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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 SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, November 14, at 8.00 1W 3 /? BOSTON ^\H ^ SYMPHONY 9*%N ORCHESTRA INCORPORATED THIRTY-EIGHTH SEASON W8-1919 PRSGRKttftE # *& 5r 9 2?« (' v)! , • ) ^ , Mii i. ,0 STEINWAY PJEWETT STEINERT lanos WOODBURY DUO ART PIANOS PIANOLA PIANOS 6 AEOLIAN PIPE ORGANS 1 VICTOR. VICTROLAS VICTOR RECORDS | 162 Boyltton Sti SANDERS THEATRE . CAMBRIDGE HARVARP UNIVERSITY INCORPORATED Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, NOVEMBER 14 AT 8.00- . , COPYRIGHT, 1918, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, 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 cf 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: "Where\cr human hearts are sad or 1 and songs are sung, and strings vibrate, and keys respond to love I Ctra . theft if known, respected, revered— loved- the n. ndfameof STEINWAY." Catalogue and price* on application St'ld on convenient paytnenti (>L{ pfarNN taken in exchnrn'r Inspection ini Ued STEINWAY & SONS, STEINWAY HALL 107 Mi" EAST, |4t!i NEW YORK CITY Suluitiy } qpran Stations dt iht I > f<eprr%rntr<l /•<; the Foremost Drillers iveriftrhrrr Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor Violins. Fradkin, F. Roth, 0. Rissland, K. Bak, A. Concert-master. Hoffmann, J. Theodorowicz, J. Mahn, F. Noack, S. Ribarsch, A. Goldstein, H. Sauvlet, H. Gerardi, A. Traupe, W. Thillois, F. Griinberg, M. Di Natale, J. Tak, E. 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. i Violas. Barrier, C. Werner, H. v.Veen, H. Fiedler, A. Van Wynbergen, C Wittmann, F Berlin, V. Mager, G. L: n'4ley, 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, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. j ~ 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. PiUer, B. Piccolo. English Horn. Bass Clarinet Rattles, 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. Hess, M. Tuba. Harps. Tympani. Percussion. Jaeger, A. Holy, A. Neumann, S. Ludwig, C. Burkhardt, H Cella, T. Gardner, C. Zahn, F. Organ. Librarian Snow, A., Mann, J. \ 3 SYMPHONY HALL Sunday Afternoon, November 17, 1918. at 3.30 PIANO RECITAL BY Josef Hofmann PROGRAMME I. d, Yakivtions in I) naii< >r Handel ' Pastob M.I. / Scarlatti c. Capriccio \ vr\ in A major, <>p. 101 ! Allegretto, ma nun m>ppo Vivace alia Mama Adagio, ma n<>n troppo, con affetto Allegro II. ;n F-ebarp minor No* n km in F-enarp minor H majoi Chopin d W - it major . H-Hat tninot III. MK S?tOJ< [noon in F major Rubinstein La Jok Moaakowaky i. Rhamodi No. 12 Tick |i '. $1.50. $l.(Mi and 50 cents, plus war tax, at Svmphonv Hall Wo|.KMlHN MlHKAL BUREAU Local Management, I.. H. Mm Steinwai I'l \n<> landel and Haydn Society 0m Hundred and Fourth Season. 1918-1919 CHORUS OF FOUR HUNDRED FULL ORCHESTRA AND SOLOISTS BMIL MOLLENHAUER, Conduotor B Q iicki.i:, On I 81 MPHON1 il \i . B4 BTON IDAl M I IH\« ON, DECEMB1 R 32, \ I ( HR1STMAS PI Kl ()KMAN'( I. OF The Messiah mahi i. <.\i VR III! R II \< Kl II Ml in ! \n \i{ i in 1: miihh i n )A\ Mi ERNOON, M \i;< 11 . I i The Verdi Requiem M MHi: l< \I'I"«.| I) MOKCAN KIN(i I \ I I M«.M| l: ( I \ I : « u 1 1 1 I I 1 1 1 1 • DAY AFTE1 III W I ii A R PI I IANCE 01 The Creation \l;ll!l HAC'Kl HI Itlf M \i - : ' U I II \1 ll:ill, . SANDERS THEATRE . , CAMBRIDGE HARVARD UNIVERSITY Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor SECOND CONCERT THURSDAY EVENING. NOVEMBER 14 AT 8.00 PROGRAMME Beethoven . Symphony No. 3, in E-flat major, "Eroica," Op. 55 I. Allegro con brio. II. Marcia funebre: Adagio assai. III. Scherzo: Allegro vivace; Trio. IV. Finale: Allegro molto. Handel Air, "Ombra mai fu," from the Opera Serse, _* Act I., Scene 1 Franck Symphonic Poem: "Les Eolides" ("The Aeolidae") Saint-Saens "My Heart at thy Dear Voice," from "Samson and Delilah" Weber . Overture to "Euryanthe" SOLOIST MERLE ALCOCK There will be an intermission of ten minutes after the symphony 5 . i No. 3, in E-fi \i MA.im:. "Eboica/' Dp, .">. Lrnwn; van BEETHOVEN v (Born at B ober 16 (?), 1770; died at Vienna, March 26, i _7.> Aui<»n Bbhindler wrote in his- Life of Beethoven (Minister. Mih : ••i'ii-vi Tall his hoven's so in was | Beet the of L862 | mental condition much bettered that he could take hold afresh of his long-formulated i and make some progress: to pay homage with a great instru- mental w»>rk i«» tlir hero of the time, Napoleon. Yet n«>t until 1803 did he Bel himself seriously to this gigantic work, which we now kimw umler the tiile of 'Sinphonia Kmica': on account of many interruptions it was not finished nntil the following year. The first idea of this symphony is said to have come from General Ber- nadotte, who was then Frencfi Ambassador at Vienna, ami highly treasured Beethoven. 1 heard this from many friends of Beethoven. ('••lint Iforiti Lichnowsky, who was often with Beethoven in the company of Bernadotte, . told me the same story." Schindler also wrote, with reference to the year im'."»: "Tin 1 correspondence of the King of Sweden led Beethoven's memory hack to the time when the King, then General Bernadotte. Ambassador of the French Republic, was at Vienna, ami Beethoven had a Lively recollection Of ili«' fact that Bernadotte indeed lirst awakened in him the idea n of i he 'Sinphonia Eroica.' These statements are direct. CJnfortunately, Schindler, in the third edition of his book, mentioned Beejthoven as a visiter at the hoUSe of Bernadotte in 1 7i»S. repeated the statement that Bermi- dotte inspired the idea of the symphony, ami added: "Not Long afterward the idea blossomed into a deed"; lie also laid stress on tin- fact thai Beethoven was a Btanch republican, ami cited, in sup- DOrt of his admiration of Napoleon, passages from Beethoven's own co|,\ of Schleiermacher/s translation of Plato, Thayer admits that the thonght'of Napoleon may have influenced the form and the contents of the symphony; that the composer have based a system of politics on Plato; 'i»nt." he adds, "Ber* oadotte had been long absent from Vienna before the Consular form adopted at Paris, and before Schleierraacher'a Plal published in Berlin." The symphony wi - composed in 1803 I. The Btory is that the the manuscript bore the word "Buonaparte" ami ai the the page "Luigi van Beethoven"; "and aot a word moi ." said Bies, who -;iu i he manuscript. "I was the lirsi also said Ries, "who broughl him the news that Bonaparte had had himself de- clared I ti it he broke out angrily: "Then he'a nothing ii Inn ; ordinary man! Non he'll trample on all tin- rights of men • \s n ambition : he will put himself higher than ;ill otheri ! t It JIl ..l|! ;i | \ |;i HJ Furthermore, there ii the story that, when the death of Napoleon u i •-! I II. | ell e\e|;i lined. I I llol fore hi. | |l()\ >id ".'" rophe when I wrote the funeral march in the 'Eroica' (, • meiit. < I i. Allegro "a brio, ! flat m i" - - Willi tWO he;i\\ el, for fill! o |c 1 1 I I . i . .llh'l' which til- th< n out b] the 'cellos. This theme Is note for aote the a ol the flr i measures ol the Intrude written ••> Mozart 111 \ lean. i I K.tKl ioil el I'. i ielllie." I performed in 1786 at a Viennese garden-house (K. 50). Mozart's theme is in G major. Beethoven's theme is finished by the violins and developed at length. There is a subsidiary theme, which begins with a series of detached phrases distributed among wood-wind in- struments and then the violins. The second theme, of a plaintive character, is given out alternately by wood-wind and strings. The development is most elaborate, full of striking contrasts, rich in new ideas.
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