DETROIT ARMORY Under the Auspices of the Detroit Orchestral Association Dl RECTORS EXECUTIVE COMMITTEE H. President WILLIAM MURPHY, NEWTON J. COREY, FREDERICK M. ALGER, Vice-President LEM W. Secretary and Manager BOWEN Treasurer CHARLES L. FREER CHARLES MOORE, EDWIN S. GEORGE JOHN SCOTT, Auditor WILFRED C. LELAND J. HARRINGTON WALKER Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE SATURDAY EVENING, JANUARY 31 AT 8.15 COPYRIGHT, 1913, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER -^-rrrrm ra m 1 W?% No Piano of American make has been so favored by the musical pub- lic as this famous old Boston make. The world's greatest musicians have demanded it and discriminating people have purchased it. THE CHICKERING PIANO enjoys the distinction of being the recipient of 129 First Medals and Awards for Superiority Its wonderful tone and action call it to the studio to stimulate and encourage the pupil, and it is sought by teachers and musical people when the best is desired. HUDSON COMPANY DETROIT, MICHIGAN mm*4 DETROIT ARMORY Thirty-third Season, 19! 3-191 Dr. KARL MUCK, Conductor SATURDAY EVENING, JANUARY 31 AT 8.15 PROGRAMME Glazounoff . Symphony in B-flat major, No. 5, Op. 55 I. Moderate- maestoso; Allegro. II. Scherzo: Moderato; Pochissimo meno mosso. III. Andante. IV. Allegro maestoso. Brahms . " Tragic" Overture, Op. 81 Juon "Vaegtervise" (Watchman's Song), Fantasy on Danish Folk-songs, Op. 31 First Time in Detroit Dvorak . Dramatic Overture, "Husitska," Op. 67 There will be an intermission of ten minutes after the symphony 3 a prolonging of musical pleasure by home-firelight awaits the owner of a " Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus — De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere " it is as happily at home " as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuosos programme. THE BOOK OF THE BALDWIN free upon request. 18 N. PENNSYLVANIA STREET, INDIANAPOLIS Symphony in B-fxat major, No. 5, Op. 55. Alexander Glazouno^ (Born at St. Petersburg, August 10, 1865; now living there.) Glazounoff's fifth symphony was composed at St. Petersburg in 1895. It was published in 1896. It was performed for the first time in March, 1896, at one of the concerts of the New Russian School, organized by the publisher Belaieff in St. Petersburg. The scherzo was then repeated in response to compelling applause. The first performance of the symphony in the United States was at a concert of the Philharmonic Society of New York, Anton Seidl conductor, March 5, 1898. The first performance in Boston was at a concert of the Boston Symphony Orchestra, November 24, 1906, Dr. Muck conductor. The symphony, dedicated to Serge Tan&'eff,* is scored for three • Serge Tan6ieff was born in the government Vladimir, Russia, November 25, 1856. He is now living at Moscow. He studied the pianoforte with Nicholas Rubinstein and composition with Tschaikowsky at the Moscow Conservatory, of which he was afterward for some time (1885-89) the director, and was also teacher of theory in the school, a position that he still holds, or, at least, did hold a short time ago. (The Russian music schools have seen troublous times during the last year and a half, and resignations and dismissals have been frequent.) Taneleff made his first appearance as a pianist at Moscow in January, 1875, when be played Brahms's Concerto in D minor, and was loudly praised by critics and the general public, although the con- certo was dismissed as an "unthankful" work. Tschaikowsky, as critic, wrote a glowing eulogy of the per- formance. It had been said, and without contradiction until the appearance of Modest Tschaikowsky' s Life of his brother, that Taneleff was the first to play Peter's Concerto in B-flat minor in Russia. But the first performance in Russia was at St. Petersburg, November 1, 1875, when Kross was the pianist. Taneleff was the first to play the concerto at Moscow, November 12 of the same year, and he was the first to play Tschai- kowsky's Concerto in C minor, Pianoforte Fantasia, Trio in A minor, and the posthumous Concerto in E-flat major. Taneleff spent some months at Paris, 1876-77. On his return he joined the faculty of the Moscow Conservatory. That Tschaikowsky admired Taneieff's talent, and was fond of him as a man, is shown by the correspondence published in Modest Tschaikowsky s Life. Taneleff has composed a symphony (played here at a Symphony concert, November 23, 1902); an opera, "The Oresteia" (1895); a concert overture "The Oresteia" (played here at a Symphony concert, February 14, 1903); a cantata, "Johannes Damasce- nu3"; a half-dozen quartets (the one in B-flat minor, Op. 4, was performed here at a Symphony Quartet concert, November 27, 1905), choruses. One of his part songs, "Sunrise, has been sung here two or three times. /f^ aoapol School of Musical Art (Que of the best Music Schools in America) BORIS L. GANAPOL, Director, 25 Adelaide Street, Detroit, Mich. A thorough course in Singing, Pianoforte, Violin, Violoncello, Organ, Ensemble, Normal Training, Theory, Harmony, Accompanying, Sight Reading, Sight Playing, Elocution, Dramatic Art, Oratory, Languages, etc. The Faculty of 37 Noted Instructors includes a large number of famous artists and teachers, among whom number BORIS L. GANAPOL HENRI MATHEYS GEORGE SHORTLAND KEMPTON JACOB HOLSKIN Mrs. BORIS L. GANAPOL HARRY T. MORGAN HUGH RI DOUT FREE ADVANTAGES ALENA K. EAYRS, Secretary Tel., Grand 3488 SEND FOR CATALOG flutes (one interchangeable with piccolo), two oboes, three clarinets, one bass clarinet, two bassoons, four horns, three trumpets, three trom- bones, one bass tuba, kettledrums, bass drum, triangle, cymbals, little bells, harp, and strings., I. Moderate maestoso, B-flat, 4-4. In this introductory section the sturdy chief theme of the allegro which follows is hinted at forcibly, and it is given to clarinets, bassoons, horns, tuba, and lower strings. There is preluding. The Allegro is in 2-2 and then 3-4. The first theme, which has been likened to the Sword motive in the "Ring," is announced by bassoon and violoncellos, while clarinets sustain. It is then given to oboe and first violins, and at last is sounded by the whole orchestra. The second and suave theme is sung by flute and clarinet against wood-wind chords, with harp arpeggios and strings pizz. This theme is developed to a mighty fortissimo. The use of these themes is easily discernible. There is a stirring coda. II. Scherzo, moderato, G minor, 2-4. After a few measures of sportive preluding the first theme is given to flutes, oboe, clarinet. The second theme, of a little more decided character, is announced by flutes, clarinets, and violins. Pochissimo meno mosso. The flutes have a fresh theme, which, undergoing changes and appearing in various tonalities, is expressed finally by the full orchestra. III. Andante, B-flat, 6-8. The movement is in the nature of a Romance. The chief and expressive theme has been likened to the opening measures of Radames' famous air, "Celeste Aida." Heavy chords for the brass change the mood. There is a cantilena for violins and violoncellos. After preluding on the dominant there is a return of the leading motive. IV. Allegro maestoso, B-flat, 2-2. The movement begins at once, forte, with a martial theme (full orchestra). The other important themes used in this turbulent movement are a heavy motive, announced by bassoons, tuba, and lower strings, and, animato, one announced BUFFALO, N.Y. Absolutely Fire Proof EUROPEAN PLAN $1.50 per day and upwards Under same management HOTEL MARIE ANTOINETTE Broadway, 66th and 67th Sts.. New York GRAND UNION HOTEL Saratoga Springs, N.Y. JAMES E. DEVOE ANNOUNCES ARMORY . FEBRUARY 10, 1914 An Operatic Combination of Unusual Excellence as the fifth number of the Philharmonic Course Including «arii 9 9 ARMORY .... FEBRUARY 24, 1914 The Peer of all Instrumental Trios a "a o s EOPOLD GODOWi \W\F \o a -1 O 9 The Opportunity of a Lifetime to hear these great artists in a joint recital program. ARMORY . MARCH 17, 1914 The Great Irish Tenor Information regarding any of the above attractions may be secured by addressing Mr. Devoe, at 933 Dime Bank Building, Detroit. by clarinets, bassoons, violas, violoncellos, while double-classes and kettledrums maintain a pedal-point. * * * Alexander Constantinovitch Glazounoff is the son of a rich pub- lisher and bookseller of St. Petersburg, whose grandfather established the firm in 1782. Alexander was in the "Real" school until his eigh- teenth year, and he then attended lectures at the University of St. Petersburg as a "voluntary," or non-attached, student. He has devoted himself wholly to music. When he was nine years old, he began to take pianoforte lessons with Elenovsky, a pupil of Felix Dreyschock and a pianist of talent, and it is to him that Glazounoff owed a certain swiftness in performance, the habit of reading at sight, and the rudimentary ideas of harmony. Encouraged by his teacher, Glazounoff ventured to compose, and in 1879 Balakireff advised him to continue his general studies and at the same time ground himself in classical music. A year later Balakireff recom- mended him to study privately with Rimsky-Korsakoff. Glazounoff studied composition and theory with Rimsky-Korsakoff for nearly two years.