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Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip

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Boston Symphony Orchestra Concert Programs, Season 32,1912-1913, Trip THE LYRIC THEATRE BALTIMORE Thirty-second Season, J9J2— J9J3 Dr. KARL MUCK, Conductor Programme of % THIRD CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, JANUARY 8 AT 8.15 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER — " After the Symphony Concert 99 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 virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. Sole Representatives W. F. KUNKEL & CO. 119 NORTH LIBERTY STREET, BALTIMORE, MD. Boston Symphony Orchestra PERSONNEL Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor Violins. Witek, A., Roth, O. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe. W. Koessler, M. Bak, A. Mullaly, J. Goldstein, H. Habenicht, W. Akeroyd, J. Spoor, S. Berger, H. Fiumara, P. Fiedler. B. Marble, E. Hayne, E. Tischer-Zeitz, H. Kurth, R. Griinberg, M. Goldstein, S. Pinfield, C. E. Gerardi, A. Violas. Ferir, E. Werner, H. Pauer, O. H. Kluge, M. Van Wynbergen, C. Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Warnke, J. Urack, O. Nagel, R. Nast, L. Folgmann, E. Steinke, B. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Fosse\ P. Vannini, A. Fuhrmann, M. Chevrot, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, O. Lorbeer, H. Gebhardt, W. Mann, J. Alloo, M. Hain, F. Hackebarth, A. Heim, G. Mausebach, A. Phair, J. Hiibner, E. Merrill, C. Kenfield, L. Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Zahn, F. Senia, T. Kandler, F. Burkhardt, H. Organ. Librarian. Marshall, J. P. Sauerquell, J. Mmmicfymta Boston 's Great Art ^Product Q Everywhere recognized as musically the most beautiful piano the world has ever seen Jte0n&i}amlm€0. ESTABLISHED 1854 313 FIFTH AVENUE 492 BOYLSTON STREET NEW YORK BOSTON THE LYRIC THEATRE BALTIMORE Mount Royal and Maryland Avenues Twenty-eighth Season in Baltimore Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor THIRD CONCERT WEDNESDAY EVENING, JANUARY 8 AT 8.J5 PROGRAMME Reger . Concerto in the Ancient Style for Orchestra, Op. 123 I. Allegro con spirito. II. Largo. III. Allegro. Old Italian Arias a. Marcello "II mio bel fuoco" b. Gluck . "0 del mio dolce ardor" Brahms . Academic Festival Overture, Op. 80 Strauss . Three Songs with Orchestra "Morgen." "Wiegenlied." " Cacilie." Borodin Symphony No. 2, in B minor I. Allegro moderato. II. Molto vivo. III. Andante. IV. Allegro. SOLOIST Miss ELENA GERHARDT, Soprano There will be an intermission of ten minutes before the symphony 5 — NO ONE KNOWS HOW LONG A PIANO WILL LAST- No one has yet seen one worn out It's seventy-five years since the first KNABE PIANO was made in Balti- more, and they are being made there right now. In all these years it has never been re- garded— even by its severest critics as anything but the best that human hands could produce. Liberal allowance for pianos taken in exchange KNABE WAREROOMS Park Avenue, corner Fayette Street Concerto in the Ancient Style for Orchestra, Op. 123. Max Reger (Born at Brand, Bavaria, March 19, 1873; now living at Meiningen.) This "Konzert im alten Stil fur Orchester" was performed for the first time at Frankfort-on-the-Main, October 4, 1912, at a Museums- Gesellschaft concert, conducted by Willem Mengelberg. It was per- formed for the first time in the United States at an invitation concert of the Philharmonic Society of New York, given in the ball-room of the Waldorf-Astoria Hotel, November 19, 191 2. The concerto, dedicated to his Highness Duke George II. of Saxe- Meiningen, and published in 191 2, is scored for three flutes, three oboes, two bassoons, three trumpets, three horns, kettledrum, solo violin, and the usual strings. The character of the music is such that any elaborate analysis without illustration in musical notation would be of little value. I. Allegro con spirito, F major, 4-4. The vigorous chief theme is announced forte by the orchestra. The wood-wind is employed anti- phonally with strings. The solo violin enters with an animated but graceful figure with solo flute in countrapuntal passages. Wind instru- ments are used against chords for strings. Molto sostenuto: wood-wind with answer in the strings. Solo violin, and reappearance of wood- CAPITAL, $1,000,000 PROFITS and SURPLUS, $749,000 We Extend the Accommodations of a Strong and Well Equipped Bank rym tnjationAl 'xchAnge HOPKINS PLAGE, GERMAN and LIBERTY STREETS The growing financial strength and careful management of this bank warrant your confidence and patronage. We solicit your business, small or large, and invite an interview. SAFE DEPOSIT BOXES in modern fire and burglar proof vaults at small annual rentals. OFFICERS WALDO NEWCOMER, President R. VINTON LANSDALE, Cashier SUMMERFIELD BALDWIN, Vice-President CLINTON G. MORGAN, Asst. Cashier 7 wind figure. There is a return to the chief theme fortissimo, meno allegro. II. Largo, A minor, 3-4. The trumpets and bassoons are not em- ployed in this movement. Two solo violins are in use, and the violon- cellos are divided. The solo instruments with first violins have an ex- pressive, song. The first violin has a suave melody, C major, with the second in contrapuntal passages. There is a return to the first theme in A minor, with melody for first violins and first oboe, while the two solo violins have measured passages in counterpoint. The close is in A major. III. Allegro, F major, 3-4. The vigorous beginning is for full orchestra. There is a graceful running episode for solo violin with flute; wind instruments and strings are used antiphonally ; there are contrasting sections. The movement as a whole is more modern in thought and in expression than the first. * " The concerto in Bach's day had these meanings: (1) a music school; (2) either vocal or instrumental chamber music, a piece that is called 'concerto'; (3) violin pieces which are so arranged that each player will at a certain time be prominent, and play in turn with the other parts in rivalry. In such pieces, when only the first player dominates, and where only one of many violinists is prominent for remarkable agility, this player is called 'violono concertino.'" ("Musicalisches Lexicon," by J. G. Walther, Leipsic, 1732.) It is stated that the word "concerto," as applied to a piece for a solo instrument with accom- paniment, first appears in a treatise by Scipio Bargaglia, published at Venice in 1587, and that Giuseppe Torelli, who died in 1703, was the first to suggest a larger number of instruments in a concerto and to give the name to this species of composition, concerto grosso. But Michelletti, seventeen years before, had published his " Simfonie et " concerti a quatro" and in 1698 his 'Concerti musicali" while the word concerto occurs frequently in the musical terminology of the seventeenth century. Up to the middle of the seventeenth century the music Exquisite in its purity of tone, elasticity of touch, and artistic design, THE STIEFF PIANO has a charm that appeals irresistibly to all who hear it. CHARLES M. STIEFF (Established 1842) 9 North Liberty Street - - - BALTIMORE, MD. specially for violin was composed almost exclusively of dance tunes, as courantes, gaillardes, pavanes, etc. These compositions bore the title simfonia, capricio, fantasia, toccata, canzone, ricercare. The first five words were used for instrumental pieces; the last two for pieces either for voices and instruments: sometimes for both. The title ricercare soon disappeared, canzone dropped out of sight, toccata was then a title reserved for harpsichord pieces, and toward the second half of the sixteenth century simfonia meant either an instrumental inter- lude or an overture. It was toward 1650 that the word sonata took the special meaning of an instrumental piece with accompaniment of organ or harpsichord and several other instruments, and in those days the sonata encroached on the rights of the capricio and fantasia. The claim, of Torelli to the invention of the concerto grosso may be disputed; but it was he that determined the form of the grand solo for violin and opened the way to Archangelo Corelli, the father of modern violinists, composers or virtuosos. For an interesting discussion of the concerto and the disposition of the orchestra in Handel's time see "Haendel" by Romain Rolland, pp. 195-208 (Paris, 1 9 10). * * * Reger's mother began to give him piano lessons when he was about five years old. His father, Joseph Reger (1 847-1 905), was a school- teacher, and the family moved to Weiden in 1874, a year after Max was born. At Weiden, Max studied the pianoforte with A. Lindner and harmony and the organ with his father. In August, 1888, he visited Bayreuth, and there heard an orchestra for the first time, in perform- ances of "Parsifal" and "The Mastersingers of Nuremberg." He then began to compose, and he wrote songs, preludes, and fugues for the pianoforte, a pianoforte quartet, a string quartet, and an overture, "Heroi'de funebre." No one of these works has been published.
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