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Boston Symphony Orchestra Concert Programs, Season 29,1909-1910, Trip

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Boston Symphony Orchestra Concert Programs, Season 29,1909-1910, Trip ACADEMY OF MUSIC , . BROOKLYN Twenty-ninth Season, J909-19J0 loBton ^gmphmuj (§vttysttn MAX FIEDLER, Conductor Programme nf % THIRD CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, JANUARY 14 AT 8.15 PRECISELY COPYRIGHT, 1909, BY C. A- ELLI8 PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively ^^ Piano. THE JOHN CHURCH CO., 37 West 33d Street New York City Boston Symphony Orchestra PERSONNEL Twenty-ininth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. 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. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Ferir, E. Heindl, H. Rennert, B Kolster, A. Zahn, F. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W Violoncellos. Warnke, H. Nagel, R. Barth, C. Belinski, M. Warnke, J. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, O. Lorbeer, H. Gebhardt, W. Mann, J. Mausebacli, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuficker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. n* -<S^Qmxm^)^ Reputation Is of far greater value to you in purchasing a piano, than the most thorough demonstration; for the demon- stration only tells you what the instrument is today. The Chickering reputation tells you that the Chickering you buy today will be the same Chickering twenty years hence. The Chickering reputation is your assur- ance of a lifetime's perfect service. REPRESENTED BY JOHN WANAMAKER BROADWAY and 8th STREET, NEW YORK, N.Y. ACADEMY OF MUSIC - - - BROOKLYN Twenty-second Season in Brooklyn Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor THIRD CONCERT FRIDAY EVENING, JANUARY H AT 8.15 PRECISELY PROGRAMME " Wagner Prelude to the Opera " Lohengrin Elgar ...... Symphony in A-flat major, Op. 55 ' I. Andante nobilmente e semplice — Allegro. II. I Allegro molto. III. ( Adagio. IV. Lento — Allegro. Beethoven . Concerto in D major for Violin and Orchestra, Op. 61 I. Allegro ma non troppo. II. Larghetto. III. Rondo. " Weber Overture to the Opera " Euryanthe SOLOIST MISCHA ELMAN There will be an intermission of ten minutes after the symphony / % There can Only be One Best has been made of best materials, by best piano-builders, under best conditions for seventy-two years It is proclaimed THE WORLD'S BEST PIANO by tbe best musical artists and critics or two bemispberes, and it best satisfies musical taste of tbe bigbest order, and musical requirements of tbe keenest degree. REPRESENTED BY WM. KNABE & CO. 439 FIFTH AVENUE. NEW YORK CITY Prelude; to the Opera " Lohengrin " Richard Wagner (Born at Leipsic, May 22, 1813; died at Venice, February 23, 1883.) "Lohengrin," an opera in three acts, was performed for the first time at the Court Theatre, Weimar, August 28, 1850. The cast was as follows: Lohengrin, Beck; Telramund, Milde; King Henry, Hofer; the Herald, Patsch; Ortrud, Miss Fastlinger; Elsa, Miss Agthe. Liszt conducted The tenor Beck found the first part of "Lohengrin's narrative" so exhausting that he was unable to sing the second; and, to quote Mr. Henry T. Fmck's words, "Wagner, judging that this would probably be the case with most tenors, cancelled this passage altogether." The five additional verses are printed in the original orchestral score, but not in the score for voices and pianoforte, nor in the libretto. The whole narrative was sung at the Munich performance in 1869 with Nachbaur as Lohengrin. Some of Wagner's friends almost persuaded him to change the plot, and permit Lohengrin to remain with Elsa, just as Dickens was persuaded for the sake of "a happy ending" to change and ruin in the changing the final chapter of "Great Expectations." Beck, by the way, who, according to Richard Pohl, was wholly unable to do justice to the part, left the stage not many years after the first performance.* It was at Marienbad in the summer of 1845 that Wagner laid out the scheme of "Lohengrin." He wrote the libretto in the following winter, and conceived some of the melodic ideas. He began the actual com- position of the opera with this narrative of Lohengrin, "because the monologue contained the most significant musical germs in the whole * Wagner, in a letter to Louis Schindelmeisser, written in 1853, declared frankly that Beck was "atrocious." Yet the Princess Sayn-Wittgenstein, who heard him a few years after the first performance, was hysterical in praise of the tenor. Wagner wished his Lohengrin to be "young and radiant." He wrote with reference to one unhappy Lohengrin: "I had always fancied that people must be glad whenever Lohengrin but tread the stage: on the contrary, it seems they were gladder when he left it." For much entertaining matter concern- ing the first performance of "Lohengrin "'see W. A. Ellis's Life of Wagner; the indices of the volumes are com- mendably full. SONQS WORTH SINGiNG Sung by Madame Nordica. "NOW SLEEPS THE CRIMSON PETAL." Composed by Roger Quilter. 3 keys. Sung by Madame Marchesi. "A COTTAGE SONG." Composed by Laura G. Lemon. 3 keys. Sung by John McCormack. "THE PHILOSOPHY OF LOVE." Composed by John F. Larchet. 3 keys. Sung by Harry Dearth. "TOMMY LAD." Composed by E. J. Margetson. 2 keys BOOSEY & COMPANY, 9 East Seventeenth Street NEW YORK And London, England 7 — THE HAROMAN PIANO Famous since 1842. Hardman is my choice Luisa Tetrazzini THESE words are taken from a letter sent by Mme. Tetrazzini, the World Famous Soprano, to the makers of the Hardman Piano. Enrico Caruso and many other artists have also expressed in terms equally positive their high opinion of the Hardman Piano and Hardman Autotone, the piano all can play either by hand or by perfor- ated music rolls. A booklet containing facsimile reproduc- tions of letters from the artists endorsing the Hardman Piano and the Hardman Autotone will be sent on request) or may be had by call- ing at our warerooms. Hardman, Peck & Co. Established 1842 138 Fifth Avenue, New York . 524 Fulton Street, Brooklyn score." In the original version, after the words "and Lohengrin my name," the orchestra intoned the Grail theme, the chorus treated the theme in the same manner as in the first act when the knight appears, and then the recitation continued in a manner analogous to first sec- tion. The third act of "Lohengrin" was composed at Grossgraufen between September 9, 1846, and March 5, 1847; the first act between May 12 and June 8, 1847; the second act between June 18 and August 2 of the same year. The prelude was completed on August 28, 1847, and the instrumentation was made during the following winter and spring. The score was not published for several years, —to quote—from Mr. W. J. Henderson's "Richard Wagner" (New York, 1901), "be- cause Meser, who had printed the previous works of the composer, had lost money by the ventures. Breitkopf and Hartel subsequently secured the score at a small price, not because they were niggardly in offering, but because Wagner's works had no large market value at the time, and he was anxious to sell, being in his chronic condition of financial embarrassment." The first performance of "Lohengrin" (in German) in the United States was at the Stadt Theatre, New York, April 3, 1871. Adolf Neuendorff conducted. The cast was as follows: Lohengrin, Habel- mann; Telramund, Vierling; King Henry, Franosch; the Herald, W. Formes; Ortrud? Mme. Frederici; Elsa, Mme. Lichtmay. The first per- formance in Italian was at the Academy of Music, March 23, 1874: Lohengrin, Campanini; Telramund, del Puente; King Henry, Nan- netti; the Herald, Blum; Ortrud, Miss Cary; Elsa, Miss Nilsson. The first performance of "Lohengrin" in Boston was in Italian at the Globe Theatre on December 14, 1874. Mr. Muzio conducted. The cast was as follows; Elsa, Mme. Albani; Ortrud, Miss Cary; Lohengrin, Carpi; Telramund, del Puente; the King, Scolara; the Herald, Hall. G. SCHIRMER, 35 UNION SQUARE, NEW YORK Just Issued NEW COMPOSITIONS FOR THE PIANO By HELEN HOPERIRH $0.60 IONA MEMORIES. Four compositions for the Piano .75 2. Cronan (A Hushing Song) .... .60 .75 4. A Twilight Tale . .60 BY THE SAM£ COMPOSER FIVE SONQS. (Mo-lennan-a-chree. Hushing Song. Eilidh, My Fawn. Thy Dark Eyes to Mine. The Bandruith) . net 1.25 SIX POEMS BY FIONA MACLEOD. A collection of six songs . net 1.25 URTO HOLMES TRAVELOGUES Seventeenth Season, 1909-1910 Magnificently Illustrated Colored Views and Motion Pictures THREE COURSES EXACTLY ALIKE: COURSE A 8.30 P.M. CARNEGIE HALL, 5 SUNDAY EV'NGS COURSE B 3.00 P.M. LYCEUM THEATRE, 5 MON. Matinees COURSE C 3.00 P.M: LYCEUM THEATRE, 5 TUES. Matinees The Travelogues will be given in the following order: CARNEGIE, Sunday Evg., Jan. 16, at 8.30 LYCEUM, Monday Mat., Jan. 17, at 3.00 CEYLON Mat., LYCEUM, Tuesday Jan.
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