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CARNEGIE HALL, NEW YORK. Boston Symphony Orchestra Mr. WILHELM GERICKE, Conductor. Sixteenth Season in New York. PROGRAMMES OF THE SECOND CONCERT THURSDAY EVENING, DECEMBER 12, AT SA5 PRECISELY, AND THE SECOND MATINEE SATURDAY AFTERNOON, DECEMBER 14, AT 2.30 PRECISELY. With Historical and Descriptive Notes by Philip Hale. PUBLISHED BY C. A. ELLIS, MANAGER. (1) Established Established 1823 1823 6. ©fytttortttg PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY JOHN WANAMAKER, New York, N.Y. (2) hi. # ' : DOStOn , CARNEGIE HALL, Symphony I newyork. k Twenty-first Season, 1901-1902. ^H/^lii^cf *<0 Sixteenth Season in New York. Mr. "WILHELM GERICKE, Conductor. SECOND CO/NCERT, THURSDAY EVENING, DECEMBER 12, AT 8.15. PROGRAMME. " Karl Goldmark . Concert Overture, In the Spring," in A major, Op* 36 Henri Vieuxtemps Concerto for Violin, No* 5, in A minor, Op* 37 Allegro non troppo. Adagio. Allegro con fuoco. Richard Strauss " Ein Heldenleben," Tone Poem for Full Orchestra (First time at these concerts.) Beethoven • • Symphony No* 2, in D major, Op* 36 I. Adagio (D major). Allegro con brio i,D major). II. Larghetto (A major). III. Scherzo: Allegro (D major). Trio (D major). IV. Allegro molto (D major). SOLOIST Mr* CHARLES GREGOROWITSCH* There will be an intermission of ten minutes before the Symphony. (3) Gabrilowitsch to the Everett Piano Co. EVERETT PIANO CO., NEW YORK. Gentlemen,— Having just reached St. Petersburg, I take the first oppor- tunity to express to you what I feel concerning the pianos you furnished for my American tour, and to offer you my gratitude and heartiest thanks for the same. I am quite conscious of the enormous share which belongs to the superior qualities of your piano for the success of my tour, and it gives me much pleasure to say so openly. There is no necessity at this time to dwell upon the many special attainments of the Everett concert grands. // is a wonderful instrument, and its future is enormous. It is amazing what a number of enthusiastic friends among musicians and the public generally it has made in this short time. Any one who has heard it cannot fail to recognize and admit that in beauty and nobility of tone, in power and brilliancy, in color, in absolute perfection of mechanism and action it cannot be surpassed. These qualities, combined with a wonderfully sympathetic singing tone, enabled me to express my musical feelings most satisfactorily. Your baby grands and uprights are to me just as perfect as the concert grands, and the more I have played them the more I got to appreciate and admire them. I am confident that the Everett is destined to be famous the world over, and America may well be proud of having produced such a beautiful work of art. Believe me, gentlemen, Very sincerely yours, St. Petersburg, May 27, 1 90 1. OSSIP GABRILOWITSCH. EVERETT PIANO CO. - - BOSTON NEW YORK WAtfEROOMS : 141-143 FIFTH AVENUE. CINCINNATI. CHICAGO. (4) Overture, " In the Spring," Opus 36 .... Carl Goldmark. (Bom at Keszthely, Hungary, May 18, 1830 ; still living at Vienna.) This overture was first played at Vienna, Dec. 1, 1889, at a Philharmonic Concert. Goldmark was then known chiefly as the composer of the opera, "The Queen of Sheba," and the concert overtures, "Sakuntala" and " Penthesilea." The overtures, " Prometheus Bound " and " Sappho," were not then written. There was wonder why Goldmark with his love for mythology, his passion for Orientalism in music, should be concerned with the simple, inevitable phenomenon of spring, as though there were place in such an overture for lush harmonic progressions and gorgeously sensuous orchestration. Consider the list of his works : his operas, " The of " Merlin," legend " The Cricket Queen Sheba," are based on ; " on the Hearth is a fanciful version of Dickens's tale ; the last opera, " The Prisoner of War," is the story of the maid for whose dear sake Achilles sulked. Of his two symphonies, the more famous, the "Country Wedding," might be celebrated in a pleasure-ground of Baghdad rather than in some Austrian village. And what are the subjects of his overtures? Sakuntala, who loses her ring and is beloved by the great king Dushianta ; Penthesilea, the Lady of the Ax, — and some say that she invented the glaive, bill, and halberd, — the Amazon queen, who was slain by Achilles and mourned amorously by him after he saw her dead, the woman whose portrait is in the same gallery with the likenesses of Temba-Ndumba, Judith, Tomyris, Candace, Jael, Joan of Arc, Margaret of Anjou, Semiramis, the Woman of Sara- gossa, Mary in Ambree — a heroine of Masochismus ; Prometheus bound a cleft of a rock in a distant desert of Scythia, defying Jove, the heaving earth, the bellowing thunder, the whirling hurricane, the firmament em- " broiled with the deep ; Sappho, the little woman with black hair and a beautiful smile," with her marvellous song Firm established in the year STECK 1857. The "OLD RELIABLE' Interesting booklets sent free for the asking. # GEORGE STECK & CO., 136 Fifth Avenue, New York, PIANOS ») " Made of perfect sound and exceeding passion." The composer of " Sakuntala," " The Queen of Sheba," and "The Country Wedding," a composer of an overture to " Spring"! His music was as his blood,— half Hungarian, half Hebraic. His melodies were like unto the century-old chants solemnly intoned by priests with drooping eyes, or dreamed of by the eaters of leaves and flowers of hemp. His harmonies, with their augmented fourths and diminished sixths and rest- less shiftings from major to minor, were as the stupefying odors of charred frankincense and grated sandal-wood. To Western people he was as the disquieting Malay, who knocked at De Quincey's door in the mountain region. Over a hundred years before Diderot had reproached de Saint-Lambert, the author of a poem, " The Seasons," for having " too much azure, emerald, topaz, sapphire, enamel, crystal, on his pallet," when he attempted to picture Spring. And, lo, Goldmark disappointed these lifters of eyebrows and shakers of heads. The overture turned out to be fresh, joyous, and Occidental, with- out sojourning in the East, without the thought of the Temple. The overture begins directly with a theme that is extended at consid- erable length and appears in various keys. After the entrance of the second theme there is an awakening of nature. The notes of birds are heard, furtively at first ; and then the notes are bolder and in greater number. Clarinets accompany a soft melody of the violins. There is a stormy episode, which has been described by Hanslick not as an April shower, but as a Wagnerian "little rehearsal of the crack of doom." The first frank theme re-enters, and toward the end there is still a fourth theme treated canonically. This theme turns by a species of cadenza- like ritardando to the main tonality, and is developed into a brilliant finale. BSTEY PIANO PURCHASERS fail ) should not to see the nevv jPj -PES I ORGANS Puritan Art Finish Especially adapted to residences, ? churches, hotels. With or with* \ out self-playing attachments. I it appeals to those who , Recitals daily i appreciate exclusiveness ESTEY ORGA/M AND PIANQ WAREROOMS 97 Fifth Avenue, corner 17th Street - 16) The shyness of Goldmark is proverbial, but no published account of the man is so picturesque as that given by the late W. Beatty-Kingston, who made his acquaintance through Hellmesberger during the winter of 1866- 67. "A meek little man of thirty-four, but already slightly bent and grizzled, timid and retiring in manner, of apologetic address, shabby ap- pearance, and humble bearing. Before Hellmesberger took him up and made his works known to the musical public of the Austrian capital, Gold- mark had undergone many trials and disappointments, as well as no little actual privation. Although his chamber-music and songs made a decided hit shortly after I came to know him, it was not till nine years later — and then only through his steadfast friend's influence with the Intendant of the Imperial theatres — that his grand opera, 'The Queen of Sheba,' a work teeming with gorgeous Oriental color, was brought out at the Hofoper. Goldmark's was one of those gentle natures that are intensely grateful for the least encouragement. A word or two of judicious praise anent any work of his composition would at any moment dispel the settled sadness of his expression, and cause his dark features to brighten with lively pleas- ure. I have often watched him during rehearsals of his quartet and quintet, sitting quite quiet in a corner and not venturing to make a sug- gestion when anything went wrong, though his eyes would flash joyously enough when the performers happened to hit off the exact manner in which he wished his meaning interpreted. A less talkative person, for a musical composer, it would be difficult to discover. " Even when he was amongst his professional brethren, who were, for the most part, extremely kind to him, he would nervously shrink from mixing in conversation, and open his lips to no one but his cigar for hours at a stretch. If abruptly addressed, he was wont to cast a deprecatory glance ' at his interlocutor, as though he would mildly exclaim : Don't strike me, ' it pray; but you may if you will ! That being 'the sort of man he was,' is not surprising that I failed to become very intimate with Carl Goldmark, although I heartily admired some of his compositions, and was for a long time ready at any moment to develop a strong liking for him.

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