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Boston Symphony Orchestra Concert Programs, Season 36,1916

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Boston Symphony Orchestra Concert Programs, Season 36,1916 ACADEMY OF MUSIC, PHILADELPHIA Thirty-second Season in Philadelphia D< Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, FEBRUARY 12 AT 8.15 COPYRIGHT, 1917, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER The ideal of the Steinway Piano is a beautiful voice. The work of the Steinway family is to create a sensitive but permanent vehicle for its expression, "The Steinway realization means the eleva- tion and furtherance of the great art of music. Their field is the world and mankind is the beneficiary. Rarely have men had such in- spiration and more rarely have they risen to the heights or possessed such unobscured and prophetic vision of the intellectual needs." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor PERSONNEL Violins, Witck, A. Roth, 0. Rissland, K. Theodorowicz, J. Concert-master. Hoffmann, J. Schmidt, E. Bak, A. Noack, S. Mahn, F. Ribarsch, A Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Baraniecki, A. Griinberg, M. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiurnara, P. Spoor, S. Siilzen, H. Fiedler, A. Gerardi, A. Pinfield, C. Gewirtz, J. Kurth, R. Gunderson, R. Rosen, S. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, 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, Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Mosbach. J. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H. Vannini, A. Piller, B. Battles, A. i English Horn. Bass Clarinet. Contra-Bassoon Mueller, F. Stumpf, K. Fuhrmann, M. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B Heim, G. AUoo, M. Lorbeer, H. Miersch, E. Mann, J. Belgiomo, S. Hain, F. Hess, M. Nappi, G. Mausebach, A. Resch, A. Hiibner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann. S. Zahn, F. Gardner, C. Cella, T. Kandler, F. Burkhardt, H. Organ. » Librarian. Assistant Librarian P. Marshall. J. Sauerquell. J. Rogers, L. J. The tone of the Chickering is the voice of ripened experience and constant study in the production of perfect pianofortes. "It is the tone of nature," said de Pachmann, "it sings like a lovely voice" UPRIGHT PIANOS GRAND PIANOS THE CHICKERING-AMPICO REPRODUCING PIANOS play the interpretations of the world's foremost pianists—tone for tone, phrase for phrase—the exact duplication of the artists' own renditions from actual recordings. UPRIGHT AND GRAND STYLES EXCLUSIVE REPRESENTATIVE IN PHILADELPHIA ACADEMY OF MUSIC PHILADELPHIA Thirty-second season in Philadelphia o2) Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor FOURTH CONCERT MONDAY EVENING, FEBRUARY 12 AT 8.15 PROGRAMME Smetana Overture to "The Sold Bride" ~ Bruch . Fantasia on Scottish Airs, for Violin and Orchestra, Op. 46 I. Introduction: Grave. Adagio cantabile. II. Scherzo: Allegro. • III. Andante sostenuto. IV. Finale: Allegro guerriero. Strauss . "Don Juan," a Tone-poem (after Nicolaus Lenau), Op. 20 Beethoven Symphony No. 8, F major, Op. 93 I. Allegro vivace e con brio. II. Allegretto scherzando. III. Tempo di minuetto. IV. Allegro vivace. SOLOIST ANTON WITEK There will be an intermission of ten minutes before the symphony The length of this programme is one hour and forty-five minutes 5 i — I. n Jr IT F OP1 The Talking Machine You Want is to be found at Heppe's Whether it be the $ 1 5 model or a superb $300 type of Victrola, every artistic possi- bility of the Talking Machine is assured when it comes from Heppe's. Experts adjust every machine that leaves our establishment and our service is best because we are both wholesale and retail distributors. LOWEST FACTORY PRICES GUARANTEED, WHETHER YOU BUY FOR CASH OR ON TIME Victrolas, *1 5 to $300 HEPPE & 1117-1119 Chestnut Street, 6th and Thompson Streets Wholesale and Retail Overture to the Opera, "The Sold Bride" . Frederick Smetana (Born at Leitomischl, Bohemia, March 2, 1824; died in the mad-house at Prague, May 12, 1884.) M Prodana nevesta" ("Die verkaufte Braut"), a comic opera in three acts, the book by Karl Sabina, the music by Smetana, was performed for the first time at Prague, May 30, 1866. The overture, which, according to Hanslick, might well serve as prelude to a comedy of Shakespeare,—and indeed the overture has been entitled in some concert halls "Comedy Overture,"—is scored for one piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrurrrs, strings. The chief theme of the operatic score as well as of the dramatic action is the sale of the betrothed, and this furnishes the chief thematic material of the overture. The overture begins vivacissimo, F major, 2-2, with the chief theme at once announced by strings and wood-wind in unison and octaves against heavy chords in brass and kettledrums. This theme is soon treated in fugal manner; the second violins lead, and are followed in turn by the first violins, violas, and first 'cellos, and second 'cellos and double-basses. The exposition is succeeded by a vigorous "diver- sion," or "subsidiary," for full orchestra. The fugal work is resumed; the wind instruments as well as the strings take part in it, and the subsidiary theme is used as a counter-subject. There is development fortissimo by full orchestra, and the chief theme is again announced as at the beginning. The second theme enters, a melody for oboe, accompanied by clarinets, bassoon, horn, second violins. This theme is as a fleeting episode; it is hardly developed at all, and is followed by a tuneful theme for violins and first 'cellos. The chief motive Music Publishers Schixmex'd JEibxaxy of J^CudicaL Giaddicd ^Ghe JbTudical Qxiaxtexlv 3 East 43rd Street • NewYork returns in the wood-wind, then in the strings, and the fugal work is resumed. The leading motive is reiterated as at the beginning of the overture (without the double-basses). The tonality is changed to D-flat major, and flutes and oboes take up the first subsidiary theme, which keeps coming in over harmonies in lower strings and wind, while the music sinks to pianissimo. Fragments of the first theme reappear in the strings, and there is a brilliant coda. * * Smetana began to compose the opera in May, 1863. He completed the work March 15, 1866. There is a story that Smetana was excited to the composition of "strictly national" music by a remark made at Weimar by Herbeck when they were guests of Liszt,—that the Czechs were simply repro- ductive artists. - The opening of the Czechic Interims Theatre at Prague, November 18, 1862, was the first step toward the establish- ment of a native operatic art. Smetana finished in April, 1863, his first opera, " Branibori v Cechach," or " Die Brandenburger in Bohmen," but it was not performed until January 5, 1866. Karl Sebor was more fortunate: his opera, "Templari na Morave," was performed in the Czechic Theatre in 1865. The Libretto of Smetana's first opera was undramatic, improbable, ridiculous. The Bohemian operas before Smetana were in the old' forms of the Italian, French, and German schools, and the public accused Smetana of "Wagnerism," the charge brought in Paris against Bizet even before "Carmen" saw the footlights. Smetana was a follower of Wagner in opera and of Liszt in the symphonic poem. He believed in the ever-flowing melody in the operatic orchestra; this melody should never interrupt, never disturb, the dramatic sense; the music should have a consistent physiognomy; it should characterize FRANKLIN E. CRESSON, Director DAVID E. CROZIER LUCIUS COLE ALBERT W. BORST RAYMOND L. YEAKEL F. EDMUND EDMUNDS SAMUEL J. RIEGEL 1714 CHESTNUT STREET 57 EAST PENN STREET, GERMANTOWN — (FREDERICK HAHN, Director) A SCHOOL FOR ARTISTS AND TEACHERS AS WELL AS STUDENTS OF ALL AGES Announcing a Faculty of Artists Unsurpassed Anywhere in America .. FACULTY .. PIANO VIOLIN Gregory Kannerstein Frederick Hahn Aurelio Giorni Charlton Murphy Xavier Dimarias George Brodman Alice Lewis Murphy and Assistants Bessie Husted Glover Adele Foy VIOLONCELLO Mahlon Yardley Bertrand Austin Lilian Fitz-Maurice Carl Kneisel and Assistants CLAVIER VOICE VIRGIL Lilian Fitz-Maurice Henry Hotz Henry Gurney CLARINET Cesare Sturani Besse Kille Slaugh Frederich Dieterichs Carlotta Bautz-Mattox Bella T. Ramsey CORNET and TRUMPET and Assistants Edward Fritz Other Wind Instruments taught by members of Philadelphia Orchestra ORGAN AURAL THEORY Lewis Wadlo J. Franklin Whitman Robinson Bessie Husted Glover SCHOOL of INTERPRETATION and STAGE DIRECTING Edward S. Grant The following Eminent Artist Teachers have been added this year: Piano: Aurelio Giorni, Xavier Dimarias. Voice: Cesare Sturani. Aural Theory: Franklin Whitman Robinson. Organ: Lewis J. Wadlo, Bessie Husted Glover. Special Courses in Public School Music for Supervisors Opera, Acting, Esthetic Dancing, and Ostrovsky Apparati Progressive Series for Piano CATALOGUE ON APPLICATION 1714 CHESTNUT ST., PHILADELPHIA Telephone.. Spruce 3408 the dramatic; the Lett-motive should individualize; but Smetana knew the folly of imitation, nor was he the kind of man to play the sedulous ape. He once said, "We cannot compose as Wagner com- poses," and therefore he sought to place in the frame
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