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Boston Symphony Orchestra Concert Programs, Season 34,1914-1915, Trip

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Boston Symphony Orchestra Concert Programs, Season 34,1914-1915, Trip CARNEGIE HALL NEW YORK Twenty-ninth Season in New York Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor THURSDAY EVENING, FEBRUARY 18 AT 8.15 AND THE SATURDAY AFTERNOON, FEBRUARY 20 AT 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1915, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER — TO ifomt&lfaralmdla. Boston, March 6, 1914. MASON & HAMLIN CO., Gentlemen: On arriving in Boston after my trans-continental concert tour of the past several months, one of the first things I wish to do is to tell you of the unfailing satis- faction your pianos have given me. The high opinion which I had of these superb instruments before the tour has been but strengthened, and / believe that the Mason & Hamlin Piano today represents the highest achievement in piano making. No doubt your Tension Reson- ator is the greatest advance in piano construction for many years. It contributes largely to the carry- ing, or singing, capacity of your pianos, as well as to their remark- able depth of tone. Their sensi- tiveness is extraordinary, and it seems to me that the preference on the part of an individual for your pianos is indicative of a superior musical nature on the part of that individual. The advent of the Mason & Hamlin Piano marks an epoch in the development and progress of piano making, and I feel confident that in them is found the apogee of truly musical, artistic piano building. I congratulate you on your achievement, and your building of these unrivalled pianos must be a source of inspiration and of gratulation on the part of every serious musician. Believe me, Very truly yours, (Signed) MASON & HAMLIN CO., 313 FIFTH AVENUE, NEW YORK I Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, O. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S, Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Kurth R 3 Griinberg, M. Pinfield, C. Gerardi, A. Ringwall, R. Gunderson, R. Gewirtz, J. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P, Berlin, W. Kautzenbach, W« Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, H. Keller, J. , Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R. Nast, L. Folgmann, E. Warnke, J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E, Chevrot, A. Stanislaus, B Vannini, A. Fuhrmann, M. Battles, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. Alloo, M. Lorbeer, H. Miersch, E. Mann, J. Belgiorno, S. Hain, F. Hess, M. Bach, V. Mausebach, A. Resch, A. Hiibner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Senia, T. White, L. Kandler, F. Burkhardt, H. Organ Librarian. Assistant Librarian. Marshall, P. J. Sauerquell, J. Rogers, L. J. 3 WhenYouOwnaKNABE You"Will Feel tne Pride "that Comes of Knowing You Have the Best 1 KTU fk M? "Watferooms CARNEGIE HALL .... NEW YORK Twenty-ninth Season in New York Thirty-fourth Season, 1914-1915 Dr. KARL MUCK, Conductor FOURTH CONCERT THURSDAY EVENING, FEBRUARY 18 AT 8.15 PROGRAMME Brahms Symphony No. i,in C minor, Op. 68 I. Un poco sostenuto; Allegro. II. Andante sostenuto. III. Un poco allegretto e grazioso. IV. Adagio; Allegro non troppo, ma con brio. Beethoven . Overture to Collin's Tragedy "Coriolanus," Op. 62 Bach . Concerto in D minor, for two Violins and Orchestra of Strings I. Vivace. II. Largo. III. Finale (Allegro). (Solo Violins, Messrs. Witek and Noack) Beethoven Overture to "Leonore," No. 3, Op. 72 There will be an intermission of ten minutes after the symphony 5 — — Symphony in C minor, No. i, Op. 68 .... Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) The symphony was produced at Carlsruhe by the grand duke's orchestra on November 4, 1876. Dessoff conducted. There was a performance a few days later at Mannheim where Brahms conducted. Many musicians journeyed to hear the symphony. The performances at Vienna, December 17, 1876; Leipsic, January 18, 1877; and Breslau, January 23, 1877, were conducted by Brahms. Concerning the performance at Leipsic we shall speak later. In Vienna the symphony was produced at Johann Herbeck's earnest request at a concert of the Gesellschaft der Musikfreunde. The audi- ence was cool, especially after the last movement. * * * There was hot discussion of this symphony. Many pronounced it in the first years labored, crabbed, cryptic, dull. Hanslick's article of 1876 was for the most part an inquiry into the causes of the popular dislike. He was faithful to his master, as he was unto the end. And in the fall of 1877 Biilow wrote from Sydenham a letter to a Ger- man music journal in which he characterized the Symphony in C minor in a way that is still curiously misunderstood. "One touch of nature makes the whole world kin." This quotation from "Troilus and Cressida" is regarded by thousands as one of Shake- speare's most sympathetic and beneficent utterances. But what is the speech that Shakespeare put into the mouth of the wily, much- enduring Ulysses? After assuring Achilles that his deeds are forgotten; that Time, like a fashionable host, "slightly shakes his parting guest by the hand," and grasps the comer in his arm; that love, friendship, charity, are subjects all to "envious and calumniating time," Ulysses says : " One touch of nature makes the whole world kin, That all, with one consent, praise new-born gauds, Though they are made and moulded of things past, And give to dust, that is a little gilt, More laud than gilt o'er-dusted." This much-admired and thoroughly misunderstood quotation is, in the complete form of statement and in the intention of the dramatist, a bitter gibe at one of the most common infirmities of poor humanity. Ask a music-lover, at random, what Biilow said about Brahms's Symphony in C minor, and he will answer: "He called it the Tenth Symphony." If you inquire into the precise meaning of this character- ization, he will answer: "It is the symphony that comes worthily after Beethoven's Ninth"; or, "It is worthy of Beethoven's ripest years"; or in his admiration he will go so far as to say: "Only Brahms or Beet- hoven could have written it." ' Now what did Biilow write? "First after my acquaintance with the Tenth Symphony, alias Symphony No. i, by Johannes Brahms, that is since six weeks ago, have I become so intractable and so hard against Bruch-pieces and the like. I call Brahms's first symphony the Tenth, not as though it should be put after the Ninth; I should put it between the Second and the 'Eroica,' just as I think by the first Sym- phony should be understood, not the first of Beethoven, but the one composed by Mozart, which is known as the ' Jupiter." * The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, double-bassoon, four horns, two trumpets, three trombones, kettledrums, strings. The trombones appear only in the finale. The first movements open with a short introduction, Un poco soste- nuto, C minor, 6-8, which leads without a pause into the first move- ment proper, Allegro, C minor. The first four measures are a prelude to the chief theme, which begins in the violins, while the introductory phrase is used as a counter-melody. The development is vigorous, and it leads into the second theme, a somewhat vague melody of mel- ancholy character, announced by wood-wind and horns against the first theme, contrapuntally treated by strings. In the development wind instruments in dialogue bring back a fragment of this first theme, and in the closing phrase an agitated figure in rhythmical imitation Founded by Dr. Leopold Damrosch, 1873 LOUIS KOEMMENICH, Conductor Forty-second Season, 1914-1915 CARNEGIE HALL WEDNESDAY EVENING, MARCH 24, 1915 Soloists: MARIE SUNDELIUS, ROSE BRYANT, ALFRED D. SHAW, and CLARENCE WHITEHILL Orchestra of the Symphony Society of New York Seats, 25c. to $1.50 Single tickets are on sale at the box office of Carnegie Hall, at all the offices of the Tyson Company, at Fred. Rullman, Inc., 1 1 1 Broadway, and at the Chandler-Ebel Music Company, 222 Livingston St., Brooklyn. — of a passage in the introduction enters. The free fantasia is most elaborate. A short coda, built chiefly from the material of the first theme, poco sostenuto, brings the end. The second movement, Andante sostenuto, K major, 3-4, is a pro- foundly serious development in rather free form of a most serious theme. The place of the traditional scherzo is supplied by a movement, Un poco allegretto e grazioso, A-flat major, 2-4, in which three themes of contrasted rhythms are worked out. The first, of a quasi-pastoral nature, is given to the clarinet and other wood-wind instruments over a pizzicato bass in the 'cellos. In the second part of the movement is a new theme in 6-8. The return to the first movement is like unto a coda, in which there is varied recapitulation of all the themes. The finale begins with an adagio, C minor, 4-4, in which there are hints of the themes of the allegro which follows.
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