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Boston Symphony Orchestra Concert Programs, Season 27,1907

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Boston Symphony Orchestra Concert Programs, Season 27,1907 CALEB MILLS HALL • INDIANAPOLIS jio*i! Twenty-seventh Season, J907-J908 DR. KARL. MUCK, Conductor Jtagramm? of GRAND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, JANUARY 29 AT 8J5 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER " . THIRTY-FOURTH YEAR FINEST CONSERVATORY IN THE WEST Detroit Conservatory of Music FRANCIS L. YORK, M.A„ Director One of the Three Largest Conservatories in America. Unsurpassed ad- vantages for a Complete Musical Education. EVERY BRANCH TAUGHT HEADS OF DEPARTMENTS: YORK, Piano; YUNCK, Violin; NORTON, Voice; RENWICK, Organ, Theory; DENNIS, Public School Music; OCKENDEN, Elocution ; LITTLE, Drawing. Fifty thoroughly reliable instructors. Rates of tuition range from $10 to $60 per term (twenty lessons). Many free advantages. Send for catalogue. 530 WOODWARD AVENUE JAMES H. BELL, Secretary EIGHTH PRINTING of " one of the most important books on music that have ever been published ... a style which can be fairly described as fascinating. — W. J. Henderson With a chapter by Henry E. Krehbiel, covering Richard Strauss, Cornelius, Goldmark, Kienzl, Humperdinck, Smetana, Dvorak, Charpentier, Sullivan, Elgar, etc., in addition to his earlier chapter on Music in America. Practically a cyclopaedia of its subject, with 1,000 topics in the index LAVIGNAC'S " MUSIC AND MUSICIANS " By the Author of" The Music Dramas of Richard Wagner" Translated by WILLIAM MARCHANT i2mo. $1.75 net (by mail $1.90). **# Circular with sample pages sent on application This remarkable book by the doyen of the Paris Conservatory has been accepted as a standard work in America and reprinted in England. It is difficult to give an idea of its comprehensiveness, with its 94 illustrations and 510 examples in Musical Notation. It is divided as follows: A Study of Musical Sound (66 pp.); Materials of Sound (122 pp.), including the voice, orchestral instruments, with pictures of each, many other instruments, and an illuminating account of orchestration ; Grammar of Music (152 pp.), covering the harmonic system, counterpoint, and the fugue ; Esthetics (41 pp.), including Composition, with a discussion of the forms of the sonata, symphony, concerto, overture, dance forms, national characteristics, improvisation, criticism, and the beautiful in music; History of the Art of Music (106 pp.), covering the ancients, the primitives, and the various NATIONAL SCHOOLS, With NOTES ON THE INDIVIDUAL HFMPV H/^fT P f~*t~\ 29W.23?St I \lA 1jL\J rlwLl Q> \^\J NEW YORK composers and some performers, and concluding remarks on the musical career. Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein, H. Violas. Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. CONTRA-BASSOON. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz. (>. Lorbeer, H. Gebhardt, W. Mann, J. Miiusebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. Zht Qtfjttiurtng l&imo Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S.A. ••«g^a sagrt*g;g^-:=w^^^ Represented in Indianapolis by THE WULSCHNER-STEWART MUSIC COMPANY 128 North Pennsylvania Street 4 BOStOn CALEB MILLS HALL, Symphony 1 indianapolis. Twenty-seventh Season, 1907-1908. i~\ nl%£±C?-t-*»*\ ' vJlCnGStrd Third Concert in Indianapolis. Dr. KARL MUCK, Conductor. GRAND CONCERT, WEDNESDAY EVENING, JANUARY 29, AT 8.15 PRECISELY. PROGRAMME. Brahms . ... Symphony No. 2, in D major, Op. 73 I. Allegro non troppo. II. Adagio non troppo. III. Adagietto grazioso, quasi andantino. IV. Allegro con spirito. Dvorak . Overture, "Carnival," Op. 92 Dohnanyi . Concertstiick for Violoncello Richard Strauss . " Till Eulenspiegel's Merry Pranks," Op. 28 SOLOIST, Mr, HEINRICH WARNKE* There will be an intermission of ten minutes after the symphony. 5 There are some four hundred different makes of pianos manu- factured in the United States* Horn) many can you name ? Per- haps a dozen. Hardman Piano.— Style " Sheraton," one of the 34 ftew styles this sea- son in Hardman, Peck & Co.'s remarkable line of 56 different styles. HARDMAN PIANO Is always on the tip of the tongue whenever Pianos are thought of. Now, this universal knowledge of a few makes is not alone the result of advertising. All makes of pianos are advertised. It is their presence in thousands of homes, their intimate association with the daily lives of their owners and their friends for many years, that causes this general familiarity with the few well-known makes. The Hardman Piano is an inherent part of our national home life. And nothing but its oivn intrinsic qualities of superiority could ever have made it so. Do you realize that in buying a Hardman Piano you are not paying extra for a name ? That a " Hardman," with all that the name implies of high musical quality, durability, and reputation, can be bought at as moderate a price as hundreds of makes whose names you never heard? A call at our warerooms will be a revelation to you in piano values. cAU. makes of pianos taken in exchange. Convenient terms of payment for the balance can be arranged. ESTAB. HARDMAN, PECK fit CO. 1842 138 Fifth Avenue (corner 19th Street), New York 524 Fulton Street, Brooklyn — Symphony No. 2, in D major, Op. 73 Johannes Brahms (Bora at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) Chamber music, choral works, pianoforte pieces, and songs had madp Brahms famous before he allowed his first symphony to be playe t The symphony in C minor was performed for the first time at Carlsruhe on November 4, 1876, from manuscript and with DessofT as conductor. Kirchner wrote in a letter to Marie Lipsius that he had talked about this symphony in 1863 or 1864 with Mme. Clara Schumann, who then showed him fragments of it. But no one knew, it is said, of the existence of the second symphony before it was completed. The second symphony, in D major, was composed probably at Lich- tenthal in the summer of 1877, the year that saw the publication of the first. It was played by Brahms and Ignaz Briill as a pianoforte duet (arranged by the composer) to invited guests at the pianoforte house of his friend Ehrbar in Vienna a few days before the date of the first performance, the announced date December 11. Through force of circumstances the symphony was played for the first time in public at the succeeding Philharmonic concert of December 30, 1877.* Richter conducted it. The second performance, conducted by Brahms, was at the Gewandhaus, Leipsic, on January 10, 1878. The review written by Eduard Hanslick after the performance at Vienna was of more than local and fleeting interest, and it may serve to-day those who are unwilling to trust their own judgment. "It is well known that Wagner and his followers go so far as not only to deny the possibility of anything new in the symphonic form, i.e., new after Beethoven, —but they reject the very right of absolute instrumental music to exist. The symphony, they say, is now super- * Reimann, in his Life of Brahms, gives January 10, 1878, as the date, and says Brahms conducted. The date given in Erb's "Brahms" is December 24, 1877. Deiters and Miss May give December 30, 1877, but contemporaneous music journals, as the Signale, say December 20, 1877. NEW SONGS for CONCERT and RECITAL USE T[ We have this season a very large number of interesting compositions by such leading Composers as A. WOODFORDE-FINDEN, LIZA LEHMANN, LAURA LEMON, GRAHAM PEEL, ROGER QUILTER, HAMILTON HARTY, E. ELGAR, E. GERMAN, NOEL JOHNSON. R. BARTHELEMY, F. P. TOSTI, LANDON RONALD, G. H CLUTSAM, STEPHEN ADAMS, etc. f Ask your dealer for a selection of these, or write direct to the Publishers, BOOSEY & COMPANY, 9 East Seventeenth St, New York City 7 fluous since Wagner has transplanted it into the opera: only Liszt's symphonic poems in one movement and with a determined poetical programme have, in the contemplation of the modern musical world, any vitality. Now if such absurd theories, which are framed solely for Wagner-Liszt household use, again need refutation, there can be no more complete and brilliant refutation than the long row. of Brahms's instrumental works, and especially this second symphony. "The character of this symphony may be described concisely as peace- ful, tender, but not effeminate serenity, which on the one side is.
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