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Boston Symphony Orchestra Concert Programs, Season 35,1915-1916, Trip

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Boston Symphony Orchestra Concert Programs, Season 35,1915-1916, Trip SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY * Thirty-fifth Season. 1915-1916 Dr. KARL MUCK, Conductor r WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, APRIL 27 AT 8.00 COPYRIGHT, 1916, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER ^^^ it Yes, It's a Steinway" ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." STEINWAY STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fJth Season, 1915-1916 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, 0. Hoffmann, J. Rissland, K. Concert-master. Kqessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet. H. Habenicht r W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Griinberg, M. Pinfield, C. Gerardi, A. Kurth, R. Gunderson, R. Gewirtz J Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W Van Wynbergen, C. Blumenau, W. Violoncellos. Wanike, H. Keller, J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R. Nast, L. Folgmann, E. Warnke, J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H. Vannini, A. Fuhrmann, M. 1 Battles, A. 1 English Horn. Bass Clarinet. Contra-Bassoon. 1 Mueller, F. Stumpf, K. Mosbach, J. 1 Horns. Horns. Trumpets. Trombones. 1 Wendler, G. Jaenicke, B. Heim, G. Alloo, M. 1 Lorbeer, H. Miersch, E. Mann, J. Belgiorno, S. 1 Hain, F. Hess, M. Nappi, G. Mausebach, A. | Resch, A. Hiibner, E. Kloepfel, L. Kenfield, L. I Tuba. Harps. Tympani. Percussion. ] Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Gardner, C. Cella, T. Kandler, F. fcurkhardt, H. Organ. Librarian. Assistant Librarian. Marshall, J. P. Sauerquell, J. Rogers, L. J. 3 8BI An Artistic Triumph The Artigraphic Chickering Grand - is presented as the one player-piano that can faithfully reproduce the fine phrasing, touch, * exquisite tone production and tone coloring of N * such masterly pianists as Hambourg, Busoni, * Bauer, Godowsky and others without the aid of buttons, levers or expression- devices of any nature. x f^ The Artigraphic Grand, architecturally and » in size, is an exact duplicate of the beautiful X X « Chickering Grand. Its player-control when x X not in use is effectively lost from view beneath the instrument, so that the Artigraphic, excepjt to the initiated, is played upon and viewed as a magnificent Chickering Grand Pianoforte. (I We are producing a limited number of Arti- graphic Chickering Grands at $1 750 for persons of culture and refinement who appreciate the finer elements of beauty in music and in piano- fortes. We shall be very happy to demonstrate the Artigraphic either at our warerooms or in the homes of those who are genuinely interested. Charge Accounts Invited CHICKERING WAREROOMS- 1 /CQ TREMONT STREET At the Sign of the Clock J- V' Between Mason & West Sts. Edison Diamond Disc Phonographs, Victor -Victrolas and Records, Rythmodify Music Roils SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY ,!L ta =J?C^) liaii <£iL Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor EIGHTH CONCERT THURSDAY EVENING, APRIL 27 AT 8.00 PROGRAMME Mendelssohn .... Symphony in A major, "Italian," Op. 90 I. Allegro vivace. II. Andante con moto. III. Con moto moderate IV. Saltarello: Presto. Cornelius Overture to the Opera "The Barber of Bagdad Mozart Concertante Symphonie for Violin and Viola (K. Op. 364) I. Allegro maestoso, E-flat major, 4-4. II. Andante, C minor, 3-4. III. Presto, E-flat major, 2-4. Violin, Mr. Witez Viola, Mr. Ferlr (Cadenzas by Hellmesberger) Wagner Overture to "Tannhauser" There will be an intermission of ten minutes after the symphony 5 .-, — Symphony in A major, No. 4, "Italian," Op. 90. Felix Mendelssohn-Bartholdy (Born at Hamburg, February 3, 1809; died at Leipsic, November 4, 1847.) Mendelssohn wrote from Rome in December, 1830: "As for my work, I am fully occupied. The 'Hebrides' is done at last, and is a curious thing. For Christmas I propose to write Luther's choral, 'Vom Himmel hoch.' This I shall have to do all alone,—a pretty serious piece of business, as, indeed, will be the anniversary of the silver wedding, on which I shall light up a lot of candles for myself, play the 'Vaudeville,' and look at my English baton. After that I shall take hold again of my instrumental music, write some more things for the pianoforte, and perhaps another and second symphony; for there are two rattling around in my head." It will be remembered that Mendelssohn wrote ten measures of the Andante of the "Scotch" symphony, July 30, 1829, at Edinburgh, and that he worked rather fitfully on the symphony in 1830 at Rome, but did not finish it until early in 1842 at Berlin. In February, 1831, he wrote again from Rome: "I am making great progress with the Italian Symphony. It will be the most mature thing I have ever done, especially the last movement, Presto agitato. I have not yet found exactly the right thing for the Adagio, and I think I must put it off for Naples." He wrote a few days later: "If I could do one of my two symphonies here! The Italian one I must and will put off till I have seen Naples, which must play a part in it." He wrote from Naples on April 27,1831: " The bad weather which we have been having for some days was good for my working, and I plunged with all zeal into the 'Walpurgis Night.' The thing grows more and more interesting to me, and I spend on it every free moment. It will be done in a few days, I think, and it will be a jolly piece. If I remain in the present humor, I shall finish my Italian Symphony, and then I shall have something to show for my winter's work." But the symphony was not finished when Mendelssohn left Naples. He wrote from Paris (January 21, 1832) to his sister: "Do you ask why I do not compose the Italian A major symphony? Because I am composing the A minor overture with which I am going to introduce the 'Walpurgis Night.'" At the general meeting of the Philharmonic Society, London, No- vember 5, 1832, the following resolution was unanimously passed: That Mr. Mendelssohn-Bartholdy be requested to compose a symphony, an over- ture, and a vocal piece for the Society, for which he be offered the sum of one hun- dred guineas. That the copyright of the above compositions shall revert to the author after the expiration of two years, the Society reserving to itself the power of performing them at all times, it being understood that Mr. Mendelssohn have the privilege of pub- lishing any arrangement of them as soon as he may think fit after their first per- formance at the Philharmonic concerts. Mendelssohn wrote a letter of acceptance, in which he expressed his "sincerest acknowledgments" and "warmest thanks." "I need not say how happy I shall be in thinking that I write for the Philharmonic Society." He made his third visit to London in April, 1833, and was again happy in "that smoky nest." He lodged in Great Portland Street, stood godfather to Felix Moscheles, who, as a painter, visited this country, and wrote to the secretary of the Philharmonic Society: — — "I beg you will inform the Directors of the Philharmonic Society that the scores of my new symphony and overture are at their disposal, and that I shall be able to offer them a vocal composition in a short time hence, which will complete the three works they have done me the honor to desire me to write for the Society. But, as I have finished two new overtures since last year, I beg to leave the choice to the Directors as to which they would prefer for their concerts ; and, in case they should think both of them convenient for performance, I beg to offer them this fourth composition as a sign of my gratitude for the pleasure and honor they have again conferred upon me." The symphony was completed in Berlin. Mendelssohn wrote to Pastor Bauer, "My work about which I recently had many misgivings is completed, and, looking it over, I now find that, contrary to my ex- pectations, it satisfies me. I believe it has become a good piece. Be that as it may, I feel it shows progress, and that is the main point." The score bears the date, Berlin, March 13, 1833. The first performance from manuscript and under the direction of the composer at the sixth concert of the Philharmonic Society that season, May 13, 1833.
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