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Boston Symphony Orchestra Concert Programs, Season 38,1918-1919, Trip

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Boston Symphony Orchestra Concert Programs, Season 38,1918-1919, Trip ACADEMY OF MUSIC . PHILADELPHIA Monday Evening, December 2, at 8.15 s-^i BOSTON SYMPHONY ORCHESTRA INCORPORATED THIRTY-EIGHT] SEASON J9J8-J9J9 PR5GR7W1E — —— — — —— —— The Artist AND THE lalbiuin The wonderful, rich tone of the Baldwin Piano is the very conception of beauty. Levitzki. It has that refined quality, that warm and luscious tone which resembles the human voice in its individual appeal. A Ua. The Baldwin Piano has no peer in faithfully voicing an artist's spirit. Brown. I have an inspiring companion in my Baldwin Piano. La Forge. The beautiful tone of the Baldwin Piano merits its popularity. A mato. L sing a Baldwin, we rest assured that we have an instrument which will meet every requirement. Fanning. The Baldwin Piano is a most wonderful help and support. Nielsen. I consider the Baldwin the Stradivarius of the few really great Pianos of the world. De Pachmann. A tone that blends so well with my voice. Sembrich. The Baldwin Piano Company • All CHU 142 V, red 323 S. Wab»»h Ave. IlllOiivc .VER SAN FRANC I \(,U, 3li> California ! real NAFOU inUISVILLE DAI IAS 18 N. Pcnn'.S! 521 S. Fourth A I'M I II. n ACADEMY OF MUSIC, PHILADELPHIA Thirty-fourth Season in Philadelphia INCORPORATED thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, DECEMBER 2 ' ' AT 8.15 . , i \ COPYRIGHT, '1918, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BREfJNAN, Manager G. E. JUDD, Assistant Manager "The world needs music more when it's in trouble than at any other time. And soldiers, and the mothers and wives and sweethearts and children of soldiers get more of the breath of life from music than the man on the street has any notion of."—JOHN McCORMACK MUSIC is an essential of every well-regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing gener- ation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old, in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every household. And the greatest among pianos is the STEINWAY, prized and cherished throughout the wide world by all lovers of good music. Or, in the words of a well-known American writer: "Wherever human hearts are sad or glad, and songs arc sung, and strings vibrate, and keys respond to love's caress, there is known, respected, revered— loved— the name and fame of STEIN WAY." Catalogue and prices on application Sold 0f| ( onvenient payments ()li! pianos taken in ctchange 1nspe( linn in i ;7< -/ a STEINWAY & SONS, STEINWAY HALL '107 109 EAST 1 4th STREET, NEW YORK CITY SaoUHty I.xpress Stations at the Door Represented Ihj the Foremost Dealer* Jwerijndiere >rdhi©<stra Thirty-eighth Season, 1918-1919 HENRI R'ABAUD, Conductor PERSONNEL Violins. Fradkin, F. Roth, O. Rissland, K. Bak, A. Concert-master. Hoffmann, J. Theodorowicz, J. Mahn, F. Noack, S. Ribarsch, A. Goldstein, H. Sauvlet, H. Gerardi, A. Traupe, W. Tak, E. Grunberg, M. Di Natale, J. Thillois, F. Spoor, S. Goldstein, S. Gunderson, R. Fiedler, B. Ringwall, R. Henkle, R. Diamond, S. Deane, C. Kurth, R. Bryant, M. Balas, J. Fiedler, G. Zsiga, L. Violas. Barrier, C. Werner, H. v.Veen, H. Fiedler, A. Van Wynbergen, C. Wittmann, F. Berlin, V. Mager, G. Langley, A. Tartas, M. Violoncellos. Malkin, J. Miquelle, G. Barth, C. Belinski, M. Fabrizio, E. Schroeder, A. Nagel, R. Nast, L. Mingels, E. Stockbridge, C. Basses. Villani, A. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. DeMailly, C. Longy, G.- Sand, A. Laus, A. Brooke, A. Lenom, C. Forlani, N. Mueller, E. Knight, W. Stanislaus, H. Vannini, A. Piller, B. Piccolo, English Horn. Bass Clarinet. Battles, A. Mueller, F. Stievenard, E. Horns. Trumpets. Trombones. Wendler, G. Heim, G. Sordillo, F. Lorbeer, H. Mann, J. Mausebach, A. Hain, F. Nappi, G. Kenfield, L. Gebhardt, W. Kloepfel, L. f Hess, M. Tuba. Harps. Tympani. 1 Percussion. Jaeger, A. Holy, A. Neumann, S. Ludwig, C. Burkhardt, H. Cella, T. Gardner, C. Zahn, F. Organ. Librarian. Snow, A. Mann, J. Z'KOICWER-HAHN oYl o o ecu' 1 ULCI®!] 1617 SPRUCE STREET GERMANTOWN BRANCH WEST PHILADELPHIA BRANCH 30 East Walnut Lane 5132 Spruce Street Oldest School of Music in Philadelphia THOROUGHLY MODERN DIRECTORS Camille W. Zeckwer Frederick E. Hahn Charlton L. Murphy New Branch School Opened January 1st at 1622 Westmoreland St., Tioga MASON & HAMLIN PIANO C I HEPPE & SON, Philadelphia RefcrejenUti ACADEMY OF MUSIC . PHILADELPHIA Thirty-fourth Season in Philadelphia avp/ro Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor SECOND CONCERT MONDAY EVENING, DECEMBER 2 AT 8.15 PROGRAMME Beethoven . Symphony in A major, No. 7, Op. 92 I. Poco Sostenuto; Vivace. II. Allegretto. III. Presto: Presto meno assai. IV. Allegro con brio. Dukas . "L'Apprenti Sorrier," Scherzo ("The Sorcerer's Apprentice") (after a ballad by Goethe) Borodin Symphony in B minor, No. 2 I. Allegro moderato. II. Molto vivo. III. Andante. IV. Allegro. There will be an intermission of ten minutes after the Beethoven symphony 5 t TheHouse that Heppe built FOUNDED IN 1865—ADOPTED ONE-PRICE SYSTEM IN 1881 C- J- Heppe & Son 1 1 I 7- 1 I 1 9 Chestnut Street 6th and Thompson Streets From the Public Ledger March 8, 1917. "Those who heard Ossip Gabrilowitsch play Chopin at the Academy yesterday evidently felt that the music more nearly resembled a service of prayer in a temple than the conventional pattern of a con- cert . that deftly applied the tonal pigment in sweeping strokes, as soft as they were sweeping. "The ascending scales outpoured proved that, despite a physical law, fluidity can run uphill. The instrument ceased to be an instrument of percussion and merci- less hailstone articulation. Not once dur- ing the afternoon did there come from Ossip Gabrilowitsch the lower octaves of the piano that leo- nine yammer of resentment that means the piano has been punished to a white heat of madness, where sounds are indistinguishable for mere noise. Th« abort praise was given without premeditation by the Ledger critic and refers to the piano Gabrilowitsch uses. Gabrilowitsch's Piano is a jWason & I)amlm sold « Philadelphia exclu- sively o4 the Heppe Stores C. J- Heppe & Son 1117-1119 Chestnut St. 6th and Thompson Sts. Symphony in A major, No. 7, Op. 92 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) The first sketches of this symphony were made by Beethoven prob- ably before 1811 or even 1810. Thayer states that Beethoven began the composition of the Seventh Symphony in the spring of 1812. Prod'homme believes that the work was begun in the winter of 1811-12. The autograph manu- script that belongs to the Mendelssohn family of Berlin bears the inscription : "Sinfonie. L. v. Bthvn 1812 13ten M." A clumsy binder cut the paper so that only the first line of the M is to be seen. There* was therefore a dispute as to whether the mqnth were May, June, or July. The score of the symphony was dedicated to the Count Moritz von Fries and published in 1816. The edition for the pianoforte was dedicated to the Tsarina Elizabeth Alexiewna of All the Russias. The Seventh and Eighth Symphonies were probably played over for the first time at the Archduke Rudolph's in Vienna April 20, 1813. Beethoven in the same month vainly endeavored to produce them at a concert. The first performance of the Seventh was at Vienna, in the large hall of the University, on December 8, 1813. Majzel, the famous maker of automata, exhibited in Vienna during the winter of 1812-13 his automatic trumpeter and panharmonicon. The former played a French cavalry march with calls and tunes; the latter was composed of the instruments used in the ordinary military band of the period,-—trumpets, drums, flutes, clarinets, oboes, cymbals, triangle, etc. The keys were moved by a cylinder, and overtures by Handel and Cherubini and Haydn's Military Sym- it phony were played with ease and precision. Beethoven planned his "Wellington's Sieg," or "Battle of Vittoria," for this machine. Malzel made arrangements for a concert,—a concert "for the benefit of Austrian and Bavarian soldiers disabled at the battle of Hanau."* Johann Nepomuk Malzel (Malzl) was born at Regensburg, August 15, 1772. He was the son of an organ-builder. In 1792 he settled at Vienna as a music teacher, but he soon made a name for himself by inventing mechanical music works. In 1808 he was appointed court mechanician, and in 1816 he constructed a metro- nome, f though Winkel, of Amsterdam, claimed the idea as his. Malzel also made ear-trumpets and Beethoven tried them, as he * For a full account of the bitter quarrel between Beethoven and Malzel over the "Schlacht Symphonie" see "Beethoven's Letters." edited by Dr. A. C. Kalischer (Lon- don, 1909), vol. i. pp. 322-326. The two were afterwards reconciled. V f There were two kinds of this metronome radically different in construction. 'This accounts for the different metronome figures given by Beethoven himself, as for instance for the A major symphony." Beethoven thought highly of the metronome ; he ; thought of "giving up these senseless terms, Allegro, Andante, Adagio, Presto." • did others.
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