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Syaphony Orchestra Inc Forty-Second Season (^«^ J922-J923

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Syaphony Orchestra Inc Forty-Second Season (^«^ J922-J923 BOSTON SYAPHONY ORCHESTRA INC FORTY-SECOND SEASON (^«^ J922-J923 PRoGRTWVE New evidence of the superior tonal qualities of is provided by trie decision of THE CHICAGO OPERA COMPANY to make it their official piano £hcKj3aIcittmi ptano (Six Represented by The A. M. HUML MUSIC CO. 196 Boylston Street, Boston, Mass. SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Branch Exchange Telephones, Ticket and Administration Offices, Back Bay 1492 foe symptaiw Oircihestr INC. PIERRE MONTEUX, Conductor FORTY-SECOND SEASON, 1922-1923 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1923, BY BOSTON SYMPHONY ORCHESTRA, INC. THE OFFICERS AND TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, Inc. FREDERICK P. CABOT President GALEN L. STONE Vice President ERNEST B. DANE Treasurer ALFRED L. AIKEN ARTHUR LYMAN FREDERICK P. CABOT HENRY B. SAWYER ERNEST B. DANE GALEN L. STONE M. A. DE WOLFE HOWE BENTLEY W. WARREN JOHN ELLERTON LODGE E. SOHIER WELCH W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 1557 <UHE INSTRUMENT OF THE IMMORTALS QOMETIMES people who want a Steinway think it economi- cal to buy a cheaper piano in the beginning and wait for a Steinway. Usually this is because they do not realize with what ease Franz Liszt and convenience a Steinway can at his Steinway be bought. This is evidenced by the great number of people who come to exchange some other piano in partial payment for a Steinway, and say: "If I had only known about your terms I would have had a Steinway long ago!" You may purchase a new Steinway piano with a cash deposit of 10%, and the bal- ance will be extended over a period of two years. cPrices:?$875 and up Convenient terms. Used pianos taken in exchange. STEINWAY <& SONS, STEINWAY HALL 109 EAST 14th STREET NEW YORK Subway Express Stations at the Door REPRESENTED^ THEJFOREMOST DEALERS EVERYWHERE Forty-second Season, 1922-1923 PIERRE MONTEUX, Conductor ;esomi VlOLIKS. Burgin, R. Hoffmann, J. Gerardi, A. Hamilton, V. Concert-master. Mahn, F. Krafft, W. Sauvlet, H. Theodorowicz, J. Gundersen, R. Pinfield, C. Fiedler, B. Siegl, F. Kassman, N. Barozzi, S. Leveen, P. Mariotti, V. Thillois, F. Gorodetzky, L. Kurth, R. Murray, J. Berger, H. Goldstein, S. Bryant, M. Knudsen, C. Stonestreet, L. Riedlinger, H. Erkelens, H. Seiniger, S. Diamond, S. Tapley, R. Del Sordo, R. Messina, S. Violas. Fourel, G. Werner, H. Grover, H. Fiedler, A. Artieres, L. Van Wynbergen, C. Shirley, P. Mullaly, J. Gerhardt, S. Kluge, M. Deane, C. Zahn, F. Violoncellos. Bedetti, J. Keller, J. Belinski, M. Warnke, J. Langendcen, J. Schroeder, A. Barth, C. Stockbridge, C. Fabrizio, E. Marjollet, L. Basses. Kunze, M. Seydel, T. Ludwig, O. Kelley, A. Girard, H. Keller, K. Gerhardt, G. Frankel, I. Demetrides, L. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Arcieri, E. Allard, R. Amerena, P. Stanislaus, H. Vannini, A. Bettoney, F. Piccolo. English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Mimart, P. Piller, B. Speyer, L. Horns. Horns. Trumpets. Trombones. Wendler, G. Hess, M. Mager, G. Hampe, C. Lorbeer, H. Van Den Berg, C. Mann, J. Adam, E. Hain, F. Perret, G. Mausebach, A. Gebhardt, W. Kloepfel, L. Kenfield, L. Tuba. Harps. Timpani. Percussion. Adam, E. Holy, A. Ritter, A. Ludwig, C. Zahn, F. Delcourt, L. Sternburg, S. Organ. Celesta. Librarian. Snow, A. Fiedler, A. Rogers, L. J. 1559 — And there is a reason for its great renown enduring now for nearly a Hundred Years: ITS EXQUISITE TONE— which De Pachmannn compared to the loveliest of human voices. ITS AMAZING DURABILITY—there are Chickering pianos much over half a century old still delighting with their musical beauty. THE EXQUISTE GRACE OF THEIR DESIGN the small grands are models ofper- fection in this important branch ofpiano making. It is not a coincidence that in the finest homes you find the Chickering— but because its owner, accustomed to the best, demands the best. The Chickering is obtainable with the AMPICO —that marvelous instrument which brings to the piano containing it all the music you love best —ideally played. RETAIL WAREROOMS 169 TREMONT STREET BOSTON 1560 43rd SEASON 1923-1924 BOSTON SYMPHONY ORCHESTRA PIERRE MONTEUX, Conductor For the twenty-four Friday Afternoon Concerts there will be no public sale, the few reserved seats not re-subscribed being in- sufficient to fill applications on the waiting list. For the twenty-four Saturday Evening Concerts seats are now available at $20, $30, $35, $40, $45, $48, $55, $65 (no tax). (Season tickets to be paid for on or before September 1.) The subscription office at Symphony Hall is open daily from 9 a.m. to 5 p.m., and also from 8 to 10 p.m. during the Pop Concerts. FORTY-SECOND SEASON. NINETEEN HUNDRED TWENTY-TWO & TWENTY-THREE TweMy-fowilhi Programme FRIDAY AFTERNOON, MAY 4, at 2.30 o'clock SATURDAY EVENING, MAY 5, at 8.15 o'clock Beethoven Overture to "Leonore" No. 3, Op. 72 Chausson Soir de Fete, Op. 30 (First time in America) Respighi . "Fontane di Roma" ("Fountains of Rome") Symphonic Poem The Fountains of Valle Giulia at dawn. The Triton Fountain at morn. The Fountain of Trevi at mid-day. The Villa Medici Fountain at sunset. Saint-Saens Symphony in C minor, No. 3, Op. 78 I. Adagio; Allegro moderato; Poco adagio. II. Allegro moderato; Presto; Maestoso; Allegro. (Organ—Albert W. Snow) MASON & HAMLIN PIANOFORTE USED There will be an intermission of ten minutes before the symphony City of Boston. Revised Regulation of August 5, 1898, —Chapter 3, relating to the covering of the head in places of public amusement Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators. it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN. City Clerk. The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert. lake if our Spar© Moments In )OS'ion Save Precious 1 The independent traveler to Europe this summer will save time, money and effort and will eliminate disappoint- ment by using our INDIVIDUAL TRAVEL SERVICE. We make advance arrangements for you, relieving you of the worry and all the burdensome travel details. We secure your steamship tickets at schedule rates, take care of your accommodations and incidental expenses at hotels in Europe, and arrange for a large part of your sightseeing. We also protect you from many local overcharges, costly delays and expensive changes of plans due to insufficient arrangements. In the popular season when reservations are at a premium, you can readily appreciate the inestimable value of this service. In helping you plan your route, we, as America's oldest and largest Travel Concern, with our intimate knowledge of present-day conditions in Europe, can assure you the inclusion of all those things which you as a discriminating American traveler want to see. By paying us a net price for your entire trip you are Iter relieved of uncertainty regarding expenses. flW Besides this Individual Travel Service -**^^^B we offer an attractive series of well- ^Bj" planned and ideally arranged Escorted a-UL^ti- Tours to Europe. For complete information about either our Individual Travel Service or our Escorted Tours, call, wriie or telephone THE BEST IN TRAVEL Raymoeri & WMtcomb Co. 17 Temple Place BOSTON Tel. Beach 6964 15G2 ;: Overture to "Leonore" No. 3, Oi\ 72 . Ludwig van Beethoven (Born at Bonn, December 16 (?). 1770; died at Vienna. March 26, 1827.) Beethoven's opera "Fidelio, oder die eheliche Liebe" with text adapted freely by Joseph Sounlei timer from the French of Bounty ("Leonore; on L'Amour Conjugal," a "historical fact" in two acts and in prose, music by Gaveaux, Opera-Comique, Paris, February 19, 1798) was first performed at the Theater an der Wien, Vienna, November 20, 1S05, with Anna Pauline Milder, afterwards Mine. Hauptmann, as the heroine. The other parts were taken as follows Don Fernando, Weinkopf ; Don Pizarro, Meier ; Florestan, Demmer Rocco, Bothe; Marzelline (sic), Miss Miiller; Jacquino, Cache; Wachthatiptmann, Meister. "The opera was hastily put upon the stage, and the inadequacy of the singers thus increased by the lack of sufficient rehearsals." In later years Fidelio was one of Anna Milder's great parts ; "Judging from the contemporary criticism, it was now somewhat defective, simply from lack of stage experience." The first performance in Boston was at the Boston Theatre on April 1, 1857, with Mines. Johannsen and Berkiel, and Messrs. Beutler,* Neumann, Oehlein, and Weinlich. *Beutler sang that night for tbe last time, He had a cold and the physician warned him against singing, but the audience BUed the theatre and he was persuaded. He became hoarse immediatey after the performance, and, as the vocal cords were paralyzed, he never sans again. Mendelssohn, who bad given him musical instruction praised bis voice, but urged him not to use it in opera, as it would not stand the wear and tear. Beutler then gave up the ambition of his life. In the Revolution of 1S4S he and other students at Heidelberg were obliged to leave Germany. He came to the United States, and yielded to the temptation of a good offer from an opera manager. He became an understudy of Mario. Then the misfortune befell him. He was the father of the late Mrs. Clara Tippett, singer and teacher in Boston. An i BY \| COMPOSERS BALLANTINE, EDWARD GRANT-SCHAEFER.
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