Boston Symphony Orchestra. SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, J492 Back Bay.) TWENTY-FIFTH SEASON, J 905-1906. WILHELM GERICKE, CONDUCTOR programme OF THE SEVENTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, DECEMBER J, AT 2.30 O^CLOCK. SATURDAY EVENING, DECEMBER 2, AT 8.00 O^CLOCK. Published by C. A. ELLIS, Manager. 461 HAROLD BAUER Now playing in America in all prominent cities, in recital and with important musical organizations, writes as follows of the 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 tQ 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. asmi^iaraliitOIjt. 492 Boylston Street BOSTON {Opposite Institute of Technology) 462 Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor. First Violins. Hess, Willy, Concerimeister. Adamowski, T. ^<5>f?r^i PIANO that has been manufactured continuously for over Eigfify-two years, wJiicli 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. 4U1 TWENTY-FIFTH SEASON, 1905-1906. ¥ Seventh Rehearsal and Concert. VINCENT D'INDY, of Paris, Conductor, Specially engaged for these concerts. FRIDAY AFTERNOON, DECEMBER I, at 2.30 o^dock. SATURDAY EVENING, DECEMBER 2, at 8.00 o'clock. PROGRAMME. D'Indy Symphony in B-flat major, No. 2, Op. 57 I. Extremement lent ; Tres vif. 11. Modercment lent. III. Modere; Tres anime. IV. Introduction, Fugue, et Finale. Faur^ "Pelleas and Melisande," Suite from Stage Music to Maeterlinck's Tragedy, Op. 80 I. Prelude : Quasi adagio. '' " II. The Spinning Woman : Andantino quasi allegretto. III. Molto adagio. D'Indy Symphonic Variations, "Istar," Op. 42 Franck " Psyche and Eros," Excerpt from " Psyche," a Symphonic Poem, First time Dukas Scherzo, ;'The Sorcerer's Apprentice" (after a Ballad by Goethe) There wiU be an intermission of ten minutes after the symphony. The doors of the hall will be cloned, during the perforinanre of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers. City of Boston. Revised Regulation of Aug-ust 5. 1808.— Chapter 3, relating to the covering of the head In placee of public amusement. licensee shall not, Every in his place of amusement, allow any person to wear upon the head a covering obstructs the which view of the exhibition or performance in such place of anv person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obMructsuch view, may be worn. Attest: J. M. G.ALVIN, City Cleric. 466 L. P. Hollander & Co. FINE FURS Finely matched Sets, Muffs, and Neck Pieces in Russian and Hudson Bay Sables, Ermine, Chinchilla, Black Lynx, Mink, and Squirrel. Motor Coats, latest model, $75 up. Ladies' Fur-lined Coats, ^75 up. Men's Fur-lined Overcoats, $75 up. Ladies' Broadtail Jackets, latest Paris models and selected skins, made to special orders, $350 up. 202 to 216 Boylston Street Boston DESK FINDINGvS SILVERof »Sterlin^ ARE 4 SPECIALTY WITH US. We are showing Inkstands, Blotting Pads, Pen Trays, Mucilage Bottles, Letter Scales, Stamp Boxes, Paper Knives, etc. The variety is enormous, the patterns highly effective, and the prices strikingly reasonable. Smith Patterson Company, Wholesale and Retail Jewellers, 52 Sximmer Street, Boston. Symphony in B-flat major, No. 2, Op. 57 . Vincent d'Indy (Born at Paris, March 27, 1852; now living in Paris.) In 1876 a work by d'Indy, "Symphonic Chevaleresque : Jean Hun- yade," was performed at a concert of the Soci6t6 Nationale, Paris; but this work is not now included in the composer's own Hst of his compositions. The work entitled "Wallenstein," composed during the years 187.^-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. i 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-P^ne, 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. Mr. Calvocoressi in a study of this symphony (Le Guide Musical, May 8-15, 22-29, 1904) first mentions the symphonies written by the French of the modern school, Chausson, Lalo, Saint-Saens, Guy- Ropartz, Alberic Magnard, P. Dukas, Savard, Wittowsky, Vreuls, de Wailly, Tournemire, Marcel Labey, and especially the symphony by C^sar PVanck and d'Indy's first. He then says: "Examining the series NEW CYCLES OF 50NGS Garden of Kama The Ballard Safety Riding Habit ^ ^Vith its use dragging accidents cannot occur. It fits perfectly on saddles of all makes and sizes. ^ The cloths and linens employed are identically the same sold by the best London tailors. Q Ne>v habit cloths in gray stripes just received. V. BALLARD & SONS 256 Boylston Street. Boston, Mass. K/^crc^ 468 — of works by Vincent d'Indy and the different stations of his sure de- velopment, one will see that each of his dramatic works has been fol- lowed by an important work of absolute music. After 'The Song^ of the Beir came the Symphony on a Mountain Air; after 'Fervaal,' the second string quartet; after 'The Stranger,' the vSymphony in B-flat major."* This symphony is without a programme of any sort. D'Indy wrote in an article published in the first number of Mnsica (Paris) : "Sym- phonic music, unlike dramatic music, is developing toward complexity: the dramatic element is more and more introduced into absolute music, in such a way that form is here, as a rule, absolutely submissive to the incidents of a veritable action." Mr. Calvocoressi supplies a note to this remark: "To search for an action that is not purely musical in absolute music would be madness. There is, indeed, an action in this symphony, but it is wholly in the music: the putting into play of two principal themes, which present themselves at the beginning side by side, follow each other, war against each other, or, on the con- trary, are each developed separately, associate with themselves new ideas which complete or serve as commentary, and at the end of the work are blended in an immense triumphal chant." It would be idle, then, to attempt to characterize these themes as though they were dramatic motives. One can say, however, that two decided elements of musical expression are strongly opposed to each other. 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 vif." 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 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 * " The Song of the Bell," romafltic symphony for solo voices, double chorus, and orchestra, was composed during the years 1879-83; the opera "Fervaal," during 1889-95; the second string quartet, in 1807: "The .Stranger," an o|)era, was produced at Brussels, January 7, 1903.