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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip

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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip MECHANICS HALL . WORCESTER Twenty-seventh Season, J907-J908 Utoaimt S>gmjrff0tttj ©rrfj^stnt DR. KARL MUCK, Conductor Programme of % Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, MARCH 3 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nofdica, Campanari, Bispham, and manv other noted artists, will be used bv TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE . JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. indling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czisrwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. 1 Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A, Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warake, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keiller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horisi. Bass Clarinet. Contra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz. O. Lorbeer, H. Gebhardt, W. Mann, J. Miiusebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. 3 Utty (thicktrin I * Bimxo Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S.A. ^^^^•^^^^^^!^^^'^=§g^^^^^^i REPRESENTED IN WORCESTER BY S. R. LELAND & SON Boston MECHANICS HALL, Symphony J Worcester. Orchestra ^ Twenty-seventh Season, J907-J908. Dr. KARL MUCK, Conductor. THIRD AND LAST CONCERT, TUESDAY EVENING, MARCH 3, AT 8. J 5 PRECISELY. PROGRAMME. Goldmark ..... Overture, " In the Spring," Op. 36 Brahms . Concerto in D major, for Violin and Orchestra, Op. 77 I. Allegro non troppo. II. Adagio. III. Allegro giocoso, ma non troppo vivace. Beethoven .... Symphony No. 4, in B-flat major, Op. 60 I. Adagio ; Allegro vivace. II. Adagio. III. Allegro vivace; Trio: Un poco meno allegro. IV. Finale : Allegro ma non troppo. SOLOIST, Mr. CARL WENDLING. There will be an intermission of ten minutes before the symphony* 5 Ready to be played by means ofper/o- by any one rated rolls MUSICAL EXPRESSION Many pianists play mechanically. Their technique is often admirable, but their touch is so uncompromisingly uniform from end to end and from top to bottom of a piece that the effect is inevitably automatic. The same is true of player-pianos lacking adequate means of proper accent. On the other hand, it is practically AUTOTONEimpossible to play mechanically on the The Piano ALL can play Either by hand or by perforated music-rolls. The technique of the Autotone is faultless ; and, in addition, it possesses most wonderful means of musical expression found in no other instrument. One of the most important of these exclusive features is THE ACCENTOR It places at the finger tips of the most unpractised music-lover the perfect means of proper accent. - It enables any one to subdue the accompaniment and bring out the melody ; to accent any chord, note, or series of notes,—all with the utmost ease and simplicity. This accenting is not arbitrarily mechanical, as wJien cut in the music-roll, but has ail the fascination of individual interpretation. A simple trial ef the Autotone at our warerooms or at the warerooms of our representatives in- stantly demonstrates its overwhelming advantages. The Autotone is net a combination of an exterior player made in one factory and a piano made in another. The Autotone is a com- plete and perfect whole, every part being made under one roof. cAll makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST Estab. HARDMAN, PECK & CO., 1842 138 Fifth Avenue (corner 19th Street), New York Represented in Worcester by F. J. CHARRON & SON, 43 Park Street Ready to be played A utotone parts are by hand invisible Overture, "In the Spring," Op. 36 Carl Goldmark (Born at Keszthely, Hungary, May 18, 1830; still living at Vienna.) This overture was first played at Vienna, December 1, 1889, at a Philharmonic Concert. Goldmark was then known chiefly as the com- poser of the opera, "The Queen of Sheba," and the concert overtures, "Sakuntala" and '-Penthesilea." The overtures, "Prometheus Bound" and "Sappho," were not then written. There was wonder why Goldmark, with his love for mythology, his passion for Orientalism in music, should be concerned with the simple, inevitable phenomenon of spring, as though there were place in such an overture for lush har- monic progressions and gorgeously sensuous orchestration. Consider the list of his works: his operas, "The Queen of Sheba," "Merlin," are based on legend; "The Cricket on the Hearth" is a fanciful version of Dickens's tale; the opera, "The Prisoner of War," is the story of the maid for whose dear sake Achilles sulked; "Gotz von Berlichingen" (1902) was inspired by Goethe; "Ein Wintermarchen " (1908) is based on Shakespeare's "Winter's Tale." Of his two symphonies, the more famous, the "Country Wedding," might be celebrated in a pleasure-ground of Baghdad rather than in some Austrian village. And what are the subjects of his overtures? Sakuntala, who loses her ring and is beloved by the great king Dushianta; Penthesilea, the Lady of the Ax, —and some say that she invented the glaive, bill, and halberd, —the Amazon queen, who was slain by Achilles and mourned amorously by him after he saw her dead,*—the woman whose portrait is in the same gallery with the likenesses of Temba-Ndumba, Judith, Tomyris, Candace, Jael, Joan of Arc, Margaret of Anjou, Semiramis, the Woman of Saragossa, Mary Ambree—Penthesilea, a heroine of * But Goldmark's overture was inspired by von Kleist's tragedy, in which Penthesilea, suspecting Achilles of treachery, sets her hounds on him and tears with them his flesh; then, her fury spent, she stabs herself and falls on the mutilated body. LATEST ADDITIONS TO THE LIST OF MINIATURE SCORES MOZART. Symphony in D major $0.50 AUBER. "Le Cheval de Bronze" Overture .50 BOIELDIEU. "La Dame Blanche" Overture .... .50 MENDELSSOHN. "Calm Sea and Prosperous Voyage" - .50 ROSSINI. "Semiramide" .50 E. ELGAR. "Military Marches H Pomp and Circumstance" No. 1 in D - - $1.00 No. 2 in A 1.00 No. 3 in C 1.00 No. 4inG - 1.00 E. ELGAR. "Sea Pictures." Cycle of Five Songs for Contralto - 1.50 BRAHMS. German Requiem --.--... 3.00 HAYDN. "Creation" 2.50 LISZT. Second Piano Concerto in A major ..... 2.00 MOZART. Requiem - 1.50 B00SEY S COMPANY, 9 East Seventeenth St., New York City 7 . Masochismus ; Prometheus bound in a cleft of a rock in a distant desert of Scythia, defying Jove, the heaving earth, the bellowing thun- der, the whirling hurricane, the firmament embroiled with the deep; Sappho, "the little woman with black hair and a beautiful smile," with her marvellous song " Made of perfect sound and exceeding passion." And for his latest concert overture, "In Italy" (1904), Goldmark endeavored to warm his blood by thinking of Italy, The composer of "Sakuntala," "The Queen of Sheba," and "The Country Wedding," a composer of an overture to "Spring"! His music was as his blood, —half Hungarian, half Hebraic. His melodies were like unto the century-old chants solemnly intoned by priests with drooping eyes, or dreamed of by the eaters of leaves and flowers of hemp. His harmonies, with their augmented fourths and diminished sixths and restless shiftings from major to minor, were as the stupefying odors of charred frankincense and grated sandal-wood. To Western people he was as the disquieting Malay, who knocked at De Quincey's door in the mountain region. Over a hundred years before Diderot had reproached de Saint- Lambert, the author of a poem, "The Seasons," for having " too much azure, emerald, topaz, sapphire, enamel, crystal, on his pallet," when he attempted to picture Spring. TWELVE LESSONS IN THE Fundamentals of Voice Production By ARTHUR L. MANCHESTER (IN PRESS) Price, postpaid, $1.00 Good singing is built upon a good foundation, which in turn depends upon a correct tone production. The Twelve Lessons, by Mr. Manchester, present, in a succinct, clearly stated form, the fundamental principles, which statements are illustrated by simple practical exercises.
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