KRUEGER AUDITORIUM NEWARK, NJ. Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor fhvgrmmtt* of GRAND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, DECEMBER 9 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, 0. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Hori<r. Bass Clarinet. Contra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz, Lorbeer, H. Gebhardt, W. Mann, J. Miiusebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhard*. H, Librarian. Sauerquell, J. 3 Hthe ©fttrittrttig Ptano Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S.A. Represented in New York by JOHN WANAMAKER, Broadway and ioth Street DOSlOn KRUEGER AUDITORIUM, Symphony i newark. /~\ Twenty-seventh Season, t 907-1908. *• r-» !-• /^ ^ "" *• «1 Dr. KARL MUCK, Conductor. GRAND CONCERT, MONDAY EVENING, DECEMBER 9, AT 8.15 PRECISELY. PROGRAMME. D'Indy .. "Wajlenstein," Trilogy, after the Dramatic Poem of Schiller, Op. 12 I. Wallenstein's Camp. II. Max and Thekla (The Piccolomini). III. The Death of Wallenstein. Grieg .... Concerto in A minor, for Pianoforte, Op. 16 I. Allegro molto moderato. II. Adagio. III. Allegro moderato molto e marcato. Schumann ..... Overture to "Genoveva," Op. 81 SOLOIST, OLGA SAMAROFF, The pianoforte is a Steinway* There will be an intermission of ten minutes before the concerto. 5 . The vast majority of so-called Player-Pianos are merely COMBINATIONS of a Player and a Piano. The Player, originally devised as a SEPARATE instrument, to play the piano from the keyboard, is in these instances ADAPTED to the INTERIOR of the piano* This is obviously the vorong principle, since the mechanism originated and patented for one purpose cannot be PERFECTLYadapted to another. The AlITOTONE The Piano ALL Can Play {either by hand or by perforated music-rolls) Was conceived, not as two separate instruments, but as a complete whole, the entire player mechanism being newly devised expressly for the Autotone. This results in the greatest possible harmony and responsiveness between the piano and the included ability to play it. Only by these means can such perfect effects be secured. You should satisfy yourself on these points by calling at our warerooms or at the warerooms of our representative. THE ACCENTOR which accomplishes the " human touch "— which gives the instant ability to properly accent-is found only in the AUTOTONE All makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST ESTAB. HARDMAN, PECK & CO. 1842 138 Fifth Avenue (corner 19th*Street), New York 524 Fulton Street, Brooklyn "WaUvENstein," Trilogy (after the Dramatic Poem op Schiller). Vincent d'Indy (Born at Paris, March 27, 1852*; now living in Paris.) The first work of Vincent d'Indy that was performed in Paris was ,, his "Ouverture des Piccolomini, which was produced at a Pasdeloup concert, January 25, 1874. This overture, the second part of the "Wallenstein" trilogy, showed, it is said, the marked influence of Schumann. It was afterwards changed materially, thoroughly rewritten. The "Wallenstein" trilogy was begun in 1873-74. It was com- pleted about 1 88 1. The third movement, "La Mort de Wallenstein/ ' was first per- formed at a Pasdeloup concert ("Concert Populaire") in Paris, March 14, 1880. The first movement, "Le Camp de Wallenstein," was first performed at a concert of the National Society, Paris, April 12, 1880. It was per- formed March 30, 1884, at a Concert Populaire, Pasdeloup conductor, in Paris. There were performances of this or that movement at the concerts of the National Society in Paris, at Angers, and at Antwerp, but the first performance of the trilogy, complete, was at a Lamoureux concert in Paris, March 4, 1888. The first performance of the trilogy in the United States was at one of Anton Seidl's concerts in Steinway Hall, New York, December 1, 1888. Among the other performances in the United States are the follow- ing: Chicago: Chicago Orchestra, Theodore Thomas conductor, "Wallenstein's Camp," October 27, 1900; the complete trilogy, April 6, * This year is given by the composer. The catalogue of the Paris Conservatory gives 1851, and 1851 is given by Adolphe Jullien, who says he verified the date by the register of d'Indy's birth. HEW SONGS for CONCERT and RECITAL DSE ![ We have this season a very large number of interesting compositions by such leading Composers as A. WOODFORDE-FINDEN, LIZA LEHMANN, LAURA LEMON, GRAHAM PEEL, ROGER QUILTER, HAMILTON HARTY, E. ELGAR, E. GERMAN, NOEL JOHNSON, R. BARTHELEMY, F. P. TOSTI, LANDON RONALD, G. H. CLUTSAM, STEPHEN ADAMS, etc. If Ask your dealer for a selection of these, or write direct to the Publishers, BOOSEY & COMPANY, 9 East Seventeenth St, New York City 7 MATHUSHEK & SON Grand and Upright Pianos EDWARD W. LINTNER 607 Broad Street NEWARK, N.J. Telephone, 2479-L Next to Hahne's — — " — — " 1901; Theodore Thomas's Orchestra, as it is now called, Frederick A. Stock conductor, "Wallenstein's Camp," April 6, 1907. Cincinnati: Cincinnati Orchestra, Mr. Van Der Stucken conductor, "Wallenstein's Camp," December 19, 1903, January 27, 1906. * * * It seems that, when "The Death of Wallenstein" was first performed in Paris, there was an argument, an explanatory programme, for a contemporary reviewer then discussed the possibility of translating into music "Reves h£roiques de gloire et de liberte," "Trahison," "Mort," while he admitted d'Indy's success in the sections, "Souvenir de Thecla and "Triomphe." The score of the trilogy is without a programme of any sort whatever. * * Hugues Imbert's sketch of the trilogy was Englished by Stanley V. Makower as follows: "The distinguishing feature of the symphonic music of Vincent d'Indy is that it paints with forcible truth, marvellous vividness, and astonishing vigor the various episodes in the drama of Schiller. For instance, in the first part, 'Le Camp,'* after the slow valse, comes the James Churchill's translation into English of " Wallenstein's Camp" is thus prefaced: "The Camp of Wallenstein is an introduction to the celebrated tragedy of that name, and, by its vivid portraiture of the state of the General's army, gives the bestclue to the spell of his gigantic power. The blind belief entertained in the unfailing success of his arms, and in the supernatural agencies by which that success is secured to him; the unrestrained indulgence of every passion, and utter disregard of all law, save that of the camp; a hard oppression of the peasantry and plunder of the country; have all swollen the soldiery with an idea of interminable sway. "Of Schiller's opinion concerning the Camp, as a necessary introduction to the tragedy, the following passage, taken from the Prologue to the first representation, will give a just idea and may also serve as a motto to the work: '"Not He it is, who on the tragic scene Will now appear—but in the fearless bands Whom his command alone could sway, and whom His spirit fired, you may his shadow see, Until the bashful Muse shall dare to bring Himself before you in a living form; For power it was that bore his heart astray His Camp, alone, elucidates his crime.' JUST PUBLISHED BY G. SCHIBMEB, 35 UNION SQUABE, NEW YORK Ufye HISTORY of MUSIC A HANDBOOK AND GUIDE FOR STUDENTS By WALDO SELDEN PRATT Professor of Music and Hymnology in Hartford Theological Seminary, Lecturer on Music His- tory at Smith College and at the Institute of Musical Art of the City of M New York. Author of Musical Ministries in the Church." Octavo, cloth. Price, $3.00 net This work fills a gap in musical literature.