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Boston Symphony Orchestra Concert Programs, Season 36,1916

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ACADEMY OF MUSIC, PHILADELPHIA Thirty-second Season in Philadelphia 7^ /g\ ;tg> <i jf^ r; Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor r?©sri WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE • MONDAY EVENING, MARCH 12 AT 8.15 COPYRIGHT, 1917, BY C. A. ELLiS PUBLISHED BY C. A. ELLIS, MANAGER The ideal of the Steinway Piano is a beautiful voice. The work of the Steinway family is to create a sensitive but permanent vehicle for its expression. "The Steinway realization means the eleva- tion and furtherance of the great art of music. Their field is the world and mankind is the beneficiary. Rarely have men had such in- spiration and more rarely have they risen to the heights or possessed such unobscured and prophetic vision of the intellectual needs." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere .f~ '. T) m o L~^W \ . Thirty.-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor PERSONNEL Violins. Witek, A. Roth, 0. Rissland, K. Theodorowicz, J. Concert-master. Hoffmann, J. Schmidt, E. Bak, A. Noack, S. Mahn, F. Ribarsch, A Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Baraniccki, A. Griinberg, M. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Gerardi, A. Pinfield, C. Gewirtz, J. Kurth, R. Gunderson, R. Rosen, S. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, \ P. Berlin, W. Kautzenbach, W. Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R Nast, L. Folgmann, E. Warnke, J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. .Longy, G. Sand, A. Mosbach, J. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H. Vannini, A. PiUer, B. Battles, A. English Horn. Bass Clarinet. Contra-Bassoon Mueller, F. Stumpf,.K. Fuhrmann, M. Horns. Horns. Trumpets. Trombones. Wendlsr, G. Jaenicke, B Heim, G. AUoo, M. Lorbeer, H. Miersch, E. Mann, J. Belgiomo, S. Hain, F. Hess, M. Nappi, G. Mausebach, A. Resch, A. Hubncr, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Matters teig, P. Holy, A. Neumann, S. Zahn, F. Gardner, C. Cella, T. Kandler, F. Burkhardt, H. Organ. Librarian. Assistant Librarian Marshall, J. P. Sauerquell, J. Rogers, L. J. The tone of the Chickering is the voice of ripened experience and constant study in the production of perfect pianofortes. "It is the tone of nature," said de Pachmann, "it sings like a lovely voice" UPRIGHT PIANOS GRAND PIANOS THE CHICKERING-AMPICO REPRODUCING PIANOS play the interpretations of the world's foremost pianists—tone for tone, phrase for phrase—the exact duplication of the artists' own renditions from actual recordings. UPRIGHT AND GRAND STYLES EXCLUSIVE REPRESENTATIVE IN PHILADELPHIA ACADEMY OF MUSIC PHILADELPHIA Thirty-second season in Philadelphia Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor * FIFTH CONCERT MONDAY EVENING, MARCH 12 AT 8.15 PROGRAMME Mozart Symphony in D major (K. 385) I. Allegro con spirito. II. Andante. III. Menuetto. IV.' Finale: Presto. Goetz . Scena, "Die Kraft versagt" ("My Strength is spent"), from "Der Widerspenstigen Zahmung" ("The Taming of the Shrew"), Act IV., Scene 3 Brahms . Variations on a Theme of Josef Haydn, Op. 56a Hugo Wolf . Three Songs with Orchestra (a) Der Freund. (The Friend) (b) Verborgenheit. (Retirement) (c) Er ist's. ('Tis Spring) Wagner . Introduction and Bacchanale from "Tannhauser," Act I. (Paris Version) SOLOIST ELENA GERHARDT There will be an intermission of ten minutes between the second and third numbers The length of this programme is two hours The Talking Machine You Want is to be found at Heppe's Whether it be the $ 1 5 model or a superb $300 type of Victrola, every artistic possi- bility of the Talking Machine is assured when it comes from Heppe's. Experts adjust every machine that leaves our establishment 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 Victrolas, *15 to BOO 1117-1119 Chestnut Street, 6th and Thompson Streets Wholesale and Retail Symphony in D major (KocheIv, No. 385). Wolfgang Amadeus Mozart (Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791.) This symphony was composed by Mozart at Vienna in July-August, 1782. His father Leopold asked him to write music for some festival occasion at the house of Sigmund Haffner,* the rich merchant and burgomaster at Salzburg, who has been characterized as "an excellent and patriotic man, who deserved well of Salzburg by reason of his large bequests." The Haffners were interested in the young Mozart. After Mozart made Vienna his home, he received a letter from Haifner in Salzburg, with an enclosure, a reminder of Mozart's indebtedness to a certain merchant of Strassburg, J. G. Scherz. Mozart, in a letter written December 6, 1783, begged his father to make good for him to Haifner for a month. Having reminded him of the circumstances attending the loan, he said that the most disagreeable feature of the case was that Scherz apparently had a poor opinion of him. "And then his correspondence with Haffner in Salzburg!" The letter is curious reading. Mozart also wrote for this wedding a march in D major (K. 249). Wyzewa and G. de Saint-Foix in their "W. A. Mozart," 1756- - I 2 1.777 ( voi n -> PP- 3 7~3 °)> saY that a little concerto in G major for violin with small orchestra, composed in July, 1776, was interpolated in the Serenade, and appears there as the Andante (No. 2), Minuet in G minor with Trio (No. 3), and Rondo: Allegro (No. 4). In July, 1782, Mozart, writing to his father, told him how busy he was, hurried in composition, and yet he had been asked to compose another Serenade for a festive occasion in the Haffner family. The *In Jahn's "Mozart" (4 vols., 1856-59) the name is spelled "Hafner." Music Publishers Schixme^d JEib'caxy of J^CudicaL Gladdicd ¥>he fflCudical Qxiaxtexly 3 East 43 r(3 Street* NewYork father had urged him to write this, and lessen his obligation to Haffner. Mozart sent an Allegro movement, promised two Minuets, an Andante, and a Finale in a few days, and, if possible, a March: "If not, you must take it from the 'Haffner music' (which is not at all known"). The reference was to the March in D major. He finally sent the March. This composition was the symphony in D . major (K. 385), sometimes known as the "Haffner" Symphony. Mozart wrote the symphony in great haste. His opera "Die Knt- fuhrung aus dem Serail" had just been performed for the second time, and he was busy arranging pages of it for wind instruments, a task that gave him much trouble; he was composing a serenade in C minor (K. 388) ; and he was passionately in love with Constanze Weber, whom he married August 4. He wrote the symphony in less than a fort- night and sent a movement, when it was ready, to his father. At first the work was in the form of a serenade; a march was the introduc- tory movement, there were two minuets, and apparently at first flutes and clarinets were not employed. On July 20 Mozart wrote asking how it were possible for him to compose the symphony. On August 7 he wrote to his father: "I sent you yesterday a short march. I only hope that it will arrive in time and be to your taste. The first allegro must go in a fiery manner; the last as fast as possible." The symphony was performed at a concert given by Mozart in Vienna, March 22, 1783. When Mozart received the manuscript from his father he expressed himself as "surprised" with it. He cut out the march and one of the minuets and afterward added flutes and clarinets. The concert was a brilliant affair. The emperor was pres- ent and greatly pleased. It was his custom to send money in advance when he went to a concert. He sent Mozart twenty-five ducats. The receipts in all were about 1,600 florins. The programme was a long one, composed wholly of music by Mozart: Symphony in D major; aria, "Se il padre perdei," from "Idomeneo," sung by Mine. Tange; pianoforte concerto in C major ("No. 5 in the Breitkopf and Hartel FRANKLIN E. CRESSON, Director DAVID E. CROZIER LUCIUS COLE ALBERT W. BORST RAYMOND L. YEAKEL F. EDMUND EDMUNDS SAMUEL J. RIEGEL 1714 CHESTNUT STREET 57 EAST PENN STREET, GERMANTOWN — (FREDERICK HAHN, Director) A SCHOOL FOR ARTISTS AND TEACHERS AS WELL AS STUDENTS OF ALL AGES Announcing a Faculty of Artists Unsurpassed Anywhere in America .. FACULTY .. PIANO VIOLIN Gregory Kannerstein' Frederick Hahn Aurelio Giorni Charlton Murphy Xavier Dimarias George Brodman Alice Lewis Murphy and Assistants Bessie Husted Glover Adele Foy VIOLONCELLO Mahlon Yardley Bertrand Austin Lilian Fitz-Maurice Carl Kneisel and Assistants CLAVIER VOICE VIRGIL Lilian Fitz-Maurice Henry Hotz Henry Gurney ' CLARINET Cesare Sturani Besse Kille Slaugh Frederich Dieterichs Carlotta Bautz-Mattox Bella T. Ramsey CORNET and TRUMPET and Assistants Edward Fritz Other Wind Instruments taught by members of Philadelphia Orchestra ORGAN AURAL THEORY Lewis Wadlo J. Franklin Whitman Robinson Bessie Husted Glover SCHOOL of INTERPRETATION and STAGE DIRECTING Edward S . Grant The following Eminent Artist Teachers have been added this year: Piano: Aurelio Giorni, Xavier Dimarias. Voice: Cesare Sturani. Aural Theory: Franklin Whitman Robinson. Organ: Lewis J.
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  • U.S. Sheet Music Collection

    U.S. Sheet Music Collection

    U.S. SHEET MUSIC COLLECTION SUB-GROUP I, SERIES 4, SUB-SERIES B (VOCAL) Consists of vocal sheet music published between 1861 and 1890. Titles are arranged in alphabetical order by surname of known composer or arranger; anonymous compositions are inserted in alphabetical order by title. ______________________________________________________________________________ Box 181 Abbot, Jno. M. Gently, Lord! Oh, Gently Lead Us. For Soprano Solo and Quartette. Harmonized and adapted from a German melody. Troy, NY: C. W. Harris, 1867. Abbot, John M. God Is Love. Trio for Soprano, Tenor, and Basso. Adapted from Conradin Kreutzer. New York: Wm. A. Pond & Co., 1865. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Alphonzo Smith, 1862. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: Charles C. Sawyer, 1862. 3 copies. Abbot, John M. Hear Our Prayer. Trio for Soprano, Contralto, and Basso. Brooklyn: J. W. Smith, Jr., 1862. 3 copies. Abbot, John M. Softly now the light of day. Hymn with solos for Soprano, Tenor, and Contralto or Baritone. New York: S. T. Gordon, 1866. Abbott, Jane Bingham. Just For To-Day. Sacred Song for Soprano. Words by Samuel Wilberforce. Chicago: Clayton F. Summy Co., 1894. Abraham’s Daughter; or, Raw Recruits. For voice and piano. New York: Firth, Pond & Co., 1862. Cover features lithograph printed by Sarony, Major & Knapp. Abt, Franz. Absence and Return. For voice and piano. Words by J. E. Carpenter, PhD. From “New Songs by Franz Abt.” Boston: Oliver Ditson & Co., [s.d.]. Abt, Franz. Autumnal Winds (Es Braust der Herbstwind). Song for Soprano or Tenor in D Minor.