FOURTH CONCERT OF THE ELLIS COURSE MECHANICS HALL . WORCESTER Utasimt ^ptplfotttj ©rrff?0ira Thirty-second Season, {9(2-1913 Dr. KARL MUCK, Conductor •programme of % SECOND CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY EVENING, FEBRUARY 11 AT 8.00 COPYRIGHT, 1912, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER This Piano is Endorsed by Hundreds of the Leading Music Teachers of New England They know the satisfaction of owning pianos that come up to the highest standards. They appreciate the wonderful Jewett tone. THE JEWETT IS THE FAVORITE PIANO OF NEW ENGLAND More Jewett Pianos are bought by the people of New England each year than of any other make of equal cost. PRICES : Notwithstanding many important improvements ~ in the past two years, the various Jewett Pianos are sold at the same prices — from $375 up, and on the same easy terms if desired. Sold exclusively at our own Stores throughout New England M. STEINERT & SONS CO. 308 MAIN STREET, WORCESTER Owing to the illness of Dr. Muck, Mr. Otto Urack will conduct. H H 1 MECHANICS HALL . WORCESTER Thirty-second Season, 1912-1913 Dr. KARL MUCK, Conductor SECOND CONCERT TUESDAY EVENING, FEBRUARY 1 AT 8.00 PROGRAMME Sibelius .... Symphony No. i, in E minor, Op. 39 I. Andante ma non troppo; Allegro energico. II. Andante, ma non troppo lento. III. Allegro. IV. Finale (Quasi una fantasia) : Andante; Allegro molto. " Weber Overture to the Opera " Der Freischutz Xaver Scharwenka . Concerto for Pianoforte No. 1, in B-flat minor, Op. 32 I. Allegro patetico. II. Allegro assai. III. Allegro non tanto: Allegro molto e passionato. Berlioz . Overture to the Opera "Benvenuto Cellini," Op. 23 SOLOIST XAVER SCHARWENKA Baldwin Piano Used There will be an intermission of ten minutes after the symphony 3 ifaxm&Iainlm Boston 's Great Art Product Q Everywhere recognized as musically the most beautiful piano the world has ever seen 3S0TT ESTABLISHED 1854 492 Boylston Street Boston Symphony in E minor, No. i, Op. 39 . Jan Sibeuus (Born at Tavastehus, Finland, December 8, 1865; now living at Helsingfors.) Sibelius has thus far composed four symphonies. The first was composed in 1899 and published in 1902. The first performance of it was probably at Helsingfors, but I find no record of the date. The symphony was played in Berlin at a concert of Finnish music, led by Kejanus, in July, 1900. The first performance in Boston was at a concert of the Boston Symphony Orchestra, January 5, 1907, when Dr. Muck conducted. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, bass drum, cymbals, triangle, harp, and strings. I. Introduction: Andante ma non troppo, E minor, 2-2. Over a drum-roll that rises and falls in intensity a clarinet sings a mournful melody, which is of much importance in the Finale of the symphony. The first violins, after the short introduction, give out the first theme with imitative passages for violas and violoncellos. Allegro energico, E minor, 6-4. There are two subsidiary motives, one for wind instruments and one, derived from this last, for strings. A crescendo leads to a climax, with the proclamation of the first chief theme by full orchestra with a furious drum-roll. The second and contrasting chief motive is given to the flutes, piano ma marcato, against tremulous violins and violas and delicate harp chords. The conclusion of this theme is developed and given to the flutes with syncopated rhythm for the strings. The pace is quickened, and there is a crescendo, which ends in B minor. The free fantasia is of a passion- ate nature with passages that suggest mystery; heavy chords for wind instruments are bound together with chromatic figures for the strings; wood-wind instruments shriek out cries with the interval of a fourth, Worcester County Music School DAY BUILDING, 4 WALNUT STREET WORCESTER, MASS. Elevators: 4 Walnut Street and 306 Main Street Pianoforte — Vocal — Organ — Violin — Harmony — Ensemble — Sight Reading School year begins second week in September. Pupils received at any time during School year. Term begins with first lesson. A three-manual organ with full set of pedals and electric motor for lessons and practice. Churches supplied with singers and organists for permanent positions, and substitutes secured at short notice. School is open each evening for the benefit of those who are unable to take lessons during the day. Graded preparatory department for young children at reduced rates. Parents having small children, wishing to avail themselves of the method taught in the School, can have lessons given at their homes by one of the teachers of the School. For further information address Telephones: School Park 415s; House Cedar 1552-M. EDWARD L. SUMNER, Director. 5 — " After the Symphony Concert 99 a prolonging of musical pleasure by home-firelight awaits the owner of a "Baldwin." The strongest impressions of the concert season are linked with Baldwintone, exquisitely exploited by pianists eminent in their art. Schnitzer, Pugno, Scharwenka, Bachaus De Pachmann! More than chance attracts the finely-gifted amateur to this keyboard. Among people who love good music, who have a culti- vated knowledge of it, and who seek the best medium for producing it, the Baldwin is chief. In such an atmosphere it is as happily "at home" as are the Preludes of Chopin, the Liszt Rhapsodies upon a virtuoso's programme. THE BOOK OF THE BALDWIN free upon request. No. 366 FIFTH AVENUE, NEW YORK cries that are taken from one in the Introduction; the final section of the second theme is sung by two violins with strange figures for the strings, pianissimo, and with rhythms taken from the second chief theme. These rhythms in the course of a powerful crescendo dom- inate at last. The first chief theme endeavors to assert itself, but it is lost in descending chromatic figures. Again there is a crescendo, and the strings have the second subsidiary theme, which is developed until the wild entrance of the first chief motive. The orchestra rages until, after a great outburst and with clash of cymbals, a diminuendo leads to gentle echoes of the conclusion of the second theme. Now the second theme tries to enter, but without the harp chords that first accompanied it. Rhythms that are derived from it lead to defiant blasts of the brass instruments, and the movement ends in this mood. II. Andante, ma non troppo lento, E-flat major, 2-2. Muted violins and violoncellos an octave lower sing a simple melody of resignation. A motive for wood-wind instruments promises a more cheerful mood, but the promise is not fulfilled. The first bassoon, un poco meno andante, and other wood-wind instruments take up a lament which becomes vigorous in the employment of the first two themes. A motive for strings is treated canonically. There are triplets for wood- wind instruments, and the solo violoncello endeavors to take up the first song, but it gives way to a melody for horn with delicate figuration DIAMOND JEWELRY M PEARLS AND OTHER PRECIOUS STONES WALKER & CO- PEARL NECKLACES 149 TREMONT ST. BOSTON ENGAGEMENT RINGS Telephone, Oxford 729 EXCLUSIVE SETTINGS IN PLATINUM for violins and harp, molto tranquillo. The mood of this episode governs the measures that follow immediately in spite of an attempt at more forcibly emotional display, and it is maintained even when the first theme returns. Trills of wood-wind instruments lead to a more excited mood. The string theme that was treated canonically re- appears heavily accented and accompanied by trombone chords. The orchestra rages until the pace is doubled, and the brass instruments sound the theme given at the beginning of the movement to the wood- wind. Then there is a return to the opening mood with its gentle theme. III. Allegro, C major, 3-4. The chief theme of the scherzo may be said to have the characteristically national humor which seems to Southern nations wild and heavily fantastical. The second theme is of a lighter and more graceful nature. There is also a theme for wood- wind instruments with harp arpeggios. These themes are treated capriciously. The trio, E major, is of a somewhat more tranquil nature. IV. Finale (Quasi una fantasia), K minor. The Finale begins with the melody of the introduction of the first movement. It is broadly treated (violins, violas, and violoncellos in unison, accompanied by heavy chords for the brass). It is now of an epic, tragic nature, and not merely melancholy. There are hints in the lower strings at the chief theme, which at last appears, 2-4, in the wood-wind. This theme has a continuation which later has much importance. The prevailing mood of the Finale is one of wild and passionate restlessness, but the second chief theme, Andante assai, is a broad, dignified, melodious motive for violins. The mood is soon turned to one of lamentation, and the melody is now derived from the first theme of the second movement. A fugato passage, based on the first theme with its con- tinuation in this movement, rises to an overpowering climax. There is a sudden diminuendo, and the clarinet sings the second theme, but it now has a more anxious and restless character. This theme is de- veloped to a mighty climax. From here to the end the music is tem- pestuously passionate. JESSIE DELL LEWIS THE HERMANN LUCKE CO. PLATFORM READER Incorporated and TEACHER of EXPRESSION and DRAMATIC ART DIAMONDS WATCHES AND JEWELRY Studio, No. 910 Slater Building WORCESTER, MASS. Telephone, Park, 6658-M. WORCESTER, MASSACHUSETTS 8 Overture, " Der Freischutz" Carl Maria von Weber (Born atEutin, Oldenburg, December 18, 1786; died at London, June 5, 1826.) "Der Freischutz, " a romantic opera in three acts, book by Friedrich Kind, music by Weber, was first performed at Berlin, June 18, 1821.