Part II Selected Writings of Philip Hale Overview Philip Hale’s genius for writing transcended the boundaries of the pre-estab- lished formats by which he was confined. Thoroughness of research, clarity of thought, honesty, and integrity exuded from his pen. The writings included here have been chosen largely on the basis of representation. Hale’s commentar- ies about composers’ works already printed in John Nagley Burk’s Philip Hale’s Boston Symphony Program Notes are somewhat less likely to appear here. Most of the concert reviews (and extracts drawn from them) chosen for Appendix III easily fall into one of the subcategories listed below; however, some could have been placed into two or more categories as there is overlap in the content. Appendix I: From the Program Booklets Amy Beach (1917) 183 Beethoven: Piano Concerto No. 1 in C (1932) 186 Commentators on Beethoven’s Seventh Symphony (1925, with Boston Home Journal extract, 1889) 187 Edward MacDowell (1897) 188 Modeste Moussorgsky: Pictures at an Exhibition (1925) 189 “Operatic Extravagance” (1901) 190 Appendix II: Essays from Newspapers “The Hunting Expedition of Antonin Dvořák” (1894) 193 “Women in the List of Symphony Makers” (1896) 196 “The Attitude of American Critics toward Music” (1903) 198 “Music” (1926) and “‘Paradise Lost’ by Du Bois and the “Criticism of Music” (1904) 206 “Has the American Composer Been Neglected in Boston?” (1906) 207 Appendix III: From Concert Reviews A. Composers and Their Works 213 Bartok: Piano Concerto [No. 1] (1928) 213 Beethoven: Fidelio Overture (1894) 214 180 Trans-Atlantic Passages Beethoven: Ah! Perfido (1925) 214 Beethoven: Leonore Overture No. 1 (1900) 214 Beethoven: Symphony No. 5 in C minor (1889) 214 Beethoven: Symphony No. 6 in F, “Pastorale” (1921) 215 Beethoven: Symphony No. 7 in A (1889) 216 Beethoven: Symphony No. 9 in D minor (1899) 216 Berlioz: Overture to Benvenutto Cellini (1923) 217 Berlioz: Harold in Italy (1903) 217 Berlioz: Overture to The Hugenots (1918) 218 Brahms Festival (1930) 218 Brahms: Double Concerto (1917) 218 Brahms: Symphonies Nos. 1–4 (1931, 1930, 1932. 1920) 218–220 Bruckner: Symphony No. 4 in E flat, “Romantic” (1899) 220 Copland: Piano Concerto (1927) 221 Dvorak: Symphony No. 7 in D minor (1894) 222 Hindemith: Konzertmusik for Brass and Strings (1931) 222 Holst: The Planets (1923) 223 Kalinnikoff: Symphony No. 1 in G minor (1921) 225 Loeffler: Hora Mystica (1917) 225 Mahler: Symphony No. 5 in C-sharp minor (1906) 227 Mozart: Clarinet Concerto (1918) 230 Mozart: Piano Concerto No. 21 in C (1927) 231 Mozart: Piano Concerto No. 23 in A (1930) 231 Mozart: Serenade No. 10 in B flat (1932) 231 Mozart: Serenade No. 11 in E flat (1903) 232 Mozart: Symphony No. 35 in D, “Haffner” (1926) 232 Mozart: Symphony No. 36 in C, “Linz” (1899) 232 Prokofieff: Piano Concerto No. 3 (1926) 232 Prokofieff: Symphony No. 4 (1930) 233 Prokofieff: Violin Concerto (1925) 234 Ravel: La Valse (1922) 234 Rubinstein: Piano Concerto No. 4 in D minor: see Carreño entry, also the Introduction 234 Saint-Saëns Carnival of the Animals (1922) 235 Saint-Saëns: Piano Concerto No. 5 in F (1920) 235 Schumann: Symphony No. 4 in D minor (1900) 236 Strauss, R.: Suite in B flat (1912) 236 Stravinsky: Pulcinella (1922, 1932) 237 Vaughan Williams: Fantasia on a Theme by Thomas Tallis (1922, 1932) 237 B. Conductors 238 Beecham (1928) 238 Fiedler (1908) 239 Holst (1932) 240 Paur (1895) 242 Rabaud (1919) 243 Selected Writings of Philip Hale 181 Sousa (1892, 1906) 244 Richard Strauss (1904) 246 Virtuoso Conductors and Muck (1906) 246 Walter (1923) 248 Weingartner (1906, 1912) 248 C. Soloists 250 Teresa Carreño (1897) 250 Josef Lhevine (1908) 251 Nellie Melba (1903) 252 Maud Powell (1907) 252 Arthur Rubinstein (1921) 253 Lionel Tertis (1923) 253 Appendix IV: Sundry Topics in Newspapers “Walt Whitman” (1892) 255 “Talk of the Day” (1899) 256 “The Harry Jewett Players” (1918) 258 “As the World Wags” (1923) 259 Appendix I Essays in the Boston Symphony Orchestra Program Booklets This following is just a small sampling of Hale’s program essays. He wrote notes for 792 Boston Symphony Orchestra booklets from 1901 to 1933. With an average of four works appearing on each pair of programs, this meant over 3,000 works. Of course, many of these were repeated over the thirty-two-year span. Every effort is made to reproduce these notes just as Hale wrote them. Asterisks (*) were used by Hale for endnotes. Notes added by the author use bracketed asterisks [*]. Amy Beach March 2, 1917, pp. 1016–1024: Mrs. Henry Harris Aubrey Beach (born Amy Marcy Cheney) comes of old New England Colonial Stock. She showed musical talent at the age of four and soon began to write little pieces, which were musically correct. Nature gave her an unusually accurate ear. When she was six years old she began taking pianoforte les- sons of her mother. Two years later she studied in turn with Johann Ernst Perabo, Junius Welch Hill, and Carl Baermann. She took harmony lessons from Mr. Hill in 1881–1882, but in counterpoint, fugue, and instrumentation she is wholly self- taught. The Treatises of Berlioz and Gevaert were read by her; she made transla- tions from the text; and she studied analytically for many years symphonic works played at concerts of the Boston Symphony Orchestra, thus advised by Wilhelm Gericke. Her first appearance in public as a pianist was in the Boston Music Hall on October 24, 1883, when she played Moschele’s Concerto in D minor with orchestra. During the ensuing winter she gave several recitals. She has played at concerts of the Boston Symphony Orchestra in Boston these concerts: 1885, March 28, Chopin Concerto in F minor (as Miss Cheney). 1886, February 20, Mozart, Concerto in D minor (as Mrs. Beach). 1888, April 21, Beethoven, Concerto in C minor (cadenzas by Mrs. Beach). 1895, February 16, Saint-Saëns, Concerto in G minor, No. 2. 1900, April 7, Beach, Concerto in C-sharp minor. First performance (MS). On April 29, 1885, she played here at a Theodore Thomas concert Mendelssohn’s Concerto in D minor, No. 2. 184 Trans-Atlantic Passages With the exception of a few songs, all her compositions were published since her marriage in 1885. Her larger compositions are as follows: Symphony in E minor, “Gaelic,” Op. 32. First played at a concert of the Boston Symphony Orchestra on October 31, 1896, Mrs. Beach pianist; Emil Paur, conductor; repeated February 12, 1898. Mass in E flat Major, Op. 5 for soprano, voices, orchestra, and organ. Produced by the Handel and Haydn Society in Boston February 7, 1892, Carl Zerrahn, conductor; B. J. Lang, organist. Solo singers: Mrs. Jennie Patrick Walker, Mrs. Carl Alves, Italo Campanini, Emil Fischer. At this concert Mrs. Beach played the pianoforte in Beethoven’s Choral Fantasia. Festival Jubilee for chorus and orchestra, Op. 18, composed for the dedication of the Woman’s Building of the Columbia Exposition in Chicago, 1893; an aria, “Eilende Wolken,” Op. 18 (scene from Schiller’s “Maria Stuart”; produced for the first time at a concert of the New York Symphony Orchestra conducted by Walter Damrosch in December, 1982, and with Mrs. Carl Alwes as contralto soloist; “The Minstrel and the King,” for male chorus and orchestra, Op. 16; “The Rose of Avontotown,” “The Sea-Fairies,” and “The Chambered Nautilus,” all for women’s voices and orchestra. Sonata for violin and pianoforte, Op. 34, Kneisel Quartet, January 4, 1897. Quintet for pianoforte and strings, Op. 67. Performed in Boston for the first time at her own concert, December 16, 1914, with the Hoffman Quartet. Kneisel Quartet concert, November (Mrs. Beach, pianist). Romanza for violin and pianoforte (1893). “Iverniana”: Suite for two pianofortes, played from manuscript in Boston by Mrs. Beach and Carl Faelten, February 10, 1910. Mrs. Beach has written many pianoforte pieces and many songs. Concerto in C-sharp Minor for Pianoforte, Op. 45 Mrs. H. H. A. Beach (born at Henniker, New Hampshire September 5, 1867; now living) This concerto was played for the first time, and from manuscript, at a con- cert of the Boston Symphony Orchestra on April 7, 1900; Mrs. Beach, pianist, Mr. Gericke, conductor. It was composed in 1899, partly in Boston, where Mrs. Beach was then living, and partly at her cottage near Centreville, Cape Cod. The orchestral part of the concerto is scored for two flutes, two oboes, two clarinets, bass clarinet, two bassoons, four horn, two trumpets, three trombones, bass tuba, a set of three kettledrums, triangle, and strings. The score is dedicated to Mme. Teresa Carreño. Mrs. Beach wrote the following description of the concerto for the Programme Book of the Chicago orchestra when she played with it in Chicago February 4, 5, 1916: “The concerto contains four movements, of which the opening Allegro is much longer than the others.[”] This is built broadly upon the symphonic form, the orchestra and the piano sharing in about an equal degree in the development of the two contrasting themes. The second movement is a “Perpetuum mobile” for the solo instrument, with the melodic and harmonic structure supplied almost entirely by the orchestra. A short slow movement leads without break into the finale which is interrupted before the close by a recurrence of the Largo. We quote form William Foster Apthorp’s analysis of the concerto published in the Programme Book of the Boston Symphony Orchestra, April 6, 7, 1900: – “The first movement of this concerto, Allegro Moderato in C-sharp minor, 4–4’ time, opens with a short orchestral-prelude. It merely announces the first theme and develops it to a certain extent.