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Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip

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Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip ACADEMY OF MUSIC . BROOKLYN Thirty-first Season, J9U-J9I2 Soaimt Symphony t§tttymm MAX FIEDLER, Conductor frogramm? of % FOURTH CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, FEBRUARY 23 AT 8.15 . COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER ha6> MIGNONETTE GRAND In Fancy $700 Mahogany 5 feet 2 inches Where others have failed to build a Small and Perfect Grand Piano meeting with present-day requirements, the House of Knabe, after years of research and experiment, has succeeded in producing The World's Best Grand Piano as attested by many of the World's best musicians, grand opera artists, stars, composers, etc. The Knabe Mignonette Grand is indispensable where space is limited— desirable in the highest degree where an abundance of space exists. Wm. KNABE & Co. Division—American Piano Co. 5th Avenue and 39th Street - - NEW YORK CITY Established 1837 Boston Symphony Orchestra PERSONNEL Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Theodorowicz, J. Concert-master. Kuntz, D. Krafft, F. W. Mahn, F. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Eichheim, H. Bak, A. Mullaly, J. Goldstein, H. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kurth, R. Fabrizio, C. i Goldstein. S. Werner, H. Griinberg, M. Violas. Ferir, E. Spoor, S. Pauer, H. Kolster, A. VanWynbergen, C Gietzen, A. Hoyer, H. Kluge, M '.. Forster, E. Kautzenbach, W. Violoncellos. Schroeder, A. Keller, Belinski, J. Barth , C. M Warnke, J. Warnke, H. Nagel, R. Nast, L. Hadley, A. Smalley, R. 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. 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. Mosbach ,J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, 0. Lorbeer, H. Gebhardt, W. Mann, J. Alloo, M. Hain, F. HackebartH, A. Heim, G. Mausebach, A. Phair, J. Schumann, C. Merrill, C. Kenfield, L. Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Rettberg, A. Senia, T. Kandler, F. Zahn, F. Burkhardt, H. Organ. Librarian. Marshall, J. P. Sauerquell, J. : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons. the eminent British critic, says: " Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. 8 EAST 34th STREET, NEW YORK ACADEMY OF MUSIC - - - BROOKLYN Twenty-fourth Season in Brooklyn So0t0tt g>gmplj0ttg ©nostra Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor FOURTH CONCERT FRIDAY EVENING, FEBRUARY 23 AT 8.15 PROGRAMME . Mendelssohn . Overture to "A Midsummer Night's Dream/' Op. 21 Franck Symphony in D minor I. Lento: Allegro non troppo. II. Allegretto. III. Allegro non troppo. Saint-Saens . Concerto in B minor for Violin and Orchestra, No. 3, Op. 61 I. Allegro non troppo. II. Andantino quasi allegretto. III. Molto moderato e maestoso: Allegro non troppo. " Tschaikowsky Overture, 181 2," Op. 49 SOLOIST BESSIE BELL COLLIER There will be an intermi«ion of ten minutes after the symphony 5 Overture, "A Midsummer Night's Dream," Op. 21. Felix MendeivSSohn-Bartholdy (Born at Hamburg, February 3, 1809; died a"t Leipsic, November 4, 1847.) Translations by Schlegel and Tieck of Shakespeare's plays were read by Mendelssohn and his sister Fanny in 1826. The overture, "A Midsummer Night's Dream," was written that year, the year of the String Quintet in A (Op. 18), the Sonata in E (Op. 6), and some minor pieces. Klingemann tells us that part of the score was written "in the summer, in the open air, in the Mendelssohns' garden at Berlin, for I was present." This garden belonged to a house in the Leip- ziger Strasse (No. 3). It was near the Potsdam gate, and when Abra- ham Mendelssohn, the father, bought it, his friends complained that he was moving out of the world. There was an estate of about ten acres. In the house was a room for theatrical performances ; and the centre of the garden-house formed a hall which held several hundred, and it was here that Sunday music was performed. In the time of Frederick the Great this garden was part of the Thiergarten. In the summer houses were writing materials, and Felix edited a newspaper, called in summer The Garden Times, and in the winter The Snow and Tea Times. Mendelssohn told Hiller that he had worked long and eagerly on the overture: "How in his spare time between the lectures at the Berlin University he had gone on extemporizing at it on the pianoforte of a beautiful woman who lived close by; 'for a whole year, I hardly did anything else,' he said; and certainly he had not wasted his time." It is said that Mendelssohn made two drafts of the overture, and YOUR SAFEST PIANO STORE is surely the one in which you can have not only the guarantee of responsible makers but also the guarantee of a responsible store. Kranich and Bach Francis Bacon Estey Gordon and Sons Bjur Brothers PIANOS AND PLAYER -PIANOS are sold exclusively at Loeser's in this vicinity, and the guarantee of this Store as well as of the makers is back of them. No finer group of instruments could be brought together. No other instruments as fine are anywhere sold for as moderate prices. ' TERMS OF PAYMENT TO SUIT YOU 1M every d«*a «** tending Keiad EaaMtshmcnt q| arooMya.1 6 discarded the first after he completed the first half. The earlier draft began with the four chords and the fairy figure; then followed a reg- ular overture, in which use was made of a theme typical of the loves of Lysander and Hermia and of kin to the "love melody" of the pres- ent version. The overture was first written as a pianoforte duet, and it was first played to Moscheles in that form by the composer and his sister, No- vember 19, 1826. It was performed afterward by an orchestra in the garden-house. The first public performance was at Stettin on Febru- ary 20, 1827, when Karl Lowe conducted.* The critic was not hurried in those days, for an account of the concert appeared in the Earmoni- con for December of that year. The critic had had time to think the matter over, and his conclusion was that the overture was of little importance. In 1843 King Frederick William the Fourth of Prussia wished Men- delssohn to compose music for the plays, "Antigone," "A Midsummer Night's Dream," "Athalie," which should be produced in September. During the summer of that year Mendelssohn composed the additional music for Shakespeare's play. The rehearsals began in an upper story of the royal palace at Berlin, because the height of the room permitted the use of scenery much higher than that found ordinarily in theatres. Tieck had divided the play into three acts, and had said nothing to the composer about the change. Mendelssohn had com- posed with reference to the original division. The first performance was at the New Palace, Potsdam, October 14, 1843. Joachim, then an infant phenomenon, went from Leipsic to hear it. Fanny wrote to her sister at Rome: "Never did I hear an orchestra play so pianissimo. The dead-march for Thisbe and Pyramus is really stupendous; I could scarcely believe up to the last that Felix would have the impudence to bring it before the public, for it is exactly like the mock preludes he plays when you cannot get him to be serious." The play was per- formed at the King's Theatre, Berlin, on October 18 and the three *Lowe is named as the conductor by Tbeodor Miiller-Reuter in his "Lexikon der deutschen Konzert- literatur" (Leipsic, 1909). Mendelssohn went to Stettin to play Weber's Konzertstuck, and with Lowe a double concerto of his own. The statement has been made that Mendelssohn then conducted the overture. G. SCHIRMER (Inc.), 3 East 43d Street, NEW YORK JUST PUBLISHED Advanced Exercises for the Violin * By FRANZ KNEISEL Price, $1.50 net These exercises, the fruit of many years of ripe practical experience, have been designed by Mr. Kneisel, to furnish a logical technical preparation for the study of the Rode "Caprices," as well as to supply progressively arranged mate- rial to be employed in connection with the Vieuxtemps studies, Dont's "Gradus ad Parnassum," and Wieniawski's "Ecole moderne." The pupil can begin the study of these advanced technical figurations as soon as Kreutzer has been thor- oughly mastered, and intelligent work is sure to bring about the result they were written to secure — a correct position of the left hand, and grace and facility in the manipulation of the bow.
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