CARNEGIE HALL NEW YORK Thirty-second Season in New York Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor FRIDAY EVENING, DECEMBER 7 AT 8.15 AND THE" SATURDAY AFTERNOON, DECEMBER 8 AT 2.30 WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE .COPYRIGHT, 1917, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER >Steinway FROM the very beginning of a musical education, nothing is so important as a correct appreciation of tone. Hence the child should receive its early impressions from a Steinway Piano. The exquisite Steinway tone is recognized as ideal, and it has made this instrument world- famous. Superior craftsmanship builds the Steinway for lifetime usage, and all the strain of "prac- tice years" does not make its action uneven or lessen its sweet- ness and resonance of tone. Under these circumstances, no other instrument is "good enough to begin on." Consider, too, that a Steinway costs but little more than an ordinary "good" piano. Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor Violins, Witek, A. Roth, O. Rissland, K. Theodorowicz, J. Concert-master. Hoffmann, J. Schmidt, E. Bak, A. Noack, S. Mahn, F. Ribarsch, A. Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Baraniecki, A. Griinberg, M. Habenicht, W. Spoor, S. Berger, H. Goldstein, S. Fiedler, B. Ringwall, R. Siilzen, H. Fiedler, A. Gerardi, A. Pinfield, C. Gewirtz, J. Kurth, R. Gunderson, R. Rosen. S. 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, Nagel, J. R. Nast, L. Folgmann, E. Warnke ; J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Mosbach, J. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H. Vannini, A. Piller, B. Piccolo. English Horn. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Stumpf, K. Fuhrmann, M. 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. Rescn, 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 . Marshall, J. P. Rogers, L. J. DURABILITY THE distinctive tone quality and sensitive touch of the Knabe make an irresistible appeal. The perfect craftsmanship and fine materials that enter into its making preserve this beauty of tone and action for generations. Exquisite workmanship, perfect action and wonderful dura- bility make the Knabe the wisest investment for your home. "The Piano for a Lifetime" Uprights from $550 Grands from $750 y\oarerooms- Fiffli Avenue atlffirly-imifli Street, m V/N/o CARNEGIE HALL NEW YORK Thirty-second Season in New York Thirty-seventh Season, 1917-1918 Dr. KARL MUCK, Conductor SECOND CONCERT FRIDAY EVENING, DECEMBER 7 AT 8.15 PROGRAMME Rachmaninoff Symphony in E minor, No. 2, Op. 27 I. Largo. Allegro moderato.. II. Allegro molto. III. Adagio. IV. Allegro vivace. Mendelssohn Music to Shakespeare's "A Midsummer Night's Dream," for Orchestra, Soprano Solos and Female Chorus, Op. 61 a. Overture. b. Nocturne. c. Scherzo. There will be an intermission of ten minutes after the symphony The length of this programme is one hour and forty-five minutes 5 Symphony in K minor for Full Orchestra, No. 2, Op. 27. Serge'i Vassilievich Rachmaninoff (Born at Onega in the Government of Novgorod, April i, 1873; living at Moscow.) This symphony, composed at Dresden, was played at Moscow at a concert of the Imperial Russian Music Society in the course of the season of 1908-09. The composer conducted. It was performed in Berlin by the Philharmonic Orchestra, Mr. Nikisch conductor, Novem- ber 29, 1909. The first performance in the United States was by the Russian Sym- phony Society in New York, January 14, 1909. The symphony, dedicated to S. Taneieff, is scored for three flutes (one interchangeable with piccolo), three oboes, English horn, two clari- nets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, bass tuba, a set of three kettledrums, snare-drum, bass drum, cymbals, Glockenspiel, and the usual strings. There is an Introduction, Largo, 4-4, to the first movement. Violon- cellos and double-basses give an indication of the chief motive. Sus- tained chords of wind instruments follow, and over them appears the leading thought of the symphony (violins). The solo for the basses is repeated a third lower, and again chords for wind instruments follow. (These passages for wind instruments are used reminiscently in the second movement.) The violin theme is now more broadly developed, and after a short crescendo a phrase for the English horn leads to the main portion of the first movement, Allegro moderato, E minor, 2-2. The first theme, Molto espressivo, of the first movement, enters after four measures of Prelude, and is given to the violins. A motive in triplets for basses, poco a poco piu vivo, is added. This leads to a section, Moderato, in which, after preluding, a theme in G major is sung by violins. This becomes more passionate, and leads to a close in G major with a melody for 'cellos. The chief theme of the sym- phony is developed in the working-out, by solo violin, by the rest of the strings, and by wood-wind instruments. There is a noticeable rhythmic figure for violas, and this slackening of the pace brings the return of the chief theme of the movement with an elaborate crescendo. There are fanfares for the brass, and a horn-call is freely used. There is an agitated coda. Second movement, Allegro molto, A minor, 2-2. The ±heme begins with horns and is carried out by violins, while there are characteristic figures for wood-wind instruments. The first section is constructed simply and clearly from portions of this theme. There is a melodious section, Moderato (violins in octaves, violas and 'cellos cantabile), and then the energetic rhythmic figure brings in the repetition of the first portion of the movement. The Trio, Meno mosso, begins with a design for second violins, and its development includes march-like har- 6 j monies for the brass. There is a free repetition of the scherzo portion, and at the end a reminiscence of the theme for brass in the Introduction. Philip H. Goepp, the editor of the Philadelphia Orchestra's Programme Books, characterizes this movement as "a complete change from introspection and passion to an abandon as of primitive dance. Strings stir the feet; the horns blow the first motive of the savage tune, the upper wood fall in with a dashing jingle,—like a stroke of cymbals in itself. But right in the answer comes the former short, nervous phrase that gets a new touch of bizarre by leaping a seventh from the tonic note. In this figure that moves throughout the symphony we seem to see an outward symbol of the inner connection. The Glocken- spiel soon lends a festive ring to the main tune. There is a brief episode in the major, of tuneful song, a duet of rising and descending strains in lessened pace (moderato) that seem again to belong to the text of the first movement. When the dance returns, there is instead of discus- sion a mere extension of the main motive in full chorus. But here in the midst the balance is more than restored. From the dance that ceases abruptly we go straight to school or rather cloister. On our recurring (nervous) phrase a fugue is rung with all pomp and ceremony (meno mosso) ; and of the dance there are mere faint echoing memo- ries, when the fugal text seems for a moment to weave itself into the first tune. Instead comes into the midst of sermon a hymnal chant, blown very gently by the brass, while other stray voices are running lightly on the thread of the fugue. There is, to be sure, a subtle, play- ful suggestion of the dance tune somehow in the air. A final blast of the chant in a tempest of the fugue brings us back to the full verse of the dance and the following melody. But before the end the chant and fugue return to chill the festivity, and the figures steal away in solemn stillness." The third movement, Adagio, A major, 4-4, is in song form, and there are three leading melodies in succession- The chief one is given to the first violins; the clarinet has an expressive air; the third melody is for oboes and violins. In the middle section there is a return to the chief theme of the symphony. It occurs in dialogue form, and it also appears at the end of the repetition of the first section. Two new collections of songs by the foremost composers of the modern Russian school Collected and edited by KURT SCHINDLER Complete in one volume (cloth) Each volume (paper) $3.50 net $1.25 net 3 East 43d St. G. SCHIRMER New York •B The finale, Allegro vivace, begins with a lively introduction which is rhythmically developed out of the first jubilant motive for full orches- tra. There is a march theme for wind instruments. The second theme is for strings, D major, and is in lyric mood. Many of the melodic figures heard before enter in the Finale. The climax of passion is reached when the brass sounds forth the bass motive of the intro- ductory Largo, and at the end the Adagio theme is sung against the dance motive of the Finale.