Boston Symphony Orchestra Concert Programs, Season 29,1909-1910, Trip
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ACADEMY OF MUSIC, PHILADELPHIA Twenty-fifth Season in Philadelphia MAX FIEDLER, Conductor programme of % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, NOVEMBER 8 AT 8.J5 PRECISELY COPYRIGHT, 19C9 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 MUSICAL ECHO CO. 1217 Chestnut Street, Philadelphia Boston Symphony Orchestra PERSONNEL Twenty-ininth 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. 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, O Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. KenfieldjL. Phair, J. Schumann, C. Merrill, C. Harp. Tvmpani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia^T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. 3 ©tie atfjttftmttg litnuo 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. Represented in Philadelphia by JOHN WANAMAKER ACADEMY OF MUSIC . PHILADELPHIA Twenty-fifth Season in Philadephia Uoatoti >tqjipitu} GDrrfjwtra Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor FIRST CONCERT MONDAY EVENING, NOVEMBER 8 i AT U5 PRECISELY PROGRAMME Granville Bantock . » The Pierrot of the Minute," a Comedy Overture to a Dramatic Phantasy of Ernest Dowson First time in New York Tschaikowsky . Symphony No. 5, in E minor, Op. 64 I. Andante ; Allegro con anima. II. Andante cantabile, con alcuna licenza. III. Valse : Allegro moderate IV. Finale : Andante maestoso ; Allegro vivace. Orchestra Rachmaninoff . Second Concerto for Pianoforte with Op. 18 I. Moderate » II. Adagio Sostenuto. III. Allegro Scherzando. " Op. 20 Richard Strauss . Tone-poem, "Don Juan (after N. Lenau), SOLOIST SERGE RACHMANINOFF The Mason & Hamlin Pianoforte There will be an intermission of ten minutes after the symphony AkysfteKiiabe BALTIMORE NEW YORK WASHINGTON Represented in Philadelphia by JOHN WANAMAKER — "The Pierrot of the Minute," a Comedy Overture to a Dramatic Phantasy of Ernest Dowson Granville Bantock (Born at London, August 7,* 1868; now living in Birmingham.) This Comedy Overture was performed for the first time at the Worces- ter (England) Festival, September 9, 1908. The composer conducted. The overture was then announced: "Fantastic Poem for Orchestra in the form of a Prelude." When it was performed in London, April 7, 1909, it was announced on the program as a "Fantastic Poem." The overture, dedicated "to my friend Otto Kling," is scored for piccolo, two flutes, oboe, two clarinets, bassoon, three horns, two trumpets, trombone, kettledrums, tambourine, triangle, Glockenspiel, harp, and the usual strings. The following argument is published as a preface to the score : Pierrot enters a glade in the park of the Petit Trianon at twilight, led thither in obedience to a mysterious message, which bids him come to sleep one night within these precincts if he would encounter Love. Half whimsical, half fearful, he wonders why he, so careless, thoughtless, and gay, should now be filled with wistful longing, and in the fast-falling darkness he lies down on a couch of fern and jfalls asleep. A Moon Maiden descends the steps of the Temple of Love, and, bending >over the sleeper, kisses him. He awakes and throws himself at her feet in rapt devotion, though she warns him that the kisses of the Moon are of a fatal sweetness, and that "Whoso seeks her she gathers like a flower; He gives a life, and only gains an hour." >But Pierrot, reckless, demands the pure and perfect bliss, though life be the price to pay. With gay laughter and sprightly jest they learn together the lore of Love; but daybreak approaches, the birds awaken, and the Moon Maiden must leave him. Together they gaze at the coming dawn; then Pierrot, sinking back on his couch, falls softly asleep once more, and the Moon Maiden vanishes. The Prelude ends with the awakening of Pierrot, his love dream being but the illusion of a minute. * The date is given August 17th by one biographer. 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 T38 Fifth Avenue, New York . 524 Fulton Street, Brooklyn Represented in Philadelphia by GIMBLE BROS. The overture begins with a short introduction, Presto, 3-8. This leads to an Allegro vivo, in which the chief theme—it may be called the Pierrot motive—is given to the bassoon, supported by harp and the lower strings. This section begins, leggiero, with a characteris- tic, tricksy figure (strings pizz., wind instruments, and a harp chord), and it is used freely in the course of the overture. The motives are treated fantastically (leggiero delicato; moderato; allegretto capric- cioso, first 2-4) , with a motive announced by muted trumpets. Another section, piu moto con grazia, 3-8, is introduced by an expressive oboe solo. The mood grows more and more capricious until there is a tran- sition to a tenderly emotional section, molto lento cantabile, 3-4. (Violins and clarinets begin the love song.) The dream is over, and an allegro vivo with a bassoon phrase and orchestral flourish leads to the sudden and quiet ending in E minor. * * * Ernest Christopher Dowson was born at the Grove, Belmont Hill, Lee, Kent, August 2, 1867. He died at 26 Sandhurst Gardens, Cat- ford, S.E., February 23, 1900. The date of "The Pierrot of the Minute" is 1897. The Phantasy was first published in separate form with drawings by Aubrey Beardsley. It was reprinted in the col- lected poems of Dowson published by John Lane, London, and, with- out the illustrations, in the edition of Dowson's poems published by Thomas B. Mosher, of Portland, Me. For a short sketch of the poet's life and extracts from "The Pierrot of the Minute" see an entr'acte in this program-book. * Granville Ransome Bantock, the son of an English physician,* was The sources of tbe greater part of this sketch are the article "Bantock," by Mr. Fuller Maitland, in Grove's Dictionary of Music and Musicians (1904); the article "Bantock" in Brown and Stratton's "British Musical Biography" (Birmingham, 1897); a sketch published in the Musical Courier of London and reprinted by Breitkopf and Hartel; and an article in the Musical Times, January, 1909. 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