NEW NATIONAL THEATRE . WASHINGTON Tuesday Afternoon, January 7, at 4.30 I , / / % WWlff-lil ! f , <A~So BOSTON SYAPHONY ORCHESTRA INCORPORATED THIRTY-EIGHTH SEASON PRoGRKttttE — — — —— — The Artist A AND THE laliuiin The wonderful, rich tone of the Baldwin Piano is the very conception of beauty. Leoilzki- It has that refined quality, that warm and luscious tone which resembles the human voice in its individual appeal. Alda. The Baldwin Piano has no peer in faithfully voicing an artist's spirit. Brown. I have an inspiring companion in my Baldwin Piano. La Forge. The beautiful tone of the Baldwin Piano merits its popularity.— A mato. I sing a Baldwin, we rest assured that we have an instrument which will meet every requirement. Fanning. The Baldwin Piano is a most wonderful help and support. Nielsen. I consider the Baldwin the Stradivarius of the few really great Pianos of the world. I)c Pachmann. A tone that blends so well \%ith my voice. Sembtkh. The Baldwin Piano Company mi I in. 521 S. Fourth A vtnut I'M I NEW NATIONAL THEATRE WASHINGTON INCORPORATED Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE TUESDAY AFTERNOON, JANUARY 7 AT 4.30 COPYRIGHT, 1919, BY BOSTON SYMPHONY ORCHESTRA, INCORPORATED W. H. BRENNAN. Manager G. E. JUDD, Assistant Manager "The world needs music more when it's in trouble than at any other time. And soldiers, and the mothers and wives and sweethearts and children of soldiers get more of the breath of life from music than the man on the street has any notion of."—JOHN McCORMACK MUSIC is an essential of every well-regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing gener- ation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old, in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every household. And the greatest among pianos is the STEINWAY, prized and cherished throughout the wide world by all lovers of good music. Or, in the words of a well-known American writer: "Wherever human hearts are sad or glad, and songs are sung, and strings vibrate, and keys respond to loves caress, there is known, respected, revered- loved— the name and fame of STEINWAY." Catalogue and prices on application Sold on convenient payment* Old piano* taken in exchange ln*pei lion ini itctl STEINWAY & SONS, STEINWAY HALL 107 109 EAST 14th STREET, NEW YORK CITY Suhtray I tptWU Station* tit the Doot }icprc*entcd Ay the horemott Dealer* I icnjndicrr Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor Violins. Fradkin, F. Roth, O. Rissland, K. Bak, A. Concert-master. Hoffmann, J. Theodorowicz, J. Mahn, F. Noack, S. Ribarsch, A. Goldstein, H. Sauvlet, H. Tak, E. Traupe, W. Gerardi, A. Griinberg, M. Di Natale, J. Thillois, F. Spoor, S. Goldstein, S. Gunderson, R. Fiedler, B. Ringwall, R. Henkle, R. Diamond, S. Deane, C. Kurth, R. Bryant, M. Balas, J. Fiedler, G. Zsiga, L. Violas. Barrier, C. Werner, H. v.Veen, H. Fiedler, A. Van Wynbergen, C. Wittmann, F. Berlin, V. Mager, G. Langley, A. Tartas, M. Violoncellos. Malkin, J. Miquelle, G. Barth, C. Belinski, M. Fabrizio, E. Schroeder, A. Nagel, R. Nast, L. Mingels, E. Stockbridge, C. Basses. Villani, A. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. DeMailly, C. Longy, G. Sand, A. Laus, A. Brooke, A. Lenom, C. Forlani, N. Mueller, E. Knight, W. Stanislaus, H. Vannini, A. Filler, B. Piccolo English Horn. Bass Clarinet. Battles, A. Mueller, F. Stievenard, E. Horns. Trumpets. Trombones. Wendler, G. Heim, G. Sordillo, F. Lorbeer, H. Mann, J. Mausebach, A. Hain, F. Nappi, G. Kenfield, L. Gebhardt, W. Kloepfel, L. Hess, M. Tuba. Harps. Tympani. Percussion. Jaeger, A. Holy, A. Neumann, S. Ludwig, C. Burkhardt, H. Cella, T. Gardner, C. Zahn, F. Organ. Librarian. Snow, A. Mann, J. After the Concert go to I ', W ASH Our Newest and Best Hotel Cuisine Unexcelled . NEW NATIONAL THEATRE . WASHINGTON One Hundred and Twenty-first Performance in Washington Thirty-eighth Season, 1918-1919 HENRI RABAUD, Conductor THIRD MATINEE TUESDAY AFTERNOON, JANUARY 7 AT 4.30 PROGRAMME D'Indy . "WaUenstein," Trilogy (after the Dramatic Poem of Schiller), Op. 12 I. Wallenstein's Camp. II. Max and Thekla (The Piccolomini) III. The Death of WaUenstein. Mendelssohn .... Concerto for Violin in E minor, Op. 64 I. Allegro molto appassionato. II. Andante. III. Allegretto non troppo; Allegro molto vivace. Converse . "The Mystic Trumpeter," Orchestral Fantasy, Op. 19 (after the Poem of Walt Whitman) SOLOIST FREDRIC FRADKIN There will be an intermission of ten minutes after D'Indy 's Trilogy 5 1857 1918-19 DROOP'S 1 usic House (E. F. DROOP & SONS CO.) 1300 G STREET. A record of 61 years in the Music Business in Washington is at our back. During all this time we have maintained our prestige in the musical circles of Washington because of our policy of selling reliable merchandise only and giving prompt and capable service. Everything purchased here bears the hall mark of our guarantee and quality. We fulfill our promises. Steinway Pianos. Player-Pianos. Victrolas. Music. • . II II. Y PAYMENTS A< ( KI'TKl) MOVING "Wallenstein/' Trilogy (after the Dramatic Poem of Schiller) Vincent d'Indy (Born at Paris, March 27, 1852*; now living in Paris.) The first work of Vincent d'Indy that was performed in Paris was his "Ouverture des Piccolomini," which was produced at a Pasdeloup concert, January 25, 1874. This overture, the second part of the "Wallenstein" trilogy, showed, it is said, the marked influence of Schumann. It was afterwards changed materially, thoroughly rewritten. The "Wallenstein" trilogy was begun in 1873-74. It was com- pleted about 1881. The third movement, "La Mort de Wallenstein," was first performed at a Pasdeloup concert ("Concert Populaire") in Paris, March 14, 1880. The first movement, "Le Camp de Wallen- stein," was first performed at a concert of the National Society, Paris, April 12, 1880. It was performed March 30, 1884, at a Concert Populaire, Pasdeloup conductor, in Paris. There were performances of this or that movement at the concerts of the National Society in Paris, at Angers, and at Antwerp, but the first performance of the trilogy, complete, was at a Lamoureux concert in Paris, March 4, 1888. The first performance of the trilogy in the United States was at one of Anton SeidPs concerts in Steinway Hall, New York, Decem- ber 1, 1888. The first performance of the trilogy in Boston was on October 19, 1907, Dr. Muck conductor. Among the other performances in the United States are the follow- * This year is given by the composer. The catalogue of the Paris Conservatory gives 1851, and 1851 is given by Adolphe Jullien, who says he verified the date by the register of d'Indy's birth. ESTABLISHED 1838 520 NORTH CHARLES STREET BALTIMORE, MD. — ing: Chicago: Chicago Orchestra, Theodore Thomas conductor, "Wallenstein's Camp/1 October 27, 1900; the complete trilogy, April r< 6, L901; Wallen8tein|fl Camp*" April 6, 1907, Frederick A. stock conductor. Cincinnati: Cincinnati Orchestra, Mr. Van Der Stucken conductor. "Wallenstein's Camp," December 19, 1903, January 27, L906. When 'The Death of YVallenstein" was lirst performed in Paris, there was an argument, an explanatory programme, for a contem- porary reviewer then discussed the possibility of translating into music "Rcvcs heroiqucs de gloire et de liherte." "Trahison," "Molt," while he admitted d'Indy's success in the sections, ''Souvenir de Thecla" and "Triomphe." The score of the trilogy is without a programme <>f* any sort whatever. Hngaes Imbert's sketch of the trilogy was Englished by Stanley V. Bfakower as follows:— "The distinguishing feature of the symphonic music of Vincent d'Indy is that it paints with forcible truth, marvellous vividness, and astonishing vigor the various episodes in the drama of Schiller. For instance, in the first part, 'Le ('amp,'* after the slow valse, comes the Bavage dance with its determined rhythm, the sermon of the Capuchin father given to the bassoon, the theme of Wallenstein energetically Illustrated by the trombones, and then the final tumult, in which we heat a few notes of Wallenstein's theme thrown out by the trum- pets amid the fortissimi of the orchestra. In all this you will recognize the mastery of the musician who has approached very • James Churchill's translation into English of "Wallenstein's Camp" is thus pre- : ! •'i'ii.' Camp of Wallenstein is an introduction to the celebrated tragedy of that name, and, by its vivid portraiture of the state of the General'! army, gives the beat cine to the spell of n is gigantic power. The blind belief entertained in the unfailing racceaf of his arms, and in the supernatural agencies by which that success is secured to him; the unrest ra hied Indulgence Of every passion, ami utter disregard of nil law, are that of the camp; a h:ird oppression of the peasantry, and plunder of the country; have all swollen the soldiery with an Idea of Interminable sway. "of Schiller's opinion concerning the Camp, as a necessary introduction to the ly. the following passage, taken from the Prologue to the tirst representation, will a jusi Ides and may also serve as a motto to the work:— " N"t II«- it is.