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SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING, MARCH 26 AT 8.00 COPYRIGHT, 1914, BY C. A. ELLIS PUBLISHED BY C, A. ELLIS, MANAGER M MELBA KUBELTK These world famous artists prefer and use exclusively Everywhere acknowledged to be, musically, the most beautiful piano the world has ever known. Send for a description of the MASON & HAM- LIN TENSION RESONATOR, the greatest discovery in pianoforte construction in the last fifty years. ESTABLISHED 1854 492-494 BOYLSTON STREET. BOSTON SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor SEVENTH CONCERT THURSDAY EVENING, MARCH 26 AT 8.00 PROGRAMME Chadwick Symphony No. 3, F major I, Allegro sostenuto. II. Larghetto. III. Vivace non troppo: L'istesso tempo. IV. Finale : Allegro molto energico. Wagner "A Siegfried Idyl Tschaikowsky . Concerto in D major, for Violin, Op. 35 I. Allegro moderato. II. Canzonetta: Andante. III. Finale: Allegro vivacissimo. Wagner • • Overture, "Tannhauser" SOLOIST FRITZ KREISLER There will be an intermission of ten minutes after the symphony 3 Victrolas $15 to $200 at Steinert's If you have a Victrola you should know how convenient and satis- factory it is to buy records at our stores. You can make selections from very large stocks. You will be pleased with the prompt, cour- teous and intelligent service. Mail orders promptly filled Accounts solicited Records delivered anywhere in New England We invite you to call and hear at either of our Boston stores 35 ARCH STREET STEINERT HALL Largest Exclusive Victor Store 162 BOYLSTON STREET in New England Piano and Victor Departments Branches in Bangor, Portland, Brockton, Fall River, New Bedford, Fitchburg, Worcester, Springfield, Lowell, Haverhill, Providence, Pawtucket, Manchester, New Haven, Bridgeport, and other principal cities. Symphony No. 3, in F major . George Whitfield Chadwick (Born at Lowell on November 13, 1854; living in Boston.) Newspapers of April 15, 1894, announced the fact that a prize of $300 offered by the National Conservatory of Music in New York for the best symphony by an American had been awarded to Mr. Chad- wick. Dvorak was then at the head of this institution. The symphony was performed for the first times on October 19-20, 1894, at Boston, by the Boston Symphony Orchestra. Mr. Chadwick conducted his work. The programme—Mr. Paur was then the con- ductor of the orchestra—also included Berlioz's "Roman Carnival," overture and ballet music from Rubinstein's opera, "The Demon." Miss Emma Juch sang a recitative and air, "Mine did I once a lover call," from Dvorak's "Spectre Bride," and, with pianoforte accom- paniment, Wagner's "Traume" and cradle song, "Dors entre mes bras." Mr. Krehbiel, of the New York Tribune, came to Boston to hear the symphony, and his article, containing amusing reflections on musical conditions in Boston and an epigrammatic characterization of Mr. Paur, provoked rejoinders, among them an entertaining editorial article in the Boston Transcript. Mr. Chadwick dedicated his symphony to Theodore Thomas. The score was published by Arthur P. Schmidt, of Boston, in 1896. The symphony is scored for these instruments: two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, and the usual strings. The following description of the musical contents is based on the analysis written by William Foster Apthorp for the Programme Book of October 19-20, 1894. I. Allegro sostenuto, F major, 3-4. The movement begins with four introductory measures for wind instruments and drums. The four horns sound fortissimo the notes F, E, D. "As the horns stand in the key of F, these notes stand in their parts as C, B -natural, A,—accord- ing to the German nomenclature, C. H. A: the first three letters of Mr. Chadwick's name. This short phrase occurs again in the course of the movement, although it is treated more as an episodic 'motto' than as a theme; it does not play the part in the symphony that the famous F, A-flat, F does in the first movement of Brahms' s F-major symphony, but is used more sparingly, somewhat as the 'Te ma reale' is in some of the movements of Sebastian Bach's ' Musikalisches Oper. '" The strings attack the vigorous first motive which is de- veloped until the wind instruments have a staccato phrase, the first subsidiary. The first theme returns and is developed. There are harmonies for horns and clarinets, then an episodic song for violon- cellos against a figure for the oboe. This figure is used thematically later on.. The second theme enters in A minor for the horns over a pizzicato accompaniment for strings. This theme is carried out at considerable length. In the free fantasia section the episodic phrase and counter figure, as well as the two chief motives, are treated ex- tensively. In the recapitulation section the first theme returns (flute) in B-flat major, in augmentation, and with rhythmic changes. The second theme (flutes and bassoons) returns in D minor. There is a short coda. II. Larghetto, B-flat major, 3-8. The movement begins with the chief theme given out in full harmony by the strings. The second theme is of a sturdy nature, arid is treated more contrapuntally until there is a passionate cantilena. The movement ends pp with a short coda on a figure taken from the second theme. III. Vivace non troppo, D minor, 6-8. The movement begins with * a saltarello melody (violins) . An obbligato phrase for horn has the- matic significance later. A second theme is composed of alternate phrases for strings and figures for the wood-wind. The trio, D major, 2-2, is built on a gay theme, first for horns, and then taken up by the rest of the orchestra. In the short coda the theme of the trio returns (muted horns). IV. Finale: Allegro molto Energico, F major, 6-4. After two measures for full orchestra, the horns give out the chief motive against full chords for the strings. The second motive, C major, 4-4, is for violins and violas in unison. There is elaborate development. The two themes are at last worked together. There is an imposing coda. "A Siegfried Idyi/' . ... Richard Wagner (Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) Cosima Liszt, daughter of Franz Liszt and the Comtesse d'Agoult, was born at Bellagio, Italy, on Christmas Day, 1837. She was married to Hans von Btilow at Berlin, August 18, 1857. They were divorced in the fall of 1869. Richard Wagner married Minna Planer, November 24, 1836, at Konigsberg. They separated in August, 1861, and she died at Dresden, January 25, 1866. Wagner and Cosima Liszt, divorced wife of von Bulow, were married at Lucerne, August 25, 1870. Siegfried Wagner, their son, was born at Triebschen, near Lucerne, June 6, 1869. Wagner wrote, November 11, 1870, to Ferdinand Prager: "My house, too, is full of children, the children of my wife, but besides there blooms for me a splendid son, strong and beautiful, whom I dare call Siegfried Richard Wagner. Now think what I must feel, that this at last has fallen to my share. I am fifty-seven years old." On the 25th of the month he wrote to Prager: "My son is Helferich Siegfried Richard. My son! Oh, what that says to me!" But these were not the first references to the son. In a letter written to Mrs. Wille, June 25, 1870, Wagner wrote: "Certainly we shall come, for you are to be the first to whom we shall present ourselves as man and wife. She has defied all disapprobation and taken upon herself every condemnation. She has borne to me a wonderfully beautiful and vigorous boy, whom I could boldly call 'Siegfried': he is now growing, together with my work, and gives me a new, long life, which at last has attained a meaning. Thus we get along without the world, from which we have retired entirely. But now listen; you will, I * Saltarello, a dance in 6-8 or 6-4 time, of the fifteenth and sixteenth centuries at Rome and in the neigh- borhood of that city. It is a duet dance "of a skipping nature, as its name implies." The man played a guitar and his partner struck a tambourine during the dance, although some say she held her apron and per- formed graceful evolutions. The number of the couples was not limited. Each couple moved in a semi- circle, and the dance became faster and faster. It was especially popular with gardeners and vine-dressers, though it was occasionally introduced at courts. The name was also given to a shorter dance known to the contemporaneous Germans as "Nachiam." The music began usually with a triplet at the beginning of each phrase. A harpsichord jack was called a saltarello, because it jumped when the note was struck. Counter- point in saltarello is when six-eighth notes 01 the accompaniment are opposed to each half-note of the cantus firmus. The saltarello form has been frequently used by composers, as by Mendelssohn in his "Italian" symphony, by Alkan and Raff in piano pieces, by Gounod (" Saltarelle " for orchestra, 1877).—P. H. 6 — trust, approve of the sentiment which leads us to postpone our visit until I can introduce to you the mother of my son as my wedded wife." (Finck's Wagner, vol. ii. p. 246.) The "Siegfried Idyl" was a birthday gift to the composer's wife. It was composed in November, 1870, at Triebschen, near Lucerne.

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