ACADEMY OF MUSIC . BROOKLYN Twenty-eighth Season, 1908-1909 MAX FIEDLER, Conductor programme of % FOURTH CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY EVENING, FEBRUARY 19 AT 8,15 PRECISELY COPYRIGHT, 1908, BY C. A. ELLIS MANAGER PUBLISHED BY C. A. ELLIS, _ . — __ — Mme. CECILE CHAMINADE The World's Greatest 'Woman Composer Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE L[fA ^""^ Piano. I THE JOHN CHURCH CO., 37 West 33d Street New York City * Boston Symphony Orchestra PERSONNEL TWENTY-EIGHTH SEASON, 1908-19091 MAX 1FIEDLER, Conductor First Violins. Hess, Willy Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, S. 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. Marble, E. Eichler, J. Tischer-Zeitz, H . Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H. Violas. Ferir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge,'M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Warnke, J.\ Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. 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. 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 Lorehz, O Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. KenfieW, L. Merrill, Phair, J. Schumann, C. C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. 3 Qfyt 0M[) tearing Btmto to purchasers Bears a name which has become known possible value produced as representing the highest in the piano industry. that is highest and best It has been associated with all in piano making since 1823. piano worth and is a Its name is the hall mark of instrument guarantee to the purchaser that in the highest artistic value bearing it, is incorporated the possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET BOSTON, U.S. A. Represented in New York by JOHN WANAMAKER DOStOn ACADEMY OF MUSIC, Symphony i Brooklyn. OrCFlGStrfl Twenty-eighth Season, J908-J909. Twenty-first Season in Brooklyn, MAX FIEDLER, Conductor. FOURTH CONCERT, FRIDAY EVENING, FEBRUARY 19, AT 8.15 PRECISELY. PROGRAMME. Paderewski Symphony in B minor, Op. 24 First time in Brooklyn I. Adagio maestoso ; Allegro con fuoco. II. Andante con moto. III. Allegro vivace. Beethoven . Concerto for Pianoforte, No. 5, in E-flat major, Op. 73 I. Allegro. II. Adagio un poco moto. ^ III. Rondo : Allegro ma non troppo. SOLOIST, Mr. PADEREWSKI. The pianoforte is a Weber. NOTE.— As the DOORS WILL BE CLOSED during the performance of the first movement of the Symphony, which requires 25 MINUTES, patrons are urgently requested to be prompt in attendance. There will be an intermission of ten minutes after the symphony. 5 e Always the Ktiak m 3j§jia(>? & (§m BALTIMORE NEW YORK WASHINGTON — Symphony in B minor, Op. 24 Ignace Paderewski (Born, November 6, i860, at Kurilowka, in Podolia, a former province of Poland; now living at Morges, Switzerland.) The following sketch of this symphony is based on information furnished by the composer. The symphony Op. 24 is in three movements: I. Adagio maestoso; Allegro fuoco; II. Andante con moto; III. Allegro vivace. The themes of the first movement were sketched in the summer of 1904. The three movements which now compose the work were com- pleted, and the parts were copied in December, 1908. "The symphony is written as a patriotic tribute of the composer to his native country, and it was directly inspired by the fortieth anniversary of the revolution of 1863-64. There is no absolute programme for either the first or second movement. The first movement is free, but classical in form. It seeks to celebrate Poland's great heroic past. The themes, although racial in character, are not based on popular melo- dies. The same is true of the second (slow) movement in which the composer endeavors to express the lyric nature of his race. "In the third movement Mr. Paderewski has followed a sharply defined programme. It is in effect a symphonic poem, and is peculiarly in memory of the revolution of 1863-64. "In the opening of the movement is felt the spirit of social and po- litical unrest which filled the country prior to the outbreak of the war, the unrest of the young hot-heads, the youth of the nation, who longed for independence. Older heads, conservative age, counselled patience and caution, urged the impossibility of a successful issue. This despond- ent feeling is expressed in a treatment of the national anthem, from which all buoyancy and joyousness have been taken. The anthem is treated not unlike a dirge; it appears in a subdued, sad mood. GRAND OPERAS In this Season's Repertory TIEFLAND, by E. D 'Albert, German and English text Price, $5.00 LA HABANERA, by R. La Parra, French text . 3-5° LE VILLI, by G. Puccini, English text 2.50 The Same, Italian text . 3.00 LA WALLY, by A. Catalani, Italian text . 4.00 FALSTAFF, by Giuseppe Verdi, Italian and English text 4.00 BOOSEY & COMPANY, Publishers, 9 East Seventeenth Street NEW YORK 7 : MADAME TETRAZZINI Uses exclusively the HARDMAN PIANO In both her American and European homes To my Friends Hardman, Peck 6* Co. The Hardman Piano is my choice. I therefore use it exclusively. *>£<%_^ London, May 2gt igoB. HARDMAN, PECK & COMPANY Established 1842 524 FULTON STREET, BROOKLYN, N.Y. New York Warerooms, 138 Fifth Avenue "The youth refuse to listen. The atmosphere of restlessness subdues the remonstrances of the elders, and the spark of revolution ignites with the appearance of the second theme, a theme of brilliant chivalric char- acter, which has been heralded by faint distant trumpet-calls,—the sum- mons to war. "Light-hearted, gay, and confident, the youth of Poland depart for battle. The first conflict is characterized by the use of sarrusophones, which, with their dark, heavy coloring, express the weight and over- whelming strength of the oppressing force. Again is* heard the Polish anthem, this time strong, vigorous, and battling yet, as the conflict pro- ; gresses, it is gradually lost in the gloom of defeat, finally disappearing in an atmosphere of utter despair. * 'Then a funeral dirge celebrates the heroes that are gone. The themes of unrest heard in the first movement reappear, but are divested of their substance. They are as shadowy and as unsubstantial as the heroes that have passed away. They are bitter memories of defeat. Upward they soar, higher and higher,—lamentations for the fatherland ascending to heaven. ' 'A quick transition of mood follows, from gloom to brightness. Hope returns, and in the recapitulation and climax one hears again the splen- did buoyancy of the theme of chivalry from this third movement, the theme of the heroic past from the first movement, and a third theme * on which will be built the fourth movement yet to be written." The symphony is complete as a work in its present shape, but Mr. Paderewski contemplates a fourth movement. It will be a scherzo. The work is scored for three flutes, three oboes (one interchangeable with English horn) , three clarinets (one interchangeable with bass clari- net), two bassoons, contrabassoon, three sarrusophones, four trumpets, four horns, three trombones, one bass tuba, harp, organ, a set of three C. SCHIRMER, 35 UNION SQUARE, NEW YORK NEW DANCE MUSIC FOR PIANO SOLO (ALSO PUBLISHED FOR ORCHESTRA) GABRIEL ALLIER, Les Idoles (Idols of the Heart) Waltz ...... $0.75 Graceful in style and conception, fine rhythm. J. B. BOLDI, Chanson Bohe'mienne. Intermezzo-Valse .60 The most spontaneous and characteristic Gypsy Waltz. ENRICO CARUSO and R. BARTHELEMY, Adorables Tourments (Love's Torment) •'** Valse • The reigning success of London, Paris and along the Riviera. The big- gest hit since "The Merry Widow Waltz." As a song it is a favorite number on Mr. Caruso's programs. EMILE DELMAS, Valse frivole 1.00 A little waltz of careless and unconcerned gayety of mood. 60 E. LAUNAY, Elle est charmante (She is lovely) . Valse-Boston A langorous French waltz of immensely captivating swing. 1.00 ALEX. MAITINSKY, Les Charmeuses (The Charmers) Valse . A waltz embodying alluring melody, elegant facility of style and genuine swing of rhythm. ARMAND TEDESCO, La Debutante. Valse langoureuse 75 The catchiest French " Valse lente " that has appeared for years. 9 Conservatory of MUSIC GEORGE W. CHADWICK, Director Huntington Avenue, Boston, Mass. EVERY DEPARTMENT UNDER SPECIAL MASTERS CLASS OR PRIVATE INSTRUCTION The free privileges of lectures, concerts, and recitals, the opportunities of ensemble practice and appearing before audiences, and the daily associa- tions are invaluable advantages to the music student. PIANOFORTE DEPARTMENT The Pianoforte Course is designed to equip the student for a career as soloist or teacher, or both, and diplomas are granted accordingly. The course includes Sight Playing, Ensemble, Playing with Orchestra, and the following theoretical studies : Solfeggio, Theory of Music, Harmony and Analysis, Lectures on Musical History, Lectures on Orchestral Instruments, Lectures on English Literature. The Pianoforte Normal Course gives students in this department an opportunity to gain practical experience in the art of teaching without the necessity of going through the experimental period which would other- wise be unavoidable.