NEW NATIONAL THEATRE, WASHINGTON. BostonSymptionyQiGtiestra WILHELM GERICKE, Conductor. Twenty-fifth Season, 1905-1906. PROGRAMME OF THE FOURTH MATINEE TUESDAY AFTERNOON, FEBRUARY 13, AT 4.30 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C A. ELLIS, Manager. ^ THE Hasfltt&ljamlin PIANO During the musical season of 1 905-1 906 is being played in prin- cipal cities from Boston to San Francisco, in Recital, before Musi- cal Clubs, leading musical organizations, with the great orchestras, and by the greatest pianists, among whom may be named the following : / Boston Symphony Orchestra, Wilhelm Gericke, I Conductor. HARM R RAIIFR Pittsburgh Orchestra, Emil Paur, Conductor. nnilULU UMULIl . Indianapolis Orchestra, Hans Schneider, Cor- / ductor. ' Kneisel Quartet. Chicago Orchestra, Frederick Stock, Conductor. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. RUDOLPH GANZ New York Philharmonic Orchestra, Felix Wein- gartner, Conductor. Philadelphia Orchestra, Fritz Scheel, Conductor. Kneisel Quartet. / Boston Symphony Orchestra, Wilhelm Gericke, Conductor. \ New Haven Orchestra, Horatio W. Parker, Con- ANTOINETTE SZUMOWSKA ductor. Chicago Orchestra, Frederick Stock, Conductor. Adamowski Trio. EMIL PAUR . Pittsburgh Orchestra. Boston Symphony Orchestra, Wilhelm Gericke, - HEINRICH GEBHARD . Conductor. Kneisel Quartet. VINCENT D'INDY el et . { y c?ur " Bost rchestral Club ' Georges Lonsy Con ' ALFRED De VOTO . \ duc t or I Longy Club. Washington Representatives, E. F. DROOP & SONS CO., 92S Pennsylvania Avenue, N.W. -2 Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor First Viouns Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. D. Hoffmann, Fiedler, Kuntz, J. E Mullaly, J. C. Moidauer, A. Strube, G. Rissland, K. Second Viouns. Barleben, C. Schuchmann, F. E. Kurth, R. Kuntz, A. Akeroyd, J. Tischer-Zeitz, H. Goldstein, S. Fiedler, B. Fiumara, P. Marble, E. B. Berger, H. Traupc, W. Swornsbourne, W. W. Eichler, J. Edw. Violas. Zach, M. Sauer, G. F. Hoyer, H. Krauss, O. H. Ferir, E. Kolster, A. Kluge, M. Gietzen, A. £eindl, H. Zahn, F. Violoncellos. Warnke, H. Loeffler, E. Barth, C. Hadley, A. Heindl, A. Nast, L. Keller, J. Nagel, R. Adamowski, J. Heberlein, H Basses. Keller, K. Bareither, G. Butler, H. Schurig, R. Kunze, M. Seydel, T. Gerhardt, G. Elkind, S. Flutes. Obobs. Maquarre, A. Brooke, A Longy, G. Sautet, G. Fox, Paul Maquarre, D. Lenom, C. English Horn. Clarinets. Bass Clarinb* Fritzsche, Miiller F. Grisez, G. Mimart, P. Vannini, A. O. Bassoons. CONTRA-BASSOOK. Debuchy, A. Sadoni, P. Regestein, E- Helleberg, J. Horns. Hain, F. Hackebarth, A. Lorbeer, H. Schumann, C Hess, M. Phair, J. Trumpets. Trombones. Hampe, C. Mausebach, A Kloepfel, L,. Mann, J. F. Kenfield, L. S. Brenton, H. E Merrill, C. Drt t ms. Harp. Tuba. Tympani. Rettberg, A. Ludwig, C. R. Schuecker, H. Dworak, J. F. Castanets. Librarian Cymbals. Triangle, etc. Bass Drum. H. Ludwig. C. F. Sauerquell, J. Senia, T. Burkhardt, H. Bower, 0j$$na w $OST0H ^S* ujeFa. PIANO (hat has been manufactured continuously lor over Eighty-two years, which has been honored and distin- guished by States and Sovereigns, by learned societies and World's Expositions, by the greatest contemporaneous mu- sicians who have bestowed upon it the highest testimonials, awards, and decorations, embracing every known method of publicly recog- nizing distinguished merit. The public honors alone include 129 First Medals and Awards. A vast experience is thus exemplified in the Chickering Piano of to-day. CHICKERING & SONS Established 1823 791 TREMONT STREET BOSTON. MASS. : BOStOn New National Theatre, Symphony * Washington Twentyfifth SeMon ,905 OtrhAcf *• o T ' ^ V/ 1 WllWd LI CI Sixty-first performance in Washington. WILHELM GERICKE, Conductor. FOURTH MATINEE, TUESDAY AFTERNOON, FEBRUARY 13, AT 430 PRECISELY. PROGRAMME. Beethoven .... Overture to Goethe's " Egmont," Op. 84 Schubert ..... Unfinished Symphony in B minor I. Allegro moderato. II. Andante con moto. Schumann .... Concerto in A minor, for Pianoforte and Orchestra, Op. 54 I. Allegro affettuoso. II. Intermezzo: Andantino grazioso. III. Allegro vivace. Tschaikowsky . " Francesca da Rimini," Orchestral Fantasia after Dante, Op. 32 SOLOIST Mr. HAROLD BAUER. The pianoforte is a Mason & Hamlin. There will be an intermission of ten minutes after the sympHony. 5 HARDMAN PIANO • THE genius employed for the past sixty- four years in the manufacture of these instruments has produced a piano with a pure musical tone. Besides possessing this tone they have a peculiar feature in that they actually improve with use. Established in 1842, Booklets of information. Hardman, Peck @>f Co., Makers F^h Avenue and 19th Street, New York Represented in Washington by O. J. De MOLL & COMPANY 1229 G Street, N.W. < Ovkrturk to 'Egmont," Op. s 4 . Ludwig (Born at Bonn, December i6, 1770; died at View This overture was composed in [8io; H *as publi The music to Goethe's play—overture, four entr'acl sung by Clarchen, "Clarchen's Death," '/Melodram," and Symphony" (identical with the coda of th overtun the play—nine numbers in all—was perforn d for th the tragedy at the Hofburg Theatre, Vienna, May 24, 18 10 Adamberger was the Clarchen. The first performance of the overture in Boston was at of the Boston Academy of Music, November 16, 1844. All th< of "Egmont" was performed at the fourth and last Philhanm Concert, Mr. Zerrahn conductor, on March 26, This , was in commemoration of the thirty-second anniversary of ! ven's death. The programme included the "Egmont" music and the Ninth Symphony. The announcement was made that Mrs, I had been engaged, "who, in order to more clearly explain th poser's meaning, will read those portions of the drama which the mi especially illustrates." Mr. John S. Dwight did not approve her reading, which he characterized in his Journal of Music as "coa- inflated, over-loud, and after all not clear." Mrs. Harwood - Clarchen's solos. The programme stated: "The grand orel im- perfectly complete in all its details, will consist of fifty of the ; Boston musicians." All the music to "Egmont" was performed at a testimonial con< to Mr. Carl Zerrahn, April 10, 1872, when Professor Evans read the poem in place of Charlotte Cushman, who was prevented by sickness. This music was performed at a Symphony Concert, December 1885, when the poem was read by Mr. Howard Malcolm Ticknor. NEW CYCLES OF SONGS Garden of Kama Two keys By Alma Goetz Songs of Travel For Baritone Ralph Vaughn Williams Songs of the Hill Two keys Landon Ronald Three Song Poems Two keys S. Coleridge-Taylor Three Traditional Ulster Airs H. Harty A Shropshire Lad A. Somervell A Dream of Flowers J. Clifford Songs of the Desert Two keys G. H. Clutsam In Sunshine and Shadow Two keys Landon Ronald Camella Graham Peel Bohemian Songs Joseph Holbrooke The Life of a Rose Liza Lehmann On Jhelum River (A Kashmira Love Story) Amy Woodeford-Finden BOOSEY & COMPANY, 9 East 17th Street, NEW YORK — The Symphony since Beethoven By FELIX WEINGARTNER A treatise on the highest form of musical art by one of the world's foremost orchestral conductors. The opinions here recorded are of intrin- sic value, fearless in conviction and pithy in expression, by a critic who is at once scholarly, unbiassed in his judgments, and unconventional. It is a book not only for music students, but for all who listen to orchestral music, inspiring as it does a keener and more discriminating apprecia- tion of the works of the masters who have wrought in this form. It is seldom so much sane criticism is condensed into so few pages. It is a masterly review of the symphony. Philadelphia Inquirer. His book is a small one, but it is pithy, and may be accepted as the sum- mary of the beliefs of a man who has passed his years of maturity in close scrutiny of the scores of the masters.— New York Sun. The translation has been sympathetically done. Weingartner says that no reader of this edition will suffer from the false impression which was read into his first edition,— that he considers further development of the symphony impossible. The book gives a concise and interesting comment on the com- posers.— Boston Jotcrnal. Musicians and students should read this little book carefully and thought- fully. It is a veritable oasis in the midst of the multitude of technical books pouring from the press. — Carl G. Schmidt. In this book Weingartner has done something to clear the musical atmos- phere, though some will not like the way their favorites have been treated, however just that treatment may be. The great musicians since Beethoven pass in review, and the reader will gladly acknowledge his obligations for such expert help in learning to know them better. — Lutheran Observer. The book is of convenient size, neatly bound, and printed in large, clear type. An excellent portrait of the author serves as a frontispiece. Price, $1.00. OLIVER DITSON COMPANY, Boston CHARLES H. DITSON & CO., New York J. E. DITSON & CO., Philadelphia LYON & HEALY, Chicago Order of your home dealer or the above houses. — * * The^overture has a short, slow introductio i non minor, 3-2. troppo, F The main body of the overture is an F minor, 3-4. The first theme is in the Btfi descending arpeggio in the 'cellos, closing with a rigb in the & in; the antithesis begins with a "sort of sigh" in the I. then in the strings, then there is a development into pa The second theme has for its thesis a version of the first two mi of the sarabande theme of the introduction, fortissimo (strinj in A-flat major, and the antithesis is a triplet in the wood wind coda, Allegro con brio, F major, 4-4, begins pianissimo. The full orchestra at last has a brilliant fanfare figure, which ends in a shout ing climax, with a famous shrillness of the piccolo against fan! bassoons and brass and between crashes of the full orchesti The overture is scored for two flutes (one interchangeable with : colo), two oboes, two clarinets, two bassoons, four horns, two trump kettledrums, and strings.