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Rehearsal and Concert SYMPHONY HALL, BOSTON HUNTINGTON 6- MASSACHUSETTS AVENUES { _, , , Ticket Office, 1492 J „ . „ Telephones ^^^'^ ^'^ \ Administration Offices. 3200 \ TWENTY-SEVENTH SEASON, 1907-1908 DR. KARL MUCK, Conductor J^rngramntP of % Fifth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, NOVEMBER 15 AT 2.30 O'CLOCK SATURDAY EVENING, NOVEMBER 16 AT 8.00 O'CLOCK PUBLISHED BY C. A. EL LIS, MANAGER 313 : p Piano. 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 Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer ^Vilhelm Gericke Emil Paur Felix Weingartnei* REPRESENTED BY G. L SGHIRMER & COMPANY, 38 Huntington Avenue, Boston, Mass. 314 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. Wamke, 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, O. 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. 315 rfi=H=jri<=iaM=Bt=fe«=L^=H=ia&;i=H=ii^^ OTjr (thickerin^ i^iuno 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. [ts 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 1833 791 TREMONT STREET Cor. NORTHAMPTON ST. Near Mass. Ave. BOSTON £J!=i!=!i±Mafati=fet-:rtetol=^ 316 TWENTY-SEVENTH SEASON, NINETEEN HUNDRED SEVEN and EIGHT Fifth Rehearsal and Concert* FRIDAY AFTERNOON, NOVEMBER 15, at 2.30. SATURDAY EVENING, NOVEMBER 16, at 8 o'clock. PROGRAMME. J'rttzner Overture to "The Little Christ Elf," a Christmas Fairy Tale by Use von Stach, Op. 20 First time in Boston Rubinstein , Concerto in D minor, No. 4, for Pianoforte and Orchestra, Op. 70 I. Moderate. II. Moderate a.ssai. III. Allegro assai. Brahms Symphony No. 2, in D major. Op. 73 I. Allegro non troppo. II. Adagio non troppo. III. Adagietto grazioso, quasi andantino. IV. Allegro con spirito. SOLOIST, Mr. IGNAZ PADEREWSKI. The pianoforte is a Weber. There will be an intermission of ten minutes before the symphony. The doom of the hall will he closed during the performance of each number on the programme. Thotte who wiith to leave before the end of the concert are requested to do go in an interval be- tween the numbcrti. City of Boston. Revised Beiinlatlon of Antfust S, 1 898.— Chapter 3. relating to Ik* covcrlnii of the head in places of public amusement. Every liceniee shall not, in his place of amueement, allow any perton to w«ar upoo the he<ul a coTaiing which obatrucu the view of the exhibition or performance in such place of aojr pcr*on leated ia any test thcreia providad for ipectators, it being underatood that a low head coveiiDg without pojectioa, whjck do«« not obatniet tucli n*w, may be worn. Attest: J. M. CALVIN, City CUrk. 317 L. P. Hollander & Co. FINE FURS Fur Motor Coats Black Pony Jackets $50 UPWARDS $50 UPWARDS SPLENDID ASSORTMENT of NECK PIECES and MUFFS in BLACK LYNX, MINK, NATURAL BEAVER, RUSSIAN and HUDSON SABLES, made up from specially selected skins. 202 to 216 Boylston Street and Park Square, Boston ; Overture to "The Little Christ Elf,"* a Christmas Fairy Story IS THREE ACTS BY IlSE VON STACH, Op. 20 . HaNS PFITZNER (Bom at Moscow, May 5, 1869; now living at Munich.) ^ The overture to "Das Christ-EIflein" was played for the first time at one of Reznicek's "Orchester Kammerkonzerte " in Berlin, No- \ rmber 23, 1906. The play "itself with Pfitzner's music was first produced at the Court Theatre, Munich, December 11, 1906. The drama was then harshly criticized. "It would fain be simple and childlike; it is childish. It would fain be religious; it is sentimental, and it has a pronounced purpose. It would fain be serious; it is in Itad taste, it is ridiculous." This opinion of Dr. Eduard Wahl was that of the other critics who reviewed the work and the performance in Munich. Felix Mottl conducted. The chief singers and actors were as follows: Miss Reubke, Elflein; Miss Briinner, Christkindchen Mr. Jacobi, Tannengreis; Mr. Sieglitz, Knecht Ruprecht; Mr. Storm, Student. The overture was played on July i, 1907, at the forty-third festival of the Allgemeiner Deutscher Musikverein, held at Dresden, and it was performed some weeks ago at Frankfort-on-the-Main. It is scored for two flutes, one interchangeable with piccolo, two oboes, two clarinets, two bassoons, two horns, kettledrums, triangle, harp, and strings (not a few). It is dedicated to "his dear friend, Willy Levin." The structure of this overture is so clearly defined, and the themes are so easily recognized, that there is no need of a minute analysis. The overture begins, "Ruhig freundliche Bewegung" (with a quiet, cheerful movement), E major, 4-4. Clarinets have a gentle, expressive theme, which is heard in augmentation at the end of the overture. Violins join in the extension of the song. There is a simple melody * "The Fairy Ctiri?t Cliild " lias been suggested as ttic English version of the original title. NEW SONGS for CONCERT and RECITAL USE ^ We have this season a very large number of interesting compositions by such leading Composers as A. WOODFORDE-FINDEN, LIZA LEHMANN, LAURA LEMON, GRAHAM PEEL, ROGER QUILTER, HAMILTON HARTY, E. ELGAR, E. GERMAN, NOEL JOHNSON, R. BARTHELEMY, F. P. TOSTI, LANDON RONALD, G. H. CLUTSAM, STEPHEN ADAMS, etc. ^ Ask your dealer for a selection of these, or write direct to the Publishers, BOOSEY & COMPANY, 9 East Seventeenth St, New York City 319 INVITE ATTENTION TO THEIR UNUSUALLY ATTRACTIVE IMPORTED MODELS AND THOSE OF ORIGINAL DESIGN, INCLUDING Tailor Gowns and Coats, Visiting'Costiunes, and Theatre Coats Riding Habits Safety Side Saddle and Straddle DRESSMAKI/NG DEPARTME/MT WE ARE OFFERING UNUSUAL OPPORTUNITIES House, Dinner, and Evening Dresses and Waists MODELS FROM THE LEADING PARIS HOUSES OUR FITTERS AND DESIGNERS POSSESS MOST EXCELLENT ABILITY AND PRICES WILL BE FOUND ATTRACTIVE 256 BOYLSTON STREET, BOSTON ShrevCt Crump & Low Company* Diamonds. Gems. Orient Pearls. Diamond Jewelry. Hall Clocks. A fine showing oF English Chime Clocks, striking the Westminster, Whittington, and Saint Michaers Chimes, also on bells, tubes. WATCHES. JEWELRY. /NOVELTIES l/N SILVER. ARTISTIC JEWELRY. Art Rooms. Novelties in Imported Stationery. 147 Trcmont Street; Boston* 320 : for violins and wood-wind instruments. A modification of the initial tlieme enters, and there is a crescendo, which with a ritardando and diminishment of force leads into the main body of the overture. It is said that the music at the end of the play, where angels are seen praying and the Christ-child climbs the ladder to heaven, is the same as at the beginning of the overture. The main body opens in E minor, pianissimo, 2-2 ("half notes as the preceding quarters"), with measures for the strings and kettledrum rolls, until a simple theme, already hinted at, is announced by the first clarinet and treated contrapuntally. The other chief thematic material includes a more strongly marked motive (G major, first violins), which is made much of until a section of widely contrasting character enters, after which the first theme enters, now for the flute and in another to- nality than at the beginning of the allegro. The ending, E major, is quiet and simple, with a use of the initial clarinet theme, as has been stated. * * * Pfitzner was born at Moscow, but his parents were German. The father studied at the Leipsic Conservatory, and was an orchestral violinist at his Saxon home, then at the Moscow opera house, and finally he was music director at the City Theatre in Frankfort-on-the- Main. The mother, an excellent pianist, a pupil of Alexander Villoing (1808-78), the teacher of Anton Rubinstein, was a highly educated woman, born of a German family domiciled in Russia. Hans studied as a bo}^ in the schools of Frankfort, and in 1886 entered the Hoch Conservatory in Frankfort, where he remained four years.
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