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Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip

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Boston Symphony Orchestra Concert Programs, Season 25,1905-1906, Trip CARNEGIE HALL, NEW YORK. Boston Sympftonu Orcftestia WILHELM GERICKE, Conductor. Twentieth Season in New York. PROGRAMMES OF THE FIFTH and LAST CONCERT THURSDAY EVENING, MARCH 15, AT 8.J5 PRECISELY, * AND THE FIFTH and LAST MATINEE SATURDAY AFTERNOON, MARCH 17, AT 230 PRECISELY. "With Historical and Descriptive Notes by Philip Hale. Published by C A* ELLIS, Manager, l THE PIANO During the musical season of 1 905-1 906 is being played in prin- cipal cities from Boston to San Francisco, in Recital, before Musi- cal Clubs, leading musical organizations, with the great orchestras, and by the greatest pianists, among whom may be named the following : Boston Symphony Orchestra, Wilhelm Gericke, Conductor. HAROLD BAUER Pittsburgh Orchestra, Emil Paur, Conductor. Indianapolis Orchestra, Hans Schneider, Com- ductor. Kneisel Quartet. Chicago Orchestra, Frederick Stock, Conductor. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. RUDOLPH GANZ New York Philharmonic Orchestra, Felix Weim- gartner, Conductor. Philadelphia Orchestra, Fritz Scheel, Conductor. Kneisel Quartet. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. ) New ANTOINETTE SZUMOWSKA Haven Orchestra, Horatio W. Parker, Con- \ ductor. / Chicago Orchestra, Frederick Stock, Conductor. \ Adamowski Trio. EMIL PAUR . Pittsburgh Orchestra. ( Boston Symphony Orchestra, Wilhelm Gericke, HEINRICH GEBHARD . { Conductor. ' Kneisel Quartet. ( Kneisel Quartet. VINCENT D'INDY . ( Longy Club. C Boston Orchestral Club, Georges Longy, ALFRED De Coa- VOTO . \ ductor. Longy Club. 139 Fifth Avenue New York City Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905=1906. WILHELM GERICKE, Conductor. First Violins Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. D. Hoffmann, Fiedler, Kuntz, J. E Mullaly, J. C. Moldauer, A. Strube, G. Rissland, K. Second Violins. Barleben, C. Schuchmann, F. E. Kurth, R. Kuntz, A. Akeroyd, J. Tischer-Zeitz, H. Goldstein, S. Fiedler, B. Fiumara, P. Marble, E. B. Berger, H. Traupe, W. Swornsbourne, W. W. Eichler, J. Edw. Violas. Zach, M. Sauer, G. F. Hoyer, H„ Krauss, O. H. Ferir, E. Kolster, A. Kluge, M. Gietzen, A. Heindl, H. Zahn, F. Violoncellos. Warnke, H. Loeffler, E. Barth, C. Hadley, A. Heindl, A. Nast, Keller, J. Nagel, R. L. Adamowski, J. Heberlein, H. Basses. Keller, K. Bareither, G. Butler, H. Schurig, R. Kunze, M. Seydel, T. Gerhardt, G. Elkind, S. Flutes. Oboes. Maquarre, A. Brooke, A Longy, G. Sautet, G. Fox, Paul Maquarre, D. Lenom, C. English Horn. Clarinets. Bass Clarinet. Grisez, G. Mimart, P. Vannini, A. Fntzsche, O. Mullerr F. Bassoons. Contra-bassoon Debuchy, A. Sadoni, P. Regestein, E- Helleberg, J. Horns. Hain, F. Hackebarth, A. Lorbeer, H. Schumann, C. Hess, M. Phair, J. Trumpets. Trombones. Hampe, C. Mausebach, A. Kloepfel, L. Mann, J. F. Kenfield, L. S. Brenton, H. E. Merrill, C. r Drums. Harp. Tuba. TYMPANI. Rettberg, A. Ludwig, C. R. Schuecker, H. Dworak, J. F. Castanets. Librarian. Cymbals. Triangle, etc. Bass Drum. Bower, H. Ludwig, C F. Sauerquell, J. Senia, T. Burkhardt, H. Represented in New York by JOHN WANAMAKER : Boston CARNEGIE A HALL, Symphony i new york. r Twenty-fifth Season, 1905-1906. Orr hPh Cf'f*Cl V-fI WI ICd Lid Twentieth Season in New York. WBLHELM GERICKE, Conductor. FIFTH AND LAST CONCERT, THURSDAY EVENING, MARCH 15, AT 8,15 PRECISELY. PROGRAMME. Johann Sebastian Bach Suite in D major I. Overture: Grave; Vivace. II. Air : Lento. III. Gavotte I.: Allegro. IV. Bourree : Allegro. V. Gigue : Allegro vivace. Jaques-Dalcroze . Concerto in C minor, for Violin and Orchestra, Op. 50. First time here I. Allegro con ritmo. II. Largo. III. Finale quasi fantasia (Allegro appassionato).] Debussy . Prelude to Stephane Mallarm^'s Eclogue, " The " Afternoon of a Faun Beethoven . Symphony No. 3, in E-flat major, " Eroica," Op. 55 I. Allegro con brio. II. Marcia funebre : Adagio assai. ' III. Scherzo : Allegro vivace ; Trio. IV. Finale : Allegro molto. SOLOIST Mr. HENRI MARTEAU. There will be an intermission of ten minutes before the symphony. 6 HARDMAN PIANO THE genius employed for the past sixty- four years in the manufacture of these instruments has produced a piano with a pure musical tone. Besides possessing this tone they have a peculiar feature in that they actually improve with use. Established in 1842. Booklets of information. Hardman, Peck <§>f Co., Makers Ftoh Avenue and 19th Street, New York Brooklyn .... No. 524 Fulton Street Suite in D major, No. 3 Johann Sebastian Bach (Born at Eisenach, March 21, 1685; died at Uipsic, July 28, 1750.) This suite is one of four which were probably composed during Bach's stay at Cothen (,717-23) whither he was called zs chapel-miter to Prince Leopold, of Anhalt-Cothen. The prince was then nearly twenty- four years old, an amiable, well-educated young man, who had travelled and was fond of books and pictures. He played the violin, the viol da gamba, and the harpsichord. Furthermore, he had an agreeable bass voice, and was more than an ordinary singer. Bach said of him "He loved music, he was well "' acquainted with it, he understood it The music at the court was chiefly chamber music, and here Bach passed happy years. Unfortunately, we know nothing of the character of the choir or the orchestra at this court; nor was the indefatigable Spitta able to find even a mention of Bach in the town records, except in a few notices scattered through the parish registers. The term "suite" was not given by Bach to the four compositions that now are so named,—the suites in C major, B minor, and two in D major. He used the word "ouverture." The separate dances of old German suites were called "Parties," yPartheyen." They were brought together into a musical whole and in the same tonality, and they were prefixed by an overture in the French style. The whole set was sometimes known as "Orchester Partien." The form of the overture fixed by Lully in France served as a model for pieces of the same class composed in Germany and in Italy, as well as in France. This overture was composed of a first part, which was a slow movement, characterized as "grave," connected with a second part, which was longer and of a livelier movement. The overture was generally completed by a repetition of the first move- ment. The first suites which appeared between 1670 and 1680 were written for a solo instrument, especially for the harpsichord; but the title soon served to designate pieces written for a considerable number of instruments. The overture was followed by airs of dances which were then popular or fashionable. No wonder that Bach, whose father, p The Element of PIANOFORTE TECHNIC RHSB.r By RALPH H. BELLAIRS, Mus. Doc. Oxon. This work approaches the study of the pianoforte from an entirely new point of view. The simultaneous development of the rhythmical with the mechanical side of pianoforte playing constitutes its subject. It has received endorsement in the highest quarters, and may be accepted as the latest utterance in connection with scientific pianoforte technique. The section devoted to scale-playing alone will illustrate this fact. have In framing this work, the eminent labours of Tausig, Pischna, and von Bulow received the greatest appreciation. Thus, from the earliest stage transposition has been as well as of key has been sedulously eschewed, freely adopted ; but monotony of rhythm and herein lies the novelty of treatment. are — The points of immediate import which have been consistently kept in view : The normal musical sentence, as most commonly found in instrumental music. The rhythmic or metrical figure. The transposition of keys (varied tonality). major will be The old-fashioned five-finger exercise in semiquavers in the key of C vainly sought for within these pages. , 4 BOOSEY & COflPANY, 9 EAST 17TH STREET, NEW YORK : . SECOND EDITION ELSONS Music Dictionary By LOUIS C. ELSON England Conservatory of Music Professor of Theory of Music at the Nem Ever since Tinctor, about 1475, wrote tne an endless first music dictionary, there has been succession of books dealing with musical defini- the tions. This is but natural and proper, since musical art is constantly changing. A music dictionary, unless frequently revised, easily drops behind the times. There are no obsolete terms in Elson's Music Dictionary, but every necessary word is included, with its pronunciation. By pronuncia- tion is meant a phonetic spelling in the English language, not merely accent marks. This ap- plies as well to composers' names ; for instance, Rachmaninoff = Ra.chh-mahn -nee-noff In addition to 289 pages containing the defi- nitions and pronunciations of all the terms and signs that are used in modern music, are the following Rules for pronouncing Italian, German, and French. A list of popular errors and doubtful terms in music. A list of prominent foreign composers, artists, etc., with their chief works, the pronunciation of their names, and the date of their birth and death. A short vocabulary of English musical terms with their Italian equivalents. The rules for pronunciation will enable the student to pronounce not only the musical terms, but every word in either of the three languages. Such terms as Pitch," " Sonata," " Tempera- ment," "Turn," "Scale," "Organ," u Notation," "Form," "Key," etc., are explained at length. In some cases from three to four pages are devoted to a single word. On important subjects full biblio- graphical references are given. The book comprises 306 pages, and is bound in serviceable cloth covers. PRICE, POSTPAID, $1.00. COPIES SENT FOR EXAMINATION OLIVER DITSON COMPANY, Boston CHARLES H. DITSON & CO., New York J. E. DITSON & CO.. Philadelphia LYON & HEALY, Chicago Order of your home dealer or the aboye house*. 8 — grandfather, and uncles had all been town-pipers and riven uo to this species of music ? was drawn toward this foraof compSSn ine buite m D major was composed originally two for three tnimnPtQ oboes, kettledrums, first and second^violiL.^^^S contmuo.* Three or four manuscripts were consulted by the editor C S°C1 Wh Prefefred ° the Voice Parts formerfy in Zthe BachI\ archivest atf£Hamburg.
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