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Boston Symphony Orchestra Concert Programs, Season 30,1910-1911, Trip CITY THEATRE . BROCKTON Thirtieth Season, J9JO-J91I MAX FIEDLER, Conductor Programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, NOVEMBER 1 AT 8.15 COPYRIGHT, 1910, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER WM. L. WHITNEY International School for Vocalists BOSTON NEW YORK SYMPHONY CHAMBERS 134 CARNEGIE HALL 246 HUNTINGTON AVE. CORNER OF 57th AND 7th AVE. PORTLAND HARTFORD Y. M. C.A. BUILDING HARTFORD SCHOOL OF MUSIC CONGRESS SQUARE 8 SPRING STREET f" ~^HE function of the Boston Symphony Orchestra always has been to provide music of the highest class in the most perfect manner humanly possible. Such was the sole object of its founder, and that this ideal has been not only attained, but maintained, finds eloquent testimony in the generous and loyal support given to the Orchestra by the most discriminating musical publics in America. Only by adhering steadfastly to this ideal since its founda- tion has the Orchestra been able to hold its present position — without a superior in the world and without a peer in this country. Commercial considerations have never been permitted to interfere with or to obstruct its artistic progress. It has ex- isted as nearly for art's sake alone as is possible in such a great organization. The result of this wise policy is an orchestra which is famous in all countries where the art of music is practised, an orchestra which is accepted as a model to be fol- lowed by all others, an orchestra whose concerts are eagerly sought by all cities, whose coming is always an event of prime importance in a musical season. Tou Should See This Charming New Model of the JEWETT PIANO Rich, dignified, not too much orna- mented—a creation of beauty in delight- ful harmony with the musical character of the Jewett Piano. Moreover this is a piano you would choose from among a hundred others if you should search for one with an un- usually beautiful tone. It is distinctly a piano of quality, quality due to fifty years of experience that have been marked by constant progress. quality that has won for the Jewett the largest sales in New England of all pianos of equal cost. quality that merits the unlimited guarantee of America's largest retail piano house. This new model of the Jewett piano in a beautiful mahogany case is priced at only $400. Other models from $375 up. M. STEINERT & SONS CO. 25 Main Street, Brockton Main Office and Warerooms, Steinert Hall, Boston Stores in all Principal Cities of New England " CITY THEATRE .... BROCKTON ISflaimt g>gmplf0ttg ©nostra Thirtieth Season, 1910-1911 MAX FIEDLER, Conductor TUESDAY EVENING, NOVEMBER 1 AT 8J5 PROGRAMME Dvorak .... Symphony No. 5, in E minor, "From the New World," Op. 95 I. Adagio: Allegro molto. II. Largo. III. Scherzo. IV. Allegro con fuoco. " Haydn . Aria," With Verdure Clad," from "The Creation Strauss . Tone-Poem, "Death and Transfiguration," Op. 24 Wagner .... Aria from " Tannhauser," " Dich, theure Halle, gruess' ich wieder" Wagner .... Prelude to "The Mastersingers of Nuremberg" SOLOIST Mme. CORINNE RIDER-KELSEY There will be an intermission of ten minutes after the symphony 5 _ The Mason & Hamlin Tone Endures Like That of a Violin ifcm&3|amlm PIANOS furnish the greatest piano 'values to be found in the world to-day* They contain improvements 'which are epoch-making in their importancet and are the last word in artistic piano building* They are everywhere recognized as musically the most beautiful pianos the world has ever seen, and their unique construction, 'with the Mason & Hamlin Grand Tension Resonator, gives them an imperishable tone* Catalogue Mailed on Application* MASON & HAMLIN CO. Established 1854 492 Boylston Street BOSTON — ; Symphony in E minor, No. 5, "From the New World," Op. 95. Anton Dvorak (Born at Miihlhausen (Nelahozeves) near Kralup, Bohemia, September 8, 1841; died at Prague, May 1, 1904.) This symphony was performed for the first time, in manuscript, by the Philharmonic Society of New York on Friday afternoon, December 15, 1893. The first performance in Boston was on December 30 of the same year. The work aroused a controversy in which there was shedding of much ink. The controversy long ago died out, and is probably forgotten even by those who read the polemical articles at the time and expressed their own opinions. The symphony remains. It is now without asso- ciations that might prejudice. It is now enjoyed or appreciated, or possibly passed by, as music, and not as an exhibit in a case on trial. Yet it may be a good thing to recall the circumstances of its origin and, as Mr. Henry E. Krehbiel was deeply interested in the conception * and birth of the symphony, it is better to quote his words: "Last spring the eminent Bohemian composer published his belief that there was in the songs of the negroes of America ' a sure founda- tion for a new National School of Music,' and that an intelligent cul- tivation of them on the part of American composers might result in the creation of an American School of Composition. His utterances created a deal of comment at the time, the bulk of which was distin- guished by flippancy and a misconception of the composer's meaning and purposes. Much of the American criticism, in particular, was based on the notion that by American music Dr. Dvorak meant the songs of Stephen C. Foster and other contributors to old-time negro minstrelsy, and that the school of which he dreamed was to devote itself to the writing of variations on 'The Old Folks at Home' and tunes of its class. Such a blunder, pardonable enough in the popular mind, was yet scarcely venial on the part of composers and newspaper reviewers who had had opportunities to study the methods of Dr. Dvorak in his published compositions. Neither is it creditable to *From a little pamphlet, " Antonin Dvorak's Quartet in F Major, Op. 96 " (New York, 1894). New Song Gycles for Solo and Quartet of Voices " DREAM OF EGYPT " ••THREE OLD ENGLISH LYRICS" By Amy Woodforde-Finden. Two By F. Keel $1.00 net keys $1 -50 net ••THREE SONGS OF THE HIMA- "FIVE FAIRY BALLADS" LAYAS" By S. Coleridge-Taylor. Two keys 1.50 net ByE. Torrace 1.00 net •• PETER PAN" By Joan Trevalsa 1.50 net f "WELSH MELODIES." Parti, •GROSES AND RUE" and II. Edited by J. L. Williams By H. Bunning. Two keys . 1.00 net and Arthur Somervell . each part 75c. net AMY WOODFORDE-FINDEN'S Latest Song Cycle "GOLDEN HOURS" .... Price $1.00 net BOOSEY & COMPANY, 9 East Seventeenth Street NEW YORK CITY 7 BE 3E IE IF M A Work of Art The HARDMAN PIANO the sonorous richness of tone and the sensitive ASdelicacy of touch which distinguish the Hardman Piano render it a delight to the cultivated mus- ical ear, so is the artistic eye satisfied by the asthetic beauty of the carefully designed cases. From the demure simplicity of the Mission Style to the restrained opulence of the Louis XV., there is hardly a recognized " Period " of decorative style which is not represented by them. Cases of such artistic merit are usually only made to ord,er. In the case of the Hardman Piano they are available for immediate delivery. The Hardman is made in Three Forms: THE HARDMAN GRAND THE HARDMAN UPRIGHT THE HARDMAN AUTOTONE The Piano all can play by hand or perforated music roll Terms of purchase are made to meet the convenience of our customers. Highest possible value allowed for your old piano taken in exchange. Send for Handsomely Illustrated Catalogue Manufactured by Hardman, Peck & Company. Established 1842 Represented in Boston by the Colonial Piano Co., 104 Boylston Street h ]E ]0 them, though perhaps not quite so blameworthy, that they have so long remained indifferent to the treasures of folk-song which America contains. The origin of that folk-song has little to do with the argu- ment, if it shall turn out that in it there are elements which appeal to the musical predilections of the American people, and are capable of utilization in compositions in the higher form. As a matter of fact that which is most characteristic, most beautiful, and most vital in our folk-song has come from the negro slaves of the South, partly be- cause those slaves lived in the period of emotional, intellectual, and social development which produces folk-song, partly because they lived a life that prompted utterance in song, and partly because as a race the negroes are musical by nature. Being musical and living a life that had in it romantic elements of pleasure as well as suffering, they gave expression to those elements in songs, which reflect their original nat- ure as modified by their American environment. Dr. Dvorak, to whom music is a language, was able quickly to discern the character- istics of the new idiom and to recognize its availability and value. He recognized, too, what his critics forgot, that that music is entitled to be called characteristic of a people which gives the greatest pleasure to the largest fraction of a people. It was therefore a matter of in- difference to him whether the melodies which make the successful ap- peal were cause or effect; in either case they were worthy of his atten- tion. "He has not said these things in words, but he has proclaimed them in a manner more eloquent and emphatic: he has composed a sym- phony, a quartet, and a quintet for the purpose of exemplifying his theories.
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