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Boston Symphony Orchestra Concert Programs, Season

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Boston Symphony Orchestra Concert Programs, Season FOOT-GUARD HALL, HARTFORD. BostonSymptpig Orchestra WILHELM GERICKE, Conductor. Twenty-fifth Season, J905-1906. PROGRAMME OF THE Third and Last Concert Tuesday Evening, March 20, AT 8.15 PRECISELY. Notes by Philip Hale. With Historical and Descriptive Manager, Published by C A. ELLIS, l THE PIANO During the musical season of 1 905-1 906 is being played in prin- cipal cities from Boston to San Francisco, in Recital, before Musi- cal Clubs, leading musical organizations, with the great orchestras, and by the greatest pianists, among whom may be named the following : Boston Symphony Orchestra, Wilhelm Gericke, Conductor. HAROLD BAUER Pittsburgh Orchestra, Emil Paur, Conductor. Indianapolis Orchestra, Hans Schneider, Con- ductor. Kneisel Quartet. Chicago Orchestra, Frederick Stock, Conductor. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. RUDOLPH GANZ New York Philharmonic Orchestra, Felix Wein- gartner, Conductor. Philadelphia Orchestra, Fritz Scheel, Conductor. Kneisel Quartet. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. New Haven Orchestra, Horatio W. Parker, Con- ANTOINETTE SZUMOWSKA ductor. ] / Chicago Orchestra, Frederick Stock, Conductor. \ Adamowski Trio. EMIL PAUR . Pittsburgh Orchestra. Boston Symphony Orchestra, Wilhelm Gericke, HEINRICH GEBHARD . Conductor. Kneisel Quartet. ( Kneisel Quartet. VINCENT D'INDY . ( Longy Club. Boston Orchestral Club, Georges Longy, Con- ALFRED De VOTO . ductor. Longy Club. Hartford Representatives SEDGWICK C& CASEY Asylum and Trumbull Streets . Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GBRICKE, Conductor First Viouns Hess, Willy, C oncer tmeister Adamowski, T Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. Kiintz, D. Hoffmann, Fiedler, J. E. Mullaly, J. C. Moldauer, A. Strube, G. Rissland, K. Second Violins. Barleben, C. Schuchmann, F. E. Kurth, R. Kuntz, A. Akeroyd, J. Tischer-Zeitz, H. Goldstein, S. Fiedler, B. Fiumara, P. Marble, E. B. Berger, H. Traupe, W. Sworasbourae, W. W. Eichler, J. Edw Violas. Zach, M. Sauer, G. F. Hoyer, H. Krauss, O. H. Ferir, E. Kolster, A. Kluge, M. Gietzen, A. Heindl, H. Zahn, F. Violoncellos. Warnke, H. Loeffler, E. Barth, C. Hadley, A Heindl, A. Nast, L. Keller, J. Nagel, R. Adamowski, J. Heberlein, H. Basses. Keller, K. Bareither, G. Butler, H. Schurig, R Kunze, M. Seydel, T. Gerhardt, G. Elkind, S Flutes. Oboes. Maquarre, A. Brooke, A Longy, G. Sautet, G Fox, Paul Maquarre, D. Lenom, C. English Horn. Clarinets. Bass Clarinet. A. Fritzsche, O. Mttller, F. Grisez, G. Mimart, P. Vannini, Bassoons. Contra-bassoon . Debuchy, A. Sadoni, P. Regestein, E- Helleberg, J. Horns. Hain, F. Hackebarth, A. Lorbeer, H. Schumann, C. Hess, M. Phair, J. Trumpets. Trombones. Hampe, C Mausebach, A Kloepfel, L. Mann, J. F. Kenfield, L. S. Brenton, H. E. Merrill, C. Drums. Harp. Tuba. Tympani. Rettberg, A. Ludwig. C. R. Schuecker, H. Dworak, J. F. Castanets. Librarian Triangle, etc. Bass Drum. Cymbals. Sauerquell, Bower, H. Ludwig, C. F. J. Senia, T. Burkhardt, H. 3 eOUBSi ^ 608TOH ^ UsCa. PIANO that has been manufactured continuously for over Eighty-two years, which has been honored and distin- guished by States and Sovereigns, by learned societies and World's Expositions, by the greatest contemporaneous mu- sicians who have bestowed upon it the highest testimonials, awards, and decorations, embracing every known method of publicly recog- nizing distinguished merit. The public honors alone include 129 First Medals and Awards. A vast experience is thus exemplified in the Chickering Piano of to-day. CHICKERING & SONS Established 1823 791 TREMONT STREET BOSTON, MASS. J. M. GALLUP & CO., Sole Representatives, Hartford, Conn. Boston FOOT-GUARD HALL, Symphony § Hartford. T" Twenty-fifth Season, 1905- J 906. OrCnCSt TSi Twenty-first Concert in Hartford. WILHELM GERICKE, Conductor. THIRD AND LAST CONCERT, TUESDAY EVENING, MARCH 20, AT 8.15 PRECISELY. PROGRAMME. Vincent d'Indy . Symphony on a Mountain Air, for Orchestra and Pianoforte, Op. 25. First time at these concerts I. Assez lent, moderement anime, un peu plus vite, etc. II. Assez modere, mais sans lenteur. III. Anime. (Mr. Heinrich Gebhard, Pianist.) Mendelssohn- Bartholdy . Concerto in E minor, for Violin, Op. 64 I. Allegro molto appassionato. II. Andante. III. Allegretto non troppo. Allegro molto vivace. " Wagner Bacchanale from " Tannhauser " Wagner Overture to " Tannhauser SOLOIST: Professor WILLY HESS- The pianoforte is a Mason & Hamlin. c3ncerto. There wifl be an intermission of ten minutes after the 5 OMAN PIANO THE genius employed for the past sixty- four years in the manufacture of these instruments has produced a piano with a pure musical tone. Besides possessing this tone they have a peculiar feature in that they actually improve with use. Established in 1842. Booklets of information. Hardman, Peck <i%f Co., Makers F;£th Avenue and 19th Street, New York — Symphony For Orchestra and Pianoforte on a French Mountain bONG, Op. 25 . PAUIy Marie Th£0D0RE Vincent d'Indy (Born at Paris, March 27, 1852;* now living at Paris.) This "Symphonie en parties, pour 3 piano et orchestre, sur un air mon- tagnard francais," was composed in 1886. It was performed at a Lamoureux Concert, Paris, March 20, 1887, when the pianist was Mrs Bordes-Pene. The first performance in Boston was at a Symphony Concert, April 5, 1902, when Mr. Harold Bauer was the pianist. The folk-melody chosen by d'Indy is one that may be heard between Tortous and Bouchard in the Cevennes, "sung afar off with full voice by a young girl." Reference is made to it in "Chansons Populaires," col- lected in the Viverais and the Vercors by Vincent d'Indy, and arranged with a preface and notes by Julien Tiersot (Paris, 1892). The air is given in notation by Tiersot in his "Histoire de la Chanson Populaire en France" (Paris, 1889, P- 104). Tiersot says: "The high mountains give to folk-airs tha.t become acclimated to their altitude something of the purity of their atmosphere. It seems as though there were in these mountain songs—they are generally songs of shepherds—something fluid, ethereal, a gentleness that is not found in folk-songs of the plains." He quotes one of these airs, and then says: "It is the same melodic essence that, in spite of diversities of form, still flavors Alpine songs, of which the Swiss Ranz des Vaches are types known to every one. It is the same spirit that distinguishes that air of the Cevennes which Mr. Vincent d'Indy took for the theme of a symphonic work lately per- formed." * Baker's Biographical Dictionary of Musicians (igoo), Riemann's Musik Lexikon (i8gg), Grove's Dictionary of Music and Musicians, and Constant Pierre's "Le Conservatoire National de Musique et dc Declamation" (igoo) give t8sj as the year of d'Indy's birth. Adolphe Jullien, the author uf the biofjraphical sketch in Grove's Dictionary, says that the date 1851 as given by him is "verified by register of birth." Mr. d'Indy in an autograph sketch of his life and career, prepared for "Famous Composers" (New Series, vol. i, Boston, 1 goo), gave 1852 as his birth-year. Ed. NEW CYCLES OF SONGS Garden of Kama Two keys By Alma Goetz Songs of Travel For Baritone Ralph Vaughn Williams Songs of the Hill Two keys Landon Ronald Three Song Poems Two keys S. Coleridge-Taylor Three Traditional Ulster Airs H. Harty A Shropshire Lad A. Somervell A Dream of Flowers J. Clifford Songs of the Desert Two keys G. H. Clutsam In Sunshine and Shadow Two keys Landon Ronald Camella Graham Peel Bohemian Songs Joseph Holbrooke The Life of a Rose Liza Lehmann On Jhelum River (A Kashmira Love Story) Amy Woodeford-Finden BOOSEY & COMPANY, 9 East 17th Street, NEW YORK 7 : SECOND EDITION ELSON'S Music Dictionary By LOUIS C. ELSON England Conservatory Music Professor of Theory of Music at the New of Ever since Tinctor, about 1475, ^'rote the first music dictionary, there has been an endless succession of books dealing with musical defini- tions. This is but natural and proper, since the musical art is constantly changing. A music dictionary, unless frequently revised, easily drops behind the times. There are no obsolete terms in Elson's Music Dictionary, but every necessary word is included, with its pronunciation. By pronuncia- tion is meant a phonetic spelling in the English language, not merely accent marks. This ap- plies as weil to composers' names; for instance, Rachmaninoff =Rachh-wa/;«-neenoff. In addition to 289 pages containing the defi- nitions and pronunciations of all the terms and signs that are used in modern music, are the following Rules for pronouncing Italian, German, and French. A list of popular errors and doubtful terms in music. A list of prominent foreign composers, artists, etc., with their chief works, the pronunciation of their names, and the » date of their birth and death. A short vocabulary of English musical terms with their Italian equivalents. The rules for pronunciation will enable the student to pronounce not only the musical terms, but every word in either of the three languages Such terms as " Pitch," " Sonata," " Tempera- ment," "Turn," "Scale," -Organ," "Notation," " Form," "Key," etc., are explained at length. In some cases from three to four pages are devoted to a single word. On important subjects full biblio- graphical references are given. The book comprises 306 pages, and is bound in serviceable cloth covers. PRICE, POSTPAID, $1.00. COPIES SENT FOR EXAMINATION OLIVER DITSON COMPANY, Boston CHARLES H. DITSON & CO., New York J. E. DITSON & CO., Philadelphia LYON & HEALY, Chicago Order of your home dealer or the above houses. — D Indy calls his work.a symphony. It is not a pianoforte concerto ; the pianoforte enters occasionally as a solo instrument, but for the most part it is treated as an orchestral instrument. One of the interesting features SY 7 WhiGh might be Called a ' fantasia the manner J l\ ™Z > ^ in which both harp and pianoforte are used together, in opposition, and in various instrumental combinations.
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