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Boston Symphony Orchestra Concert Programs, Season 34,1914-1915, Trip

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Boston Symphony Orchestra Concert Programs, Season 34,1914-1915, Trip ACADEMY OF MUSIC, PHILADELPHIA Thirtieth Season in Philadelphia Thirty-fourth Season, 1914.1915 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, NOVEMBER 2 AT 8.15 COPYRIGHT, 1914, BY C.A.ELLIS PUBLISHED BY C. A. ELLIS. MANAGER HEPPE-VICTOR The Talking Machine You Want is to be found at Heppe's Whether it be an ordin- ary Victor or a superb Victrola, every artistic possibility of the Talking Machine is assured when it comes from Heppe's. Experts adjust every ma- chine that leaves our establish- ment 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 $ $ Victors, 1 to 60 Victrolas, $15 to $200 HEPPE & SON 1117-1119 Chestnut Street, 6th and Thompson Streets Wholesale and Retail Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, 0. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. ' Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Kurth, R. Griinberg, M. Pinfield, C. Gerardi, A. Ringwall, R, Gunderson, R. Gewirtz, J. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P Berlin, V. Kautzenbach, W. Van Wynbergen, C. Blumenau, W- Violoncellos. Steinke, B. Warnke, H. Keller, J. Barth, C. Belinski, M. Warnke, Malkin, J. Nagel, R. Nast, L. Folgmann, E. J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, C. 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. Chevrot, A. Stanislaus, B Vannini, A. Fuhrmann, M. Battles, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Trombones. Horns. Horns. , Trumpets. Wendler, G. Jaenicke, B. Heim, G. Alloo, M. Belgiorno, S. Lorbeer, H. Miersch, E. Mann, J. Hain, F. Hess, M. Kloepfel, L. Mausebach, A. Resch, A. Hiibner, E. Kenfield, L. Tuba. Harps. Tympani. Percussion. T. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Senia, White, R. Kandler, F. Burkhardt, H. OrGAN. Librarian. Assistant Librarian. Rogers, L. J. Marsr all, J. P. Sauerquell, J. 3 w%w TO Messrs. MASON & HAMLIN, Dear Sirs:—It is a pleasure to me to tell you that one of the real musical delights of my stay in America has been the intimate acquaintance I have made with your pianos. My visit to your factory and the demonstration there given me of your unique system of pianoforte construction have con- vinced me of the ideally high standard you have set before you, while my experience with your pianos at my home as well as on the concert stage has proved to me how completely you have attained that artistic ideal. Their beautiful tone, which no adjective can adequately describe, and their inspiring perfection of mechanism render them noble instruments worthy of the highest place in my esteem. (Signed) Dr. KARL MUCK iiasmi^lamlmOIii. BOSTON NEW YORK ACADEMY OF MUSIC PHILADELPHIA Thirtieth Season in Philadelphia Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor FIRST CONCERT MONDAY EVENING, NOVEMBER 2 AT 8.15 PROGRAMME Beethoven . Symphony No. 3, in E-flat major, "Eroica," Op. 55 I. Allegro con brio. XI. Marcia funebre: Adagio assai. III. Scherzo: Allegro vivace; Trio. IV. Finale: Allegro molto. Saint-Saens • . Aria, "Qui done commande quand il aime?" from "Henry VIII.," Act L, Scene 4 20 Richard Strauss . Tone-poem, "Don Juan" (after N. Lenau), Op. "Serse/ Handel . Air, "Ombra mai fu," from the Opera, Act I., Scene 1 Bride Smetana . Overture to "The Sold SOLOIST PASQUALE AMATO There will be an intermission of ten minutes after the symphony 5 FREDERICK HAHN, Director EMINENT FACULTY A thorough musical education in all branches HEADS OF DEPARTMENTS VIOLIN — Frederick Hahn, who has the influence of Sevcik and Auer. PIANO— Gregory Kannerstein, Exponent of Safonoff. PIANO— Mahlon Yardley. VOICE— Henry Hotz—Madam Brinker-D'Albites. CELLO— Philipp Schmitz (now in Europe). (Mr. Carl Kneisel has kindly consented to fill the place until his return.) Mr. Hahn begs to announce the installation of the wonderful Ostrovsky Method for Hand Development for Pianists, Violinists, and Cellists, which is endorsed by Auer, Elman, Zimbalist, Brodsky, Sauret, Drdla, Shattuck, Helen Ware, and hosts of others. SEND FOR CATALOGUE 1714 CHESTNUT ST., PHILADELPHIA " : Symphony No. 3, in E-flat major, "Eroica," Op. 55. ludwig van b33thovsn (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) Anton Schindler wrote in his Life of Beethoven (Miinster, 1840) " First in the fall of 1802 was his [Beethoven's] mental condition so much bettered that he could take hold afresh of his long-formulated plan and make some progress : to pay homage with a great instrumental work to the hero of the time, Napoleon. Yet not until 1803 did he set himself seriously to this gigantic work, which we now know under the title of 'Sinphonia Eroica': on account of many interruptions it was not finished until the following year. The first idea of this sym- phony is said to have come from General Bernadotte, who was then French Ambassador at Vienna, and highly treasured Beethoven. I heard this from many friends of Beethoven. Count Moritz Lichnow- sky, who was often with Beethoven in the company of Bernadotte, . told me the same story." Schindler also wrote, with reference to the year 1823 :. "The correspondence of the King of Sweden led Beethoven's memory back to the time when the King, then General Bernadotte, Ambassador of the French Republic, was at Vienna, and Beethoven had a lively recollection of the fact that Bernadotte indeed first awak- ened in him the idea of the 'Sinphonia Eroica.' These statements are direct. Unfortunately, Schindler, in the third edition of his book, mentioned Beethoven as a visitor at the house of Bernadotte in 1798, repeated the statement that Bernadotte inspired the idea of the symphony, and added: "Not long afterward the idea blossomed into a deed"; he also laid stress on the fact that Beethoven was a stanch republican, and cited, in support of his admiration of Napoleon, passages from Beethoven's own copy of Schleiermacher's translation of Plato. (ITALIAN METHOD) (Pupil of Luigi Vannuccini. Florence. Italy.) FORMERLY CONDUCTOR OF GRAND OPERA OCTOBER TO MAY MAY TO OCTOBER Germany 1 705 Chestnut St., Philadelphia 32 Clemens Str., Muenchen, Assistant Teachers: ALICE LEWIS, Soprano, H. ROGER NAYLOR, Tenor Streets, For further information address either "The Gladstone," Pine and 11th or the studio, 1705 Chestnut Street, Philadelphia. Thayer admits that the thought of Napoleon may have influenced the form and the contents of the symphony; that the composer may have based a system of politics on Plato; ''but/' he adds, "Ber- nadotte had been long absent from Vienna before the Consular form of government was adopted at Paris, and before "Schleiermacher's Plato was published in Berlin." The symphony was composed in 1803-04. The story is that the title-page of the manuscript bore the word "Buonaparte" and at the bottom of the page "L/uigi van Beethoven"; "and not a word more," said Ries, who saw the manuscript. "I was the first," also said Ries, "who brought him the news that Bonaparte had had himself declared Emperor, whereat he broke out angrily: 'Then he's nothing but an ordinary man ! Now he'll trample on all the rights of men to serve his own ambition; he will put himself higher than all others and turn out a tyrant!'" Furthermore, there is the story that, when the death of Napoleon at St. Helena was announced, Beethoven exclaimed, "Did I not foresee the catastrophe when I wrote the funeral march in the 'Eroica'?" M. Vincent d'Indy in his remarkable Life of Beethoven argues against Schindler's theory that Beethoven wished to celebrate the French Revo- lution en bloc. " Cttait Vhomme de Brurnaire" that Beethoven honored by his dedication (pp. 79-82). The original score of the symphony was bought in 1827 by Joseph Dessauer for three florins, ten kreuzers, at auction in Vienna. On the title-page stands "Sinfonia grande." Two words that should follow immediately were erased. One of these words is plainly "Bona- parte," and under his own name the composer wrote in large charac- ters with a lead-pencil: "Written on Bonaparte." Thus it appears there can be nothing in the statements that have Removed to 118 NORTH 19th STREET Better location. Increased facilities. All branches of Music. Primary to finishing courses. CALL OR SEND FOR CATALOGUE Branch: 57 EAST PENN STREET, GERMANTOWN FRANKLIN E. CRESSON JOHN W. POMMER, Jr. DIRECTORS come down from Czerny, Dr. Bartolini, and others: the first allegro describes a sea-fight; the funeral march is in memory ofjNelson or General Abercrombie, etc. There can be no doubt that Napoleon, the young conqueror, the Consul, the enemy of kings, worked a spell over Beethoven, as over Berlioz, Hazlitt, Victor Hugo; for, according to W. E. Henley's paradox, although, as despot, Napoleon had "no love for new ideas and no tolerance for intellectual independence," yet he was "the great First Cause of Romanticism." The first performance of the symphony was at a private concert at Prince Lobkowitz's in December, 1804. The composer conducted, and in the second half of the first allegro he brought the orchestra to grief, so that a fresh start was made. The first performance in public was at a concert given by Clement at the Theater an der Wien, April 7, 1805.
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