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Boston Symphony Orchestra Concert Programs, Season 31,1911

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Boston Symphony Orchestra Concert Programs, Season 31,1911 INFANTRY HALL . PROVIDENCE Thirty-first Seaion, WJ-J9J2 MAX FIEDLER, Conductor Programme of % FOURTH CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, FEBRUARY J 3 AT 8.15 COPYRIGHT, 1911, BY C A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says: "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the "wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. Sole Representative MRS. LUCY H. MILLER 28 GEORGE STREET - - PROVIDENCE, R.I. INFANTRY HALL ... PROVIDENCE One Hundred and Twenty-third Concert in Providence ffinstnn g>gmplj0ttg ©nostra Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor FOURTH CONCERT TUESDAY EVENING, FEBRUARY J 3 AT 8.15 PROGRAMME ' Weber . Overture to the Opera "Oberon" " Tschaikowsky . Symphony in B minor, No. 6, Pathetic," Op. 74 I. Adagio; Allegro non troppo. II. Allegro con grazia. III. Allegro, molto vivace. IV. Finale: Adagio lamentoso. Grieg .... Concerto in A minor, for Pianoforte, Op. 16 I. Allegro molto moderate II. Adagio. III. Allegro moderato molto e marcato. Wagner . Prelude to "Lohengrin" Wagner . Prelude to "The Mastersingers of Nuremberg" SOLOIST KATHARINE GOODSON Knabe Piano Used There will be an intermission of ten minutes after the symphony 3 Pianos that Appeal to Musicians UR pianos have the very highest reputation with musical people, for every piano, from the highest-priced to the least ex- pensive we offer, has not merely the essentials of tone and touch, but also exquisite refinements of quality which delight the musician. We invite you to inspect our stocks, which are at once the largest, the most varied, and most interesting to be found in New England. We call particular attention to the following pianos: STEINWAY pianos, the instruments of highest prestige among music lovers everywhere—through their incomparable tone the choice of royalty and of all connoisseurs. In all regular styles and also in special art cases exhibiting the perfection of artistry. HUME pianos, the best made in New England—distinguished by wonderful richness and nobility of tone. JEWETT pianos, the favorite pianos of New England, where more are sold each year than of any other make of equal cost. THE PIANOLA PI ANOS,—the complete line of five pianos. The Steinway, the Weber, and the Steck Pianola P.anos are shown in both grand and upright forms. M. STEINERT & SONS CO. 327 Westminster Street, Providence, R.I. Stores in all Principal Cities of New England 1 Overture to the Opera "Oberon" . Carl Maria von Weber (Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826.) "Oberon; or, the Elf-king's Oath," a romantic opera in three acts, book by James Robinson Plance\ music by Carl Maria von Weber, was first performed at Covent Garden, London, on April 12, 1826. Weber conducted the performance. The first performance in Boston was at Music Hall by the Parepa Rosa Company, May 23, 1870. Weber was asked by Charles Kemble in 1824 to write an opera for Covent Garden. A sick and discouraged man, he buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously. Planche* sent the libretto an act at a time. Weber made his first sketch on January 23, 1825. The autograph score contains this note at the end of the overture: " Finished April 9, 1826, in the morning, at a quarter of twelve, and with it the whole opera. Soli Deo Gloria ! 1 — C. M. V. Weber." This entry was made at London. The overture is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings. The overture begins with an introduction (Adagio sostenuto ed il tutto pianissimo possibile, D major, 4-4). The horn of Oberon PROVIDENCE MUSICAL ASSOCIATION SEASON 1911-1912 STUDENTS' COURSE AT MEMORIAL HALL THE FLONZALEY STRING QUARTET, TUESDAY, February 20, 8.30 p.m. Mme. MAUD POWELL, Violin Recital . Friday, March 1, 8.15 p.m. Price: Single Concerts, $1.50. Mail orders will be received by the Treasurer of the Association. For sale in lobby of Journal Building. STAR COURSE OF PIANO RECITALS Direction - - LOUDON CHARLTON MEMORIAL HALL JOSEF LHEVINNE February 21 AT 8.15 O'CLOCK Tickets, $1.50 and $1.00. Mail orders may be sent to Mrs. Lucy H. Miller, Treasurer, P.O. Box 616. Seats will be reserved as near as possible to the desired location. For sale in lobby of Journal Building. 5 OPPOSITE BOSTON COMMON 154 and 155 TREMONT STREET ,- . v,f. EXCLUSIVE STYLES IN Suits, Gowns Coats and Hats For the Horse Show, Opera and other social functions. MANY people of refinement who have ample means to pur- chase abroad, prefer to make their selections from the already carefully chosen assortments of E. T. Slattery Company, where they can be assured of a perfect fit in any garment. is answered by muted strings. The figure for flutes and clarinets is taken from the first scene of the opera (Oberon's palace; introduction and chorus of elfs). After a pianissimo little march there is a short dreamy passage for strings, which ends in the violas. There is a full orchestral crashing chord, and the main body of the overture begins (Allegro con fuoco in D major, 4-4). The brilliant opening measures are taken from the accompaniment figure of the quartet, "Over the dark blue waters," sung by Rezia, Fatime, Huon, Scherasmin (act ii., scene x.). The horn of Oberon is heard again; it is answered by the skipping fairy figure. The second theme (A major, sung first by the clarinet, then by the first violins) is taken from the first measures of the second part of Huon's air (act i., No. 5). And then a theme taken from the peroration, presto con fuoco, of Rezia's air, "Ocean! Thou mighty monster" (act ii., No. 13), is given as a conclusion to the violins. This theme ends the first part of the overture. The free fantasia begins with soft repeated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods; a new theme is introduced and treated in fugato against a running contrapuntal counter-theme in the strings. The second theme is treated, but not elaborately; and then the Rezia motive brings the spirited end. At the first performance of the opera the overture was repeated. * * * The first performance of "Oberon" in the United States was at New York, October 9, 1828, at the Park Theatre. Mrs. Austin was the heroine, and Horn the Sir Huon. (There was a performance of "Obe- ron," a musical romance, September 20, 1826; but it was not Weber's opera. It may have been Cooke's piece, which was produced at Lon- don early in that year.)* This performance was "for the benefit of the beautiful Mrs. Austin." An admirer, whose name is now lost, spoke of her "liquid voice coming as softly on the sense of hearing as snow upon the waters or dew upon the flowers." White says that her voice was a mezzo-soprano of delicious quality. "She was very beautiful,— in what is regarded as the typical Anglo-Saxon style of beauty, 'divinely fair,' with blue eyes softly bright, golden brown KRAKAUER PIANOS The Krakauer Piano carries the testimonials of thousands of piano teachers scattered throughout the entire country. A Piano can be subjected to no harder strain than in a Studio, yet the Krakauer is praised by popular teachers everywhere. The KRAKAUER is MADE BY MUSICIANS TESTED BY MUSICIANS ENDORSED BY MUSICIANS Sold here on the most favorable terms HERMAN PRUEFER PIANO CO. Conrad Building 385 WESTMINSTER STREET, PROVIDENCE, R.I. THE MUSIC SCHOOL 26 CABOT STREET - Corner MEETING STREET ANNE GILBRETH CROSS, Director Piano, Violin, Violoncello, Harmony, Analysis, Music History, Choral Singing, Normal Training, German, English, Public Performance. CLASSES: Harmony : Practice in the appreciation of scale relation, intervals, and chords ... Thursday, 3.30 p.m. Music History: For young students . Monday, 4.30 p.m. Orchestral Class: Ensemble playing, string orchestra, Friday, 8 p.m. Choral Class: Sight reading, correct breathing, part songs for women's voices .... Saturday, ii a.m. Recital Practice Class : To accustom players to public appearance Monday, 2.30 p.m.
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