CARNEGIE HALL, NEW YORK. Boston Sumplionu Orcliestra WILHELM GERICKE, Conductor. Twentieth Season in New York. PROGRAMMES OF THE FOURTH CONCERT THURSDAY EVENING, FEBRUARY 15, AT ZA5 PRECISELY, AND THE FOURTH MATINEE SATURDAY AFTERNOON, FEBRUARY 17, AT 230 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published fey G. A. ELLIS, Manager. 1 THE Hasmt&llantlin PIANO During the musical season of 1905— 1906 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, I Conductor. Pittsburgh Orchestra, Emil Paur, Conductor. HAROLD BAUER . 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- i gartner, Conductor. I Philadelphia Orchestra, Fritz Scheel, Conductor. ' Kneisel Quartet. / Boston Symphony Orchestra, Wilhelm Gericke, i Coi'onductor. New H;'aven 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. 139 Fifth Avenue New York City 2 , Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKK, Conductor First Violins Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokolofi Kuntz, D. Hoffmann, J. Fiedler, 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. Swornsbourne, 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 Wamke, 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. Fritzsche, O. Muller F. Grisez, G. Mimart, P. Vannini, A. 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. Ludvrig, C. R. Schuecker, H. Dworak, J. F. Castanets. Librarian. Cymbals. Triangle, etc. Bass Drum. Bower, H. Ludwig, C. F. * Sauerquell, J Senia, T. Burkhardt, H. •0ii PIANO that has been manufactured continuously lor 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. Represented in New York by JOHN WANAMAKER 4 DOStOn CARNEGIE HALL, newyork. Symphony ft ^-y . A Twenty-fifth Season, 1905-190*. OrCllCStfci Twentieth Season in New York. WILHELM GERICKE, Conductor. FOURTH CONCERT, THURSDAY EVENING, FEBRUARY 15, AT 8.15 PRECISELY. PROGRAMME. V Beethoven Overture to Goethe's " Egmont," .... Op. 3 \ Schumann .... Concerto in A minor, for Pianoforte and Orchestra, Op. 54 I. Allegro affettuoso. II. Intermezzo : Andantino grazioso. III. Allegro vivace. Mahler . Symphony in C-sharp minor, No. 5. Firsftime here Part I. I. Dead march. With measured step. Like a funeral train. C-sharp minor. Suddenly faster, passionately, wildly. A tempo. II. Stormily restless. With utmost vehemence. A minor. Part II. III. Scherzo. With force, but not too fast. D major. Part III. IV. Adagietto. Very slow. F major. V. Rondo-Finale: Allegro. D major. SOLOIST : Mr. HAROLD BAUER. The pianoforte is a Mason & Hamlin, There will be an intermission of ten minutes before the symphony. 5 HARDMAN 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 <!%f Co., Makers F>*th Avenue and 19th Street, New York Brooklyn . No. 524 Fulton Street Overture to "Egmont," Op. 84 ... I. (Born at Bonn, December 16, 1770; died at Viexu This overture was composed in 1810; it was published in 1 The music to Goethe's play—overture, four cut, , sung by Clarchen, "Clarchen's Death," ^'Melodram," and iumph Symphony" (identical with the coda of th overture) for the en the play—nine numbers in all—was perforn d for t! time the tragedy at the Hofburg Theatre, Vienna, May 24. 1 Vntonk Adamberger was the Clarchen. The first performance of the overture in Boston was at a c«>u of the Boston Academy of Music, November 16, 1844. All the mi of "Egmont" was performed at the fourth and last Philharmonic Concert, Mr. Zerrahn conductor, on March 26, 185.). This , was in commemoration of the thirty-second anniversary of Beetho- ven's death. The programme included the "Egmont" music and the Ninth Symphony. The announcement was made that Mrs. Kan had been engaged, "who, in order to more clearly explain the com poser's meaning, will read those portions of the drama which the music especially illustrates." Mr. John S. Dwight did not approve her reading, which he characterized in his Journal of Music as "coa inflated, over-loud, and after all not clear." Mrs. Harwood sang Clarchen's solos. The programme stated: "The grand orchestra, perfectly complete in all its details, will consist of fifty of the I Boston musicians." All the music to "Egmont" was performed at a testimonial concert to Mr. Carl Zerrahn, April 10, 1872, when Professor Evans read the poem in place of Charlotte Cushman, who was prevented by sickni This music was performed at a Symphony Concert, December 12, 1885, when the poem was read by Mr. Howard Malcolm Ticknor. N£W 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 The Symphony since Beethoven By FELIX WEINGARTNER A treatise on the highest form of musical art by one of the world's foremost orchestral conductors. The opinions here recorded are of intrin- sic value, fearless iii conviction and pithy in expression, by a critic who is at once scholarly, unbiassed in his judgments, and unconventional. It is a book not only for music students, but for all who listen to orchestral music, inspiring as it does a keener and more discriminating apprecia- tion of the works of the masters who have wrought in this form. It is seldom so much sane criticism is condensed into so few pages. It is a masterly review of the symphony. — Philadelphia Inquirer. His book is a small one, but it is pithy, and may be accepted as the sum- mary of the beliefs of a man who has passed his years of maturity in close scrutiny of the scores of the masters. — New York Sun. The translation has been sympathetically done. Weingartner says that no reader of this edition will suffer from the false impression which was read into his first edition,— that he considers further development of the symphony impossible. The book gives a concise and interesting comment on the com- posers.— Boston Journal. Musicians and students should read this little book carefully and thought- fully. It is a veritable oasis in the midst of the multitude of technical books pouring from the press. — Carl G. Schmidt. In this book Weingartner has done something to clear the musical atmos- phere, though some will not like the way their favorites have been treated, however just that treatment may be. The great musicians since Beethoven pass in review, and the reader will gladly acknowledge his obligations for such expert help in learning to know them better. — Lutheran Observer. The book is of convenient size, neatly bound, and printed in large, clear type. An excellent portrait of the author serves as a frontispiece. Price, $1.00. 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. *** The overture has a short, slow introduction, troppo, - F minor, . 3 2 The main body of the o F minor, 3-4. The first theme is in the strii h phra descending arpeggio in the 'cellos, dosing with a sigh in t! the antithesis begins with a "sort of sigh" in the the strings, m then there is a development into second theme has for its thesis a version of the fii of the sarabande theme of the introduction, fortissimo strir, in A-flat major, and the antithesis is a triplet in the coda, Allegro con brio, F major, 4-4, begins pianissimo.