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Second Season, 1912 and 1913

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Second Season, 1912 and 1913 SYMPHONY HALL, BOSTON HUNTINGTON & MASSACHUSETTS AVENUES Telephones \ Ticket Office I g^^^ ^^^^ Branch Exchange ( Administration OHices ) THIRTY-SECOND SEASON, 1912 AND 1913 Dr. KARL MUCK, Conductor I J^rogramm? of % Second Rehearsal and Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, OCTOBER 18 AT 2.30 O'CLOCK SATURDAY EVENING, OCTOBER 19 AT 8.00 O'CLOCK COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER — ^i^laf^uiinliano ** After the Symphony Concert '* a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldw^in." The strongest impressions of the concert season are linked w^ith 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. GHAS. F. LEONARD, 120 Boylston Street BOSTON, MASS. Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, O. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J, Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W, Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler, B. Marble, E. Haynes, E. Tischer-Zeitz, H. Kurth, R. Griinberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, O. H. Kluge, M. Van Wynbergen, C. Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Blumenau, W. Violoncellos. Wamke, H. Keller, J. Barth, C. Belinski, M. Wamke, J. Urack, O. Nagel, R. Nast, L. Folgmann, E. Steinke, B. 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. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Fosse, P. Vannini, A. Fuhrmann, M, Chevrot, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, O. Lorbeer, H. Gebhardt, W. Mann, J. Alloo, M. Hain, F. Hackebarth, A. Heim, G. Mausebach, A. Phair, J. Hiibner, E. Merrill, C. Kenfield, L. Harp. Tymtani. Percussion. Schuecker, H. Neumann, S. Zahn, F. Senia, T. Kandler, F. Burkhardt, H. Organ. ' Librarian. MarshaU, J. P. Sauerquell, J. 71 ^ R« »m im pji «j< im »m *m im iMiA« »w iw wi wi w* R« a« ^« w^ a« ^^ a« fu* & Chickerin^ Prestige A glorious Listory of past acLievement and triumplis, linked -witk extraordinary facilities for future development, liave given to its prestige as tke "Best m the World' calling fortk spontaneous triDutes of praise and admiration from tlie great Liszt of a generation ago, and tne master artist of to-day ~ Busoni —whose recent tour was tne greatest triumph, for botn the artist and the Piano, of this generation. " j^aae in Boston** CHICKERING WAREROOMS 791 TREMONT STREET, Comer Northampton Street, near Mass. Ave. BOSTON I'lkfl^ irw¥V IA<.IAf IM^V¥W^^^S¥Wtfi5v^tf^W^ 72 THIRTY-SECOND SEASON, NINETEEN HUNDRED TWELVE AND THIRTEEN g>^r0tib S^Ij^araal unh (Hamtxt FRIDAY AFTERNOON, OCTOBER J8, at 2.30 o'clock SATURDAY EVENING, OCTOBER i% at 8.00 o'clock Programme Sgambati .... Symphony in D major, No. i, Op. i6 I. Allegro vivace, non troppo II. Andante Mesto III. Scherzo, Presto: Trio un poco meno IV. Serenata: Andante V. Finale: Allegro con fuoco " Wagner . Elisabeth's Greeting, Dich, Theure Halle," from "Tannhauser" Pfitzner . Overture to "Das Christ-Elflein " ("The Little Christ-Elf"), a Christmas Fairy Story in three acts by Use von Stach, Op. 20 ** Weber . Recitative, Wie nahte mir der Schlummer," and Aria, "Leise, leise," from "Der Freischiitz" Brahms . Variations on a Theme of Josef Haydn, Op. 56a SOLOIST Madame MARIE RAPPOLD There will be an intennission of ten minutes after the symphony The doors of the hall will be closed during the performance of each number on the programme. Those who wish to leave before tJie end of the concert are requested to do so in an interval 6e- tween the numbers, , city of Boston. Revised Reiiulation of Auiiust 5. 1898.— Chapter 3. relating to the coverlnii 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, which does not obstruct such view, may be worn. Attest: J. M. GALVIN, City Clerk. 73 L. P. HOLLANDER & CO. Boston New York Announce that their Importations for the coming season of Model Costumes, Coats and Dresses are ready to be shown. 202 BOYLSTON STREET OUR FALL IMPORTATIONS Are being opened each day, and embrace the "last thought" of artistic production in merchandise pertaining to our business Bronzes, Clocks, Crystal Glass, Marble Statuary Artistic and Novel Creations in Metal Fanciful Dresden China Chafing Dishes and Coffee Percolators Wonderful Leather Articles, from Offen- bach, Vienna, and Berlin and our usual plethora of "unflndable things'* from the home and foreign markets, personally selected by our expert buyers 24 WINTER STREET. BOSTON Established over 90 > ears 74 Symphony No. i, in D major, Op. i6 Giovanni Sgambati (Born at Rome on May 28, 1843; still living there.) Sgambati is one of the very few modern Italians that have written symphonies known to foreign audiences or musicians. Giovanni Martucci wrote a symphony in D minor (1895), and Alberto Franchetti has written one in E minor. Sgambati's symphony in D major was first played at the Court of the Quirinal, Rome, on March 28, 1881. The King of Italy then gave the order of the Crown of Italy to the composer. The first per- formance in Boston was at a concert of the Boston Symphony Orches- tra on November 10, 1894; the symphony was also played at a concert on January 29, 1898. The work is scored for one piccolo, two flutes, two oboes, two clari- nets, two bassoons, four horns, two trumpets, three trombones, one bass tuba, kettledrums, two harps, and strings. It is dedicated to Queen Margherita of Italy. It is in four movements. The first, Allegro vivace, non troppo, D major, 3-4, is somewhat irregular and unconventional. A sighing chromatic figure is given out by clarinets and violas against an ac- companiment in the violins and an occasional upward passage for flutes and oboes. This fragment of a motive is followed by a more lively passage, first in the flutes and then in the oboes. There are develop- JUST ISSUED FIRST YEAR MUSICAL THEORY {Rudiments of Music) By THOMAS TAPPER This is a simple, readable text upon all the matter that is generally included in Rudiments of Music. It contains a well-selected list of musical terms. All the major scales are given in tabular form. The three forms of the minor scale are similarly presented, and the book, in conclusion, presents a number of test papers actually set in schools, colleges, and universities, indicating to what extent musical theory is required in institutions of higher learning as preparatory knowledge. BY THE SAME AUTHOR FIRST YEAR HARMONY SECOND YEAR HARMONY FIRST YEAR MELODY WRITING PROFESSIONAL PRICE, 75 CENTS EACH VOLUME ARTHUR P. SCHMIDT 120 Boylston Street, Boston For Sale by ail Music Dealers 76 ments in crescendo for the full orchestra. A horn call is answered by the lower strings and kettledrums, as though to announce the entrance of a second theme; but the wood-wind and horn sing a flowing melody, which is the full melodic development of the sighing chromatic figure with which the movement began; and this is really the first theme of the movement. It is developed at some length, and the melody is given for the most part to wind instruments. A little theme in C- sharp minor, given out by the wood-wind and worked up by it and the strings, ends with pianissimo chords, and with it the first part of the movement. There is a crescendo, which begins over an organ- point on C-sharp in the 'cellos, with a sustained drum-roll on D, and this leads to a short working-out. The third section begins in the key of E major. The little sighing figure is now in whole tones instead of half-tones, and is given out by oboe, clarinet, and violas. The tonality is D minor with the second repetition. There is a short coda, and the movement ends in a pianissimo. The second movement. Andante mesto, G minor, 6-4, begins with a restless motion in the bass, which is preserved through much of the m:ovement. Wood-wind instruments give out a sad melody, which is followed by a broader theme, sung by the first violins in octaves; this theme is developed with fuller instrumentation. A little interlude leads to a choral melody, played softly in harmonies by wood-wind and horns, and accompanied by flute and harp arpeggios. "The some- what ascetic harmony, reminding one of the chord progressions com- mon in the old contrapuntal treatment of the Gregorian chant, stamps this choral as distinctively Italian." The choral is worked up gradually by the whole orchestra.
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