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Boston Symphony Orchestra Archives Boston Symphony Orchestra PERSONNEL F Perfection m Piano Makmcf 5 feet long THE <Ps.(#^>0 -6^rafxrRmn Quarter Grand Style V, m figured Makogany, price ^650 It IS out nve reet long and in Tonal Proportions a Masterpiece or piano building. It IS Cnickermg CT* Sons most recent triumpn, tke exponent of EIGHTY-SEVEN YEARS experience m artistic piano tuildmg, and tlie keir to all the qualities tkat tke name of its makers implies. CHICKERING &> SONS THIRTIETH SEASON, NINETEEN HUNDRED TEN AND ELEVEN FRIDAY AFTERNOON, OCTOBER 7, at 2.30 o'clock SATURDAY EVENING, OCTOBER 8, at 8 o'clock PROGRAMME In commemoration o{ the one hundredth anniversary of the birth of ROBERT SCHUMANN Born at Zwickau, June 8, 18 tO Schumann .... Overture to Byron's "Manfred," Op. 115 Schumann . Symphony in E-flat major, No. 3, "Rhenish," Op. 97 I. Lebhaft. II. Sehr massig. III. Nicht schnell. IV. Feierlich. V. Lebhaft. Schumann . Concerto for Violoncello with Orchestral Accompaniment in A minor. Op. 129 Nicht schnell.— Langsam.— Sehr lebhaft. Schumann . Overture to "Genoveva," Op. 81 SOLOIST Mr. ALWIN SCHROEDER There will be an intermission of ten minutes after the symphony The doors of the hall will be closed during the performance of each number on the prograinme. Those who wish to leave before the end of the concert are requested to do so in an interval be-- tween the numbers. city of Boston. Revised Regulation of August 5, 1898.— Chapter 3, relatinii to (he covering of the head In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the headfarcoverlng which obstructs the view of the exhibition or performance in such place of any person seatetl in anyjseat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALYIN, City Clerk. 5 — , Overture to Byron's "Manfred," Op. 115 . Robert Schumann (Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856.) Schumann, as many other Germans of his day, was a passionate admirer of Byron. He wrote a chorus and an aria for an opera, founded on "The Corsair," but he abandoned his purpose, and the music was not pubHshed. He set to music three of the "Hebrew Melodies." His perturbed spirit found dehght in "Manfred," and he said that he never devoted himself to composition with such lavish love and concentra- tion of power as in writing the music of "Manfred." Wasielewski tells us that, when Schumann once read the poem aloud at Diisseldorf his voice broke, he burst into tears, he was so overcome that lie could read no more. His music to "Manfred" was written for performance in the theatre. Yet he made changes in the text: he introduced four spirits instead of seven in the first act; he abridged the songs of th«se spirits; he disre- garded the significance of the seventh, that saith : The star which rules thy destiny Was ruled, ere earth began, by me; he curtailed the incantation scene, shortened the dialogue, neglected the opportunity offered in the "Song of the Three Destinies," and at the close introduced a " Chorus from a Distant Cloister." In 1849 (May 31) he wrote to Franz Liszt at Weimar: "I have practically finished one rather big thing^—^the music to Byron's ' Man- fred.' It is arranged for dramatic performance, with an overture, entr'actes, and other occasional music, for which the text gives ample scope." On December 21, 1851, he wrote to Liszt: "I am returning * Manfred' herewith. I have examined text and music again, with the assistance of Hildebrandt and Wolfgang Mtiller, and I think it may now be risked on the stage. I am now convinced that all the apparitions must come on as real people. I intend writing to Mr. Genest (manager of the Weimar Theatre) later about certain stage arrangements. As to the music, dear friend, I hope you will like the overture. I really consider it one of the finest of my brain children, and wish you may agree with me. In the melodramatic portions, where the music accompanies the voice, half the strings would be sufficient, I imagine. These matters can be decided at rehearsal. The main thing is still, of course, the impersonation of Manfred, for whom the music is but a setting. I should be very grateful if you could assist in bringing home to the Weimar actors the importance of this fine part." Clara Schumann entered in her diary of 1848: "Robert completed his opera ["Genoveva"] on August 4th. He immediately began on a new work, a sort of melodrama, Byron's 'Manfred,' which stirred 6 him to an extraordinary degree. He read it to me, and I was deeply moved. Robert has arranged the poem according to his own ideas, to make it suitable for a performance in the theatre, and he will begin composition as soon as he has finished much other work which is pressing." This "other work" included the arrangement of the C major Symphony for pianoforte (four hands), "a most boresome job," and the "Children's Pieces" ("40 Pianoforte Pieces for the Young," Op. 68). Clara wrote on November 4 that he had completed the overture to "Manfred": "It seems to me one of his most poetic and ajffecting works." She wrote in her diary on November 14: "Robert brought home at night a bottle of champagne for the birthday festival of the first section of his 'Manfred,' which he finished to-day." On November 22 he played to her the first section, "which must be very effective on the stage and with the instrumentation, which seems to me wholly original." The first performance—stage performance—with this music was at Weimar, under Liszt's direction, June 13, 1852. There were three per- formances. They who say that Liszt was never interested in Schu- mann's works forget this production, as well as the performances of "Genoveva" at Weimar in 1855 (after the production at Leipsic in 1850), the overtures of these respective works and "The Bride of Messina," the symphonies in B-flat and D minor, "Paradise and the Peri," and "Faust's Transfiguration." At this performance at Weimar the part of Manfred was played by Grans, according to Ramann; but Liszt in a letter to Schumann (June 26, 1852) says that the actor at the second performance was Potzsch. Liszt had invited the composer to attend the first performance, and "if he should come alone" to stay with him at the Altenburg. He wrote in June : "I regret extremely that you could not come to the second performance of your 'Manfred,' TO TEACHERS AND SCHOOLS Educational Music in All its Branches The Most Representative Music Publishing House in America Sole Agents for ENOCH & SONS, London ENOCH & CO., Paris ELKIN & CO., London G. RICORDI & CO., Milan E. DOTESIO & CO., Spain BOOSEY &f COMPANY, 9 East Seventeenth Street NEW YORK CITY ^ 7 ' L. P. Hollander & Co. WAISTS from our own workrooms Copies of French Models; new materials in colors to match tailored gowns Tailored Waists in Linen for Travelling, ^— ^^ Morning Wear, Golf, etc. $5.00 MILLINERY FOR LADIES, MISSES, and CHILDREN Many new models in inexpensive ready-to-wear hats just received Prices from $8.00 upwards We manufacture or have confined to us all models shown. Shreve, Crump & Low Company. Diamonds, Gems. Beautiful Showing of Diamond Jewelry, after choice French Designs. Our stock of Ladies' and Gentlemen's is very Complete. We invite attention to the magnificent and wonderful display of the "Tiffany Goods." Wonderfully fine. We are constantly receiving the latest Trench Novelties. And our stock of Bric^a-Brac is unusually interesting. FA/NS. OPERA GLASSES. J47 Tremont Street, Boston* ^'^ and I believe that you would not have been dissatisfied with the musical preparation and performance of that work (which I count among your greatest successes). The whole impression was a thoroughly noble, deep, elevating one, in accordance with my expectations. The part of Manfred was taken by Mr. Potzsch, who rendered it in a manly and intelligent manner." He advised him to write a longer orchestral introduction to the Ahriman chorus, and then he asked if he. might keep the manuscript score as a present. This wish was not granted, for in a letter to Clara Schumann in the fall of that year he wrote: "It is not without regret that I obey your wish, Madame, in returning to you the autograph score of 'Manfred,' for I confess that I had flattered myself a little in petto that Robert would leave it with me in virtue of possession in a friendly manner. Our theatre possesses an exact copy, which will serve us for subsequent performances of 'Man- fred'; I was tempted to send you this copy, which, for revision of proofs, would be sufficient, but I know not what scruple of honor kept me from doing so. Perhaps you will find that it is possible generously to encourage my slightly wavering virtue, and in that case you will have no trouble in guessing what would be to me a precious reward." After the death of Schumann his wife waged open and hot warfare against Liszt and his followers. She went even so far as to erase in her com- plete and revised edition of her husband's works the dedication to Liszt which Schumann had put at the head of his Fantasie, Op. 17. NEW SONGS By GEORGE W. CHADWICK FOUR SONGS I FOUR IRISH SONGS When stars are in the quiet skies Larry O'Toole .
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