SANDERS THEATRE . CAMBRIDGE HARVARD UNIVERSITY Thursday Evening, March 6, at 8.00 :# 4 % mM, " is- (? ooaaa ?) ^ BOSTON SYMPHONY ORCHESTRA INCORPORATED THIRTY-EIGHTH SEASON ^« PRoGRSttttE M. Steinert Sons Co. & a STEINWAY PJEWETT STEINERT mnos WOODBURY DUO ART PIANOS 1 \ PIANOLA PIANOS AEOLIAN PIPE ORGANS V VICTOR VICTROLAS VICTOR RECORDS I Steinert Hall 162 Boylston St i ! SANDERS THEATRE . .' CAMBRIDGE HARVARD UNIVERSITY INCORPORATED Thirty-eighth Season, 1^18-1919 HENRI RABAUD, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE THURSDAY EVENING/MARCH 6 AT 8.00 COPYRIGHT, 1919, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager "The world needs music more when it's in trouble than at any other time. And soldiers, and the mothers and wives and sweethearts and children of soldiers get more of the breath of life from music than the man on the street has any notion of."—JOHN McCORMACK MUSIC is an essential of every well-regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing gener- ation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old, in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every household. And the greatest among pianos is the STE1NWAY, prized and cherished throughout the wide world by all lovers of good music. Or. in the words of a well-known American writer: "Wherever human hearts arc sad or glad, and songs are sung, and strings vibrate, and keys respond to love's caress, there is known, respected, revered loved— the name nd fame of STEINWAY." ( rfflfOfW anil pi ices Ofl application Sold OH convenient patjrncnh ( )/./ piunn* t>iken in exchange Irupti f/ofl ini ilr, I STEINWAY & SONS, STEINWAY HALL u»7 109 EAST 14th STREET, NEW YORK CITY (!"• cay Eat itaUont • ! I )<x>r HrprrsrnlrJ luj ihr rOflMMfl Urulcr* /-.ivn/n/ir/v , Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor Violins. ' Fradkin, F. Roth, O. Rissland, K. Bak, A. Concert-master. Hoffmann, J. Theodorowicz, J. Mahn, F. Noack, S. Ribarsch, A.. Goldstein, H. Sauvlet, H. Tak, E. , Traupe, W. Gerardi, A. Griinberg, M. Di Natale, J. Thillois, F. Spoor, S. Goldstein, S. Gunderson, R. Fiedler, B. Ringwall, R. Henkle, R. Diamond, S. Deane, C. Kurth, R. Bryant, M. Balas, J. Fiedler, G. Langley, A. Violas. Barrier, Q. Werner, H. v.Veen, H. Mager, G. Van Wynbergen, C. Wittmann, F. Berlin, V. - Schwerley, P. Fiedler, A. Tartas, M. Violoncellos. Malkin, J. Miquelle, G. Barth, C. Belinski, M, Fabrizio. E. Schroeder, A. Nagel }/ R. Nast, L. Mingels, E. Stockbridge, C. Basses. Villani, A. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Laurent, G. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Forlani, N. Mueller, E. DeMailly, C. Stanislaus, H. Vannini, A. Piller, B. Piccolo. English Horns. Bass Clarinet. Contra-Bassoon. Battles, A. Mueller, F. Stievenard, E. Fuhrmann, M. Speyer, L. Horns. Horns. Trumpets. Trombones. a Wendler, G. Jaenicke, B. Heim, G. Adam, E. Lorbeer, H. Miersch, E. Mann, J. Sordillo, F. liain, F. Hess, M. Nappi, G. Mausebach, A. Gebhardt, W. Hubner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S. Ludwig, C Burkhardt, H. Cella, T. Gardner, C Zahn, F. Organ. Librarian. Snow, A. Rogers, L. J. COMING EVENTS at SYMPHONY HALL Frieda H© SAT. AFT MAR. 8 LEADING SOPRANO (METROPOLITAN OPERA COMPANY) AT 2.30 Tickets. 50c. to $2.00 Toscha Seidel VIOLINIST—FIRST APPEARANCE SUN. AFT. MAR. 9 "Another of those phenomenal young Russians who seem to be born with almost un- canny insight into the fiddler's art." 3.30 AT "Toscha Seidel. who 'looks like a young Paganini' and 'plays like a young " Ysaye.' "He is probably the best musician of the younger violinists who have appeared in the last few years." Tickets. 75c. to $2.00 SUN. AFT. Galli-Curci MAR. 16 AND MON.EVE. LAST APPEARANCE THIS SEASON MAR. 17 Tickets at Box Office Schumann-Heink SUN. AFT. ASSIMIM. AIM IMS MAR. 23 Basso Pianist AT 3.30 I HARLES CARVER. FRANK LA FORCE. btl, $2 00. $1.50. $1.00. 75c. plus war tax M>il orrjrn for the abov tl accompanied by check or money order and ad* dr-ss^d I- H. MtatJMtt Symphony Hall. Boston. Mass.. filled in order of receipt and • i n»-ar desired location as possible . SANDERS THEATRE CAMBRIDGE HARVARD UNIVERSITY Thirty-eighth Season, 1918-191? HENRI RABAUD, Conductor SIXTH CONCERT THURSDAY EVENING, MARCH 6 AT 8.00 PROGRAMME Franck . Symphonic Piece from the Symphonic Poem, "La Redemption" Debussy Nocturnes I. Nuages. II. Fetes. Rameau . ... Airs de ballet from "Hippolyte et Aricie" I. l er Air des matelots; 2™e Air des matelots. II. l ere Gavotte; 2me Gavotte. III. Air en Rondeau (pour les Amours) IV. l er Rigaudon en Tambourin; 2me Rigaudon. Schumann . Symphony No. 2 in C major, Op. 6i I. Sostenuto assai; Allegro ma non troppo. II. - Scherzo: Allegro vivace; Trio (i), Trio (2), III. Adagio espressivo. IV. Allegro molto vivace. There will be an intermission of ten minutes after. Rameau's "Airs de Ballet' 5 Symphonic P >m "Thi Bimmption," a Symphony-poem in Thru Parts C&sab France (Born al U ge, December 10, 1822; died :it Paris, Norember 8, L890.) 5Fhia S\ mphonic Piece, "Morceau Bymphonique," was composed in [873 7t. h was performed probabfr for the fisst time ai a concert the Societe* Rationale, Paris. February 13, L874, It was per- formed later at the Cirque (FHiver, Paris, March L9, 1876. It was afterwards rewritten and played at a coneert <>f tjie Opera, Paris! v '.'7». November 17. i 1: was performed by the Philadelphia Orchestra Philadelphia at the concerts of December 1 4 and 17), huh;, rm at New STork by the New Xork Symphony Orchestra, December L5, L906. The first performance in Boston was at a Symphony concert December 28, L907, Dr. Muck conductor. There was a second per- formauce under his leadership on April 6, i!>i7. • in the edition for voice and two pianofortes bears this tto: "The ass. The joy of the world which is transformed and made radiant by the words of Christ." Thi e. QOW< 9 OOt composed for the first version of 'The Redempl inn." and the orchestral pi r which it was nut stituted was played at the first performance of the work in l Franck began work en -The Beatitudes" in L869. The Prologue and the In-' itude were Completed in 1>7»). and were orches- ted during the bombardment of Paris. Franck then left his Ork t<> tlie music compose of "The Redemption." The firsl i written in 187] 72. The text of the poem, which i^ described as philosophical rather than religious, was written by Gdouard i' i mi„. I L83(J 16 of tin- Librettists of Massenet's "Le Cid" and "Werther," of d ''Zaire,'' of "1.1 Jacquerie" bj Lalo- Coquard, of Joncieres' "Chevalier Jean," oi i>i;i/:s "La Coupe da Roidn Th a le"; ih«- librettist of I. ah.'s "Roi d*Ys," Gk>dard's "Dante," Dubois' "Paradise Lost," and of a lew operettas, it has been stated that th the Redemption" was first pffered t«» Massenet, «""i«i in it *ho see nothing for him; that Franck accepted it be 1 in "• believed that whirl, w; , s in it," Francb had little discernment in Literary matters, although Vincent d'Indj tells us that, i" in teaching, he round Borne I ime to read, ''••ii\ during vacations, which he spent at Quinc] that ; he : ancient ami modern works of a serious nature; and he gives, this i >ne day, while reading In his garden u iih the at tention which cht ed aim in ail that he did, one pf his sons, tile i requeutly, asked : 'What are you reading thai is so and -i'. ' Franck answered, *A booh i»\ Kant, "The Critique a"; " Is 1 " verj amusing. \nd d'Indj adds: "Is It not to think that thi e words, coming from the mouth I '"h • believer and musician, constitute the subtlest criti Id be made of the heai j and indigestible Critique of 1,1,1 ,,'•• '" " •"' i'hih-,,|, i, '|| 1;|| | |;|( Franck | i^tle literary discrim- a ! ination is shown, however, by his choice of the text of "The Beati- tudes/' "The- Redemption," the operas "Hulda" and "Ghiselle," and minor works, even songs. The following account of "The Redemption" is taken chiefly from d'lndy's life of Franck (published at Paris in 1906). I have para- phrased certain pages, and at times I have used d'Indy's words. As soon as Franck had received Blau's poem he applied himself with such zeal that he finished his task in about six months. There are two versions of "The Redemption," and they are ,very dissimilar. "If the second contains the fine chorus and the admirable sym- phonic intermezzo, now in the repertory of all the concert orches- tras, which are not in the first version, nevertheless it must be said that the first was evidently the better one in the general arrange- ment of the composition, which was\established on a wholly new plan, one that could have been conceived and realized only by Franck.