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

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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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  • Ópera Y Política En El México Decimonónico: El Caso De Amilcare Roncari*

    Ópera Y Política En El México Decimonónico: El Caso De Amilcare Roncari*

    Secuencia (2017), 97, enero-abril, 140-169 ISSN: 0186-0348, ISSN electrónico: 2395-8464 DOI: http://dx.doi.org/10.18234/secuencia.v0i97.1450 Ópera y política en el México decimonónico: El caso de Amilcare Roncari* Opera and Politics in 19th-Century Mexico: The Case of Amilcare Roncari Luis de Pablo Hammeken Universidad Autónoma Metropolitana-Unidad Cuajimalpa, México [email protected] Resumen: El artículo analiza la historia de Amilcare Roncari, un empresario de origen italiano que organizó varias temporadas de ópera en la ciudad de México y que, al comienzo de la guerra de Reforma, fue aprehendido y lle- vado a la cárcel acusado de haber defraudado a los abonados. El caso ilustra las intrincadas redes de apoyos recíprocos y conflictos frecuentes que, en el México del siglo xix, se tejían entre los empresarios y artistas de la ópera, por un lado, y las autoridades políticas, por el otro. Se argumenta que los gober- nantes sabían que la ópera era un símbolo poderoso de civilización y progreso y, por lo tanto, la empleaban con frecuencia como fuente de legitimidad; a cambio, los empresarios recibían grandes apoyos, financieros, jurídicos y sim- bólicos de parte de las instituciones políticas, tanto locales como nacionales. Palabras clave: ópera; guerra de Reforma; México; empresarios; Amilcare Roncari. * Este artículo se basa en la investigación que realicé para mi tesis doctoral. Pablo (2014). 140 Secuencia, ISSN 0186-0348, núm. 97 | enero-abril de 2017 | pp. 140-169 Secuencia, ISSN 0186-0348, núm. 97, enero-abril de 2017, pp. 140-169 141 Abstract: The article analyzes the story of Amilcare Roncari, an Italian entre- preneur who organized several opera seasons in Mexico City and was arrested and taken to jail for defrauding subscribers at the beginning of the Reform War.
  • Casts for the Verdi Premieres in the US (1847-1976)

    Casts for the Verdi Premieres in the US (1847-1976)

    Verdi Forum Number 2 Article 5 12-1-1976 Casts for the Verdi Premieres in the U.S. (1847-1976) (Part 1) Martin Chusid New York University Follow this and additional works at: http://scholarship.richmond.edu/vf Part of the Musicology Commons, and the Music Performance Commons Recommended Citation Chusid, Martin (1976) "Casts for the Verdi Premieres in the U.S. (1847-1976)" (Part 1), AIVS Newsletter: No. 2, Article 5 This Article is brought to you for free and open access by UR Scholarship Repository. It has been accepted for inclusion in Verdi Forum by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Casts for the Verdi Premieres in the U.S. (1847-1976) (Part 1) Keywords Giuseppe Verdi, opera, United States This article is available in Verdi Forum: http://scholarship.richmond.edu/vf/vol1/iss2/5 Casts for the Verdi Premieres in the U.S. (1847-1976), Part 1 by Martin Chusid 1. March 3, 1847, I lombardi alla prima tioni (London, 1862). See also U.S. pre­ croclata (Mi~, 1843). New York, Palmo's mieres of Due Foscari, Attila, Macbeth and Opera House fn. 6 6 Salvatore Patti2 (Arvino) conducted w.p. Aida (Cairo, 1871). See Giuseppe Federico de! Bosco Beneventano 3 also U.S. premieres in note S. Max Maret­ (Pagano) zek, Crochets and Quavers (l8SS), claims Boulard (Viclinda) that Arditi was Bottesini's assistant. Clotilda Barili (Giselda) The most popular of all Verdi's early operas A. Sanquirico3 (Pirro) in the U.S. (1847-1976) Benetti Riese (Prior) 3.
  • Music (Opportunities for Research in the Watkinson Library)

    Music (Opportunities for Research in the Watkinson Library)

    Trinity College Trinity College Digital Repository Watkinson Library (Rare books & Special Watkinson Publications Collections) 2016 American Periodicals: Music (Opportunities for Research in the Watkinson Library) Leonard Banco Follow this and additional works at: https://digitalrepository.trincoll.edu/exhibitions Part of the Musicology Commons Recommended Citation Banco, Leonard, "American Periodicals: Music (Opportunities for Research in the Watkinson Library)" (2016). Watkinson Publications. 22. https://digitalrepository.trincoll.edu/exhibitions/22 Opportunities for Research in the Watkinson Library • • • • American Perioclicals: USIC Series Introduction A traditional focus of collecting in the Watkinson since we opened on August 28, 1866, has been American periodicals, and we have quite a good representation of them from the late 18th to the early 20th centuries. However, in terms of "discoverability" (to use the current term), it is not enough to represent each of the 600-plus titles in the online catalog. We hope that our students, faculty, and other researchers will appreciate this series ofannotated guides to our periodicals, broken down into basic themes (politics, music, science and medicine, children, education, women, etc.), MUSIC all of which have been compiled by Watkinson Trustee and Introduction volunteer Dr. Leonard Banco. We extend our deep thanks to Len for the hundreds of hours he has devoted to this project The library holds a relatively small but significant since the spring of 2014. His breadth of knowledge about the collection of19 periodicals focusing on music that period and inquisitive nature has made it possible for us to reflects the breadth ofmusical life in 19th-century promote a unique resource through this work, which has America as it transitioned from an agrarian to an already been of great use to visiting scholars and Trinity industrial society.