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Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip

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Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip Sflfitmt S>gmpIf0tt}} Qfodpfitra Thirty-second Season, J9J2— J9 J3 Dr. KARL MUCK, Conductor $1rngramme nf % THIRD MATINEE WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, JANUARY 7 AT 4.30 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Prabuurp LOUIS XV GRAND Manufactured by f. ;g. ,smith piano company BRADBURY WASHINGTON BUILDING 1217 F Street D. C. SSSS: Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. INOdCK, O. Strube, G. Rissland, K. Ribarsch, A. Traupe. W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Hayne, E. Tischer-Zeitz, H Kurth, R. Grunberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, 0. H. Kluge, M. Van Wynbergen, C Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Blumenau, W. • Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Warnke, J. Urack, 0. Nagel, R. Nast, L. Folgmann, E. Steinke, B. 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. Fosse", P. Vannini, A. Fuhrmann, M. Chevrot, A. 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. Hiibner, E. Merrill, C. Kenfield, L. Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Zahn, F. Senia, T. Kandler, F. Burkhardt, H. Organ. Librarian. Marshall, J. P. Sauerquell, J. A PORTRAIT by Rembrandt cannot be compared ^ ^ to a portrait by anyone else who ever lived. Comparison of Rembrandt's work with that of another artist is absolutely inconceivable. For Rembrandt is incomparable! Similarly a Mason y Hamlin piano cannot be compared to any other piano in the wide, wide world. It also is incomparable! The one musical instrument mankind has yet pro- duced that deserves mention in the same reverent breath with the Mason iff Hamlin is the Stradivarius violin. In it the Mason iff Hamlin piano has a worthy com- peer. Because these violins were built to last forever, and have only grown -more wonderful with the passage of centuries, there are still in existence a few miracu- lously beautiful Stradivarius violins. Priceless! — practically priceless, these ancient and immortal instru- ments. The Mason iff Hamlin piano alone of all the pianos in the world, possesses the immortality of these violins. Its beauty is imperishable, eternal! To be sure it is the most expensive piano in the world. But then consider its Stradivarian loveliness! The public is invited to examine them. MR. PERCY S. FOSTER is the Washington and Baltimore representative and will be pleased to show these instruments in his ware- rooms, at 1330 G Street. Owing to the illness of Dr. Muck, Mr. Otto Urack will conduct. WqjOBl mm NEW NATIONAL THEATRE WASHINGTON Ninety-fifth performance in 'Washington Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor THIRD MATINEE TUESDAY AFTERNOON, JANUARY 7 AT 4.30 PROGRAMME Reger . Concerto in the Ancient Style for Orchestra, Op. 123 I. Allegro con spirito. II. Largo. III. Allegro. Old Italian Arias a. Marcello . "Ilmio bel fuoco" b. Gluck "O del mio dolce ardor" Bach . Suite No. 2, in B minor, for Flute and Strings (Hans von Bulow's Arrangement.) I. Overture: Largo; Allegro. II. Rondo: Allegretto espressivo. III. Sarabande: Andante. IV. Bourree I. and Bourree II.: Allegro molto. V. Polonaise with Double: Moderate VI. Minuet. VII. Badinerie: Presto. Solo Flute, Mr. Andr£ Maquarre. Strauss Three Songs with Orchestra " Morgen." "Wiegenlied." "Cacilie." " Mozart . Symphony in C m'ajor, with Fugue Finale, Jupiter "(K. 551) I. Allegro vivace. II. Andante cantabile. III. Menuetto: Allegretto; Trio. IV. Finale: Allegro molto. SOLOIST Miss ELENA GERHARDT, Soprano There will be an intermission of ten minutes before the symphony 5 E. F. DROOP & SONS CO. 1300 G Street Established in 1857, this house has for 54 years main- tained its prestige in the musical circles of Washington, because of continued adherence to the policy of always selling reliable, satisfying merchandise. Every- thing purchased here is warranted. EXCLUSIVE REPRESENTATIVES IN WASHINGTON FOR STEINWAY and SONS AND OTHER LEADING PIANOS STEINWAY PIANOLA PIANOS BEHNING PLAYER-PIANOS — AUTOPIANOS THE WELTE MIGNON VICTOR-VICTROLAS RECORDS MUSIC Musical Instruments of every description Concerto in the Ancient Style for Orchestra, Op. 1.23. Max Reger (Born at Brand, Bavaria, March 19, 1873; now living at Meiningen.) This "Konzert im alten Stil fur Orchester" was performed for the first time at Frankfort-on-the-Main, October 4, 191 2, at a Museums- Gesellschaft concert, conducted by Willem Mengelberg. It was per- formed for the first time in the United States at an invitation concert of the Philharmonic Society of New York, given in the ball-room of the Waldorf-Astoria Hotel, November 19, 191 2. The concerto, dedicated to his Highness Duke George II. of Saxe- Meiningen, and published in 1912, is scored for three flutes, three oboes, two bassoons, three trumpets, three horns, kettledrum, solo violin, and the usual strings. The character of the music is such that any elaborate analysis without illustration in musical notation would be of little value. I. Allegro con spirito, F major, 4-4. The vigorous chief theme is announced forte by the orchestra. The wood-wind is employed anti- phonally with strings. The solo violin enters with an animated but graceful figure with solo flute in countrapuntal passages. Wind instru- ments are used against chords for strings. Molto sostenuto: wood-wind with answer in the strings. Solo violin, and reappearance of wood- wind figure. There is a return to the chief theme fortissimo, meno allegro. II. Largo, A minor, 3-4. The trumpets and bassoons are not em- ployed in this movement. Two solo violins are in use, and the violon- cellos are divided. The solo instruments with first violins have an ex- pressive song. The first violin has a suave melody, C major, with the second in contrapuntal passages. There is a return to the first theme in A minor, with melody for first violins and first oboe, while Established 1838 C. H. HILDEBRANDT & SON OLD VIOLINS 19 W. SARATOGA ST., BALTIMORE, MD. the two solo violins have' measured passages in counterpoint. The close is in A major. III. Allegro, F major, 3-4. The vigorous beginning is for full orchestra. There is a graceful running episode for solo violin with flute; wind instruments and strings are used antiphonally ; there are contrasting sections. The movement as a whole is more modern in thought and in expression than the first. * * " The concerto in Bach's day had these meanings: (1) a music school; (2) either vocal or instrumental chamber music, a piece that is called 'concerto'; (3) violin pieces which are so arranged that each player will at a certain time be prominent, and play in turn with the other parts in rivalry. In such pieces, when only the first player dominates, and where only one of many violinists is prominent for remarkable agility, this player is called 'violono concertino.'"'' ("Musicalisches Lexicon," by J. G. Walther, Leipsic, 1732.) It is stated that the word "concerto," as applied to a piece for a solo instrument with accom- paniment, first appears in a treatise by Scipio Bargaglia, published at Venice in 1587, and that Giuseppe Torelli, who died in 1703, was the first to suggest a larger number of instruments in a concerto and to give the name to this species of composition, concerto grosso. But Michelletti, seventeen years before, had published his " Simfonie et ^§^g^gg£2^^££=^== F=g^^^^g^^^ 150 Tremont Street, Boston 8-10-12 East 34th Street, New York A New Volume THE MUSICIANS LIBRARY Tchaikovsky (P.I.) Forty Songs HIGH VOICE LOW VOICE Edited by JAMES HUNEKER MOST cosmopolitan of Russian composers, one of the most eloquent of modern geniuses, the songs of Tchaikovsky present a wealth of musical beauty and emotional force ; and the publishers take pleasure in announcing a collection of the most admirable among them, selected, edited and annotated by the brilliant and astute Mr. Huneker. Price, each, paper $1.50; cloth $2.50, postpaid Send for list of Musical Gift Books SJZ31USSHD BOSTONGSOnsSflNEWYORKd^Bac — fvlafinuin u After the Symphony Concert 99 a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. HUGOSole RepresentativeWORCH 1110 G STREET - - WASHINGTON, D.C. ll concerti a quatro" and in 1698 his Concerti musicali," while the word concerto occurs frequently in the musical terminology of the seventeenth century. Up to the middle of the seventeenth century the music specially for violin was composed almost exclusively of dance tunes, as courantes, gaillardes, pavanes, etc. These compositions bore the title simfonia, capricio, fantasia, toccata, canzone, ricercare.
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