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Carnegie Hall New York CARNEGIE HALL NEW YORK Thirtieth Season in New York lS" Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor Pr< THURSDAY EVENING, FEBRUARY 17 AT 8.15 AND THE SATURDAY AFTERNOON, FEBRUARY 19 AT 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE COPYRIGHT, 1916, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER <* Yes, It's a Steinway ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? ".It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." s STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor PERSONNEL Violins. Witek, A. Roth, 0. 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. Fiedler, A. Griinberg, M. Pinfield, C. Gerardi, A. Kurth, 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. de Mailly, C. Stanislaus, H. 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. Nappi, G. Mausebach, A. Resch, A. Hiibner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Zahn, F. Gardner, C. Cella, T. Kandler, F. Burkhardt, H. Organ. Librarian. Assistant Librarian. Marshall, J. P. Sauerquell, J. Rogers, L. J. CARNEGIE HALL NEW YORK Thirtieth Season in New York c^y jj 11 H ii *XJ) Jl i&\j)h. A \ Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor FOURTH CONCERT THURSDAY EVENING, FEBRUARY 17 AT 8.15 PROGRAMME Debussy .... "La Mer," Trois Esquisses Symphoniques I. De L'aube a midi sur la mer (From Dawn till Noon on the Ocean). LI. Jeux de vagues (Frolics of Waves). III. Dialogue du vent et de la mer (Dialogue of Wind and Sea). Strauss "Don Quixote" (Introduction, Theme with Variations and Finale) : Fantastic Variations on a Theme of Knightly Character, Op. 35 (Violoncello solo, Mr. Warnke; Viola, Mr. Ferir) Haydn .... Symphony in E-flat major (B. & H., No. 1) I. Adagio: Allegro con spirito. II. Andante. III. Menuetto: Trio. IV. Allegro con spirito. Note: There will be short intermissions between the first and second and second and third numbers "The Sea" (Three Orchestral Sketches): I. From Dawn Tijx Noon on the Ocean; II. Frolics of Waves ; III. Dialogue of Wind and Sea Claude Debussy (Born at Saint-Germaine (Seine and Oise), France, August 22, 1862; now living at Paris.) These orchestral pieces ("La Mer: I. De l'aube a midi sur la mer; II. Jeux de vagues; III. Dialogue du vent et de la mer,—trois esquisses symphoniques") were performed for the first time at a Lamoureux Concert in Paris, October 15, 1905. The concert, the first of the season of 1905-06, was also the twenty-fifth anniversary of the establishment of the Concerts Lamoureux. Camille Chevil- lard conducted. Debussy has conducted performances. The Sketches, dedicated to Jacques Durand, were published at Paris in 1905. Debussy first conceived the idea of writing them in 1903. The first performance in the United States was in Boston at a concert of the Boston Symphony Orchestra led by Dr. Muck on March 2, 1907. "La Mer" was performed again that season by request on April 20, 1907. There was a later performance on March 1, 19 13. "From Dawn till Noon on the Ocean" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, three bassoons, four horns, three trumpets, three trombones, one bass tuba, a set of three kettledrums, cymbals, tam-tam, two harps, and strings. "Frolics of Waves" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, three bassoons, four horns, three trumpets, cymbals, triangle, a Glockenspiel (or celesta), two harps, and strings. "Dialogue of Wind and Sea" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, three bassoons, one double- bassoon, four horns, three trumpets, two cornets-a-pistons, three trombones, one bass tuba, a set of three kettledrums, bass drum, cym- bals, tam-tam, Glockenspiel, two harps, and strings. * * These sketches are impressionistic. The titles give the cue to the hearer. As M. Jean d'Udine said of these very compositions: "When art is concerned, grammatical analyses belong to the kingdom of technical study; they have a didactic character and interest only professionals. The public demands logical analyses from the critics. But how can any one analyze logically creations which come from a dream, if not from a nightmare, and seem the fairy materialization TEACHER OF PIANO (Leschetizky Method) Classes in EVELYN FLETCHER COPP'S MUSIC METHOD FOR BEGINNERS Children from six to twelve years of age Studio, 535 WEST 135th STREET Telephone, MORNINGSIDE 4357 of vague, acute sensations, which, experienced in feverish half-sleep, cannot be disentangled? By a miracle, as strange as it is seductive, M. Debussy possesses the dangerous privilege of being able to seize the most fantastical sports of light and of fluid whirlwinds. He is cater-cousin to the sorcerer, the prestidigitateur, and his art rests almost wholly on the association of musical ideas whose relations are clearly perceived only in a state of semi-consciousness, with the con- dition of not thinking about them. It is an exclusively sensual art, wholly like that of Berlioz, situated almost outside of time, floating in space with the disturbing absence of rhythm shown by the careless, intoxicated butterfly, an art that is astonishingly French, pictorial and literary to that degree of disembodiment where sound is only a cabalistic sign." Whether you dispute or agree to this characterization of Debussy's art,—the comparison of his art with that of Berlioz is at least surprising if it be not inexplicable,—M. d'Udine's statement that these sketches do not submit to analysis is unanswerable. To speak of fixed tonalities would be absurd, for there is incessant modulation. To describe Debussy's themes without the aid of illustrations in notation would be futile. To speak of form«and development would be to offer a stumbling-block to those who can see nothing in the saying of Plotinus, as translated by Thomas Taylor: "It is on this account that fire sur- passes other bodies in beauty, because, compared with the other ele- ments, it obtains the order of form; for it is more eminent than the rest, and is the most subtle of all, bordering as it were on an incorporeal nature." The question for the hearer to determine is whether Debussy and the ocean are on confidential terms. W. E. Henley wrote in ("Views and Reviews: Longfellow ") : " The ocean as confidant, a Laertes that can neither avoid his Hamlets nor bid them hold their peace, is a modern invention. Byron and Shelley discovered it; Heine took it into his confidence, and told it the story of his loves; Wordsworth made it a moral influence; Browning loved it in his way, but his way was not often the poet's; to Matthew Arnold it was the voice of destiny, and its message was a message of despair; Hugo conferred with it as with an humble friend, and uttered such lofty things over it as are rarely heard upon the lips of man. And so with living lyrists, each after his kind. Lord Tennyson listens and looks until it strikes him out an undying note of passion or yearning or regret: "Two Roses." "Ah Love but a Day." "An Evening Song." "For Ever and a Day." "A Maiden's Yea and Nay." "Song of the Canoe." "The Little Red Ribbon." "You is Jes' as Sweet." These songs are found on the programmes of Mmes. Rappold, Jomelli, Alda. White, Lund. Bottero, Buck- hout, Florence Jepperson, Sammis MacDermid, White. Longman, Hallem McLewee, Myrna Shadow, Christine Miller, Vera Courtenay, Margaret Keyes, Florence Otis, Marguerite Dunlap, Florencs Mulford, Messrs. Ellison Van Hoose, William Simmons, John Finnegin. Vernon Archibald, Frederic Gunther, and many other singers before the American public. BOSTON CHICAGO 38C Boylston St. CARL FISCHER gr New York 335 S. Wabash Ave. —; Sunset and evening star, And one clear call for me. Mr. Swinburne maddens with the wind and the sounds and the scents of it, until there passes into his verse a something of its vastness and its vehemency, the rapture of its inspiration, the palpitating, many- twinkling miracle of its light; Mr.
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