Symphony Hall, Boston Huntington and Massachusetts Avenues
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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES Telephones Ticket Office j Back Bay 1492 J ' Branch Lxchange ( Administration Unices ) INCORPORATED THIRTY-EIGHTH SEASON. 1918-1919 HENRI RABAUD, Conductor Ai WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, NOVEMBER 1 AT 2.30 O'CLOCK SATURDAY EVENING, NOVEMBER 2 ' AT 8.00 O'CLOCK COPYRIGHT, 1918, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager 57 "The world needs music more\vhen,it's in trouble than at any other time. And soldiers, and the mothers and wives and sweethearts and children of soldiers get more of the breath of life from music than the man on the street has any notion of."—JOHN McCORMACK MUSIC is an essential of every well-regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing gener- ation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old, in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every household. And the greatest among pianos is the STEINWAY, prized and cherished throughout the wide world by all lovers of good music. Or, in the words of a well-known American writer: "Wherever human hearts are sad or glad, and songs are sung, and strings vibrate, and keys respond to love's caress, there is known, respected, revered—loved—the name and fame of STEINWAY." Catalogue and prices on application Sold on convenient payments Old pianos taken in exchange Inspection incited AY HALL 107-109 EAST 14th STREET, NEW YORK CITY Subway Express Stations at the Door Represented by the Foremost Dealers Everywhere Boston Symphony Orchestra Thirty-eighth Season, 191 8-1919 HENRI RABAUD, Conductor PER5' Violins. Fradkin, F. Concert-master Neack, S. vM JC ' ,\ : ^ Q/boJoLirctcle in theJ^ealm ofXusic ~ ^AMPICO dReproducinffl^iano eflw AMPICO is like the suhcon- $ cioxls mmd ofa tiredi musician- Q/JiroU(J/i ii flow fxis thouykls, kis moods-as he expresses mem in music. St is the only selfplayincfpiano ofthis day in which there is no trace ofmechanical time or rhythm- efhe AMPICOplays exactly lih the musician plays - exactly, with every/me shade ofexpression- Whe AMPICO is me yreaiest instrument for the production ofmusic the world has ever known- wre mvile you to hear it. WAREROOMS ;169 TREMONT ST. *g BOSTON ^ THIRTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHTEEN AND NINETEEN FRIDAY AFTERNOON, NOVEMBER 1, at 2.30 o'clock SATURDAY EVENING, NOVEMBER. 2, at 8 o'clock PIERRE MONTEUX conducts these concerts Beethoven .... Symphony in A major, No. 7, Op. 92 I. Poco Sostenuto; Vivace. II. Allegretto. III. Presto: Presto meno assai IV. Allegro con brio. Mozart . Recitative, "E Susanna non vien?" (''How Susanna delays!"), and Aria, "Dove Sono" ("Flown forever"), from "Le Nozze di Figaro" (Act III., Scene 8) • - 1 Loeffler Poem: "La Bonne Chanson' - Debussy Recitative, "L'annee en vain" ("The Years roll by"), and Aria of Lia, "Azael! Azael!" from "L'Enfant Prodigue" Franck . Symphonic Poem: "Les Eolides" ("The Aeolidae") Ravel "Daphnis et Chloe"—Ballet in One Act—Orchestral Fragment's, First Series: "Nocturne," "Inter- lude," "Danse v Guerriere" First time in Boston SOLOIST Mme. FLORENCE EASTON In Ravel's "Daphnis et Chloe," a chorus prepared by Stephen Townsend, will assist There will be an intermission of ten minutes after the symphony Tfie ladies of the audience are earnestly requested not to put on hats before the end of a number. TJte doors of the hall will be closed during the performance of each number on the programme. Tliose who wish to leave before the end of the concert are requested to do so in an interval between the numbers. City of Boston, Revised Regulation of August 5, 1898, —Chapter 3, relating to the covering 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 obstruct* 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 decs not obstruct such view, may be worn. Attest: J. M. CALVIN. City Clerk CI BOYLSTON STREET, BOSTON * FASHIONABLE ' AUTUMN CLOTHES FOR WOMEN GOWNS, SUITS, COATS, WAISTS -MILLINERY, FURS DEPARTMENTS IN FULLEST ASSORTMENT Adaptations from Imported Models and our own Designs MODERATE PRICES DOMINATING j 1 i - Symphony 'in A major, No. 7, Op. 92 . Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) The first sketches' of this, symphony were made by Beethoven prob- ably before 1811 or even 1810. Several of them in the sketch-book that belonged to Fetter of Vienna, and was analyzed by Nottebohm, were for the first movement. Two sketches for the famous allegretto are mingled with phrases of the Quartet in C major, Op. 59, No. 3, dedicated in ISIS to Count Rasoumoffsky. One of the two bears the title: "Anfang Variations." There is a sketch for the Scherzo, first in F major, then in C maior, with the, indication : "Second part." Another sketch for the Scherzo bears a general resemblance to the beginning of the "Dance of Peasants" in the Pastoral Symphony, for which reason it was rejected. In one of the sketches for the Finale Beethoven wrote: "Goes at first in F-sharp minor, then in C-sharp minor." He preserved this modulation, but he did not use the theme to which the indication was attached. Another motive in the Finale as sketched- was the Irish air, "Nora Creina," for which he wrote an accompaniment at the request of George Thomson, the collector of Scottish, Welsh, and Irish melodies. Thayer states that Beethoven began the composition of the Seventh Symphony in the spring of 1812. Prod'homme believes that the work was begun in the winter of 1811-12. The autograph manu- script that belongs to the Mendelssohn family of Berlin bears the inscription: "Sinfonie. L. v. Bthvn 1S12 13ten M." A clumsy binder ctft the paper so that only the first line of the M is to be seen. There was therefore a dispute as to whether the month were' May, June, BEACH. MRS. H. H. A. FOOTE, ARTHUR EXALTATION MEMNON THE YEAR'S AT THE SPRING CONSTANCY AH. LOVE, BUT A DAY FAR AWA' GANZ, RUDOLPH • CHADWICK. GEORGE W. RISE. O STAR THE SEA HATH ITS PEARLS DEAR LOVE WHEN IN THINE ARMS LOVE AND SONG BEFORE THE DAWN I WHEN I AM DEAD NOCTURNE (Up to her Chamber Window) LANG, MARGARET RUTHVEN DAY IS GONE CLOUGH-LEIGHTER. H. AFTER MAC POWELL, EDWARD LONG AGO, SWEETHEART MINE MENIE COLERIDGE-TAYLOR, S . MERRY MAIDEN SPRING LIFE AND DEATH AS THE GLOAMING SHADOWS CREEP AN EXPLANATION (Her Lips were so near) THY BEAMING EYES THE ARTHUR P. 120 BOYLSTON STREET, BOSTON, MASS. For Sale by all Music Dealers 63 or July. Beethoven wrote to Varena on May 8, 1812: "I promise you immediately a wholly new symphony for the next Academy, and, as I now have opportunity, the copying will not cost you a heller." He wrote on July 19: "A new symphony is now ready. As the Archduke Kudolph will have it copied, you will be at no expense in 'the matter." It is generally believed that the symphony was completed May 13, in the hope that it would be performed at a concert of Whitsuntide. Other works composed in 1812 were the Eighth Symphony, a pianoforte trio in one movement (B-flat major), three equale for four trombones, the sonata in G major for pianoforte and violin, Op. 96, some of the Irish and Welsh melodies for Thomson. The score of the symphony was dedicated to the Count Moritz von Fries and published in 1816. The edition for the pianoforte was dedicated to the Tsarina Elizabeth Alexiewna of All the Russias. The Seventh and Eighth Symphonies were probably played over for the first time at the Archduke Rudolph's in Vienna April 20, 1813. Beethoven in the same month vainly endeavored to produce them at a concert. The first performance of the Seventh was at Vienna, in the large hall of the University, on December 8, 1813. Malzel, the famous maker of automata, exhibited in Vienna during the winter of 1812-13 his automatic trumpeter and panharmonicon. The former played a French cavalry march with calls and tunes; the latter was composed of the instruments used in the ordinary military band of the period,—trumpets, drums, flutes, clarinets, oboes, cymbals, triangle, etc. The keys were moved by a cylinder, and overtures by Handel and Cherubini and Haydn's Military Sym- phony were played with ease -and precision. Beethoven planned his "Wellington's Sieg," or "Battle of Vittoria," for this machine. Malzel made arrangements for a concert,—a concert "for the benefit of Austrian and Bavarian soldiers disabled at the battle of Hanau."* This Johann Nepomuk Malzel (Malzl) was born at Regensburg, August 15, 1772. He was the son of an organ-builder. In 1792 he settled at Vienna as a music teacher, but he soon made a name for himself by inventing mechanical music works. In 1808 he was appointed court mechanician, and in 1816 he constructed a metro- nome, f though Winkel, of Amsterdam, claimed the idea as his.