ACADEMY OF MUSIC BROOKLYN Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE FRIDAY EVENING, JANUARY 7 AT 8.15 COPYRIGHT, 1916, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER ——^^^ €€ Yes, It's a Steinway ISN'T there supreme satisfaction in being able to say that of the piano in your home? Would you have the same feeling about any other piano? " It's a Steinway." Nothing more need be said. Everybody knows you have chosen wisely; you have given to your home the very best that money can buy. You will never even think of changing this piano for any other. As the years go by the words "It's a Steinway" will mean more and more to you, and thousands of times, as you continue to enjoy through life the com- panionship of that noble instrument, absolutely without a peer, you will say to yourself: "How glad I am I paid the few extra dollars and got a Steinway." STEINWAY HALL 107-109 East 14th Street, New York Subway Express Station at the Door Represented by the Foremost Dealers Everywhere Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor Violins. Witek, A. Roth, 0. Hoffmann, J. Rissland, K. Concert-master. Koessler, M. Schmidt, E. Theodorowicz, J. Noack, S. Mahn, F. Bak, A. Traupe, W. Goldstein, H. Tak, E. Ribarsch, A. Baraniecki, A. Sauvlet, H. Habenicht, W. Fiedler, B. Berger, H. Goldstein, S. Fiumara, P. Spoor, S. Sulzen, H. Fiedler, A. Griinberg, M. Pinfield, C. Gerardi, A. Kurth, R. Gunderson, R. Gewirtz, J. Violas. Ferir, E. Werner, H. Gietzen, A. v.Veen, H. Wittmann, F. Schwerley, P. Berlin, W. Kautzenbach, W Van Wynbergen, C. Blumenau, W. Violoncellos. Warnke, H. Keller, J. Barth, C. Belinski, M. Steinke, B. Malkin, J. Nagel, R. Nast, L. Folgmann, E. Warnke, J. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Sand, A. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. de Mailly, C. Stanislaus, H. Vannini, A. Fuhrmann, M. Battles, A. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Wendler, G. Jaenicke, B. Heim, G. AUoo, M. Lorbeer, H. Miersch, E. Mann, J. Belgiorno, S. Hain, F. Hess, M. Nappi, G. Mausebach, A. Resch, A. Hiibner, E. Kloepfel, L. Kenfield, L. Tuba. Harps. ' Tympani. Percussion. Mattersteig, P. Holy, A. Neumann, S Zahn, F. Gardner, C. Cella, T. Kandler, F. Burkhardt, H. Organ. • Librarian. Assistant Librarian. Marshall, J. P. Sauerquell, J. Rogers. L. J. 3 ^- ACADEMY OF MUSIC BROOKLYN Twenty-eighth Season in Brooklyn Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor THIRD CONCERT FRIDAY EVENING, JANUARY 7 AT 8.15 Owing to the illness of Br, Muck Mr, Ernst Schmidt conducted this concert. SOLOIST ERNEST SCHELLING STEINWAY PIANO There will be an intermission of ten minutes after the Strauss selection 5 ^H In the Home -as on the ConcertKNABEStage - the km is recognized as the mw ffipffi Worlds Best Piano mmm& ACADEMY OF MUSIC BROOKLYN Twenty-eighth Season in Brooklyn Thirty-fifth Season, 1915-1916 Dr. KARL MUCK, Conductor THIRD CONCERT FRIDAY EVENING, JANUARY 7 AT 8.15 PROGRAMME Haydn . Symphony in E-flat major (B. & H. No. i) I. Adagio: Allegro con spirito. II. Andante. III. Menuetto: Trio. IV. Allegro con spirito. Strauss . Tone Poem, "Tod und Verklarung" ("Death and Transfiguration"), Op. 24 Schelling Impressions (from an Artist's Life) in form of Variations on an Original Theme for Orchestra and Pianoforte First time here Enesco Rhapsodie Roumaine, in A major, Op. n, No. 1 SOLOIST ERNEST SCHELLING STEINWAY PIANO There will be an intermission of ten minutes after the Strauss selection 5 Mi ^™ ^M Symphony in E-fi*at major (B. & H., No. i) . Joseph Haydn (Born at Rohran, Lower Austria, March 31, 1732; died at Vienna, May 31, 1809.) This symphony was composed for Salomon's concerts in London and it was produced at one of these concerts in 1795. Known as No. 1 in Breitkopf & Hartel's catalogue, it is No. 8 in the catalogue of the Philharmonic Society of London. The symphony is known in Germany as the one "mit dem Pauken- wirbel" (with the drum-roll), but it. should not be confounded with the one in G major, "The Surprise," which is called in Germany the symphony "mit dem Paukenschlag" (with the drum-stroke). The precise date of the first performance of this symphony in Lon- don is not known. The first Salomon concert in 1795 was on Febru- ary 2. Two extra concerts were given on May 2 1 and June 1. Haydn's last benefit was on May 4, and he said of it in his diary: "The whole company was delighted, and so was I. I took in this evening four thousand gulden [about $2,000]. One can make as much as this only in England. " Unfortunately, the programmes of some of the Salomon concerts could not be found even by the indefatigable Pohl when he was collecting the material for his "Mozart und Haydn in London" (Vienna, 1867), and we are without information concerning the his- tory of some of the symphonies. Furthermore, the terms "overture" and "symphony" were used loosely by programme-makers of that period. Many of Haydn's symphonies played during his sojourn in London were announced as "overtures," although the music lexicons of the eighteenth century do not speak of the terms as synonymous. Sometimes on a programme there would be two announcements of overtures b)r Haydn. The first overture would be the first movement of a symphony, and the other movements of it would be announced as "overture" at the beginning of the second part of the programme. AN AMERICAN AUTHOR AN AMERICAN COMPOSER AND TWO AMERICAN MUSIC MOTIVES One of the greatest examples of American Music has just been published. U] Words by the great American author Music by the well-known American WALT WHITMAN H. T. BURLEIGH Dedicated to and Sung by the American Basso of the Metropolitan Opera Co. Mr. HERBERT WITHERSPOON G. RICORDI & CO., 14 East 43rd Street, NEW YORK Symphonies were thus divided for many years. In Vienna in 1839 the first two movements of Schubert's Symphony in C major were sepa- rated from each other by an aria from "Lucia di Lammermoor, " sung by Miss Tuczek. This symphony was played for the first time at the Boston Sym- phony Orchestra concerts on November 14, ,1891. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings. There is an Introduction, E-flat, Adagio, 3-4, which begins with a long drum-roll. The chief theme follows,—double-basses, 'cellos, bas- soons,—and this theme is used, contrary to the custom of the period, in the movement that follows. The chief theme of this following move- ment, Allegro con spirito, 6-8, is given immediately to the first violins, and a subordinate theme derived from it appears soon after in the oboes. The second independent and important theme (B-flat major), also of a gay character, is given out by first violins and oboe. The working-out section begins with an elaboration of the first chief theme of the allegro. The Introduction theme appears pianissimo in the basses, and the second chief theme is introduced in D-flat major. The repetition is developed in orthodox fashion until the reappearance of the first measures of the introductory Adagio. Trie first notes of this introductory theme with changed rhythm begin the short coda, Al- legro con spirito. The second movement, Andante, 2-4, opens in C minor with a theme that is afterward varied in major and in minor. This theme is a simple song sung by the violins. The third variation is a violin solo. The fifth and last variation is in C major. The menuetto is in E-flat, 3-4. In the slight development of the chief theme a measure of this theme is used with emphasis. The trio is also in E-flat. Finale, E-flat, Allegro con spirito, 2-2. Horns play the harmonic support of the first theme, which enters in the fifth measure, given out by violins. A secondary motive is taken from this theme. The first section is not repeated. The thematic material used in the work- ing-out section is taken solely from the chief theme. The coda is short. * * * WIANO COMPANY Telephone, 159 Main 222 LIVINGSTON STREET Brooklyn's Oldest Piano House, and for over 30 years the home of the and several other well-known Pianos,— every one absolutely guaranteed to be as represented. PLAYER-PIANOS from $450.00 to $800.00 The very best Player Mechanism with which every shade of musical expression can. be perfectly expressed. Old Pianos Taken in Exchange. New Pianos for Rent. Tuning and Repairing carefully attended to. — Haydn's name began to be mentioned in England in 1765. Sym- phonies by him were played in concerts given by J. C. Bach, Abel, and others in the seventies. Lord Abingdon tried in 1783 to persuade Haydn to take the direction of the Professional Concerts which had just been founded. Gallini asked him his terms for an opera. Salo- mon, violinist, conductor, manager, sent a music publisher, one Bland —an auspicious name—to coax him to London, but Haydn was loath to leave Prince Esterhazy. Prince Nicolaus died in 1790, and his successor, Prince Anton, who did not care for music, dismissed the orchestra at Esterhaz, and kept only a brass band; but he added four hundred gulden to the annual pension of one thousand gulden be- queathed to Haydn by Prince Nicolaus.