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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 THE LYRIC THEATRE . BALTIMORE Twenty-ninth Season, J909-J9J0 MAX FIEDLER, Conductor Programme nf % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, MARCH 23 AT 8.15 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. NEW YORK CINCINNATI CHICAGO REPRESENTED BY THE KRANZ-SMITH PIANO CO. 100 North Charles Street Boston Symphony Orchestra PERSONNEL Twenty-]ainth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowica, J. Noack, S. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarscb, 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. Fenr, 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, 0, Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, Hain, F. Harkebarth, A. Heim, G. Kehfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympanl Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. J, Sauerque", J, 3 JIW^lR^ ******** **** ****!***-* **R* ** ** *******.*** ** **'** & Perfection in Piano Making THE -0Ma^xm Quarter Grand Style V, in figured Mahogany, price $650 It is tut FIVE FEET LONG and in Tonal Proportions a Masterpiece or piano building. It is Cbickering & Sons most recent triumpt, the exponent of EIGHTY-SEVEN YEARS experience m artistic piano building, and tbe neir to all the qualities tbat tbe name or its makers implies. : : THE LYRIC THEATRE . BALTIMORE Mount Royal and Maryland Avenues Twenty-fifth Season in Baltimore Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor FIFTH AND LAST CONCERT WEDNESDAY EVENING, MARCH 23 AT 8.J5 PROGRAMME " Beethoven . Overture to Collin's Tragedy, Coriolanus," Op. 62 Haydn . Symphony in G major, "Oxford" (Peters, No. 9; Rieter-Biedermann, No. 2) I. Adagio; Allegro spiritoso. II. Adagio. III. Menuetto: Allegretto; Trio. IV. Presto. Arias with Orchestra a. Mozart . "Deh vieni" ("O come, my heart's delight"), from "Le Nozze di Figaro," Act IV., Scene 10 " b. Graun . " Singt dem gottlichen Propheten (" to, the heaven descended Prophet"), from "Der Tod Jesu" ("The Death of Jesus") Strauss . Symphonia Domestica, Op. 53 (in one movement) Songs with Piano a. Brahms . "Die Nachtigall" ("The Nightingale"), Op. 46, No. 4 b. Schumann . "Widmung" ("Dedication"), Op. 25, No. r c. Fiedler . _,. "Wiegenlied" ("Cradle Song"), Op. 8, No. 1 d. Strauss . "Standchen" ("Serenade"), Op. 17, No. 2 SOLOIST Madame SEMBRICH Baldwin Piano Used There will be an intermission of ten minutes before the Symphonia Domestic* 5 "upright" GRAND Size 4 feet 6 inches MAHOGANY CASE- BEAUTIFULLY VENEERED •550 na6^S THE WORLD'S BEST PIANO is the one piano not only abreast of the times, but today, more than ever, is solely and purely representative of faultless con- struction, exceptional durability and that tonal sublimity that cannot be successfully imitated or equalled. REPRESENTED BY WM. KNABE & CO. PARK AVENUE and FAYETTE ST.. BALTIMORE MD. Overture to ''Coriolanus,'' Op. 62 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) " The origitial manuscript of the overture bears this inscription : Over- tura (zum Trauerspiel Coriolan) composta da L. v. Beethoven, 1807." The words in parenthesis are crossed out. The overture was published in 1808: "Ouverture de Coriolan, Tragedie de M. de Collin, etc., com- posed et dediee a Monsieur de Collin, etc." The other compositions of 1807 were- the first Mass in C, the overture to "Leonore-Fidelio," No. 1, which was published as Op. 138, the Fifth Symphony, the ariette, "In questa tomba," the violin concerto changed into a piano- forte concerto, and probably the 'cello sonata, Op. 69. The tragedy by Heinrich Joseph von Collin was produced November 24, 1802, with entr'actes arranged from Mozart's music to "Idomeneo" by the Abbe Stadler. It was afterward revived with Lange as the hero and played often until March 3, 1805. From that date to the end of October, 1809, there was only one performance of the tragedy, and that was on April 24, 1807. Thayer concludes that the overture was not written for this performance, because the overture had been played at two concerts in March. These concerts were at the palace of Prince Lobkowitz in Vienna, and only pieces by Beethoven were performed, the first four symphonies, the "Coriolanus" overture, a pianoforte con- certo, and airs from "Fidelio." The overture was criticised most favorably in the Journal des Luxus und der Moden and Cotta's Mor- genbldtt as a "new work." A correspondent of the Allgemeine Musik Zeitung wrote : "According to the inscription, the overture was intended for Coilin's 'Coriolanus.'" Thayer adds: "How nobly Beethoven comprehended the character of Coriolanus has long been known; but how wonderfully the overture fits in the play can be judged properly only by those who have read Collin's nearly forgotten play," and hesays in a foot-note: "The author, from boyhood a reader of Shakespeare's 'Coriolanus,' remembers well the dissatisfaction he experienced when he first heard Beethoven's overture; it did not seem to him to fit the subject. When he read Collin's play, his discontent turned into wonder." No Finer Musical Settings of these Words are to be found anywhere "Nearer My God To Thee" Three Keys Composed by LEWIS CAREY "How Lovely Are Thy Dwellings" Three Keys Composed by S. LIDDLE " Composer of the famous song " Abide With Me "God That Madest Earth and Heaven" Four Keys Composed by WILFRED SANDERSON BOOSEY & COMPANY, 9 East Seventeenth Street, New York And London, England Reproduction of a letter from Mr. Enrico Caruso To the makers of the Hardman Autotone The Piano all can play either by hand or by perforated music rolls THE PLAZA NEW YORK Hardman, Peck & Co, Fifth Ave. , New York, March 27, 1908. Gentlemen : — It is very difficult for me to tell you how much pleasure I have derived from using the Hardman Autotone. I cannot conceive how it has been possible to combine in one instrument such a superb and unique tone-quality as the Hardman, with a pneumatic action capable of so perfectly reproducing the human touch. Its expres- sion, accenting and transposing devices are marvellous. Congratulating you upon producing the most artistic so-called "player-piano" and wishing you still further success, I am Most cordially yours, In another letter from Mr. Caruso (written last season) referring to the Hardman Piano, this famous artist says: "I shall be glad to have one again on my return to America next season." Agreeable to the wishes of Mr. Caruso, a Hardman Autotone, which is at the same time a Hardman Piano, has been delivered to his apartments for his personal use this season. At our warerooms you can see the instruments of his choice, and in the event that you decide to purchase, terms will be arranged to meet your convenience and liberal allowance made for instruments taken in exchange. Hardman, Peck & Co. Established 1842 138 Fifth Ave., New York REPRESENTED IN BALTIMORE BY COHEN & HUGHES, 315 No. Howard Street — Beethoven knew the Coriolanus presented by Plutarch as well as the Coriolanus of Shakespeare and von Collin. One might say chat the character of Coriolanus was in certain ways sympathetic to him; and some may wonder at Thayer's dissatisfaction. Wagner had no thought of von Collin, when he wrote : "If we recall to mind the impression made upon us by the figure of Coriolanus in Shakespeare's drama, and from all the details of the complicated plot_first single that which lingered with us through its bearing on the principal character, we shall see one solitary shape loom forth: the defiant Coriolanus in conflict with his inmost voice, that voice which only speaks the more unsilenceably when issuing from his mother's mouth; and of the dramatic development there will remain but that voice's victory over pride, the breaking of the stubbornness of a nature strong beyond all bounds. For his drama Beethoven chooses nothing but these two chief motives, which make us feel more surely than all abstract exposition the inmost essence of that pair of characters. Then if we devoutly follow the movement developing solely from the opposition of these two motives in strict accordance with their musical character, and allow in turn the purely musical detail to- work upon us—the lights and shades, the meetings and part- ings of these two motives—we shall at like time be following the course of a drama whose own peculiar method of expression embraces all that held our interest, the complex plot and clash of minor characters, in the acted work of the playwright. What gripped us there as an action set immediately before us, almost lived through by ourselves, we here receive as inmost kernel of that action; there set forth by characters with all the might of nature-forces, it is here just as sharply limned by the musician's motives, identical in inmost ' essence with the motives at work in those characters." (Englished by W.
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