BAPTIST TEMPLE, BROOKLYN. BostonSumpIioiiy OicIiBstra WILHELM GERICKE, Conductor. Twenty-fifth Season, J905-W06. PROGRAMME OF THE SECOND CONCERT FRIDAY EVENING, DECEMBER 8, AT 8. J 5 PRECISELY. With Historical and Descriptive Notes by Philip Hale* Published by C. A. ELLIS, Manager* l HAROLD BAUER Now playing in America in all prominent cities, in recital and with important musical organizations, writes as follows of the ifeim&lfamlm PIANO Messrs. Mason & Hamlin, Boston. Gentlemen : In a former letter to you I expressed my delight and satisfaction with your magnifi- cent pianofortes, and I have once more to thank you and to admire your untiring efforts to attain an artistic ideal. Your latest model, equipped with the centripetal tension bars, has developed and intensified the qualities of its precursors and has surpassed my highest expectations. As you know, I have used these instruments under many different conditions, in recital, with orchestra, in small and in large halls, and their adaptability to all require- ments has equally astonished and delighted me. The tone is, as always, one of never- failing beauty, the action is wonderful in its delicacy and responsiveness, and I consider that, as an instrument for bringing into prominence the individual qualities of tone and touch of the player, the Mason & Hamlin piano stands absolutely pre-eminent. The vertical grand (style O) is the only instrument of its kind, as far as I am aware, capable of giving complete satisfaction to any one accustomed to play upon a grand, and I have no hesitation in saying that it is without exception the finest upright piano I have ever met with. Permit me to add, in conclusion, that it has been a source of personal gratification to me to hear the favorable comments that have been passed in every instance upon your instruments, and to find that my opinion as expressed last year has been echoed and confirmed by musicians and the musical public throughout the country. I remain, gentlemen, Yours very truly, (Signed) HAROLD BAUER. U»n&Iaiitlttt(!fo 139 Fifth Avenue New York City 2 Boston Symphony Orchestra. PERSONNEL. Twenty =fifth Season, 1905=1906. WILHELM GERICKE, Conductor First Violins Hess, Willy, Concertmeister. Adatnowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. , Kuntz, D. Hoffmann, J. Fiedler, E. Mullaly, J. C. Moldauer, A. Strube, G. Rissland, K. Second Violins. Barleben, C. Schuchmann, F. E. Kurth, R. Kuntz, A. Akeroyd, J. Tischer-Zeitz, H. Goldstein, S. Fiedler, B. Fiumara, P. Marble, E. B. Berger, H. Traupe, W. Swornsbourne, W. W. Eichler, J Edw. Violas. Zach, M. Sauer, G. F. Hoyer, H. Krauss, O. H Ferir, E. Kolster, A. Kluge, M. Gietzen, A. Heindl, H. Zahn, F, Violoncellos. Warnke, H. Loeffler, E. Barth, C. Hadley, A. Nast, Keller, J. Nagel, R. Heindl, A. L. Adamowski, J. Heberlein, H. Basses. Keller, K. Bareither, G. Butler, H. Schurig, R. Kunze, M. Seydel, T. Gerhardt, G. Elkind, S. Flutes. Oboes. Maquarre, A. Brooke, A Longy, G. Sautet, G. Fox, Paul Maquarre, D. * Lenom, C. English Horn. Clarinets. Bass Clarinet. Muller F. Grisez, G. Mimart, P. Vannini, A. Fritzsche, O. Bassoons. Contra-bassoon. Sadoni, P. Regestein, E. Debuchy, A. Helleberg, J. Horns. Hackebarth, A. Lorbeer, H. Hain, F. Schumann, C. Hess, M. Phair, J. Trumpets. Trombones. A. Hampe , C. Mausebach, Kloepfel, L. Mann, J. F. Brenton, H. E. Merrill, C. Kenfield, L. S. Harp. Tuba. Tympani. Drums. Rettberg, A. Ludwig, C. R. Schuecker, H. Dworak, J. F. Cymbals. Triangle, etc. Bass Drum. Castanets. Librarian. SauerqueU, Senia, T. Burkhardt, H. Bower, H. Ludwig, C. F. J, -mmsi ^ ^OSTOHaosToH ^* u!sTa. PIANO that has been manufactured continuously for over Eighty-two years, which has been honored and distin- guished by States and Sovereigns, by learned societies and World's Expositions, by the greatest contemporaneous mu- sicians who have bestowed upon it the highest testimonials, awards, and decorations, embracing every known method of publicly recog- nizing distinguished merit. The public honors alone include 129* First Medals and Awards. A vast experience is thus exemplified in the Chickering Piano of to-day. CHICKERING & SONS Established 1823 791 TREMONT STREET BOSTON, MASS. JOHN WANAMAKER, Sole Representative for New York 4 Boston BAPTIST TEMPLE, t Third Ave. and Schermerhorn St., Symphony fl BROOKLYN. ^ Twenty-fifth Season, 1905-1906. Orchestra Eighteenth Season in Brooklyn. VINCENT D'INDY, Conductor, Specially engaged for this concert. SECOND CONCERT, FRIDAY EVENING, DECEMBER 8, AT 8. J 5 PRECISELY. PROGRAMME. Deuxieme Symphonie (in B-flat), Op. 57 Vincent d'Indy I. Extremement lent ; Tres vif. II. Moderement lent. III. Modere ; Tres anime ; Modere. IV. Tres lent; Assez vif ; Largement. Suite, " Pelleas et Me'lisande," de Maeterlinck Gabriel Faure' " Saugeneurie," Le'gende d'apres un Conte de Robert de Bonnieres ....... Vincent d'Indy ! 'L'Apprenti Sorrier," d'apres une Ballade de Goethe . Paul Dukas There will be an intermission of ten minutes after the symphony. 5 HARDMAN PIANO THE genius employed for the past sixty- four years in the manufacture of these instruments has produced a piano with a pure musical tone. Besides possessing this tone they have a peculiar feature in that they actually improve with use. Established in 1842. Booklets of information. Hardman, Peck {%f Co., Makers Fifth Avenue and 19th Street, New York Residents of Brooklyn are greatly convenienced by the branch Hardman Warerooms at No. 524 Fulton Street ; Symphony in B-fxat major, No. 2, Op. 57 . Vincknt d'Indy (Born at Paris, March 2.7, 1852; now living in Paris.) a work d'Indy, In 1876 by "Symphonie Chevaleresque : Jean Hun- yade," was performed at a concert of the Societe Nationale, Paris; but this work is not now included in the composer's own list of his compositions. The work entitled "Wallenstein," composed during the years 1873-81, though classed by some as a symphony, is entitled by d'Indy "Trilogy, after the dramas of Schiller." According to his own catalogue, d'Indy's Symphony No. 1 is the symphony in three parts on a French mountain air, for pianoforte and orchestra, composed in 1886, produced at Paris, March 20, 1887 (Mme. Bordes-Pene, pianist), and performed in Boston, April 5, 1902, with Mr. Bauer, pianist. The Symphony in B-flat major, composed in 1 903-1 904, was pro- duced at a Lamoureux concert, Paris, February 28, 1904. The score is dedicated to Paul Dukas. The symphony is scored for three flutes (one interchangeable with piccolo), two oboes, one English horn, two clarinets, one bass clarinet, three bassoons, four horns, one small trum- pet in E-flat, two trumpets in C, three trombones, one contra-bass trombone, chromatic kettledrums, big drum, cymbals, triangle, two harps, strings. The first performance of the symphony in America was at Phil- adelphia by the Philadelphia Orchestra, December 31, 1904. It was played here at a Symphony Concert, January 7, 1905. The first movement is made up of two distinct parts : a slow intro- duction, in which the themes appear at first in the state of simple cells and a lively movement. ' I. * Extr&mement lent. Tres vifV" B-flat major, 4-2. Violon- cellos and double-basses, doubled by harps, announce an initial and sombre theme of almost sluggish rhythm. The flute replies with a phrase whose chief characteristic is an ascending leap of a seventh, a progression dear to the composer. This phrase is the second princi- pal theme of- the symphony. The phrase may be resolved in this instance into two distinct elements: the descending fourth—B-flat to F-sharp—which, with its own peculiar rhythm, is a cell that later on Miniature Scores of Wagner's WorKs Trauermarsch aus " Gotterdammerung." Prelude, " Parsifal/' Siegfried Idyll. Wotan's Abschied von Briinnhilde und Feuerzauber. Siegmund's Liebeslied aus " Die Walkiire." Overture, " Die Meistersinger von Niirnberg." BOOSEY & COMPANY, 9 East 17th Street, /NEW YORK 7 Modern French Songs EDITED BY PHILIP HALE Sixty Songs by Thirty- seven Composers These two volumes represent the most successful effort that has ever been made to compile an anthology of the works of mod- ern French song composers. It is at once catholic and discrimi- nating ; and while giving ample recognition to the most radical of the younger men, like d'Indy, Faure, Debussy, and others less well known, the work of the more conservative composers is largely drawn upon. A place is also found for the charming and grace- ful songs of such writers as Chaminade and Godard. The editor's task has been performed in a most painstaking and thorough manner. In addition to an essay upon the genesis and growth of French song,— a subject which Mr. Hale is quali- fied to handle with authority, — biographical sketches of every com- poser have been provided. By the charm of its style, no less than its value as criticism, this essay must be ranked high in the litera- ture of the subject. Each volume contains portraits of nine of the most prominent song writers and an index in both French and English. Special pains have been taken to secure the highest excellence in paper, printing, and binding. VOL. I., BEMBERG TO FRANCE VOL. II., GEORGES TO WIBOR Issued in two editions,— for high voice and for low voice. Price each, in paper, cloth back, $1.50. In cloth, full gilt, . $2.50, postpaid. OLIVER DITSON COMPANY, Boston CHARLES H. DITSON & CO., New York J. E. DITSON & CO., Philadelphia LYON & HEALY, Chicago Order of your home dealer or the above houses. will assume great importance; the ascending seventh, which will play a dominating part and appear again throughout the- work as a song of despair, a burst of the determined will.