Boston Symphony Orchestra Concert Programs, Season 29,1909-1910, Trip
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NEW BEDFORD THEATRE, NEW BEDFORD Twenty-ninth Season, 1909-1910 loatott j^gttqilfotuj (irrljefltra MAX FIEDLER, Conductor Programme nf % Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, APRIL 12 AT 8.J5 COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively 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. Perfection in Piano Making THE -<5I^Me Qaarter Grand Style V , in figured Mahogany, price $650 It is tut FIVE FEET LONG and in Tonal Proportions a Masterpiece of piano building. It is Chickermg & Sons most recent triumph, the exponent of EIGHTY-SEVEN YEARS experience m artistic piano building, and the heir to all the qualities that the name of its makers implies. CHICKERING & SONS pianoforte makers Established 1823 791 TREMONT STREET, Corner Northampton Street, near Mass. Ave. BOSTON TYTTTTTTTTTTTrT^^ m_«u.ii NEW BEDFORD THEATRE, NEW BEDFORD Twenty-ninth Season, 1909-1910 MAX FIEDLER, Conductor THIRD AND LAST CONCERT TUESDAY EVENING, APRIL 12 AT 8.15 PROGRAMME Schumann .... Symphony in B-flat major, No. i, Op. 38 I. Andante un poco maestoso; Allegro molto vivace. II. Larghetto. III. Scherzo: Molto vivace. Trio I.: Molto piu vivace. Trio II. IV. Allegro animato e grazioso. Mendelssohn-Bartholdy . Concerto in E minor for Violin, Op. 64 I. Allegro molto appassionato. II. Andante. III. Allegretto non troppo. Allegro molto vivace. " Richard Strauss . Tone-poem, "Don Juan (after N. Lenau), Op. 20 Wagner . "Waldweben" ("Life and Stir of the Forest"), from "Siegfried," Act II. " Wagner . Prelude and "Love Death from "Tristan and Isolde" SOLOIST Mr. WILLY HESS There will be an intermission of ten minutes after the concerto 5 3 ' GRAND"upright Style V Size 4 feet 6 inches MAHOGANY CASE- BEAUTIFULLY VENEERED ^J^gmtxt* THE WORLD'S BEST PIANO is the one piano not only abreast of the times, but today, more than ever, is solely and purely representative of faultless con- struction, exceptional durability and that tonal sublimity that cannot be successfully imitated or equalled. C C. HARVEY CO. 144 BOYLSTON STREET BOSTON &< — Symphony No. i, in B-flat major, Op. 38 . Robert Schumann (Born at Zwickau, Saxony, June 8, 1810; died at Endenich, near Bonn, July 29, 1856.) Schumann worked during 1832-33 on a symphony in G minor. The first movement was played for the first time at a concert given in Zwickau, November 18, 1832, by Clara Wieck, who was then thirteen years old. This movement was also played February 12, 1833, at Schneeberg, where Schumann lived for a time with his brothers, and at Leipsic, April 29, 1833, as a first movement of a First Symphony. It is said that the whole symphony was performed at Zwickau in 1835, under Schumann's direction; that the last movement was a failure. We know that the symphony was completed and never published. Schumann himself wrote to Hofmeister from Schneeberg (January 29, 1833): "The symphony is going ahead. It is being dfligently rehearsed here with Beethoven's in A major, and you would scarcely know it by the performance at Zwickau." In a letter dated in 1839 he wrote of a symphony which he had nearly finished in 1832. During the years from 1833 to 1841 Schumann wrote many of his finest and most characteristic works, but they were pianoforte pieces Etudes Symphoniques, Carneval, Sonata in F-sharp minor, Sonata in G minor, Fantasie, Phantasiestucke, Davidsbiindler, Kreisleriana, Novel- letten, Nachtstiicke, Faschingsschwank—and songs. But in 1841 he wrote the Symphony No.i, in B-flat; Overture, Scherzo, and Finale (Finale rewritten in 1845); Symphony in D minor (rewritten in 1851, and now known as the Fourth) ; Allegro for piano and orchestra (used as first movement to Piano Concerto, Op. 54). Schumann was married to Clara Wieck, September 12, 1840, after doubts, anxieties, and opposition on the part of her father, after a nervous strain of three or four years. His happiness was great, but to say with some that this joy was the direct inspiration of the First Symphony would be to go against the direct evidence submitted by the composer. He wrote Ferdinand Wenzel: "It is not possible for me to think of the journal,"—the Neue Zeitschrift fur Musik, founded by Schumann, Wieck, Schunke, and Knorr in 1834, and edited in 1 841 by Schumann alone: "I have during the last days finished a SONGS WORTH SINGING Sung by Madame Nordica. "NOW SLEEPS THE CRIMSON PETAL." Composed by Roger Quilter. 3 keys. Sung by Madame Marchesi. "A COTTAGE SONG." Composed by Laura G. Lemon. 3 keys. Sung by John McCormack. "THE PHILOSOPHY OF LOVE." Composed by John F. Larchet. 3 keys. Sung by Harry Dearth. "TOMMY LAD." Composed by E. J. Margetson. 2 keys. BOOSEY & COMPANY, 9 East Seventeenth Street NEW YORK And London, England 7 The Hardman Grand Piano New York's Finest Art Product FOR nearly three-quarters of a century the Hardman Grand Piano has been conspicuous among the world's pianos of acknowledged reputation, for the rich sonor- ity of its tone, the sympathetic ease of its touch and, in a very marked degree, for its durable qualities. It is selected by the most noted singers for their concerts as the instrument of all others best adapted to accompany their voices. Terms of purchase are made to meet the conven- ience of our customers. Highest possible value allowed for your old piano taken in exchange. Send for Handsomely Illustrated Catalogue Manufactured by HARDMAN, PECK & CO., Established 1842 Represented in Boston by the Colonial Piano Co., 104 Boylston St. IS ; task (at least in sketches) which filled me with happiness, and almost exhausted me. Think of it, a whole symphony—and, what is more, a Spring symphony: I, myself, can hardly believe that it is finished." And he said in a letter (November 23, 1842) to Spohr: "I wrote the symphony toward the end of the winter of 1841, and, if I may say so, in the vernal passion that sways men until they are very old, and surprises them again with each year. I do not wish to portray, to paint but I believe firmly that the period in which the symphony was pro- duced influenced its form and character, and shaped it as it is." He wrote to Wilhelm Taubert, who was to conduct the work in Berlin: "Could you infuse into your orchestra in the performance a sort of longing for the Spring, which I had chiefly in mind when I wrote in February, 1841? The first entrance of trumpets, this I should like to have sounded as though it were from high above, like unto a call to awakening; and then I should like reading between the lines, in the rest of the Introduction, how everywhere it begins to grow green, how a butterfly takes wing; and, in the Allegro, how little by little all things come that in any way belong to Spring. True, these are fan- tastic thoughts, which came to me after my work was finished; only I tell you this about the Finale, that I thought it as the good-bye of Spring." (It may here be noted that the symphony was fully sketched in four days, and that Schumann now speaks of composing the work in Febru- ary, 1841, and now of writing it toward the end of that year.) Mr. Berthold Litzmann, in the second volume of his "Clara Schu- mann" (Leipsic, 1906), gives interesting extracts from the common diary of Schumann and his wife, notes written while Schumann was composing this symphony. Toward the end of December, 1840, she complained that Robert had been for some days "very cold toward her, yet the reason for it is a delightful one." January 17-23, 1841: She wrote that it was not her week to keep the diary; "but, if a man is composing a symphony, it is not to be expected that he will do anything else. The symphony is nearly finished; I have not yet heard a note of it, but I am exceed- ingly glad that Robert at last has started out in the field where, on G. SCHIRMER, 35 UNION SQUARE, NEW YORK JUST PUBLISHED SONGS OF THE PEOPLE Vol.4 Vol. 5 SONGS OF SWEDEN Forty-four French Folk-Sonjjs Eighty-seven Swedish Folk- and Pop- and Variants from Canada, Normandy, and Brittany ular Songs.