : indeed, so often did he play this composition in various German cities that one day a wag, seeing his name, <; Karl Goldmark," on a hotel register, played him the trick of add- lew England Conservator]] of music (Founded by Dr. Eben Tourjee.) RICHARD H. DANA, President. CARL FAELTEN, Director. THE COURSES of STUDY are arranged with a view to giving a broad and comprehen- sive musical education. THE FACULTY has been chosen with reference not only to their standing as artists, but also with regard to their ability as teachers of the highest excellence. THE ASSOCIATED DEPARTMENTS of Music, Elocution, Fine Arts, and Modern Lan- guages provide the most ample means for acquiring a thorough and complete knowledge of one or all of these subjects at comparatively small cost. THE FREE COLLATERAL ADVANTAGES, consisting of the Faculty Concerts, Pupils' Recitals, Lectures, Chorus Classes, Orchestral Practice, etc., are of inestimable value to the student. Special classes in the Art of Conducting, the training of Boy Choirs and a Normal Course for advanced pupils who are preparing to teach, are now made prom- inent features of the work. Send for calendar, or call at the Institution. F. W HALE, General Manager. FRANKLIN SQUARE, BOSTON, MASS. (5) ing in his own hand, "et suite" Goldmark's reputation as a composer first became universal through his now well-known concert overture " Sakuntala," which, soon after its performance by the Philharmonic Society in Vienna in 1865, was given almost all over Europe and the United States. Ten years later his opera " Die Konigin von Saba " placed his name upon the pinnacle of fame, and in its turn made the round of the musical world, excepting France, where foreign operas are hardly ever given until their composers have become recognizedly "classic." Ever since 1875 Gold- mark has been recognized as the only thoroughly successful German opera composer since Richard Wagner: even Anton Rubinstein has not run him very hard in this field. Still, Goldmark is not exclusively, nor even princi- pally, an opera composer, although the most unquestionable element in his talent is probably his dramatic gift : his concert and chamber music have won distinguished recognition everywhere, and he certainly stands in the first rank among orchestral writers io-day. He is an elaborately careful and laborious composer, writing slowly, and subjecting his works to search- ing self-criticism before giving them to the world. He is of "Hebrew blood, and has all the conviction of the importance of details that belongs to his race. He is a brilliant master of orchestration, and delights in the most sumptuous orchestral coloring, perhaps to the extent of grazing monotony. The charge of a lack of elevation of style and nobility of inspiration has been brought against him ; but in this matter he certainly does not stand far below many another of his famous contemporaries. His prevailing fault is a tendency toward the theatrical in musical effect. The story of Sakuntala (or Cakuntala), in Kalidasa's Sanskrit poem, is this : Sakuntala was the daughter of a nymph, and was brought up by the chief of a caste of holy priests as his own daughter, in a grove frequented by penitents. One day the great king Dushyanta, while out hunting, came to the grove, and, seeing Sakuntala, fell in love with her. It was agreed between the two that she should follow the king to his court some days later, he giving her a ring by which she was to be identified. Sakuntala, engrossed by thoughts of her love, forgot to show the due rites of hospi- tality to a powerful priest who was visiting the grove ; and he, in revenge, threw a charm over king Dushyanta, robbing him of all recollection of his betrothed (according to Gandharver's version of the story, already his wife). Sakuntala afterwards lost the ring while washing linen in a sacred stream. When at last her family and friends brought her to Dushyanta's court as his wife, he failed to recognize her, and repudiated her : her own friends refused to escort her home again, as she was already married to a stranger. She was thus left alone to her despair, when her mother, the nymph, took pity on her. The ring was found by some fishermen, who brought it to the king. At sight of it his recollection of Sakuntala returns. He finds her once more, on a warlike expedition he makes against some evil demons ; and he and she live happily together ever after. Goldmark's overture to this story begins with a calm, placid, slow move- ment, expressive of the quiet of the sacred grove. It has been suggested that the low trills on the violas, 'celli, and bassoon are meant to recall the gurgling of a spring of water, in allusion to Sakuntala's nymph parentage. The meaning of the two succeeding themes (the first on two 'celli soli and clarinet, the second on the first violins, doubled by an oboe) is not easy to determine. They are of a sensuous, languishing character ; and the prin- cipal figure of the first is constantly used as an accompaniment, or counter- NEW SONGS WORTH SINGING. FOR SALE AT ALL MUSIC STORES. " Blumenthal, J. " Wilt thou Understand ? $o. 50 Lath, H. E. " Love's Courier." In two keys. $0.60 Cantor, 0. " So Sweet a Dream." " " .60 Lloyd, C.
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