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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip

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Boston Symphony Orchestra Concert Programs, Season 27,1907-1908, Trip BAPTIST TEMPLE - - BROOKLYN Twenty-seventh Season, J907-J908 DR. KARL MUCK, Conductor frogramm? at % FOURTH CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, FEBRUARY 21 AT 8. J 5 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER : Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nofdica, Campanari, Bispham, and manv other noted artists, will be used bv TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY . 37 West 32d Street, New York 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. Strobe, 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. r Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz. Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, 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. SaaaaKgg-ajs-asgs-s^ Wbt Cft (during Ptaito 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. Sfete^BaastetetefeaWirite^rf^^ Represented in New York by JOHN.WANAMAKER 1 B05tOn BAPTIST TEMPLE, Y Third Ave. and Schermerhorn St., Symphony 1 Brooklyn. C\+TtlyCk&+-+»0Tk ' Twenty-seventh Season, 1907-1908. Vrl LIlvdLrCl Twentieth Season in Brooklyn. Dr. KARL MUCK, Conductor. FOURTH CONCERT, FRIDAY EVENING, FEBRUARY 21, AT 8.15 PRECISELY. PROGRAMME. MacDowell .... Suite in A minor, Op. 42 I. In a Haunted Forest. II. Summer Idyl. III. In October. IV. The Shepherdess's Song. V. Forest Spirits. Bizet . Dramatic Overture, "Patrie," C minor, Op. 19 J Lalo . Spanish Symphony for Violin and Orchestra, Op. 2 I. Allegro non troppo. II. Scherzando : Allegro molto. IV. Andante. V. Rondo : Allegro. Goldmark Overture, " In the Spring," Op. 36 SOLOIST, Mr. FRITZ KREISLER. There wfll be an intermission of ten minutes before the symphony. 5 y Ready to be played by means ofperfo- by any one rated rolls MUSICAL EXPRESSION Many pianists play mechanically* Their technique is often admirable, hut their touch is so uncompromisingly uniform from end to end and from top to bottom of a piece that the effect is inevitably automatic. The same is true of player-pianos lacking adequate means of proper accent. On the other hand, it is practically AUTOTONEimpossible to play mechanically on the The Piano ALL can play Either by hand or by perforated music-rolls. The technique of the Autotone is faultless ; and, in addition, it possesses most wonderful means of musical expression found in no other instrument. One of the most important of these exclusive features is THE ACCENTOR It places at the finger tips of the most unpractised music-lover the perfect means of proper accent. It enables any one to subdue the accompaniment and bring out the melody ; to accent any chord, note, or series of notes,—all with the utmost ease and simplicity. This accenting is not arbitrarily mechanical, as "when cut in the music-roll, but has all the fascination of individual interpretation. A simple trial of the Autotone at our warerooms or at the warerooms of our representatives in- stantly demonstrates its overwhelming advantages. The Autotone is not a combination of an Exterior player made in one factory and a piano made in another. The Autotone is a com- plete and perfect whole, every part being made under one roof. cAU makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST Estab. HARDMAN, PECK & CO., 1842 138 Fifth Avenue (corner 19th Street), New York 524 Fulton Street, Brooklyn Ready to be played A utotone parts are by hand invisible Suite in A minor, Op. 42 Edward MacDowell (Born in New York, December 18, 1861 ; died in New York, January 23, 1908.) Four movements of this suite— "In a Haunted Forest," "Summer Idyl," "The Shepherdess's Song," and "Forest Spirits"—were played for the first time in the United States at a concert of the Thirty-fourth Annual Festival of the Worcester County (Massachusetts) Musical Association, September 24, 1891, in Mechanics' Hall, Worcester. Mr. Carl Zerrahn was the conductor. The next performance was in Boston at a concert of the Boston Symphony Orchestra, Mr. Nikisch conductor, October 24, 1891. The movements were the same in number. When the suite was played here again at a concert of the Boston Symphony Orchestra, Mr. Paur conductor, October 26, 1895, the present third movement, "In October," was added, and then played for the first time. This movement was published separately and after the publication of the suite as it was produced at Worcester and for the first time in Boston. * * Mrs. Edward MacDowell has kindly furnished the following note: "The suite was begun in Wiesbaden* the year we returned to America, though it was hardly more than sketched. 'In October' was not written until the suite was practically finished. It was in no way, however, an afterthought. He had intended writing a movement of the kind, but it did not come to him until the other movements were * Frankfort had little interest for MacDowell after the death of Raff in 1882. In 1884 he married Miss Marion Nevins, of New York, and in 1885 he made his home at Wiesbaden until he returned to America. At Wiesbaden he gave his undivided attention to composition, and, according to the statement in Mr. Lawrence Gilman's "Edward MacDowell" (London and New York, 1905), he wrote at Wiesbaden all that is comprised between his Op, 23 and 35, —the second pianoforte concerto; the four pieces of Op. 24; "Lancelot and Elaine," for orchestra; the songs, "From an Old Garden"; three songs for male chorus; the "Idyls" and "Poems" for pianoforte after Goethe and Heine; the orchestral pieces, "The Saracens" and "The Beautiful Alda" (after the "Song of Roland"); the "Poems" for pianoforte,—" The Eagle," "The Brook," "Moon- shine," "Winter"; the songs of Op. 33 and Op. 34; and the Romance for 'cello and orchestra.—P. H. LATEST ADDITIONS TO THE LIST OF MINIATURE SCORES MOZART. Symphony in D major - $0.50 AUBER. "Le Cheval de Bronze" Overture .50 BOIELDIEU. "La Dame Blanche" Overture - .50 MENDELSSOHN. "Calm Sea and Prosperous Voyage" - .50 ROSSINI. "Semiramide" .50 E. ELGAR. "Military Marches" "Pomp and Circumstance" No. 1 in D - $1.00 No. 2inA - 1.00 No. 3 in C 1.00 No. 4b G ----- 1.00 E. ELGAR. "Sea Pictures." Cycle of Five Songs for Contralto - 1.50 BRAHMS. German Requiem -------- 3.00 HAYDN. "Creation" 2.50 LISZT. Second Piano Concerto in A major ----- 2.00 MOZART. Requiem ijso B00SEY & COMPANY, 9 East Seventeenth St., New YorK City 7 finished. Then he wondered if the suite were not long enough with- out it, and so the suite first came out ; and the moment it was thus performed [in four movements] he was sorry. The new movement was published separately. I have an idea that the suite was performed in Germany earlier than the performance at the Worcester Festival. It had a queer popularity in Germany for two or three years. In Breslau it was played four or five times,, and, in fact, it was brought out in a number of places. "Edward had no more 'programme' in his mind than the titles imply; but he was undoubtedly led toward the subject by the close proximity in which we lived to the big Wiesbaden Forest. We had a tiny cottage there, just on the edge of the woods; and he spent hours wandering in them. His Scotch blood had filled his mind with mysti- cism. Deep in his heart he half believed the old tales of spirits and fairies, —of course, not in his ordinary moods, but his imagination often carried him very far, even though he might laugh at himseli. He hated cutting down a big tree; it seemed possible that something; more than the tree suffered. Strange as all this was in Germany, it was much stranger in America.
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