ACADEMY OF MUSIC, PHILADELPHIA Thirty-second Season in Philadelphia Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor itji> WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 1 AT 8.15 COPYRIGHT, 1917, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS. MANAGER The ideal of the Steinway Piano is a beautiful voice. The work of the Steinway family is to create a sensitive but permanent vehicle for its expression. "The Steinway realization means the eleva- tion and furtherance of the great art of music. Their field is the world and mankind is the beneficiary. Rarely have men had such in- spiration and more rarely have they risen to the heights or possessed such unobscured and prophetic vision of the intellectual needs.'* STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor )T7 Violins. Witek, A. Roth, 0. 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. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Siilzen, H. Fiedler, A. Gerardi, A. Pinfield, C. Gewirtz, J. Kurth, R. Gunderson, E Rosen, S. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittraann, 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. Mosbach, J. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H Vannini, A. Piller, B. Battles, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Fuhrmann. M. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. AUoo, 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, P. i Sauerquell, J. J. Rogers, L. J. 3 iiiii;i»iiiiijiijji£ The tone of the Chickering is the voice of ripened experience and constant study in the production of perfect pianofortes. "It is the tone of nature," said de Pachmann, "it sings like a lovely voice" UPRIGHT PIANOS GRAND PIANOS THE CHICKERING-AMPICO REPRODUCING PIANOS play the interpretations of the world's foremost pianists—tone for tone, phrase for phrase—the exact duplication of the artists' own renditions from actual recordings. UPRIGHT AND GRAND STYLES EXCLUSIVE REPRESENTATIVE IN PHILADELPHIA ACADEMY OF MUSIC . PHILADELPHIA Thirty-second season in Philadelphia Boston SjmphsiJ IT Thirty-sixth Season,Seasi 1916-1917 Dr. KARL MUCK THIRD CONCERT MONpAY EVENING, JANUARY 1 AT 8.15 PROGRAMME Franck ....... Symphony in D minor I. Lento: Allegro non troppo. II. Allegretto. III. Allegro non troppo. Debussy . "Prelude a l'Apres-Midi d'un Faune [Eglogue de S. Mallarme]" (Prelude to "The Afternoon of a Faun [Eclogue by S. Mallarme]") Rachmaninoff . Second Concerto for Pianoforte with Orchestra, Op. 18 I. Moderato. II. Adagio sostenuto. III. Allegro scherzando. Chabrier "Espafia," Rhapsody for Orchestra SOLOIST Mr. OSSIP GABRILOWITSCH MASON & HAMLIN PIANO There will be an intermission of ten minutes after the symphony The length of this programme is one hour and fifty-five minutes 5 The Talking Machine You Want is to be found at Heppe's Whether it be the $ 1 5 model or a superb $300 type of Victrola, every artistic possi- bility of the Talking Machine is assured when it comes from Heppe's. Experts adjust every machine that leaves our establishment and our service is best because we are both wholesale land retail distributors. LOWEST FACTORY PRICES GUARANTEED, WHETHER YOU BUY FOR CASH OR ON TIME Victrolas, *1 5 to $300 oppop ml eruM 1117-1119 Chestnut Street, 6th and Thompson Streets Wholesale and Retail Symphony in D minor, for Orchestra C£sar Franck (Bora at Liege, Belgium, on December 10, 1822; died at Paris on November 8, 1890.) Paris, . This symphony was produced at the Conservatory, February 17, 1889.* It was composed in 1888 and completed on August 22 of that year. It was performed for the first time in Boston at a concert of the Boston Symphony Orchestra on April 15, 1899, Mr. Gericke con- ductor, and it was also played at its concerts on December 23 of that year, February 11 and April 22, 1905, January 29, 1910, November 25, 191 1, January 3, 19 14, and May 1, 1915. It was played at the benefit concert to Mr. Wilhelm Gericke, April 24, 1906. The symphony, dedicated to Henri Duparc, is scored for two flutes, two oboes, one English horn, two clarinets, one bass clarinet, two bassoons, four horns, two trumpets, two cornets-a-piston, three trom- bones, one bass tuba, a set of three kettledrums, harp, and strings. Vincent d'Indy in his Life of Franck f gives some particulars about the first performance of the Symphony in D minor. "The perform- ance was quite against the wish of most members of the famous orchestra, and was only pushed through thanks to the benevolent obstinacy of the conductor, Jules Garcin. The subscribers could make neither head nor tail of it, and the musical authorities were much in the same position. I inquired of one of them—a professor at the Con- servatoire, and a kind of factotum on the committee—what he thought of the work. 'That, a symphony?' he replied in contemptuous tones. 'But, my dear sir, who ever heard of writing for the cor anglais in a * Franck wrote a symphony for orchestra and chorus, "Psyche," text by Sicard and Fourcaud, which was composed in 1887 and produced at a concert of the National Society, March 10, 1888. He also wrote in his earlier years a symphony, "The Sermon on the Mount," after the manner of Liszt's symphonic poems. The manuscript exists, but the work was never published. f Translated^by^Mrs.^Newmarch. Music Publishers Schixmex'd JEibxaxy of J^Ludical GLaddicd ^ohe jfyCudical Qjxaxtexly 3 East 43 rd Street NewYork — ' symphony? Just mention a single symphony by Haydn or Beethoven introducing the cor anglais. There, well, you see—your Franck's music may be whatever you please, but it will certainly never be a symphony ! This was the attitude of the Conservatoire in the year of grace 1889. "At another door of the concert hall, the composer of 'Faust' es- corted by a train of adulators, male and female, fulminated a kind of papal decree to the effect that this symphony was the affirmation of incompetence pushed to dogmatic lengths. For sincerity and disinter- estedness we must turn to the composer himself, when, on his return from the concert, his whole family surrounded him, asking eagerly for news. 'Well, were you satisfied with the effect on the public? Was there plenty of applause?' To which 'Father Franck,' thinking only of his work, replied with a beaming countenance: 'Oh, it sounded well; just as I thought it would!'" The following analysis is based, in a measure, on a synopsis prepared by Cesar Franck for the first performance at the Paris Conservatory concert : I. Lento, D minor, 4-4. There is first a slow and sombre introduc- tion, which begins with the characteristic figure, the thesis of the first theme of the movement ('cellos and basses). This phrase is developed for some thirty measures, and leads into the Allegro, or first movement proper. Allegro non troppo, D minor, 2-2. The theme is given out by all the strings and developed with a new antithesis. Mr. Apthorp remarks in his analysis of this symphony: "It is noticeable that, when- ever this theme comes in slow tempo, it has a different antithesis from when it comes in rapid tempo. The characteristic figure (thesis) re- minds one a little, especially by its rhythm and general rise and fall, of the 'Muss es seinV (Must it be?) theme in Beethoven's last quartet, in F major." There is a short development, and the opening slow pas- FRANKLIN E. CRESSON, Director DAVID E. CROZIER LUCIUS COLE ALBERT W. BORST RAYMOND L. YEAKEL F. EDMUND EDMUNDS SAMUEL J. RIEGEL 1714 CHESTNUT STREET 57 EAST PENN STREET, GERMANTOWN — (FREDERICK HAHN, Director) A SCHOOL FOR ARTISTS AND TEACHERS AS WELL AS STUDENTS OF ALL AGES Announcing a Faculty of Artists Unsurpassed Anywhere in America .. FACULTY .. PIANO VIOLIN Gregory Kannerstein Frederick Hahn Aurelio Giorni Charlton Murphy Xavier Dimarias George Brodman Alice Lewis Murphy and Assistants Bessie Husted Glover Adele Foy VIOLONCELLO Mahlon Yardley Bertrand Austin Lilian Fitz-Maurice Carl Kneisel and Assistants CLAVIER VOICE VIRGIL Lilian Fitz-Maurice Henry Hotz Henry Gurney CLARINET Cesare Sturani Besse Kille Slaugh Frederich Dieterichs Carlotta Bautz-Mattox Bella T. Ramsey CORNET and TRUMPET and Assistants Edward Fritz Other Wind Instruments taught by members of Philadelphia Orchestra ORGAN AURAL THEORY Lewis Wadlo J. Franklin Whitman Robinson Bessie Husted Glover SCHOOL of INTERPRETATION and STAGE DIRECTING Edward S . Grant The following Eminent Artist Teachers have been added this year: Piano: Aurelio Giorni, Xavier Dimarias. Voice: Cesare Sturani. Aural Theory: Franklin Whitman Robinson. Organ: Lewis J. Wadlo, Bessie Husted Glover. 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