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Boston Symphony Orchestra Concert Programs, Season 29,1909

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Boston Symphony Orchestra Concert Programs, Season 29,1909 CARNEGIE HALL - - NEW YORK Twenty-fourth Season in New York MAX FIEDLER, Conductor JJrngrctmm? nf % FIRST CONCERT THURSDAY EVENING, NOVEMBER U AT 8J5 PRECISELY AND THE FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 13 AT 2.30 PRECISELY WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE COPYRIGHT, 1909, BY C. A. ELLI8 PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively THE JOHN CHURCH CO., 37 West 33d Street New York City Boston Symphony Orchestra PERSONNEL Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Gietzen, A. Hoyer, H. Kluge, M. Sauer, G. Rennert, B. Violoncellos. Warnke, H. Nagel, R. Barth, C. Belinski, M. Warnke, J Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. 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. Regesteln, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, O Lorbeer, H. Gebhardt, W. Marin, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, fe- • J. 3 Oflhttfcmng j.3t«mn Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S. A. Represented in New York by JOHN WANAMAKER - CARNEGIE HALL r . NEW YORK Twenty-fourth Season in New York Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor FIRST CONCERT THURSDAY EVENING, NOVEMBER U AT 8.15 PRECISELY PROGRAMME Reger .... Symphonic Prologue to a Tragedy, Op. 108 First time in New York Thomas . • . Air of the Drum Major, from "The Cadi" (Act I. Scene III.) Brahms . Symphony No. 2, in D major, Op. J73 I. Allegro non troppo. II. Adagio non troppo. III. Adagietto grazioso, quasi andantino. IV. Allegro con spirito. j " " a. Massenet . Air of the Devil Loin de sa femme from "Grise'lidis " (Act II. Scene I) b. Bordes " Dansons la Gigue " Melody with Orchestra (Poem from Paul Verlaine's "Aquarelles") Op. 15 Richard Strauss "Till Eulenspiegel's Merry Pranks, after the Old- fashioned Roguish Manner — in Rondo Form." Op. 28 SOLOIST CHARLES GILIBERT There will be an intermission of ten minutes after the symphony. 5 Once fk Knale Always tbe Ue tB8m%tfMr <&o- BALTIMORE NEW YORK WASHINGTON Symphonic Prologue to a Tragedy, for Full Orchestra, Op. 108. Max Reger (Born at Brand, Bavaria, March 19, 1873; now living in Leipsic.) Reger's "Symphonischer Prolog zu einem Trauerspiel" was per- formed for the first time at the ninth Gurzenich concert in Cologne in March, 1909. It was played shortly afterward at a Philharmonic concert in Vienna and at the twenty-first Gewandhaus concert of last season in Leipsic. The first performance in England was at a Prom- enade Concert in London, September 14, 1909. The Prologue, dedicated to Arthur Nikisch, is scored for these instru- ments: three flutes (one interchangeable with piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, double-bas- soon, three trumpets, six horns, three trombones, bass tuba, a set of three kettledrums, bass drum, cymbals, and the usual strings. The work is complex in the most Regerian manner, and it is very long,—so long that the composer himself indicates the opportunity for a cut. No hint has been made as to what tragedy Reger had in mind, or whether the Prologue was conceived for any particular trag- edy, written or contemplated. A minute analysis of the work would be of little assistance to the reader, even if the chief themes and the many lesser ones were inserted here in notation. The Prologue opens with an impressive introduction of some length, Grave, 6-4. The main body of the Prologue is marked Allegro agitato (ma non troppo allegro). "The chief themes, though short, have a certain physiognomy: a rising and falling heroic motive, a noticeable one for horns; one that is a blood relation of the chief theme of Reger's violin concerto; a warm love melody that is especially impressive at the end of the work in connection with Wagnerian counterpoint." It has been said of Reger's music that it is without development in the true sense; that everything in it starts involved and complicated; the composer begins at once and continues to the end to employ the utmost resources of counterpoint; and any established tonality almost immediately becomes irksome to him, so that there is incessant modulation. No Finer Musical Settings of these Words are to be found anywhere "Nearer My God To Thee" Three Keys Composed by LEWIS CAREY "How Lovely Are Thy Dwellings" Three Keys Composed by S. LIDDLE Composer of the famous song "Abide With Me" "God That Madest Earth and Heaven 9' Four Keys Composed by WILFRED SANDERSON BOOSEY & COMPANY, 9 East Seventeenth Street, New York And London, England CARUSOMr. ENRICO has selected for his personal use the Hardman Piano This adds one more proof of its musical superiority and of the preference given it by the greatest artists. Mr. Caruso, like many other great artists, examines with special care the latest products of the leading piano manufacturers with the view of selecting the best for his personal use. It is, therefore, of keen interest to the in- tending purchasers of pianos to know that so remarkable a musician and expert a judge as Mr. Caruso has adopted for such personal use the Hardman Piano. Hardman, Peck & Company ESTABLISHED 1842 138 Fifth Avenue, New York 524 Fulton Street, Brooklyn * Reger is still a much-discussed man. Some regard him as the greatest living composer, for there are passionate Regerites; others admit his facility, and find no other quality in his voluminous works. His mother began to give him piano lessons when he was about five years old. His father, Joseph Reger, was a school-teacher, and the family moved to Weiden in 1874, a year after Max was born. At Weiden, Max studied the pianoforte with A. Lindner and harmony and the organ with his father. In August, 1888, he visited Bayreuth, and there heard an orchestra for the first time, in performances of "Parsifal" and "The Mastersingers of Nuremberg." He then began to compose, and he wrote songs, preludes and fugues for the piano- forte, a pianoforte quartet, a string quartet, and an overture, "Heroide funebre." No one of these works has been published. He had at- tended the Royal Preparatory School at Weiden, and in August, 1889, he passed his examination at the Royal Training College for Teachers at Amberg, but Dr. Hugo Riemann (1824-96) persuaded him to become a professional musician, and in 1890 Reger entered the Conservatory of Music at Sondershausen, where he studied theory, the pianoforte, and the organ with Dr. Riemann. Late in 1890 or in 1 89 1 he followed his teacher to Wiesbaden, where he became teacher of the pianoforte and the organ at the Conservatory there. In 1891 some of his compositions were published. He began to teach theory, but in 1896-97 he performed his military service. Soon afterwards he was sick nigh unto death. After his convalescence (1898) he went back to Weiden and composed industriously. In 1901 he moved to Munich, and there took to himself a wife (1902) and joined the faculty of the Royal Academy of Music. He is now a professor at the Uni- versity of Leipsic, and was for a time conductor of the University Singers' Society (Pauliner). C. SCHIRMER, 35 UNION SQUARE, NEW YORK Some Few Musical Compositions in the Larger Forms by American Composers H. BROCKWAY— Op. 19, Sylvan Suite. For F. S. CONVERSE—Ihe Mystic Trumpeter. grand orchestra. Score, Net, $5.00. Parts, For grand orchestra. Score, Net, $5.00. Parts,, Net, $10.00. Net, $10.00 W. String G. CHADWICK— Quartet, No. 4) H. K. HADLEY—Symphonic Fantasy. For in E minor. Parts, Net, $5 .00. grand orchestra. Score, Net, $2.50. Parts, G. W. CHADWICK—Euterpe, Concert Over- Net, $5. co. ture for grand orchestra. Score, Net, $500. H. H. HUSS— Piano Concerto, B-fiat. Piano Parts, Net, $10.00. part (in score), Net, $3.00. Orchestration for G. W. CHADWICK—Sinfonietta. For grand hire, Net, $5.00. orchestra. Score, Net, $5.00. Paits, Net, $10.00, E. SCHELLING—Legende Symphonique. For G. W. CHADWICK— Symphonic Sketches. grand orchestra. Score, Net, $5.00. Parts, Net, $10.00. For grand orchestra. Score, Net, $5.00. Parts, "Net, $10.00. ARTHUR WHITING— Fantasy for Piano and F.
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