Boston Symphony Orchestra Concert Programs, Season 23,1903-1904, Trip
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THE LYRIC, BALTIMORE. Boston Symptionu Drcfiestia Mr. WILHELM GERICKE, Conductor. Twenty-third Season, 1903-1904. PROGRAMME OF THE FIRST CONCERT TUESDAY EVENING, NOVEMBER 3, AT 8.15 PRECISELY. "With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. 1 Established Established 1823 1823 rflllk PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY THE KRANZ-SMITH PIANO CO. G. FRED KRANZ, President 109 y in N. Charles Street • Baltimore, Md. The Lyric, Boston . y Mount Royal and SytTl Maryland Avenues, phOny Baltimore. ? Twenty-third Season, J903-J904. Orchestra Nineteenth Season in Baltimore. Mr. WILHELM GERICKE, Conductor. FIRST CONCERT, TUESDAY EVENING, NOVEMBER 3, AT 8.J5 PRECISELY. PROGRAMME. Goldmark Overture, " Sakuntala " " " " Mozart . Aria, L' Amero," from II Re Pastore D'Indy " La Foret Enchante'e," Legende-Symphonie (d'apres une Ballade de Uhland) " Weber Aria from- " Der Freischiitz Brahms . Symphony No. 2, in D major, Op. 73 I. Allegro non troppo. II. Adagio non troppo. III. Allegretto grazioso, quasi andantino. IV. Allegro con spirito. SOLOIST: Madame GADSKI. There will be an intermission of ten minutes before the symphony. 3 : The Musicians Library No lover of noble music can possibly do without these matchless volumes. In editorship, comprehensiveness, engraving, printing, binding, and price, they represent the high-water mark of music publishing. Volumes now ready BRAHMS — Forty Songsf Edited by JAMES HVNEKER For High Voice For Low Voice CHOPIN — Forty Piano Compositions! Edited by JAMES HVNEKER FRANZ— Fifty Songs* Edited by W. F. APTHORP LISZT — Twenty Piano Compositions* Edited by AUGUST SPANUTH LISZT— Twenty Piano Transcriptions! - . Edited by AUGUST SPANUTH FIFTY MASTERSONGSf Edited by HENRY T. FINCK Prices, $1.25, paper covers; $2.25, cloth, gilt t Prices, $1.50, paper covers; $2.50, cloth, gilt MUSICIANS LIBRARY BOOKLET SENT ON REQUEST BOSTON OLIVER DITSON COMPANY New York Philadelphia CHAS. H. DITSON «S. CO. J. E. DITSON & CO. J — Overture; to "Sakuntala," in F major, Op. 13 . Carl Goldmark (Born at Keszthely, in Hungary, May 18, 1830;* now living at Vienna.) This overture, the first of Goldmark's important works in order of composition, and the work that made him world-famous, was played for the first time at a Philharmonic Concert, Vienna, Dec. 26, 1865. The first performance in Boston was at a concert of the Harvard Musi- cal Association, Dec. 6, 1877. The following preface is printed in the full score: For the benefit of those who may not be acquainted with Kalidasa's famous work, "Sakuntala," we here briefly condense its contents. Sakuntala, the daughter of a nymph, is brought up in a penitentiary grove by the chief of a sacred caste of priests as his adopted daughter. The great king Dushianta enters the sacred grove while out hunting; he sees Sakuntala, and is immediately inflamed with love for her. A charming love-scene follows, which closes with the union (according to Grund- harveri, the marriage) of both. The king gives Sakuntala, who is to follow him later to his capital city, a ring by which she shall be recognized as his wife. A powerful priest, to whom Sakuntala has forgotten to show due hospitality, in the intoxication of her love, revenges himself upon her by depriving the king of his memory and of all recollection of her. Sakuntala loses the ring while washing clothes in the sacred river. When Sakuntala is presented to the king, by her companions, as his wife, he does not recognize her, and he repudiates her. Her companions refuse to admit her, as the wife of another, back into her home, and she is left alone in grief and despair ; then the nymph, her mother, has pity on her, and takes her to herself. Now the ring is found by some fishermen and brought back to the king. On his seeing it, his recollection of Sakuntala returns. He is seized with remorse for his terrible deed; the profoundest grief and unbounded yearning for her who has disappeared leave him no more. •Yet the latest biographer of Goldmark — Otto Keller, of Vienna — gives the erroneous date, 1832, still found in some recent biographical dictionaries of musicians. See Keller's " Carl Goldmark" (Leipsic, s.d., in the " Moderne Musiker" series.) NEW CYCLES OF SONGS, Etc. WIND FLOWERS Quartette of Solo Voices By Arthur Somervell SONGS OF LOVE AND SPRING . Cycle for Two Voices By Liza Lehmann A LOVER'S MOODS Cycle of Songs By C. A. Lidgey INDIAN LOVE SONGS Song Cycle in Two Keys By A. Woodforde-Finden LORDS OF THE SEA Cycle for Baritone or Bass By William Wallace BALLAD OF THYRA LEE BOOK OF JUNGLE SONGS TRIUMPH Boosey & Company, 9 East 17th St., Mew York. On a warlike campaign against some evil demons, whom he vanquishes, he finds Sakuntala again, and now there is no end'to their happiness. The introduction opens, Andante assai, in F major, 3-4, with rich and sombre harmonies in violas, 'cellos (largely divided), and bas- soons. Mr. Apthorp fancies that the low trills "may bear some ref- erence to the gurgling of a spring—indicative of Sakuntala's parent- age." The tempo changes to Moderato assai, F major (3-4 or 9-8 time). A clarinet and two 'cellos in unison sing the chief theme over soft harmonies in the strings and bassoons. This yearning and sensu- " ous theme is named by some commentators the Love-theme " ; but Dr. Walter Rabl suggests that with the second chief theme it may picture Sakuntala in the sacred grove. Thus do ingenious glossarists disagree. This second theme is introduced by first violins and oboe, and against it second violins and violas sing the first melody as a counter- theme. The figuration has soon a more lively rhythmic character, and a short crescendo leads up to a modulation to A minor, poco piu mosso, in which the brass instruments give out a third theme, a hunt- ing tune. This theme is developed; it is used alternately for brass, wood-wind, and strings. After a fortissimo of full orchestra there is a long development of a new theme (Andante assai in E major), sung by oboe and English horn against harp chords and triplet arpeggios in strings. This theme had a certain melodic resemblance to the second chief theme. The sombre theme of the introduction is heard in the basses. The pace grows livelier (piu mosso, quasi Allegro), and the music of the hunt is heard. The climax of the crescendo is reached in F minor, and a cadenza for wind instruments and strings, broken by loud chords, leads to a repetition of the introduction. The first chief theme appears, and is soon followed by the second. The coda begins with a crescendo climax on figures from the hunting theme, "OLD VIOLINS" FT PIANOS C H. HILDEBRANDT <Sr SON 321 N. Howard Street ESTABLISHED 1838. which leads to a full orchestral outburst on the two chief themes in conjunction, —first theme in wood-wind and violins, second theme in horns in unison. A free climax, which begins with the hunting theme, which is now naturally in F major, brings the brilliantly jubilant close. The overture is scored for 2 flutes, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, bass tuba, a set of 3 kettledrums, harp (if possible, two harps), and strings. It is ded- icated to Ludwig Lakenbacher. Schubert thought in 1820 of writing an opera based on the story of Sakuntala. The libretto was by P. H. Neumann, and the opera was to be in three acts. Schubert sketched two acts, and the manu- script some years ago was in Mr. Dumba's possession. Tomaczek's opera was not finished. Von Perfall's opera in three acts, text by Teichert (Tischbein), was produced at Munich, April 10, 1853; Wein- gartner's in three acts, text by the composer, at Weimar, March 23, 1884. A ballet, "Sacountala," by L. E. E. de Reyer (scenario by Theophile Gautier), was produced at Paris, July 20, 1858. Sigismund Bachrich's ballet, "Sakuntala," was produced at Vienna, Oct. 4, 1884. Felix von Woyrsch wrote an overture and entr'actes for a dramatic performance, and there are symphonic poems by C. Friedrich and Philipp Scharwenka. The one by Scharwenka, for solo voices, chorus, and orchestra, was performed at Berlin, March 9, 1885. Pierre de Breville wrote incidental music for A. F. Herold's adap- tation, "L'Anneau de Cakuntala (Theatre de l'CEuvre, Paris, Dec. 16, 1895), when the part of the heroine was taken by Miss Mery. The drama of Kalidasa was played for the first time in English m the Conservatory, Botanic Gardens, Regent's Park, London, July 3, 1899. Probably the latest production of the drama was an adapta- tion in German by Marx Moeller, May 1, 1903, at the Royal Theatre, Berlin. THE STAFFORD WASHINGTON PLACE BALTIHORE EUROPEAN PLAN ABSOLUTELY FIRE-PROOF Special attention to after-the-concert parties Restaurant open until I A.M. R. S. DORNER, Manager. — — Aria, "L'Amero, " prom "II R& Pastors. " Wolfgang Amadeus Mozart. (Born at Salzburg on Jan. 27, 1756; died at Vienna on Dec. 5, 1791.) "II Re Pastore" ("The Shepherd King"), an opera, described also as a "drama per musica" and as a "dramatic cantata," in two acts, text by Metastasio, music by Mozart, was composed at Salzburg in 1775, and produced there on April 23 of that year. The aria is sung by Aminta, the shepherd king. We do not know the name of the singer who created the part.