SYMPHONY HALL, BOSTON HUNTINGTON 6- MASSACHUSETTS AVENUES », , . ( Ticket Office, 1492 ) „ , _ Telephones-, . , . ^. „_ _-_„ , Back Bay ^ Administration^ ' I Offices, 3200 \ TWENTY-SEVENTH SEASON, 1907-1908 DR. KARL MUCK, Conductor Prngramm? of tij? Eighteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MARCH 13 AT 2.30 O'CLOCK SATURDAY EVENING, MARCH 14 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER 1346 : piANa Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by 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 ^A^alter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken W^assily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY G. L SCHIRMER & COMPANY, 38 Huntington Avenue, Boston, Mass. 1346 Boston Symphony Orchestra PERSONNEL Twenty -seventh Season, 1907- 1908 n (tf^ic'ktvin^ I Miano 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. 1348 TWENTY-SEVENTH SEASON, NINETEEN HUNDRED SEVEN and EIGHT Eighteenth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH 13, at 2.30. SATURDAY EVENING, MARCH J4, at 8 o'clock. PROGRAMME. Balakireff . Symphony in C major. First time in Boston I. Largo ; Allegro vivo. II. Scherzo: Vivo. Trio: Poco meno mosso. III. Andante. IV. Finale : Allegro moderato ; Tempo di polacca. Loeffler . "Pagan Poem" (after Virgil), Op. 14, for Orchestra, Pianoforte, English Horn, and Three Trumpets Obbligati Mr. Heinrich Gebhard, Pianist. Chabrier .... Overture to the Opera "GwendoUne" The Mason & Hamlin Pianoforte. There will be an intermission of ten minutes after the symphony. The doors of the hall will be closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers. City of Boston, Revised Re|{ulation of AuiJust 5. 1898.— Chapter 3. relatin({ to the coverinii 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 obstructs 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 does not obstruct such view, may be worn. Attest: J. M. GALVIN, City Clerk. 1349 L. P. Hollander & Co. NEW SILKS NEWiWOOLLENS NEW WASH FABRICS We arc showing our Spring Importations of Dress Materials. ALL EXCLUSIVE and in short lengths, most of the goods being at very MODERATE PRICES. 202 to 2 1 6 Boylston Street and Park Square, Boston — Symphony in C major .... Mily Alexeivich Balakireff (Bom at Nishni Novgorod on January 2, 1837; now living at St. Petersburg.) This symphony was performed for the first time at a concert in St. Petersburg, April 23, 1898. The composer conducted it. The first performances in the United States were at concerts of the Theodore Thomas Orchestra in Chicago, January 25, 26, 1907. The Philadelphia Orchestra performed the symphony in Philadelphia, January 10, 11, 1908. The symphony is scored for three flutes (one interchangeable with piccolo), two oboes, English horn, three clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, a set of three kettle- drums, snare-drum, bass drum, cymbals, triangle, tambourine, harp, strings. It is dedicated to "The Friend of Russian Music, Tertius Philippoff, —respectful and grateful homage of M. Balakireff." The first movement begins with an introduction, L-argo, C major, 4-4 (8-8). The first measures contain the two chief themes in a condensed form. The former appears immediately (clarinet, bassoons, and strings), the second soon afterward (flutes and violas). These themes, especially the first, are treated briefly. The main body of the movement, C major, Allegro vivo, 2-4, begins with the first theme announced in full. There is a short development of this motive, and the second is announced by clarinet and violoncellos with a light accompaniment of the other strings and bassoon. The first section of the movement is repeated, but the structure is modified, the rhythm is changed occasijonally, and the instrumentation is not the same. New thematic material is introduced near the close of the repetition, a melody derived from the first theme and brought in by the violoncellos and a longer theme for clarinet. There is a boisterous tutti; and the free-fantasia section follows with use of the thematic IMPORTANT TO ALL CONSERVATORIES AND SCHOOLS OF MUSIC NEW EDITION JUST PUBLISHED By Authority from the Author SCHOOL OF SCALES AND DOUBLE NOTES FOR PIANOFORTE By MAURICE MOSZKOWSKI Op. 64 Book I. Scales IN Single Notes. Book III. Exercises in Double Notes Book II. Scales IN Double Notes. Book IV. Advanced Studies in Double Notes PRICE, 60 CENTS NET, EACH BOOSEY & COMPANY, 9 East Seventeenth St., New York City 1351 G\tBAltAF?^8C-SoNS New Imported Models Tailored Gowns Dresses and Waists Originals, models, and reproductions ready for immediate delivery at mod- erate prices. Orders by special measurements at corresponding prices. 256 BOYLSTON STREET, BOSTON. Shreve, Crump & Low Company. Diamonds, Gems. Pearl Jewelry. Art Rooms. Choicest showing of ANTIQUES ever exhibited in the city. Sterling Silver, Artistic Jewelry. A fine showing of Hall Clocks, with and without the chimes. Bric-a»brac. Tiffany Art Rooms. Our Stationery and Leather Departments very complete. Electric Fixtures. 147 Tremont Street^ Boston* 1352 material already mentioned. There are relieving episodes. The free-fantasia section goes into a free conclusion, which takes the place of the traditional recapitulation section. II. The scherzo begins, A minor, vivo, 3-4. It is based on the lively theme played at the outset by first violins and violas. The Trio, D minor, poco meno mosso, is of a more quiet character, with an expressive melody played at first by violins. The repetition of the scherzo section is of a free character, and it diminishes in force to a piccolo phrase with gentle accompaniment of strings. III. Andante, 12-8. This lyrical movement begins in D-flat major, but there are shifting tonalities. It is built on two themes. The first, after a prelude by wood-wind instruments, is given to the clarinet with accompaniment of harp and strings. The second is sung by the violoncellos. These are worked alternately until there is an impressive climax. Strains of the first theme alternate with brilliant passages for the harp, and without a pause the Finale is attacked. IV. The Finale, Allegro moderato, C major, 2-4, begins with a Russian folk-tune (it is so characterized in the score), played by violoncellos and double-basses. The second motive (D major, 6-8) is of an Oriental nature, and is first sung by the clarinet. A third motive is given out by the violoncellos. These themes are treated somewhat in rondo fashion, sometimes in combination. The closing section, Tempo di polacca, is based on the first theme. * * * Balakireff's mother taught him the rudiments of music, but his youth was spent in the country house of Alexander Oulibischeflf (1794- 1858), diplomat and newspaper editor, whose biography of Mozart (1844) aiid "Beethoven, his Critics and Commentators" (1857) once Selected Songs OPERA Bergh, Arthur. Silence . $0.50 Bischoff, J. W. Forever and a Day .50 Qrant-Schaefer, Q. A. Scores and Librettos A Garden Romance . .50 Manney, Charles F. Transformations . .50 at Recessional .... .60 (Sung by Ernest Sharpe) Warner, H. Waldo. Flowers, awake! .50 TWO KEYS EACH Homeyer's MusicHStore Arthur P. Schmidt 332 BOYLSTON STREET 120 BOYLSTON STREET (Opposite Arlington St.) (Walker Building) Boston, JVlass. Boston, Mass. 1353 : excited lively discussion. The house contained an excellent musical library, and there was a private orchestra. To quote Mrs. Newmarch "What was even more important to his development, he became completely imbued with the music of the people. In this remote province of Russia, surrounded by conservative influences, his sensitive intelligence seemed to divine the changes which Wagner, Berlioz, and Liszt were efifecting in Western Europe. As a mere boy, he faced the problem of infusing fresh vitality and interest into forms whicli seemed too inelastic for modern requirements. The idea of solving the question by Wagnerian principles never occurred to Balakireff, for in 1860-70 Wagner was hardly known in Russia. Besides, there existed for the Russians a source of fresh inspiration, —the fountain of national melody which Glinka had but just unsealed. Full of zeal for the national idea, Balakireff at the age of eighteen arrived in St. Petersburg to preach the gospel of nationality to the worshippers of Bellini and Meyerbeer. His enthusiasm and intelligence made a deep impression on Glinka, then in failing health, and bitterly dis- appointed by the public indifference to his opera, 'Ruslan and Ludmilla.'* The old composer formally recognized Balakireff as destined to continue his own work. Though young, he was well *This opera was produced at St. Petersburg, December 9, 1842, and it was performed in all thirty-one times during the season of 1842-43. Glinka died at Berlin in 1857. According to Mrs. Newmarch, Balakireff must have met him at St. Petersburg in 1855. Glinka was then meditating another opera and trj'ing to solve the problem of the true harmonizfCtion of Russian folk-tunes.