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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip

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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip MUSIC HALL . • . CINCINNATI Twenty-seventh Season, J 907- 1908 DR. KARL MUCK, Conductor flnigrattmwB of MATINEE FRIDAY AFTERNOON, JANUARY 31 AT 2.30 PRECISELY AND CONCERT SATURDAY EVENING, FEBRUARY 1 AT 8.15 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE PUBLISHED BY C. A. ELLIS, MANAGER " ; f THIRTY-FOURTH YEAR FINEST CONSERVATORY IN THE WEST Detroit Conservatory of Music FRANCIS L. YORK, M.A., Director One of the Three Largest Conservatories in America. Unsurpassed ad- vantages for a Complete Musical Education. EVERY BRANCH TAUGHT HEADS OF DEPARTMENTS: YORK, Piano ; YUNCK, Violin; NORTON, Voice RENWICK, Organ, Theory; DENNIS, Public School Music; OCKENDEN, Elocution ; LITTLE, Drawing. Fifty thoroughly reliable instructors. Rates of tuition range from $10 to $60 per term (twenty lessons). Many free advantages. Send for catalogue. 530 WOODWARD AVENUE JAMES H. BELL, Secretary EIGHTH PRINTING of " one of the most important books on music that have ever been published ... a style which can be fairly described as fascinating. — W. J. Henderson. With a chapter by Henry E. Krehbiel, covering Richard Strauss, Cornelius, Goldmark, Kienzl, Humperdinck, Smetana, Dvorak, Charpentier, Sullivan, Elgar, etc., in addition to his earlier chapter on Music in America. Practically a cyclopaedia of its subject, with 1,000 topics in the index LAVIGNAC'S "MUSIC AND MUSICIANS" By the Author of" The Music Dramas of Richard Wagner" Translated by WILLIAM MARCHANT i2mo. $1.75 net (by mail $1.90). **# Circular with sample pages sent on application This remarkable book by the doyen of the Paris Conservatory has been accepted as a standard work in America and reprinted in England. It is difficult to give an idea of its comprehensiveness, with its 94 illustrations and 510 examples in Musical Notation. It is divided as follows: A Study of Musical Sound (66 pp.); Materials of Sound (122 pp.), including the voice, orchestral instruments, with pictures of each, many other instruments, and an illuminating account of orchestration ; Grammar of Music (152 covering the pp.), harmonic system, counterpoint, and the fugue ; Esthetics (41 pp.), including Composition, with a discussion of the forms of the sonata, symphony, concerto, overture, dance forms, national characteristics, improvisation, criticism, and the beautiful in music; History of the Art of Music (106 pp.), covering the ancients, the primitives, and the various national schools, with notes on the individual HFMRY1-ir~MT P <T^(~\ 29W.25?st I IwllXvJ riwLl \D V^A_J. NEW YORK composers and some performers, and concluding remarks on the musical career. Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, 0. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strabe, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. < "ontra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz. G Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. 3 trntg iitano Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE. MAKERS Established 1823 Represented in Cincinnati by THE W. G. WOODMANSEE PIANO COMPANY 105 West Fourth Street 4 BostOll MUSIC HALL, Symphony A Cincinnati, ohio. O FCllCSt Fcl Twenty-seventh Season, 1907-J908. Dr. KARL MUCK, Conductor, MATINEE, FRIDAY AFTERNOON, JANUARY 31, AT 2.30. PROGRAMME. Handel . Concerto in F major for Strings and Two Wind Orchestras (Edition of Gustav F. Kogel). First time in Cincinnati I. Pomposo. II. Allegro. III. A tempo ordinario. IV. Largo. V. Allegro. Mozart ...... Three German Dances (K. 605) First time in Cincinnati Schumann ..... Overture to "Genoveva," Op. &i " Beethoven . Symphony in F major, No. 6, Pastoral," Op. 68 I. Awakening of serene impressions on arriving in the country: Allegro, ma non troppo. II. Scene by the brook-side: Andante molto moto. III. Jolly gathering of country folk : Allegro. In tempo d" allegro. Thunder-storm; Tempest: Allegro. IV. Shepherds' song; Gladsome and thankful feelings after the storm: Allegretto. There will be an intermission of ten minutes before the symphony. 5 Ready to be played by means ofperfo- by any one rated rolls fMUSICAL EXPRESSION Many pianists play mechanically* Their technique is often admirable, but their touch is so uncompromisingly uniform from end to end and from top to bottom of a piece that the effect is inevitably automatic* The same is true of player-pianos lacking adequate means of proper accent* On the other hand, it is practically AUTOTONEimpossible to play mechanically on the The Piano ALL can play Either by hand or by perforated music-rolls. The technique of the Autotone is faultless ; and, in addition, it possesses most wonderful means of musical expression found in no other instrument. One of the most important of these exclusive features is THE ACCENTOR It places at the finger tips of the most unpractised music-lover the perfect means of proper accent. It enables any one to subdue the accompaniment and bring- out the melody ; to accent any chord, note, or series of notes,—all with the utmost ease and simplicity. This accenting is not arbitrarily mecJuinical, as when cut in the music-roll, but has all the fascination of individual i?iterpretation. A simple trial of the Autotone at our warerooms or at the warerooms of our representatives in- stantly demonstrates its overwhelming advantages. The Autotone is not a combination of an exterior player made in one factory and a piano made in another. The Autotone is a com- plete and perfect whole, every part being made under one roof. (All makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST HARDMAN, PECK & CO., ?££• 138 Fifth Avenue (corner 19th Street),' New York 524 Fulton Street, Brooklyn Represented in Cincinnati by BEINKAMP PIANO COMPANY, 132 West Fourth St. Ready to be played A utotone parts are by hand invisible — Concerto in F major for Strings and Two Wind Orchestras. George Frideric Handel (Born at Halle, February 23, 1685; died at London, April 14, 1759.) Extracts from this work—Pomposo, Allegro; Allegro ma fton troppo; Largo ; A tempo ordinario ; Allegro—were performed for the first time in Boston at a concert of the Boston Symphony Orchestra, Mr. Nikisch conductor, December 26, 1891. The present arrangement of movements from Handel's concerto is by Gustav Friedrich Kogel,* and it is now performed for the first time in this city. Little is known about the history of the original work. It is composed for two bands of two oboes, two horns, bassoon's, and for strings. The date of composition is not known. Handel hardly ever dated a manuscript. Chrysander thinks the concerto belongs to Handel's later period, and that it was written between 1740 and 1750. It was published for the first time in the edition of the German Handel Society, 1886. We do not know where or when the work was first performed, or whether it were performed while Handel was alive, though there is every probability that it was. W. S. Rockstro, in his Life of Handel (1883), gave the following account of the concerto: "The volume in the Royal Collection labelled 'Sketches/ which contains the disputed Magnificat and the two unpublished versions of 'How beautiful,' contains, also, a long and extremely elaborate * Kogel was born January 16, 1849, at Leipsic. He studied at the Conservatory of that city (1863-67), lived some years in Alsace as a music teacher, returned home when the war broke out, worked for the firm of Peters, the music publisher, and in 1874 began his career as a conductor. He conducted in the theatres of Nuremberg, Dortmund, Ghent, Aix-la-Chapelle, Cologne, Leipsic (1883-86), was conductor of the Phil- harmonic Orchestra, Berlin, in 1887, and in 1801 he became conductor of the Museum Concerts at Frankfort- on-the-Main. In 1903 he was removed, to make a place for Sigismund von Hausegger. He has edited editions of operas and orchestral works, among the latter two concertos of Handel. He conducted on December 4, 5, 18, 19, 1903, and on November 11 and 12, 1904, concerts of the Philharmonic Society of New York in Carnegie Hall. LATEST ADDITIONS TO THE LIST OF MINIATURE SCORES MOZART. Symphony in D major ------ $0.50 AUBER. "Le Cheval de Bronze" Overture .50 BOIELDIEU. "La Dame Blanche" Overture .50 MENDELSSOHN.
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