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Boston Symphony Orchestra Concert Programs, Season 29,1909

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Boston Symphony Orchestra Concert Programs, Season 29,1909 CITY THEATRE . BROCKTON Twenty-ninth Season, 1909-J9J0 $00t0« £gtnplpittg flDrrffratra MAX FIEDLER, Conductor •programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, NOVEMBER I AT 8.J5 PRECISELY COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESAiCARRENO On her tour this seasonlwill use exclusively Piano. THE JOHN CHURCH|CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY G. L SCHIRMER & CO., 338 Boylston Street, Boston, Mass. — THE function of the Boston Symphony Orchestra always has been to provide music of the highest class in the most perfect manner humanly possible. Such was the sole object of its founder, and that this ideal has been not only attained, but maintained, finds eloquent testimony in the generous and loyal support given to the Orchestra in the past twenty-eight years by the most discriminating musical publics in America. Only by adhering steadfastly to this ideal since its founda- tion has the Orchestra been able to hold its present position without a superior in the world and without a peer in this country. Commercial considerations have never been permitted to interfere with or to obstruct its artistic progress. It has ex- isted as nearly for art's sake alone as is possible in such a great organization. The result of this wise policy is an orchestra which is famous in all countries where the art of music is practised, an orchestra which is accepted as a model to be fol- lowed by all others, an orchestra whose concerts are eagerly sought by all cities, whose coming is always an event of prime importance in a musical season. The progress in artistic achievement which has constantly been the rule in the past will characterize the work of the Orchestra during the season of 1909-1910. Mr. Fiedler will again be the conductor and the personnel remains practically intact. uiurtng Ptano 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 1833 791 TREMONT STREET BOSTON, U.S. A. ; " CITY THEATRE .... BROCKTON Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor MONDAY EVENING, NOVEMBER \ AT 8.15 PRECISELY PROGRAMME " Weber Overture to the Opera " Oberon Tschaikowsky . Symphony in B minor, No. 6, "Pathetic," Op. 74. I. Adagio; Allegro non troppo. II. Allegro con grazia. III. Allegro molto vivace. IV. Finale : Adagio lamentoso. Weber . Scene, "How Tranquilly I Slumbered, "and Aria, " Softly Sighing," from the Opera "Der Freischiitz" Smetana . "The Moldau," Symphonic Poem (No. 2 of the cycle " My Country ") The source; the hunt; the rustic wedding; moonlight and dance of the nymphs ; the St. John Rapids ; the broad river Vysehrad motive. " Ambroise Thomas . Ophelia's Mad Scene from Hamlet (Act IV., Scene 2) Wagner ....... Overture, "Tannhauser" SOLOIST Mrs. MARY HISSEM DE MOSS There will be an intermission of ten minutes after the symphony 5 e Always tbcKaabc C. C. HARVEY CO 144 BOYLSTON STREET BOSTON " Overture To The Opera "Oberon" . Carl, Maria von Weber (Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826.) "Oberon; or, the Elf-king's Oath," a romantic opera in three acts, book by James Robinson Plance, music by Carl Maria von Weber, was first performed at Covent Garden, London, on April 12, 1826. Weber conducted the performance. The first performance in Boston was at Music Hall by the Parepa Rosa Company, May 23, 1870. Weber was asked by Charles Kemble in 1824 to write an opera for Covent Garden. A sick and discouraged man, he buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously. Planche sent the libretto an act at a time. Weber made his first sketch on January 23, 1825. The autograph score contains this note at the end of the overture: " Finished April 9, 1826, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria ! ! !—C. M. V. Weber." This entry was made at London. The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings. The overture begins with an introduction (Adagio sostenuto ed il tutto pianissimo possibile, D major, 4-4). The horn of Oberon is answered by muted strings. The figure for flutes and clarinets is taken from the first scene of the opera (Oberon's palace; introduction and chorus of elfs). After a pianissimo little march there is a short dreamy passage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (Allegro con fuoco in D major, 4-4). The brilliant opening measures are taken from the accompaniment figure of the quartet, "Over the dark blue waters," sung by Rezia, Fatime, Huon, Scherasmin (act ii. f scene x.). The horn of Oberon is heard again; it is answered by the skipping fairy figure. The second theme (A major, sung first by the clarinet, then by the first violins) is taken from the first measures of the second part of Huon's air (act i., No. 5). And then a theme taken from the peroration, presto con fuoco, of Rezia's air, "Ocean! 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" Four Keys Composed by WILFRED SANDERSON 300SEY & 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 Represented in Boston by the COLONIAL PIANO CO., 104 Boylston Street — Thou mighty monster" (act ii., No. 13), is given as a conclusion to the violins. This theme ends the first part of the overture. The free fantasia begins with soft repeated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods; a new theme is introduced and treated in fugato against a running contrapuntal counter-theme in the strings. The second theme is treated, but not elaborately; and then the Rezia motive brings the spirited end. At the first performance of the opera the overture was repeated. Symphony No. 6, in B minor, "Pathetic," Op. 74. Peter Tschaikowsky (Born at Votkinsk, in the government of Viatka, Russia, May 7,* 1840; died at St. Petersburg, November 6, 1893.) This symphony is in four movements : I. Adagio, B minor, 4-4. Allegro non troppo, B minor, 4-4. II. Allegro con grazia, D major, 5-4. III. Allegro, molto vivace, G major, 4-4 (12-8). IV. Finale: Adagio lamentoso, B minor, 3-4. Tschaikowsky embarked at New York in May, 1891, for Hamburg. The steamer was the "Fiirst Bismarck." His diary tells us that on his voyage he made sketches for a sixth symphony. (The Fifth was first performed in 1888.) The next mention of this work is in a letter dated at Vichy, June 30, 1892, and addressed to W. Naprawnik: "After you left me, I still remained at Klin about a month, and sketched two movements of a symphony. Here I do absolutely nothing; I have neither inclination nor time. Head and heart are empty, and my mental faculties are concentrated wholly on my thoughts. I shall * Mrs. _Newmarch, in her translation into English of Modest Tschaikowsky's life of his brother, gives the date of Peter's birth April 28 (May 10). Juon gives the date April (May 7). As there are typographical 25 * and other errors in Mrs. Newmarch's version, interesting and valuable as it is, I pr<prefer the date given by Juon, Hugo Riemann, Iwan Knorr, and Heinrich Stumcke. 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—The Mystic Trumpeter. grand orchestra. Score, Net, $5.00. Parts, For grand orchestra. Score, Net, $5.00. Parts, Net, $10.00. Net, $10 00 G. W. CHADWICK—String Quartet, No. 4, H. K. HADLEY—Symphonic Fantasy. For injE minor. Parts, Net, $5.00. grand orchestra. Score, Net, $2.50. Parts, G. W. CHADWICK—Euterpe, Concert Over- Net, $5.00. ture for grand orchestra. Score, Net, $5.00. H. H. HUSS—Piano Concerto, B-flat. Piano Parts, Net, $10.00. part (in score), Net, $3.00. Orchestration for G. W. Sinfonietta. For grand CHADWICK— hire, Net, $5.00. orchestra. Score, Net, $5.00. Parts, Net, $10.00, E. SCHELLING—Legende Symphonique.
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