Boston Symphony Orchestra Concert Programs, Season 12, 1892
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METZEROTT MUSIC HALL, WASHINGTON. BOSTON SYMPHONY ORCHESTRA. ARTHUR NIKISCH, Conductor. Twelfth Season, 1892-93. PROGRAMME OF THE SECOND CONCERT Tuesday Evening, December 6, At 8 o'clock. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C A. ELLIS, MANAGER. : HAMLIN IMPROVED Represent that same High Standard of Excellence which has achieved a Reputation for their ORGANS AS THE STANDARD 6F The world. New " Liszt" MODEL, No. 804. These Instruments have been supplied to Churches, Convents, Sisters of Charity, Missionaries, and Schools the world over. L9CAI2 REPRESENTATIVES J. F. EL2L2IS & GO. WASHINGTON, D.G. 1*1 " Boston Metzerott Symphony # Music Hail. v-ircriGSLr2L season of 1892-93. Mr. ARTHUR NIKISCH, Conductor. Second Concert, Tuesday Evening, December 6, At 8 o'clock. PROGRAMME. / Goldmark - -• - - - - Overture, " Sakuntala Liszt - Concerto for Pianoforte, No. 2, in A major / Edvard Grieg - Suite from " Peer Gynt," Op. 46 I. "Morgenstimmung." Allegretto pastorale (B major) 6-8 II. 'Ases Tod." Andante doloroso (B minor) . 4-4 ** III. Anitras Tanz." Tempo di Mazurka (A minor) . 3-4 IV. "In der Halle des Bergkoenigs." Alia marcia e molto marcato (B minor) ...... 4-4 Soli for Violoncello a. Bach - ________ _ Adagio b. Klengel -- ___ __'__ Capriccio Tschaikowsky ----- Symphony No. 5, in E minor Andante. Andante cantabile, con alcuna licenza. Valse (Allegro moderato). Finale (Andante maestoso). SOLOISTS: Mr. FERRUCCIO B. BUSONI. Mr. ALWIN SCHROEDER. THE PIANO USED IS A STBINWAY. (3) : SHORE LINE BOSTON T^A NEW YORK NEW YORK TOJL\J BOSTON Trains leave either city, week-days, except as noted DAY EXPRESS at 10.00 A.M. Arrive at 4.30 P.M. BUFFET DRAWING-ROOM CARS. AFTERNOON SERVICE at 1.00 P.M. Arrive 7.30 P.M. BUFFET CARS THROUGH. "SHORE LINE FLYER" at 2.00 P.M. Arrive at 7. *0 P.M. PARLOR CARS ONLY. DINING CAR BOSTON and NEW LONDON. GILT EDGE EXPRESS at 5.00 P.M. Daily, Sundays included. Arrive at 1 1 OO P.M. DRAWING-ROOM and PARLOR SMOKING CARS THROUGH, and DINING CAR BETWEEN BOSTON and NEW LONDON. The last trains between the two cities to leave and arrive at terminal the same day. MIDNIGHT EXPRESS at 12 O'CLOCK. Daily, Sundays Included, and arrive at 7.00 A.M. The last train from either city. Wagner Drawing-room Cars on Dav Trains. Compartment Sleeping Cars on Night Trains. Open for occupation at 9. 1 5 P.M. TRAINS LEAVE BOSTON PROM PARK SQUARE STA.TION. TRAINS l^EAVE NiW YORK FROM GRAND CENTRAL STATION. 11 PAT ONTAT FYPRF^^ " This is the rout e of the Celebrated Pullman Vestibuled WJiUlUilli JjAi IIDOU. Through Day Train Service between Boston and Washington. R KENDRICK, General Manager. (\]J\ fATfiMV P ATT RH AT\ J ULU tULUlU K'AlbUA/iil/t GEO. L. CONNOR, Gen'l Pass'r Agent. ROYAL BLUE LINE Finest and Safest Trains in the World, between # • New YorH &0<I ' Wa^biogtog VIA JERSEY CENTRAL, PHILADELPHIA & READING AND BALTIMORE & OHIO RAILROADS. All trains vestibuled, heated by steam, lighted by the Pintsch Gas System, and protected by Pullman's Anti-telescoping Device. PULLMAN DAY COACHES, P/VRLOR CARS, SLEEPING CARS, DINING CARS. NEW YORK TO WASHINGTON IN FIVE HOURS- Tickets on Sale at all Railroad Offices. Boston Office, 211 W&sbingtop Street. (4) Overture to "Sakiintala" (F major), Op. 13. Karl Goldmark. Karl Goldmark was born at Keszthely, Hungary, on May 18, 1832. He first studied the violin at the Musikverein at Oedenburg in 1842, then in Vienna of Leopold Jansa, and during the winter of 1847-48 at the Con- servatorium of Joseph Bohm. He was also a pupil in the harmony class at the Vienna Conservatorium • but all his studies at that institution were cut short by the revolution of 1848, and in composition he was for the most part self-taught. The year 1858, which he spent in Pesth, was es- pecially devoted to earnest self-directed studies in the works of Bach, Beethoven, and Robert Schumann. He found a firm friend in Joseph Hellmesberger, the elder, who had much of his chamber music and orches- tral and choral work performed at his own concerts. For some time Goldmark was known mainly as a violinist, and his best known work was his suite for pianoforte and violin, Op. 11 : indeed, so often did he play this composition in various German cities that one day a wag, seeing his name, " Karl Goldmark," on a hotel register, played him the trick of add- w England Conservator]] of music (Founded by Dr. Eben Tourjee.) RICHARD H. DANA, President. CARL FAELTEN, Director. THE COURSES of STUDY are arranged with a view to giving a broad and comprehen- sive musical education. THE FACULTY have been chosen with reference not only to their standing as artists, but also with regard to their ability as teachers of the highest excellence. THE ASSOCIATED DEPARTMENTS of Music, Elocution, Fine Arts, and Modern Lan- guages provide the most ample means for acquiring a thorough and complete knowledge of one or all of these subjects at comparatively small cost. THE FREE COLLATERAL ADVANTAGES, consisting of the Faculty Concerts, Pupils' Recitals, Lectures, Chorus Classes, Orchestral Practice, etc., are of inestimable value to the student. Special classes in the Art of Conducting, the training of Boy Choirs and a Normal Course for advanced pupils who are preparing to teach, are now made prom- inent features of the work. Send for calendar, or call at the Institution. F. W. HALE, General Manager. FRANKLIN SQUARE, BOSTON, MASS. (5) COLD MEDAL, PARIS, 1878. FROM WHICH THE EXCESS OF OIL HAS BEEN REMOVED. IS ABSOLUTELY PURE AND IT IS SOLUBLE. No chemicals are used in its preparation. It has MORE THAN THREE TIMES THE STRENGTH of cocoa mixed with starch, arrowroot, or sugar, and is therefore far more eco- nomical, COSTING LESS THAN ONE CENT A CUP. It is delicious, nourishing, strengthening, EASILY DIGESTED, and admirably adapted for invalids as well as for persons in ' health. Ask Your Grocer for it. Allow no Substitution. WALTER BAKER & CO.,, DORCHESTER, MASS. (6) ing in his own hand, "et suite." Goldmark's reputation as a composer first became universal through his now well-known concert overture " Sakuntala," which, soon after its performance by the Philharmonic Society in Vienna in 1865, was given almost all over Europe and the United States. Ten years later his opera "Die Konigin von Saba" placed his name upon the pinnacle of fame,, and in its turn made the round of the musical world, excepting France, where foreign operas are hardly ever given until their composers have become recognizedly "classic." Ever since 1875 Gold- mark has been recognized as the only thoroughly successful German opera composer since Richard Wagner: even Anton Rubinstein has not run him very hard in this field. Still, Goldmark is not exclusively, nor even princi- pally, an opera composer, although the most unquestionable element in his talent is probably his dramatic gift : his concert and chamber music have won distinguished recognition everywhere, and he certainly stands in the first rank among orchestral writers to-day. He is an elaborately careful and laborious composer, writing slowly, and subjecting his works to search- ing self-criticism before giving them to the world. He is of Hebrew blood, and has all the conviction of the importance of details that belongs to his race. He is a brilliant master of orchestration, and delights in the most sumptuous orchestral coloring, perhaps to the extent of grazing monotony. The charge of a lack of elevation of style and nobility of inspiration has been brought against him ; but in this matter he certainly does not stand far below many another of his famous contemporaries. His prevailing fault is a tendency toward the theatrical in musical effect. The story of Sakuntala (or Cakuntala), in Kalidasa's Sanskrit poem, is this : Sakuntala was the daughter of a nymph, and was .brought up by the chief of a caste of holy priests as his own daughter, in a grove frequented by penitents. One day the great king Dushyanta, while out hunting, came to the grove, and, seeing Sakuntala, fell in love with her. It was agreed between the two that she should follow the king to his court some days (7) later, he giving her a ring by which she was to be identified. Sakuntala, engrossed by thoughts of her love, forgot to show the due rites of hospi- tality to a powerful priest who was visiting the grove ; and he, in revenge, threw a charm over king Dushyanta, robbing him of all recollection of his betrothed (according to Gandharver's version of the story, already his wife). Sakuntala afterwards lost the ring while washing linen in a sacred stream. When at last her family and friends brought her to Dushyanta's court as his wife, he failed to recognize her, and repudiated her : her own friends refused to escort her home again, as she was already married to a stranger. She was thus left alone to her despair, when her mother, the nymph, took pity on her. The ring was found by some fishermen, who brought it to the king. At sight of it his recollection of Sakuntala returns. He finds her once more, on a warlike expedition he makes against some evil demons ; and he and she live happily together ever after. Goldmark's overture to this story begins with a calm, placid, slow move- ment, expressive of the quiet of the. sacred grove. It has been suggested that the low trills on the violas, 'celli, and bassoon are meant to recall the gurgling of a spring of water, in allusion to Sakuntala's nymph parentage.