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Boston Symphony Orchestra Concert Programs, Season 35,1915-1916, Trip

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Boston Symphony Orchestra Concert Programs, Season 35,1915-1916, Trip NEW NATIONAL THEATRE . WASHINGTON : :;n urenestra Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor QU m m M% \/ X\ WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, NOVEMBER 2 AT 4.30 COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER €6 Yes, It's a Steinway ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." ' Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best' that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere ymp!hi©iniy Orchestira Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor PERSONNEL Violins. Witek, A. Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Sulzen, H. Fiedler, A. Griinberg, M. Pinfield, C. Gerardi, A. Kurth, R. Gunderson, R. Gewirtz, J. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R. Xast, L. Folgmann, E. Warnke, J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludvrig, O. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H. Vannini, A. Fuhrmann, M. Battles, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. Alloo, M. Lorbeer, H. Miersch, E. Mann, J. Belgiorno, S. Hain, F. Hess, M. Xappi, G. Mausebach, A* Rescn, A. Hiibner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Gardner, C. Cella, T. Kandler, F. Burkhardt, H. Organ. Librarian. Assistant Librarian. Marshall, J. P. Sauerquell, J. Rogers, L. J. 3 ' The American People Like The Best The Enlarged Sales of ifemt&5|mitlm Pianos Prove That This Is True WE ARE THE EXCLUSIVE WASHINGTON AND BALTIMORE FACTORY DISTRIBUTORS EVERY DAY YOU S. ARE WITHOUT A PERCY VICTROLA IS SO MUCH PLEASURE LOST. FOSTER WE SELL NO PIANO CO. OTHER TALKING MACHINE BE- 1330 G Street CAUSE THIS IS THE BEST * 'Everything Musical* NEW NATIONAL THEATRE WASHINGTON One Hundred and Eighth Performance in Washington aympn Thirty-fifth Season, I915-I9I6 Dr. KARL MUCK, Conductor FIRST MATINEE TUESDAY AFTERNOON, NOVEMBER 2 AT 4.30 PROGRAMME Beethoven .... Symphony in A major, No. 7, Op. 92 I. Poco Sostenuto; Vivace. II. Allegretto. III. Presto: Presto meno assai. IV. Allegro con brio. Mozart . Aria, "Voi, che sapete," from "The Marriage of Figaro" Wagner . 'A Siegfried Idyl" Bruch . "Ave Maria," from "The Cross of Fire," A Dramatic Cantata, Op. 52 Wagner . Prelude to "Die Meistersinger von Nurnberg" SOLOIST Miss FLORENCE HINKLE There will be an intermission of ten minutes after the symphony 5 WE FULFILL OUR PROMISES 1857 1915 ACCOMMODATING TERMS OF PAYMENT- Established in 1857, this house has for 58 years maintained its prestige in the musical circles of Washington, through its invariable policy of selling reliable merchandise only. Every article is plainly marked with its selling price and money is cheerfully refunded if anything purchased here is not satisfactory. 1 3 G STREET kLl Symphony in A major, No. 7, Op. 92 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) The first sketches of this symphony were made by Beethoven prob- ably before 181 1 or even 18 10. Several of them in the sketch-book that belonged to Petter of Vienna, and was analyzed by Nottebohm, were for the first movement. Two sketches for the famous allegretto are mingled with phrases of the Quartet in C major, Op. 59, No. 3, dedicated in 18 18 to Count Rasoumoffsky. One of the two bears the title: "Anfang Variations." There is a sketch for the Scherzo, first in F major, then in C major, with the indication: "Second part." Another sketch for the Scherzo bears a general resemblance to the beginning of the "Dance of Peasants" in the Pastoral Symphony, for which reason it was rejected. In one of the sketches for the Finale Beethoven wrote: "Goes at first in F-sharp minor, then in C-sharp minor." He preserved this modulation, but he did not use the theme to which the indication was attached. Another motive in the Finale as sketched was the Irish air, "Nora Creina," for which he wrote an accompaniment at the request of George Thomson, the collector of Scottish, Welsh, and Irish melodies. Thayer states that Beethoven began the composition of the Seventh Symphony in the spring of 18 12. Prod'homme believes that the work was begun in the winter of 18 11- 12. The autograph manuscript that belongs to the Mendelssohn family of Berlin bears the inscription: "Sinfonie. L. v. Bthvn 18 12 i3ten M." A clumsy binder cut the paper so that only the first line of the M is to be seen. There was therefore a dispute as to whether the month were May, June, or July. Beethoven wrote to Varena on May 8, 18 12: "I promise you imme- diately a wholly new symphony for the next Academy, and, as I now have opportunity, the copying will not cost you a heller." He wrote on July 19: "A new symphony is now ready. As the Archduke Ru- dolph will have it copied, you will be at no expense in the matter." ESTABLISHED 1838 »® ^ <a»e 19 WEST SARATOGA STREET, BALTIMORE, MD. It is generally believed that the symphony was completed May 13, in the hope that it would be performed at a concert of Whitsuntide. Other works composed in 18 12 were the Eighth Symphony, a piano- forte trio in one movement (B-flat major), three equale for four trom- bones, the sonata in G major for pianoforte and violin, Op. 96, some of the Irish and Welsh melodies for Thomson. The score of the symphony was dedicated to the Count Moritz von Fries and published in 18 16. The edition for the pianoforte was dedicated to the Tsarina Elizabeth Alexiewna of All the Russias. The Seventh and Eighth Symphonies were probably played over for the first time at the Archduke Rudolph's in Vienna April 20, 18 13. Beethoven in the same month vainly endeavored to produce them at a concert. The first performance of the Seventh was at Vienna, in the large hall of the University, on December 8, 18 13. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings. I. The first movement opens with an Introduction, poco sostenuto, A major, 4-4. A melodic phrase is given to the oboe, then clarinets, horns, bassoons, against crashing chords of the full orchestra. This figure is worked contrapuntally against alternate ascending scale passages in violins and in basses. There is a modulation to C major. A more melodious motive, a slow and delicate dance theme, is given out by wood-wind instruments, then repeated by the strings, while double-basses, alternating with oboe and bassoon, maintain a rhythmic accompaniment. (A theme of the first movement is developed out of this rhythmic figure, and some go so far as to say that all the movements of this symphony are in the closest relationship with this same figure.) The initial motive is developed by the whole orchestra fortissimo, A major; there is a repetition of the second theme, F major; and a short coda leads to the main portion of the movement. This main body, Vivace, A major, 6-8, is distinguished by the per- sistency of the rhythm of the "dotted triplet." The tripping first FOUR SONGS Words by J. W. JOHNSON Music by H. T. BURLEIGH ALSO PUBLISHED SEPARATELY * "Musical America" says: "He (the composer) has once more outdone himself. He stands more firmly than ever a musician who can reflect in his music, the spirit of the poem he is working on. His music in all four songs is vital." To be had of all music dealers — or the publishers RDI & CO., 14 East 43rd St., NEW YORK theme is announced, piano, by wood-wind instruments and horns, accompanied by the strings. It is repeated by the full orchestra fortissimo. The second theme, of like rhythm and hardly distinguish- able from the first, enters piano in the strings, C-sharp minor, goes through K-flat major in the wood-wind to E major in the full or- chestra, and ends quietly in C major. The conclusion theme is made up of figures taken from the first. The first part of the movement is repeated. The free fantasia is long and elaborate. The third section is in orthodox relationship with the first, although the first theme is developed at greater length.
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