MASSEY MUSIC HALL, TORONTO. FIRST APPEARANCE IN TORONTO OF THE Bos ton Symphony Orchestra WILHELM GERICKE, Conductor. Twenty-fifth Season, J905-1906. PROGRAMME OF GRAND CONCERT TUESDAY EVENING, OCTOBER 3, AT 8,15 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. l "A PIANO FOR THE MUSICALLY INTELLIGENT" pianos Pianos divide into two classes, artists' Tf and popular pianos. The proportion of the first the proportion class to the second class is precisely of cultivated music lovers to the rest of society. index A piano, as much as a music library, is the of the musical taste of its owner. you are among the musically intelligent, the ]f If PIANO is worth your study. You will appreciate the " theory and practice of its makers : Let us have an artist's piano ; therefore let us employ the sci- ence, secure the skill, use the materials, and de- vote the time necessary to this end. Then let us count the cost and regulate the price" If In this case hearing, not seeing, is believing. Let us send you a list of our branch houses and sales agents (located in all important cities), at whose warerooms our pianos may be heard. Boston, Mass., 492 Boylston Street New York, 139 Fifth Avenue Chicago, Wabash Avenue and Jackson Boulevard Boston Symphony Orchestra. Personnel of October Trip. Twenty =fifth Season, 1905=1906. WILHELM GERICKE, Conductor. First Violins. Hess, Willy, Concertmeister. Adamowski, T. Moldauer, A. Hoffmann, J. Eichheim, H. Roth, O. Ondricek, K. Strube, G. Fiedler, E. Kuntz, D. Krafft, W. Mahn, F. Rissland, K. Second Violins. Barleben, C. Swornsbourne, W. W. Marble, E. B. Berger, H. Akeroyd, J. Schuchman, F. E. Kurth, R. Eichler, J. Edw. Fiumara, P. Tischer-Zeitz, H. Goldstein, S. Kuntz, A. Violas. Zach, M. Sauer, G. F. Zahn, F. Kluge, M. Heindl, H. Kolster, A. Hoyer, H. Krauss, O. H. Violoncellos. Warnke, H. LoefHer, E. Heberlein, H. Heindl, A. Keller, J. Nagel, R. Barth, C. Basses. Keller, K. Bareither, G. Gerhardt, G, Kunze, M. Seydel, T. Schurig, R. Flutes. Piccolo. Oboes. Maquarre, A. Brooke, A. Fox, Paul Longy, G. Sautet, A. Engl. Horn. Clarinets. Bass Clarinet. Muller, F. Grisez, G. Vannini, A. Fritzsche, O. Bassoons. Contra-bassoon. Debuchy, A. Sadony, P. Helleberg, J. Horns. Hess, M. Hein, Fr. Lorbeer, H. Schumann, C Tru MPETS. Trombones. Hampe, C. Mausebach, A. Kloepfel, L. Mann. J. F. Han Brenton, H. E. Merrill, C. Kenfield, L. S. Harp. Tuba. Tympani. Drums. Ludwig, C. R. Schuecker, H. Dworak, J. F. Rettberg, A Triangle, etc. Tambour. Librarian. Burkhardt, H. Senia, T. Sauerquell, J. 3 Established Established 1823 1823 PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever Toronto, H. W. Burnett Company, Ltd. " Boston r^r. I MASSEY MUSIC HALL, Symphony S Toronto. Orf!llPQtl*J1 Twenty-fifth Season, J905-1906. WILHELM GERICKE, Conductor. GRAND CONCERT, TUESDAY EVENING, OCTOBER 3, AT 8.15 PRECISELY. PROGRAMME. Schumann .... Symphony No. 2, in C major, Op. 61 I. Sostenuto assai ; Allegro ma non troppo. II. Scherzo : Allegro vivace. Trio I. and Trio II. III. Adagio espressivo. IV. Allegro molto vivace. L. Spohr ..... Concerto for Violin, in D minor, No. 9 I. Allegro. II. Adagio. III. Allegretto. Weber . " Invitation to the Dance," Rondo Brilliant (Orchestrated by Hector Berlioz.) Tschaikowsky ........ Italian Caprice Wagner .* Overture to " Tannhauser SOLOIST : Professor WILLY HESS. There will be an intermission of ten minutes after the concerto. 5 Seventy Scottish Songs Edited with Accompaniments by HELEN HOPEKIRK student of folk-music Scotland has ever been one of the €J To the most fruitful and interesting of countries. The origin of Scottish folk-music is very remote, some of it dating from the time when the most primitive scale forms were in use. CJ Mention of Scottish music recalls to many merely a few such songs as " Auld Lang Syne," " The Blue Bells of Scotland," "Annie Laurie," etc. These, however, are not the most signifi- cant ; in fact, the most beautiful songs are often the ones that are least known. The music of the Gael is most interesting on ac- count of its weird, emotional quality. Their melodies are full of the long, tender, melancholy northern twilights. f]j In her interesting prefatory essay on Scottish music the com- piler of this collection has endeavored to explain the misconception that has arisen from the association of two racially different peoples, the Celtic Scot and the Saxon Scot, so as to help to a better appreciation of their music. The translations from the Gaelic have been made with the greatest care or selected from sources less calculated to rob either words or music of their haunt- ing beauty. The banal " arrangements " found in most editions are conspicuously absent, for artistic accompaniments for each song have been written by Mme. Hopekirk,— written, too, with the deep sympathy and understanding of a Scot and with the artistry of an accomplished musician. These «J Seventy Songs have been gathered from the Lowlands, the Highlands, the remote mountainous regions, and from the Western Isles, and are loved and sung wherever there beats a Scottish heart. Published €J in The Musicians Library in two edi- tions, for high voice and for low voice. CJ Price in heavy paper, cloth back, $i. 5 o; in cloth, VQi^p^ full gilt, $2.50, postpaid. OLIVER DIT50N COflPANY, Boston C. H. D.TSON CO.. * NewTO, X ^D.TSON & CO., REAL Phi,adelpWa Order L of your home dealer or the above houses — in C major, No. Symphony 2, Op. 61 ... Robert Schumann (Born at Zwickau, June 8, 18 10; died at Endenich, July 29, 1856.) In October, 1844, Schumann left Leipsic, where he had lived for about years. fourteen He had given up the editorship of the Neue Zeitschri t in July. He had been a professor of pianoforte playing and composition at the Leipsic Conservatory from April, 1843; but he was a singularly reserved man, hardly fitted for the duties of a teacher, and he was without disciples. He was in a highly nervous condition, so that his physician said he must not hear too much music. A change of scene might do him good. Schumann therefore moved to Dresden. "Here," he wrote in 1844, "one can get back the old lost longing for music; there is so little to hear. This suits my condition, for I still suffer very much from my nerves, and everything affects and exhausts me directly." He lived a secluded life. He saw few, and he talked little. In the early eighties they still showed in Dresden a restaurant frequented by him, where he would sit alone hours at a time, dreaming day-dreams. He tried sea-baths. In 1846 he was exceedingly sick, mentally and bodily. "He observed that he was unable to remember the melodies that oc- curred to him when composing, the effort of invention fatiguing his mind tcrsuch a degree as to impair his memory." When he did work, he applied himself to contrapuntal problems. The Symphony in C major, known as No. 2, but really the third, for the one in D minor, first written, was withdrawn after perform- ance, remodelled, and finally published as No. 4,—was composed in the years 1845 and 1846. Other works of those years are four fugues for pianoforte, studies and sketches for pedal piano, six fugues on the name of Bach for organ, intermezzo, rondo, and finale to "Fantasie" (published as Concerto, Op. 54), five songs by Burns for mixed chorus, four songs for mixed chorus, Op. 59, and a canon from Op. 124. The symphony was first played at the Gewandhaus, Leipsic, under Mendels- MINIATVBE ORCHESTRAL SCODES LATEST ADDITIONS HAYDN. Symphony in G, " The Surprise." " Symphony, " The Oxford." CHERUBINI. Overture, " Anacreon." " Overture, " Die Abenceragen." " Overture, " Der Wassertrager." " Overture, " Medea." GLINKA. Overture, " La Vie pour le Czar." " Overture, " Ruslan and Ludmila." CORNELIUS. Overture, " The Barber of Bagbad." " Overture, " Der Cid." SCHUMANN. Overture, " Genoveva." " Overture, " Manfred." MOZART. Fifth Concerto for Violin and Orchestra. " Sixth Concerto for Violin and Orchestra. " Twenty-sixth Piano Concerto (Coronation). TO BE HAD OF ALL LEADING DEALERS OR BOOSEY & COMPANY, 9 East 17th Street, NEW YORK sohn's direction, on November 5, 1846.* The first performance in Boston was at a concert of the Harvard Musical Association, March 1, 1866. The Philharmonic Society of New York performed it as early as January 14, 1854. There is a dominating motive, or motto, which appears more or less prominently in three of the movements. This motto is proclaimed at the very beginning, Sostenuto assai, 6-4, by horns, trumpets, alto trombone, pianissimo, against flowing counterpoint in the strings. This motto is heard again in the finale of the following allegro, near the end of the scherzo, and in the concluding section of the finale. (It may also be said here that relationship of the several movements is further founded by a later use of other fragments of the introduction and by the appearance of the theme of the adagio in the finale.) This motto is not developed: its appearance is episodic. It is said by one of Schumann's biographers that the introduction was composed before the symphony was written, and that it was originally designed for another work. The string figure is soon given to the wood -wind in- struments. There is a crescendo of emotion and an acceleration of the pace until a cadenza for the first violins brings in the allegro, ma non troppo, 3-4. The first theme of this allegro is exposed frankly and piano by full orchestra with the exception of trumpets and trombones.