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Boston Symphony Orchestra Concert Programs, Season 29,1909

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Boston Symphony Orchestra Concert Programs, Season 29,1909 ACADEMY OF MUSIC . BROOKLYN Twenty-ninth Season, J 909-1910 l0Hton li>£mpt?0tttj (j&rrlpatra MAX FIEDLER, Conductor Programme of % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, NOVEMBER 12 AT 8J5 PRECISELY COPYRIQMT, 1909, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively ^^ Piano. THE JOHN CHURCH CO., 37 West 32c! Street New York City Boston Symphony Orchestra PERSONNEL Twenty-:ninth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O.- Hoffmann, J. Krafft, W. _ Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch 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. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Gietzen, A. Hoyer, H. Kluge, M. Sauer, G. Rennert, B. Violoncellos. Wamke, 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, O Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schugcker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. 3 ©fie <&\) wiring \$IMX0 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 1833 791 TREMONT STREET BOSTON, U.S. A. Represented in New York by JOHN WANAMAKER ACADEMY OF MUSIC - - - BROOKLYN Tweny-second Season in Brooklyn Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor FIRST CONCERT FRIDAY EVENING, NOVEMBER 12 AT 8J5 PRECISELY PROGRAMME " Weber ...... Overture to the Opera " Oberon Tschaikowsky . Symphony No. 5, in E minor, Op. 64 I. Andante; Allegro con anim a.: II. Andante cantabile, con alcuna licenza. III. Valse : Allegro moderate IV. Finale : Andante maestoso ; Allegro vivace. Thomas .... Air of the Drum Major, from "The Cadi" (Act I. Scene III.) " Grieg . Orchestral suite, from the music to Peer Gynt," dramatic poem by H. Ibsen, arranged for concert performance, I. Morning Mood. Op. 46. II. Death of Aase. III. Dance of Anitra. IV. In the Hall of the Mountain King. a. Massenet . Air of the Devil "Loin de safemme" from "Grise'lidis" (Act II. Scene I) b. Bordes . "Dansons la Gigue" Melody with Orchestra (Poem from Paul Verlaine's "Aquarelles") Op. 15 Richard Strauss . " Till Eulenspiegel's Merry Pranks, after the Old- fashioned Roguish Manner — in Rondo Form." Op. 28 SOLOIST CHARLES GILIBERT There will be an intermiiwon of tea minute* after the symphony 5 Once Ac Knak Akys fteKkabe m|fiwi6*$r <&o BALTIMORE NEW YORK WASHINGTON " " Overture to the Opera Oberon . , . Carl Maria von Weber (Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826.) "Oberon; or, the Elf-king's Oath," a romantic opera in three acts, book by James Robinson Plance, music by Carl Maria von Weber, was first performed at Covent Garden, London, on April 12, 1826. Weber conducted the performance. The first performance in Boston was at Music Hall by the Parepa Rosa Company, May 23, 1870. Weber was asked by Charles Kemble in 1824 to write an opera for Covent Garden. A sick and discouraged man, he buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously. Planche sent the libretto an act at a time. Weber made his first sketch on January 23, 1825. The autograph score contains this note at the end of the overture: " Finished April 9, 1826, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria ! ! !—C. M. V. Weber." This entry was made at London. The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings. The overture begins with an introduction (Adagio sostenuto ed il tutto pianissimo possibile, D major, 4-4). The horn of Oberon is answered by muted strings. The figure for flutes and clarinets is taken from the first scene of the opera (Oberon's palace; introduction and chorus of elfs). After a pianissimo little march there is a short dreamy passage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (Allegro con fuoco in D major, 4-4). The brilliant opening measures are taken from the accompaniment figure of the quartet, "Over the dark blue waters," sung by Rezia, Fatime, Huon, Scherasmin (act 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 CARUSOMr. ENRICO has selected for his personal use the Hardman Piano This adds one more proof of its musical superiority and of the preference given it by the greatest artists. Mr. Caruso, like many other great artists, examines with special care the latest products of the leading piano manufacturers with the view of selecting the best for his personal use. It is, therefore, of keen interest to the in- tending purchasers of pianos to know that so remarkable a musician and expert a judge as Mr. Caruso has adopted for such personal use the Hardman Piano. Hardman, Peck & Company ESTABLISHED 1842 524 Fulton Street, Brooklyn 138 Fifth Avenue, New York ii., scene x.). The horn of Oberon is heard again; it is answered by the skipping fairy figure. The second theme (A major, sung first by the clarinet, then by the first violins) is taken from the first measures of the second part of Huon's air (act i., No. 5). And then a theme taken from the peroration, presto con fuoco, of Rezia's air, "Ocean! Thou mighty monster" (act ii., No. 13), is given as a conclusion to the violins. This theme ends the first part of the overture. The free fantasia begins with soft repeated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods; a new theme is introduced and treated in fugato against a running contrapuntal counter-theme in the strings. The second theme is treated, but not elaborately; and then the Rezia motive brings the spirited end. At the first performance of the opera the overture was repeated. * * The first performance of "Oberon" in the United States was at New York, October 9, 1828, at the Park Theatre. Mrs. Austin was the heroine, and Horn the Sir Huon. (There was a performance of "Obe- ron," a musical romance, September 20, 1826; but it was not Weber's opera. It may have been Cooke's piece, which was produced at Lon- don early in that year.) This performance was "for the benefit of the beautiful Mrs. Austin." An admirer, whose name is now lost, spoke of her "liquid voice coming as softly on the sense of hearing as snow upon the waters or dew upon the flowers." White says that her voice was a mezzo-soprano of delicious quality. "She was very beautiful, in what is regarded as the typical Anglo-Saxon style of beauty, —'divinely fair,' with blue eyes softly bright, golden brown hair, and a well-rounded figure." She was praised lustily in print by a Mr. Berkeley, "a member of a noble English family, who accom- panied her, and managed all her affairs with an ardent devotion far C. SCHIRMER, 35 UNION SQUARE, NEW YORK Some Few Musical Compositions in the Larger Forms by American Composers H. BROCKWAY—Op. 19, Sylvan Suite. For F. S. CONVERSE—The Mystic Trumpeter. grand orchestra. Score, Net, $5.00. Parts, For grand orchestra. Score, Net, $5.00. Parts, Net, $10.00. Net, #10 00 G. W. CHADWICK— String Quartet, No. 4, H. K. HADLEY—Symphonic Fantasy. For in E minor. Parts, Net, $5 00. grand orchestra. Score, Net, $2.50. Parts, G. W. CHADWICK— Euterpe, Concert Over- Net, $5.00. ture for grand orchestra. Score, Net, $5 00. H. H. HUSS— Piano Concerto, B-flat. Piano Parts, Net, $10.00. part (in score), Net, $3.00. Orchestration for Sinfonietta. For grand G. W. CHADWICK— hire, Net, $5.00. orchestra. Score, Net, $5.00. Parts, Net, E. SCHELLING—Legende Symphonique. For $10.00, grand orchestra. Score, Net, $5 00. Parts, G. W. CHADWICK— Symphonic Sketches. Net, $10.00. For grand orchestra.
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