Rehearsal and Concert

SYMPHONY HALL, BOSTON HUNTINGTON & MASSACHUSETTS AVENUES Telephones i Ticket Office J g k Ba^ 1492 Branch Exchange \ Administration Offices ) THIRTY- SECOND SEASON, 1912 AND 1913 Dr. KARL MUCK, Conductor Tenth Rehearsal and Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, DECEMBER 27 AT 2.30 O'CLOCK SATURDAY EVENING, DECEMBER 28 AT 8.00 O'CLOCK COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 613 — ** After the Symphony Concert ^^ a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked wîth 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, w^ho 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. CHAS. F. LEONARD, 120 Boylston Street BOSTON, MASS. 614 Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, 0. Hoffmann, J. Concert-master. Kuntz, D. Tak, E. Noack, S. CHICKERING THE STANDARD PIANO SINCE 1823 Piano of American make has been NOso favored by the musical pubHc as this famous old Boston make. The world's greatest musicians have demanded it and discriminating people have purchased it. The Chickering Piano enjoys the distinction of being the recipient of I2g First Medals and Awards for Superiority Its wonderful tone and action call it to the studio to stimulate and encourage the pupil, and it is sought by teachers and musical people when the best is desired. Made in five sizes of Grands and three of Uprights. CHICKERING WAREROOMS 169 TREMONT STREET . Opposite the Cummon 616 THIRTY-SECOND SEASON. NINETEEN HUNDRED TWELVE AND THIRTEEN ®^ntl| H^lfârBal an& (Uttnntt FRIDAY AFTERNOON, DECEMBER 27, at 2»30 o'clock SATURDAY EVENING, DECEMBER 28, at 8.00 o'clock Owing to the continued illness of Dr. Mock Mr. Otto Urack will conduct Programme Beethoven Overture to " Coriolanus," Op. 62 Bach Toccata in D minor for Organ (Peters Ed., Vol. IV, No. 4) Sinding . Concerto in A major, for Violin and Orchestra, Op. 45 Allegro energico. Andante. Allegro giocoso. Brahms Symphony No. 3, in F major, Op. 90 I. Allegro con brio. II. Andante. III. Poco allegretto. IV. Allegro. SOLOISTS Mr. SYLVAIN NOACK, Violinist Mr. JOHN R MARSHALL, Organist There will be an intermission of ten minutes before the symphony The doors of the hall will be closed during the performance of each n/umber on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers. City of Boston, Revised Reiiulation of August 5. 1898.— Chapter 3, relating to the coverinii 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 being understood that a low head covering without projection, whidb does BOt obstruct such view, mAy be worn. Attest: J. M. GALVIN, Qty Oak. 617 L. P. HOLLANDER & CO. ANNOUNCE THEIR GREAT ANNUAL CLEARANCE SALE IN ALL DEPARTMENTS Full particulars in Sunday's Newspapers 202 BOYLSTON STREET /I STOVELLdG> IMG CBR2WN ^ in fine LENNOX TEA SETS CHINA Sterling Silver Deposit on Brown Blue andElcru Sets Complete ^12 ^5 to $ 20 Qfi Z4 WHITER ST- B08T0W Overture to "Coriolanus," Op. 62. LuDWiG VAN Beethoven (Born at Bonn, December i6 (?), 1770; died at Vienna, March 26, 1827.) The original manuscript of the overture bears this inscription: "Over- tura (zum Trauerspiel Coriolan) composta da L. v. Beethoven, 1807." The words in parenthesis are crossed out. The overture was pubhshed in 1808: "Ouverture de Coriolan, Tragedie de M. de Collin, etc., com- posê et dediee a Monsieur de Collin, etc." The other compositions of 1807 were the first Mass in C, the overture to "Leonore-Fidelio," No. I, which was published as Op. 138, the Fifth Symphony, the ariette, "In questa tomba," the violin concerto changed into a pianoforte concerto, and probably the 'cello sonata, Op. 69. The tragedy by Heinrich Joseph von Collin was produced November 24, 1802, with entr'actes arranged from Mozart's music to "Idomeneo" by the Abbe Stadler. It was afterward revived with Lange as the hero and played often until March 3, 1805. From that date to the end of October, 1809, there was only one performance of the tragedy, and that was on April 24, 1807. Thayer concludes that the overture was not written for this performance, because the overture had been played at two concerts in March. These concerts were at the palace of Prince A NEW SERIES First OF Steps TRANSCRIPTIONS IN FROM THE WORKS OF Violin Playing OLD MASTERS BY FOR BENJAMIN Violin and Pianoforte CUTTER Late Professor at the BY New England Conservatory of Music Fabian Rehfeld Part I., Part II.; Price, 75 cents each The object of this work is to offer a thorough C. VON GLUCK course of instruction in the earlier stages of Violin playing by combining interesting musical mate- Cantabile in D minor . .50 rial with ample technical exercises and explana- tory text. Cavatina (Tempo di Minuetto) . .50 The work gives independent training to the L. CHERUBIM bow-arm for rhythmical control, at first using the open strings for these exercises and later Larghetto in B flat . .50 adding simple problems in fingering with separate J. S. BACH sequence repetitions. Both major and minor modes have been used Gavotte in D minor . .50 from the beginning, thereby affording systematic ear-training for the pupil and assisting him in SENT FREE: Thematic Catalogue of reading notes with accidentals in the early stages. New Violin Music Carefully selected lists of supplementary mate- rial have been added throughout. ARTHUR P. SCHMIDT 120 BoyUton Street, Boston For Sale by all Music Dealers 619 — Lobkowitz in Vienna, and only pieces by Beethoven were performed, the first four symphonies, the "Coriolanus" overture, a pianoforte concerto, and airs from "FideHo." The overture was criticised most favorably in the Journal des Luxus und der Moden and Cotta's Mor- genblatt as a "new work." A correspondent of the Allgemeine Musik Zeitung wrote: "According to the inscription, the overture was intended for Collin's 'Coriolanus.'" Thayer adds: "How nobly Beethoven comprehended the character of Coriolanus has long been known ; but how wonderfully the overture fits in the play can be judged properly only by those who have read Collin's nearly forgotten play," and he says in a footnote: "The author, from boyhood a reader of Shakespeare's 'Coriolanus,' remembers well the dissatisfaction he experienced when he first heard Beethoven's overture; it did not seem to him to fit the subject. When he read Collin's play, his discontent turned into wonder." Beethoven knew the Coriolanus presented by Plutarch as well as the Coriolanus of Shakespeare and von Collin. One might say that the character of Coriolanus was in certain ways sympathetic to him; and some may wonder at Thayer's dissatisfaction. Wagner had no thought of von Collin, when he wrote : "If we recall to mind the impression made upon us by the figure of Coriolanus in Shakespeare's drama, and from all the details of the complicated plot first single that which lingered with us through its bearing on the principal character, we shall see one solitary shape loom forth: the defiant Coriolanus in conflict with his inmost voice, that voice which only speaks the more unsilenceably when issuing from his mother's mouth; and of the dramatic development there will remain but that voice's victory over pride, the breaking of the stubbornness of a nature strong beyond all bounds. For his drama Beethoven chooses nothing but these two chief motives, which make us feel more surely than all abstract exposition the inmost essence of that pair of characters. Then if we devoutly follow the movement developing solely from the opposition of these two motives in strict accordance with their musical character, and allow in turn the purely musical detail to work upon us—the lights and shades, the meetings and partings of these two motives—we shall at like time be following the course of a drama whose own peculiar method of expression embraces all that held our interest, the complex plot and clash of minor characters, in the acted work of the playwright. What gripped us there as an action set immediately before us, almost lived through by ourselves, we here receive as inmost kernel of that action; there set forth by characters with all the might of nature-forces, it is here just as sharply limned by the musician's motives, identical in inmost essence with the motives at work in those characters." (Englished by W. Ashton Ellis.) 620 MJSlatteim(fa. ^^^^/ Opposite Boston Common ^^^^ \^ » 154-155-156 TREMONT STREET AMERICAN WOMEN AND FRENCH LINGERIE The average American woman can't wear the average piece of French hand-made un- dermuslin. The French woman is slighter, shorter, less vigorous than the American woman. French undergarments are short, scrimpy, and meagre for American women. ???????' Ho'Wt then, is the Amertcan Woman to have undergarments combining French daintiness and American Measurements} p p p p p p p We have been answering that question for years.

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