MEMORIAL HALL . COLUMBUS Twenty-seventh Season, J907-J908 "^JT *% £% 9 fT f\ DR. KARL MUCK, Conductor •Programme of GRAND CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE THURSDAY EVENING, JANUARY 30, AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER " tgJRfY-EOlJRTH YEAR IJNfeST CONSERVATORY IN THE WEST Detroit Conservatory of Music FRANCIS L. YORK, M.A., Director One of the Three Largest Conservatories in America. Unsurpassed ad- vantages for a Complete Musical Education. EVERY BRANCH TAUGHT HEADS OF DEPARTMENTS: YORK, Piano; YUNCK, Violin; NORTON, Voice; RENWICK, Organ, Theory; DENNIS, Public School Music; OCKENDEN, Elocution ; LITTLE, Drawing. Fifty thoroughly reliable instructors. Rates of tuition range from $10 to $60 per term (twenty lessons). Many free advantages. Send for catalogue. 530 WOODWARD AVENUE JAMES H. BELL, Secretary EIGHTH PRINTING of " one of the most important books on music that have ever been published ... a style which can be fairly described as fascinating. — W. J. Henderson. With a chapter by Henry E. Krehbiel, covering Richard Strauss, Cornelius, Goldmark, Kienzl, Humperdinck, Smetana, Dvorak, Charpentier, Sullivan, Elgar, etc., in addition to his earlier chapter on Music in America. Practically a cyclopaedia of its subject, with 1,000 topics in the index LAVIGNAC'S " MUSIC AND MUSICIANS " By the Author of" The Music Dramas of Richard "Wagner " Translated by WILLIAM MARCHANT i2mo. $1.75 net (by mail $1.90). **# Circular with sample pages sent on application This remarkable book by the doyen of the Paris Conservatory has been accepted as a standard work in America and reprinted in England. It is difficult to give an idea of its comprehensiveness, with its 94 illustrations and 510 examples in Musical Notation. It is divided as follows: A Study of Musical Sound (66 pp.); Materials of Sound (122 pp.), including the voice, orchestral instruments, with pictures of account each, many other instruments, and an illuminating of orchestration ; Grammar of Music (152 pp.), covering the harmonic system, counterpoint, and the fugue ; Esthetics (41 pp.), including Composition, with a discussion of the forms of the sonata, symphony, concerto, overture, dance forms, national characteristics, improvisation, criticism, and the beautiful in music; History of the Art of Music (106 pp.), covering the ancients, the primitives, and the various NATIONAL SCHOOLS, " with NOTES - ON THE INDIVIDUAL HPWPY 14/^IT P f~*(~\ 29 W 23 S*- ilwivlNj rlv»yLl G) V^rV-/ NEW YORK composers and some performers, and concluding remarks on the musical career. 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. Strube, 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. Ferir, 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. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz. G 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. • 3 i ®i)c <&hitktrin% litami 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 a 791 TREMONT STREET BOSTON, U.S.A. - sjsagjgra—1!>—rip^P3)—tit— p3iRh-tFiM a g) a^rTp8~a.; ili a .a a a b tfT^PFjiRiMii <b <ft—ft-Ht—1»—<n— <frrjS-<6l i frr&-ft-<s— » Boston MEMORIAL HALL, «— COLUMBUS. Symphony «_« I Orchestra Twenty-seventh Season, J907-J908. Dr. KARL MUCK, Conductor. grand concert, h Thursday evening, January 30, at 8,15 precisely. PROGRAMME. D'Indy "Wallenstein," Trilogy, after the Dramatic Poem of Schiller, Op. 12 I. Wallenstein's Camp. II. Max and Thekla (The Piccolomini). III. The Death of Wallenstein. 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. 11 Chabrier . Espafia," Rhapsody for Orchestra There will be an intermission of ten minutes after the d'Indy selection. There are 5,000 different parts in a single piano ; 10 different materials used, — <wood, iron, felt, etc; 14 different <woods,—ash, spruce, maple, etc. And it has taken 200 years to develop the instrument to its present perfection as represented by the HARDMAN PIANO It is evident that only the most expert knowledge and long experience are capable of combining these multi- tudinous elements so as to produce a truly artistic piano. For sixty-five years Hardman, Peck & Co. have been solving piano construction problems. Long enough to acquire expert knowledge and ripe experience; long enough to perfect the famous Hardman Tone, the exquisitely respon- sive touch, the beautiful cases ; long enough to demonstrate the remarkable durability of these vital qualities. Call at our warerooms or at the warerooms of any of our representatives, and verify these significant truths. All makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST HARDMAN, PECK & CO. 138 Fifth Avenue (corner 19th Street), New York Represented in Columbus by HENRY GOLDSMITH, 69 South High Street Improves Established with use 1842 "Waixenstein," Trilogy (after the Dramatic Poem of Schiller). Vincent d'Indy (Born at Paris, March 27, 1852*; now living in Paris.) The first work of Vincent d'lndy that was performed in Paris was his "Ouverture des Piccolomini," which was produced at a Pasdeloup concert, January 25, 1874. This overture, the second part of the "Wallenstein" trilogy, showed, it is said, the marked influence of Schumann. It was afterwards changed materially, thoroughly rewritten. The "Wallenstein" trilogy was begun .in 1873-74. It was com- pleted about 1 88 1. The third movement, "La Mort de Wallenstein/' was first per- formed at a Pasdeloup concert ("Concert Populaire") in Paris, March 14, 1880. The first movement, "I^e Camp de Wallenstein," was first performed at a concert of the National Society, Paris, April 12, 1880. It was per- formed March 30, 1884, at a Concert Populaire, Pasdeloup conductor, in Paris. There were performances of this or that movement at the concerts of the National Society in Paris, at Angers, and at Antwerp, but the first performance of the trilogy, complete, was at a Lamoureux concert in Paris, March 4, 1888. The first performance of the trilogy in the United States was at one of Anton Seidl's concerts in Steinway Hall, New York, December 1, 1888. Among the other performances in the United States are the follow- ing: Chicago: Chicago Orchestra, Theodore Thomas conductor, "Wallenstein's Camp," October 27, 1900; the complete trilogy, April 6, This year is given by the composer. The catalogue of the Paris Conservatory gives 1851, and 1851 is given by Adolphe Jullien, who says he verified the date by the register of d'Indy's birth. 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 — — 1901 ; Theodore Thomas's Orchestra, as it is now called, Frederick A. Stock conductor, "Wallenstein's Camp,". April 6, 1907. Cincinnati: Cincinnati Orchestra, Mr. Van Der Stucken conductor, "Wallenstern's Camp," December 19, 1903, January 27, 1906. * * * It seems that, when "The Death of Wallenstein" was first performed in Paris, there was an argument, an explanatory programme, for a contemporary reviewer then discussed the possibility of translating into music "Reves heroiques de gloire et de liberte," "Trahison, ,, "Mort," " while he admitted d'Indy's success in the sections, "Souvenir de Thecla and "Triomphe." The score of the trilogy is without a programme of any sort whatever. * * * Hugues Imbert's sketch of the trilogy was Englished by Stanley V. Makower as follows: "The distinguishing feature of the symphonic music of Vincent d'Indy is that it paints with forcible truth, marvellous vividness, and astonishing vigor the various episodes in the drama of Schiller. For instance, in the first part, 'Le Camp/* after the slow valse, comes the James Churchill's translation into English of "Wallenstein's Camp" is thus prefaced: "The Camp of Wallenstein is an introduction to the celebrated tragedy of that name, and, by its vivid portraiture of the state of the General's army, gives the best clue to the spell of his gigantic power.