PRoGRT^AAE Established 1833 WEBSTER • AND ATLAS NATIONAL BANK OF BOSTON Washington and Court Streets AMORY ELIOT. President RAYMOND B. COX. Vice-President JOSEPH L. FOSTER. Cashiar. ROBERT E. HILL, Asst. Cashier PRANK B. BUTTS. Asst. Cashier Capital $1,000,000 Surplus and Profits $1,500,000 Deposits $10,000,000 The well established position of this bank in the community, the character of its Board of Directors, and its reputation as a solid, conservative institution recommend it as a particularly desirable depository for ACCOUNTS of TRUSTEES, EXECUTORS, and INDIVIDUALS For commercial accounts it is known as A STRONG BANK OF DEPENDABLE SERVICE DIRECTORS CHARLES B. BARNES RAYMOND B. COX WALTER HUNNEWELL TOSEPH S. BIGELOW AMORY ELIOT HOMER B. RICHARDSON ROBERT A, BOIT JOHN W. FARWELL DUDLEY P. ROGERS THEODORE G. BREMER ROBERT H. GARDINBR THOMAS W. THACHER WILLIAM R. CORDTNGLEY EDWARD W. GREW WALTER TUFTS SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephones {\ TicketIicketOfnceOffice / p id iaq9 Administration ^^ Branch Exchange ( Offices ] THIRTY-SEVENTH SEASON. 1917-1918 Dr. KARL MUCK. Conductor eweml Aft^ WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, JANUARY 4 AT 2.30 O'CLOCK SATURDAY EVENING. JANUARY 5 AT 8.00 O'CLOCK COPYRIGHT, 1918, BY C.A.ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 641 FROM the very beginning of a musical education, nothing is so important as a correct appreciation of tone. Hence the child should receive its early impressions from a Steinv^ay Piano. The exquisite Steinway tone is recognized as ideal, and it has made this instrument world- famous. Superior craftsmanship builds the Steinway for lifetime usage, and all the strain of "prac- tice years" does not make its action uneven or lessen its sweet- ness and resonance of tone. Under these circumstances, no other instrument is "good enough to begin on." Consider, too, that a Steinway costs but little more than an ordinary "good" piano. 642 8 B©§iL©ini Thirty-seventh Season. 191 7- 191 Dr. KARL MUCK. Conductor ^j\a It Violins. Witek, A. Concert-master. , 'lano — iiiis VonBer-AVorizin^ AMPICO in inc reproSucGs mG inrillin^ pGrjormancGs of S:)o5o>Vsiii(, iAisoni, JvainDOiircf, (JmsiGin, JjauGr ^aiiS scores oj omers c^iVcs us iodaij, and pre- scrVcs jor piure fenerations oj music loVers aU me powder an^ Dcauii/ of iiiG inierpreiaiions of emineni living ariisis. AMPICO RECITALS areMd dai/i/ in iAe CmCKERING WAREROOAIS 169 TREAIONT ST., BOSTON io M^^hicfi i/ou aiv cordmdu irWited. THIRTY-SEVENTH SEASON. NINETEEN HUNDRED SEVENTEEN AND EIGHTEEN FRIDAY AFTERNOON. JANUARY 4, at 2.30 o'clock SATURDAY EVENING, JANUARY 5. at 8 o'clock Schumann Overture to the Opera "Genoveva," Op. 8i Dohnanyi Concert-Piece in D major for Orchestra, with Violoncello Obbligato, Op. 12 Handel . Concerto Grosso in D minor, Op. 6, No. 10 I. Overture. (Arranged by Seiffert) II. Allegro. III. Air. IV. Allegro. V. Allegro. VI. Allegro moderate. Ropartz Symphony No. 4 in C major (in one movement) Ravel 'Lever du Jour," "Pantomime," "Danse Generale" ("Day-break," "Pantomime," "General Dance"), Orchestral Fragments from "Daphnis et Chloe," ballet in one act (Repeated by request) SOLOIST Mr. HEINRICH WARNKE STEINWAY PIANO USED There will be an intermission of ten minutes after the concerto The ladies of the audience are earnestly requested not to put on hats before the end of a number. The doors oj the hall will be closed during the performance oj each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval between the numbers. City of Boston, Revised Regulation of August 5, 1898,—Chapter 3, relating to the covering of the head in places of public amusement Every licensee shall not. in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it betna understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest! J. M. GALVIN. City CUrk 645 \ Hollaimdeir Mz Compaej JJNNUAL CLEARANCE SALE NOW GOING ON IN ALL DEPARTMENTS 202 BOYLSTON STREET BOSTON Hfnr^lf.Jiilijer PIANOFORTES 395BoylstonSt Boston 646 — — Overture to the Opera "Genoveva," Op. 8i . Robert Schumann (Born at Zwickau, June 8, 1810; died at Endenich, Julj'' 29, 1856.) "Genoveva," opera in four acts, text by Robert Reinick (after the tragedies by Hebbel and Tieck), music by Robert Schumann, was per- formed for the first time at Leipsic, June 25, 1850. The chief singers were Miss Mayer, Genoveva; Mrs. Giinther-Bachmann, Margaretha; Brassin, Siegfried; Widemann, Golo. The first performance of the overture was at the Gewandhaus, Leipsic, February 25, 1850, for the benefit of the Orchestra Pension Fund. Schumann conducted. His concert piece for four horns. Op. 86, was then performed for the first time; the melodrama-music and the choruses of Mendelssohn's "CEdipus" were also heard for the first time. Other early concert performances were at Hamburg, March 16, 1850, from manuscript, Schumann conductor; at Diisseldorf, September 7, 1850, at a "reception concert"* to the Schumanns, Julius Tausch con- ductor; at Cologne, October 22, 1850, Ferdinand Hiller conductor. The overture was sketched April 1-5, 1847, at Dresden. The in- — *The programme of this concert included, besides the overture to "Genoveva," songs, "Widmung" (sung by Miss Hartmann), "Die Lotosblume" (sung by Miss Altgelt), " Wanderlied " (sung by Mr. Nieio)— and the second part of "Paradise and the Peri." There was a supper with toasts, songs, and a chorus, and at the end there was a ball. JUST ISSUED SELECTED VIOLIN STUDIES SONATA Vol. ALTHAUS, BASIL and Staccato. IN D 5a-b-c. Op. 65. Legato MAJOR Part I. Exercises in the First Pcsi- tion 60 For PIANO and VIOLIN Part 2. Exercises in the First to Fourth Positions 60 Composed by Part 3. Scale studies in two octaves and exercises in all positions . .60 ROSSETTER G. COLE BOHM, CARL lOa-b. Op. 367. 40 Progressive Studies. (First Position.) Part I, II, each .60 Op. 8. Price, $3.00 net DANCLA, CHARLES Played by 42. Op. 194. 12 Melodious Studies (with accomp. of second violin) . .75 THEODORE SPIERING. HERMANN, FRIEDRICH LUDWIG MASUM. 18a-b-c. Op. 29. 36 Exercises and HERBERT BUTLER. Etudes. Bookl. 12 Exercises. (First WILLIAM DIESTEL, Position) 60 2. 12 Easy Etudes. (First and Miss Book ZETTA GAY WHITSON. Third Positions) 60 E. N. BILBIE. Book 3. 12 Special Studies. (First to Seventh Positions) . .60 HERRMANN, TH. is one of the most notable pieces "It Etudes of American Chamber music before the 28a-b. Op. 100. 12 Melodious accompaniment public." Chicago Post. (First Position) with of a second violin . 2 Books, each .60 '"The outstanding features of the Sonata HOFMANN, RICHARD are its playableness and its bewildering (with ac- wealth of melody." The Music Ne'ws. 32a-b. Op. 74. 14 Etudes companiment of second violin). 2 Books, each .60 THE ART P. SCHMIDT CO. 120 BOYLSTON STREET. BOSTON, MASS. For Sale by all Music Dealers 647 strumentation was completed Christmas night of that year. The overture was published in June, 1850. The overture was performed in Boston for the first time at a concert of the Harvard Musical Association, March i, 1866. It was performed in New York at a concert of the Philharmonic Society, Carl Bergmann conductor, March 16, 1861. * As early as 1841 Schumann endeavored to obtain a libretto from Griepenkerl. He wrote in 1842: "Do you know what is my morning and evening prayer as an artist? German opera. There is a field for work." He thought of an opera to be founded on Byron's "Corsair," and composed a chorus and aria. He sought anxiously for a subject that might inspire him. At last in 1847 he chose the legend of Genevieve of Brabant. Reinick's text did not fully satisfy him; nor was Hebbel pleased, although he refused to help out the composer. Schumann himself undertook the task of revision. Then there was delay in securing a performance, and at one time Schumann thought of suing the manager of the Leipsic opera-house. When the opera was produced, it was the time, as Schumann wrote to a friend, when one preferred to go into the woods rather than the theatre. There were three performances, and the opera was put aside. It is occasionally revived in Germany, but it never had an abiding-place in a repertory. The legend of Genevieve de Brabant was in detail told, so far as literature is concerned, in the Golden Legend, in the Chronicle (1472) of Matthias Emmich, doctor of theology, and of a Carmelite monastery at Boppard, and by the Jesuit Cerisier; but there were Complaints* founded on the legend before that. In the old story Genevieve, the daughter of the Duke of Brabant, and in 1 73 1 wife of Sifroy, Count of the Palatinate, was slandered foully by Golo, steward of the household, because she had not listened to his amorous addresses. She was con- demned to death, but this mercy was shown her : she was left to her fate in the Forest of Ardennes. There she gave birth to a child. The two lived on roots and herbs and the milk of a hind. Six years afterwards Sifroy, who in the mean time had found out that Genevieve was inno- cent, came upon her by accident when he was hunting. Later writers turn Golo, the monster, into a handsome young man, much to the regret of Heine, who deplored the disappearance of the old chap-books, with their abominable woodcuts, which were dear to his childhood.