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Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip

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Boston Symphony Orchestra Concert Programs, Season 31,1911-1912, Trip ACADEMY OF MUSIC . BROOKLYN Thirty-first Season, 19JJ-W2 MAX FIEDLER, Conductor Jlrngramm? of % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, NOVEMBER 10 AT 8.J5 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER <2«K Qfti £ngi6s* MIGNONETTE GRAND In Fancy $J QQ Mahogany, 5 feet 2 inches Where others ha<ve failed to build a Small and Perfect Grand Piano meeting with present-day requirements, the House of Knabe, after years of research and experiment, has succeeded in producing The World's Best Grand Piano as attested by many of the World's best musicians, grand opera artists, stars, composers, etc. The Knabe Mignonette Grand is indispensable where space is limited— desirable in the highest degree where an abundance of space exists. Wm. KNABE & Co. 5th Avenue and 39th Street - - NEW YORK CITY Established 1837 Boston Symphony Orchestra PERSONNEL Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Theodorowicz, J. Concert-master. Kuntz, D. Krafft, F. W. Mahn, F. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Eichheim, H. Bak, A. Mullaly, J. Goldstein, H. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H Kurth, R. Fabrizio, C. Goldstein, S. Werner, H. Griinberg, M. Violas. Ferir, E. Spoor, S. Pauer, 0. H. Kolster, A. VanWynbergen, C. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W. Violoncellos. Schroeder, A. Keller, J. Barth, C. Belinski, M Warnke, J. Warnke, H. Nagel, R. Nast, L. Hadley, A. Smalley, R. 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. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach ,J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, 0. Lorbeer, H. Gebhardt, W. Mann, J. Alloo, M. Hain, F. Hackebarth, A. Heim, G. Mausebach, A. Phair, J. Schumann, C. Merrill, C Kenfield, L. Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Rettberg, A. Senia, T. Kandler, F Zahn, F. Burkhardt, H, Organ. Librarian. Marshall, J. P. Sauerquell, J. : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says: " Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. 8 EAST 34th STREET, NEW YORK ' " ACADEMY OF MUSIC - - - BROOKLYN Twenty-fourth Season in Brooklyn Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor FIRST CONCERT FRIDAY EVENING, NOVEMBER 10 AT 8.15 PROGRAMME Prelude to "The Mastersingers of Nuremberg Prelude to "Lohengrin" " Prelude and " Liebestod " from " Tristan and Isolde a. Erda's Scene from " Das Rheingold," Scene IV. WAGNER b. Waltraute's Narrative from " Gotterdammer- ung," Act L, Scene 3 Funeral Music, Act III., from "Dusk of the Gods" Scene, "Just God! " and Aria, " My Life fades in its Blossom," from "Rienzi," Act III., No. 9 Overture, ' l Tannhauser ' SOLOIST Madame SCHUMANN-HEINK, Contralto There will be an intermission of ten minutes after the third selection 5 — Prelude to "The Mastersingers of Nuremberg.'' Richard Wagner (Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) The Vorspiel to "Die Meistersinger von Nurnberg" was performed for the first time at Leipsic, November 1, 1862. The opera was first performed at Munich, June 21, 1868. • The idea of the opera occurred to Wagner at Marienbad in 1845, and he then sketched a scenario, which differed widely from the one finally adopted. It is possible that certain scenes were written while he was composing "Lohengrin," and there is a legend that the quintet was finished in 1845. Some add to the quintet the different songs of Sachs and Walther. Wagner wrote a friend, March 12, 1862: "To-morrow I at least hope to begin the composition of 'Die Meistersinger.'" The libretto was completed at Paris in 1861. He worked at Biebrich in 1862 on the music. In the fall of that year he wished the public to hear fragments of his new works, as yet not performed nor published, fragments of "Siegfried," "Tristan," "Die Walklire,"—and he himself added to these the overture to "Die Meistersinger," the entrance of the mastersingers, and Pogner's address, from the same opera. His friend, Wendelin Weissheimer (born 1838), opera conductor at Wiirzburg and Mainz, composer, teacher, essayist, organized a concert at Leipsic for the production of certain works. Von Biilow was inter- ested in the scheme, and the concert was given in the hall of the Gewand- haus, November 1, 1862, as stated above. YOUR SAFEST PIANO store is surely the one in which you can have not only the guarantee of responsible makers but also the guarantee of a responsible store. Kranich and Bach Francis Bacon Estey Gordon and Sons Bjur Brothers PIANOS AND PLAYER -PIANOS are sold exclusively at Loeser's in this vicinity, and the guarantee of this Store as well as of the makers is back of them. No finer group of instruments could be brought together. No other instruments as fine are anywhere sold for as moderate prices. TERMS OF PAYMENT TO SUIT YOU ]M every detail the txaritcg Kctaa Eflatolishment d Bfooldyit.| 6 — The programme was as follows : Part I. Prelude to " Die Meistersinger zu Niirnberg " (new) .... Wagner "Das Grab im Busento," Ballade for Bass, Male Chorus, and Orchestra .' Weissheimer Sung by Mr. RubsamEn. Concerto in A major (No. 2) for Piano Liszt Mr. v. BuivOW. "O lieb' so lang du lieben kannst," Cantata for Mixed Chorus, Solo, and Orchestra Weissheimer Part II. "Ritter Toggenburg," Symphony in one movement (five sections) Weissheimer Chorus, " Trocknet nicht " Weissheimer "Chorus, " Fruhlingslied " Weissheimer The duet sung by Miss Lbssiak and Mr. John. Overture to the opera " Tannhaiiser " Wagner Wagner conducted the two overtures. The hall was nearly empty, and the concert was given at a pecuniary loss. This was naturally a sore disappointment to Wagner, who had written to Weissheimer, October 12, 1862: "Good! 'Tannhauser' overture, then! That's all right for me. For what I now have in mind is tp make an out-and- out sensation, so as to make money." Wagner had proposed to add the prelude and finale of "Tristan" to the prelude to "Die Meister- singer"; but his friends in Leipsic advised the substitution of the overture to "Tannhauser." There was not the faintest applause when Wagner appeared to conduct. Yet the prelude to "Die Meistersinger" was received then with such favor that it was immediately played a second time. * * I give in condensed and paraphrased form Mr. Maurice Kufferath's analysis of this overture.* This Vorspiel, or prelude, is in reality a broadly developed overture •See "Les Maitres Chanteurs d# Nuremberg," by Maurice Kufferath (Paris and Brussels, 1908), pp. 200-210. G. SCHIRMER (Inc.), 3 East 43d Street, NEW YORK JUST PUBLISHED CONCERTO IN G MINOR MEMENTO MORI OP. 17 A Symphonic Composition for Violin By and Orchestra ARNE OLDBERG By MAX VOGRICH For Piano and Orchestra Arranged for Violin and Piano Arranged for Two Pianos, in Score $1.50 Net $3.00 (Orchestral Score and Parts to be had This Concerto is justly entitled to the distinc- of the publishers) tion of being one of the small number of composi- tions in symphonic form, for piano and orchestra, This is a composition of severe and majestic by an American, that deserve the widest appre- imaginative power and of bold originality in the ciation by reason of the beauty of their content development of its interesting thematic content. and the musicianly skill of its disposition. It is especially suited for public performance. in the classic form. It may be divided into four distinct parts, which are closely knit together. i. An initial period, moderato, in the form of*a march built on four chief themes, combined in various ways. The tonality of C major is well maintained. 2. A second period, in E major, of frankly lyrical character, fully developed, and in a way the centre of the composition. 3. An intermediate episode after the fashion of a scherzo, developed from the initial theme, treated in diminution and in fugued style. 4. A revival of the lyric theme, combined this time simultaneously with the two chief themes of the first period, which leads to a coda wherein the initial phrase is introduced in the manner of a stretto.
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