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Boston Symphony Orchestra Concert Programs, Season 34

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Boston Symphony Orchestra Concert Programs, Season 34 SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thirty-fourth Season, 1914-1915 Dr. KARL MUCK. Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, APRIL 29 AT 8.00 COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER TBe CBickenng piano Bas from its Beginning ranked as the leader :&^& WBen fneDcta*oisit your Borne aDd& t# see tBis name on tBe faff Board you are not under tBe Decessity of explaining why you purcBased sucB a piano-forte; tBej at once acknowledge your discrim- inating judgment and correct musicaf^ taste. Its makers are 50 entBusiastic over a^ tBeir ncB Bentage tBat only tBe finest workroansBip and roatenaf are considered initsiDaDufacture. # Our wareroom dispfay affords an op- portunity to see and Bear tBese instru- ments under tBe most favoraBfe conditions "Wrvte^/or Catalogue CHICKERJNG WAREROOM5 4 (ZQ TREMONT ST At the Sign of the Clock IKJ^y Between Mason aralVta Victor-Vict rolas • and 'Records Edison Diamond -Disc Phonographs^ SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor EIGHTH AND LAST CONCERT THURSDAY EVENING, APRIL 29 AT 8.00 PROGRAMME Borodin Symphony No. 2, in B minor I. Allegro moderato. II. Molto vivo. III. Andante. IV. Allegro. Mozart . Aria, "Voi, che sapete," from "Le Nozze di Figaro" Bach . Concerto in D minor, for two Violins and Orchestra of Strings I. Vivace. II. Largo. III. Finale (Allegro). (Solo Violins, Messrs. Wttek and Noack) Bruch . "Ave Maria," from "The Cross of Fire," A Dramatic Cantata, Op. 52 Weber Overture to the Opera "Oberon" SOLOIST Miss FLORENCE HINKLE There will be an intermission of ten minutes after the symphony 3 — TO ifaim&ltamliJtOk Boston, March 6, 1914. MASON & HAMLIN CO., Gentlemen: On arriving in Boston after my trans-continental concert tour of the past several months, one of the first things I wish to do is to tell you of the unfailing satis- faction your pianos have given me. The high opinion which I had of these superb instruments before the tour has been but strengthened, and / believe that the Mason & Hamlin Piano today represents the highest achievement in piano making. No doubt your Tension Reson- ator is the greatest advance in piano construction for many years. It contributes largely to the carry- ing, or singing, capacity of your pianos, as well as to their remark- able depth of tone. Their sensi- tiveness is extraordinary, and it seems to me that the preference on the part of an individual for your pianos is indicative of a superior musical nature on the part of that individual. The advent of the Mason & Hamlin Piano marks an epoch in the development and progress of piano making, and I feel confident that in them is found the apogee of truly musical, artistic piano building. I congratulate you on your achievement, and your building of these unrivalled pianos must be a source of inspiration and of gratulation on the part of every serious musician. Believe me, Very truly yours, (Signed) WAREROOMS, 492-494 BOYLSTON STREET — — Symphony in B minor, No. 2, Op. 5 Alexander Borodin (Born at Petrograd, November 12, 1834; died there February 27, 1887.) Borodin's Symphony in B minor was written during the years 1871-77. The first performance was at Petrograd in the Hall of the Nobility, February 14, 1877, and Bduard Napravnik was the conductor. The first performance in Boston was at a concert of the Boston Symphony Orchestra, Dr. Muck conductor, December 14, 19 12. When the symphony was performed at a concert of the Philharmonic Society, London, February 27, 1896, the Telegraph (London) published this note: "It contains scarcely a theme that can on any ground reasonably be referred to classic sources. Every important melody is of an East- ern cast, and some of the subjects were derived, one might suppose, from the Middle Asia celebrated in his symphonic poem—an idea sup- ported by frequent repetition of brief phrases in the manner long rec- ognized as characteristic of Oriental art. But the most curious feat- ure in the work is the presentation of such music strictly in symphonic form. The Russian composer does not use even legitimate oppor- tunities of freedom. Having chosen his model, he respects it, and, so to speak, compels the 'fiery and untamed steed' of the Ukraine to figure in the limited circle of the haute ecole. The effect is curious and interesting, especially at moments when the composer seems to have difficulty in keeping his native impulses from getting the upper hand. Thus, the leading theme of the first Allegro, a phrase of eight notes, haunts nearly the whole of the movement, chiefly by simple repetition. A second subject * does appear at. proper times, it is true, but comes in apologetically and departs speedily, hustled by the aggressive eight notes. Using a big orchestra, Borodin employs color with Eastern lavishness, and exhausts his resources in tours de force of various kinds, seeking, perhaps, to counteract the effect of a certain thematic mo- notony. This may not be—certainly is not—what we recognize as highest art, but the work arrests attention for various reasons, espe- cially as an indication of Russian musical tendencies along classic lines." The symphony is scored for piccolo, three flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, three kettledrums, bass drum, cymbals, triangle, tambourine, harp, and the usual strings. It appears from the score that this symphony was edited by Rimsky- Korsakoff and Glazounoff. I. Allegro, B minor, 2-2. The first movement opens with a vig- orous theme given out by the strings in unison, while bassoons and horns reinforce each alternate measure. This theme may be taken for the motto of the movement, and it is heard in every section of it. Another motive, animato assai, is given to the wood-wind. After the alternation of these two musical thoughts, the expressive second theme, poco meno mosso, 3-2 time, is introduced by the violoncellos, and afterward by the wood-wind. The vigorous first theme is soon heard again from the full orchestra. There is development. The time changes from 2-2 to 3-2, but the Motto dominates with a devel- of the * Liszt told Borodin that a critic might reproach him for not having presented the second theme symphony was not first movement amoroso or in some such manner, but that no one could pretend that the well made in view of the basic elements. Ed. opment of the first measure of the second subject. This material is worked at length. A pedal point, with persistent rhythm for the drum, leads to the recapitulation section, in which the themes undergo cer- tain modifications. The coda, animato assai, is built on the Motto. II. Scherzo, prestissimo, F major, i-i time. There are a few introductory measures with repeated notes for first and second horn. The chief theme is followed by a new thought (syncopated unison of all the strings). This alternates with the first theme. Trio: Allegretto, 6-4. A melody for the oboe is repeated by the clarinet, and triangle and harp come in on each alternate half of every measure. This material is developed. The first part of the movement is repeated, and the coda ends pianissimo. III. Andante, D-flat major, 4-4. There are introductory measures in which a clarinet is accompanied by the harp. A horn sings the song of the old troubadours. Poco animato. There is a tremolo for strings, and the opening melody, changed somewhat, is heard from wood-wind instruments and horns. Poco piu animato, 3-4. A new thought is given to the strings with a chromatic progression in the bass. After the climax the opening theme returns (strings), and the movement ends with the little clarinet solo. Then comes, without a pause, the IV. Finale. Allegro, B major, 3-4. The movement is in sonata form. There is an introduction. The chief theme, forte, is given to the full orchestra. It is in 5-4. The second subject, less tumultuous, is given to clarinet, followed by flute and oboe. The chief theme is developed, lento, in the trombones and tuba, and in a more lively man- ner by strings and wood-wind. The second subject is developed, first by strings, then by full orchestra. The recapitulation section is pre- ceded by the introductory material for the opening of the movement. This symphony was played in Cincinnati in the seasons of 1898-99 and 1900-01. It was performed in Chicago on January 15, 16, 1909, and April 7, 8, 191 1. It was played in Pittsburgh, February 1, 2, 1901. canzona, "voi, che sapete," act ii., scene 3, in " le nozze di Figaro" Wolfgang Amadous Mozart (Born at Salzburg, January 27, 1756; died at Vienna, December 5, 1791.) "Le Nozze di Figaro: dramma giocoso in quadro atti; poesia di Lorenzo Da Ponte,* aggiustata dalla commedia del Beaumarchais, 'Le Mariage de Figaro' ; musica di W. A. Mozart," was composed at Vienna in 1786 and produced there on May 1 of the same year. The cast was as follows: il Conte Almaviva, Mandini; la Contessa, Laschi; Susanna, Storace; Figaro, Benucci; Cherubino, Bussani; Marcellina, Mandini; Basilio and Don Curzio, Ochelly (so Mozart wrote Michael Kelly's name, but Kelly says in his Reminiscences that he was * Lorenzo Da Ponte was born at Ceneda in i74g. He died at New York, August 17, 1838. His life was long, anxious, strangely checkered. "He had been improvvisatore, professor of rhetoric, and politician in his native land; poet to the Imperial Theatre and Latin secretary to the Emperor in Austria; Italian teacher, operatic poet, litterateur, and bookseller in England; tradesman, teacher, opera manager, and bookseller in America." Even his name was not his own, and it is not certain that he ever took orders.
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