ACADEMY OF MUSIC, PHILADELPHIA Twenty-third Season in Philadelphia DR. KARL MUCK, Conductor Programme nf % FIRST CONCERT WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, NOVEMBER 4 AT 8.15 PRECISELY PUBLISHED BY C. A. ELLIS, MANAGER Piano. Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors : . Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner REPRESENTED BY THE JOHN CHURCH COMPANY, New York, Cincinnati, Chicago Boston Symphony Orchestra PERSONNEL TWENTY-SEVENTH SEASON, 1907-1908 Dr. KARL MUCK, Conductor First Violins. Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-maste7\ Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Second Violins. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Swornsbourne, W. Goldstein, S. Kurth, R. Goldstein. H. Violas. Ferir, E. Heindl, H. Zahn, F.1 Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos. Warnke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R. Basses. Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerhardt, G. Kunze, M. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadoni, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A, Regestein, E. Fox, P. English Horn. Bass Clarinet Contra-bassoon. Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Sch mid, K. Kloepfel, L. Hampe, C. Lorenz, O. Lorbeer, H. Gebhard, K. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C. Harp. Tympani. Percussion. Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H. Librarian. Sauerquell, J. 3 ataMeaatsiBiagieasfflaaaeaeataMe^^ Zhc I ©tytcfcmng Ptatto Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry. It has been associated with all that is highest and best in piano making since 1823. Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 TREMONT STREET ft 791 BOSTON, U.S.A. iaa^^^^^^^^^g^^^i^^^^^^^^^^^^^^g^^ia^^ga^^^^g] Represented by JOHN WANAMAKER, City Hall Square, PHILADELPHIA. PA 4 BOStOn ACADEMY OF MUSIC, „ . 1 PHILADELPHIA. Symphony* * fi A Twenty-seventh Season, 1907- J908. OfCnCStrfl Twenty-third Season in Philadelphia. Dr. KARL MUCK, Conductor, FIRST CONCERT, MONDAY EVENING, NOVEMBER 4, AT 8.15 PRECISELY. PROGRAMME. J. S. Bach .... Suite in D major, No. 3, for Orchestra I. Overture. II. Air. III. Gavotte No. 1, Gavotte No. 2. IV. Bourree. V. Gigue. " " Beethoven ...... Overture to Leonore No. 1 D'Indy . "Wallenstein," Trilogy, after the Dramatic Poem of Schiller, Op. 12. First time in Philadelphia I. Wallenstein's Camp. II. Max and Thekla (The Piccolomini). III. The Death of Wallenstein. There will be an intermission of ten minutes after the overture. r, There are 5,000 different parts in a single piano ; 10 different materials used,—<wood, iron, felt, etc.; 14 different <woods,—ash, spruce, maple, etc. And it has taken 200 years to develop the instrument to its present perfection as represented by the HARDMAN PIANO It is evident that only the most expert knowledge and long experience are capable of combining these multi- tudinous elements so as to produce a truly artistic piano. For sixty-five years Hardman, Peck & Co. have been solving piano construction problems. Long enough to acquire expert knowledge and ripe experience ; long enough to perfect the famous Hardman Tone, the exquisitely respon- sive touch, the beautiful cases ; long enough to demonstrate the remarkable durability of these vital qualities. Call at our warerooms or at the warerooms of any of our representatives, and verify these significant truths. All makes of pianos taken in exchange Convenient terms of payment for the balance can be arranged ART CATALOG SENT ON REQUEST HARDMAN, PECK & CO. 138 Fifth Avenue (corner 19th Street), New York REPRESENTED IN PHILADELPHIA BY JAMES BELLAITS SONS, 1129 Chestnut Street Improves Established with use 181& Suite in D major, No. 3 Johann Sebastian Bach (Bom at Eisenach, March 21, 1685; died at Leipsic, July 28, 1750.) This suite is one of four which were probably composed during Bach's stay at Cothen (1717-23), whither he was called as chapel-master to Prince Leopold, of Anhalt-Cothen. The prince was then nearly twenty- four years old, an amiable, well-educated young man, who had travelled and was fond of books and pictures. He played the violin, the viol da gamba, and the harpsichord. Furthermore, he had an agreeable bass voice, and was more than an ordinary singer. Bach said of him, "He loved music, he was well acquainted with it, he understood it." The music at the court was chiefly chamber music, and here Bach passed happy years. The indefatigable Spitta was not able to find even a mention of Bach in the town records, except in a few notices scattered through the parish registers; but the ''Bach-Jahrbuch:" of" 1905 contains a learned and interesting essay on Bach's orchestra at Cothen and the instruments that survived the players. This essay is by Rudolf Bunge, Privy Councillor at Cothen. Spitta was unable to find any material for a description of the court orchestra and choir. We now know the names of the musicians at the court and what salaries were paid* Thus Bach as chapel-master received thirty-three thalers- and twelve groschen a month. The term "suite" was not given by Bach to the four compositions that now are so named,—the suites in C major, B minor, and two in D major. He used the word "ouverture." The separate dances of old German suites were called "Parties/^ ''Partheyen." They were brought together into a musical whole and in the same tonality, and they were prefixed by an overture in the French style. The whole set was sometimes known as "Orchester NEW SONG CYCLES GEORGE H. CLUTSAM. Love Letters. Five Songs. 2 keys . Price, $1. 00 net AMY WOODFORDE-FINDEN. Five Japanese Songs. 2 keys . Price, $1.00 net LIZA LEHMANN. Golden Threshold. Quartette Cycle . Price, $1.50 net HERBERT G. LOVEDAY. Minstrel Songs from Scott's Rokeby. 2 keys Price, $1.00 net LANDON RONALD. Love Tokens. Six Songs. 2 keys . Price, $1. 00 net HUBERT S. RYAN. Six Elizabethan Aires. 2 keys . Price, $1.00 net GERRIT SMITH. Thistledown Price, £1.50 net REGINALD SOMERVILLE. Love Themes. Cycle of Three Songs. Price, $1.00 net ARTHUR SOMERVELL. James Lee's Wife. Song Cycle for Contralto Price, $1.50 net BOOSEY & COMPANY, 9 East Seventeenth St., New YorK City ANNUAL SALE Exchanged Aeolians Prices reduced in many cases to less than half original figures* In every case the instrument was exchanged for another of the same type, but larger in size* An Aeolian can be played by any one, with- out knowledge of music or technique* It is rightly called the "Home Orchestra/' for by it are produced perfect orchestral effects un- obtainable from any other instrument* Scan the list* then call* 46-note Aeolians Original Price Present Price Walnut Case • $200 $50 Mahogany Case 200 50 Oak Case • . 210 50 Walnut Case . 275 100 Oak Case . • 300 100 Mahogany Case 300 100 Walnut Case • 500 135 Mahogany Case 500 135 Zo-note Aeolian Grands. A larger and more powerful instrument than the Aeolians listed above. Oak Case . $175 Mahogany Case 750 300 Mahogany Case 750 300 Mahogany Case 750 300 Walnut Case . 750 350 Used Pianola Piano-players are reduced to $125, $150, and $175 during the Aeolian Sale. Regularly $250. Exceptionally low monthly payment terms are offered HPPDP A CAM 1115-1117 CHESTNUT STBEET CI. o. tx z>\jiy iicrrc 6th and Thompson stdeets — 1 Partien. ' The form of the overture fixed by Lully in France served as a model for pieces of the same class composed in Germany and in Italy, as well as in France. This overture was composed of a first part, which was a slow movement, characterized as "grave," connected with a second part, which was longer and of a livelier movement. The overture was generally completed by a repetition of the first move- ment. The first suites, which appeared between 1670 and 1680, were written for a solo instrument, especially for the harpsichord; but the title soon served to designate pieces written for a considerable number of instruments. The overture was followed by airs of dances which were then popular or fashionable. No wonder that Bach, whose father, grandfather, and uncles had all been town-pipers and given up to this species of music, was drawn toward this form of composition. The Suite in D major was composed originally for three trumpets, two oboes, kettledrums, first and second violins, violas, and basso continue* Three or four manuscripts were consulted by the editors for the Bach Society, who preferred the voice parts formerly in the Bach archives at Hamburg and now in the Royal Library at Berlin. The version used generally in concert halls to-day was prepared by Ferdinand David for performance in the Gewandhaus, and it was published in 1866.