PRoGRSnAE The DURABILITY of PIANOS and the permanence of their tone quaHty surpass anything that has ever before been obtained, or is possible uijder any other conditions. This is due to the Mason & HamHn system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construc- tion—The Mason & Hamlin Tension Resonator Catalogue Mailed on Application Old Pianos Taken in [Exchange MASON & HAMLIN COMPANY Established i&54 Opp. Institute of Technologfy 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON cS'MASSACHUSETTS AVENUES , , j Ticket Office, 1492 > „ , „ Telephones„ Back Bay \ Administration Offices, 3200 \ TWENTY-NINTH SEASON, 1909-1910 MAX FIEDLER, Conductor programme of % Twelfth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, JANUARY 7 AT 2.30 O'CLOCK SATURDAY EVENING, JANUARY 8 AT 8.00 O'CLOCK COPYRIGHT, 1909, BY 0. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER 881 Mme. TERESA CARRENO On her tour this season will use exclusively Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY G. L SCHIRMER & CO., 338 Boylston Street, Boston, Mass. 882 Boston Symphony Orchestra PERSONNEL Tli( Reputation Is of far greater value to you in purchasing a piano, than the most thorough demonstration; for the demon- stration only tells you what the instrument is today. The Chickering reputation tells you that the Chickering you buy today will be the same Chickering twenty years hence. The Chickering reputation is your assur- ance of a lifetime's perfect service. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET, Corner Northampton Street. Near Mass. Ave. BOSTON 884 TWENTY-NINTH SEASON, NINETEEN HUNDRED NINE AND TEN Twelfth Rehearsal and Concert FRIDAY AFTERNOON, JANUARY 7, at 2.30 o'clock SATURDAY EVENING, JANUARY 8, at 8 o'clock PROGRAMME Elgar Symphony in A- flat major, Op. 55 I. Andante nobilmente e semplice — Allegro. II. ( Allegro molto. III. I Adagio. IV. Lento — Allegro. i Dvofik Concerto for Violin, in A minor, Op. 53 I. Allegro ma non troppo. II. Adagio ma non troppo. ' III. Finale : Allegro giocoso, ma non troppo. Loeffler . "The Devil's Villanelle," Fantasia for Orchestra and Organ (after RoUinat's poem), Op. 9 Organist, Mr. Marshall SOLOIST Mt. MISCHA ELMAN There will be an intermission of ten minutes after the symphony OOhe doors of the hall will be closed durirtg the performance of each number on the programine. Those who wish to leave before the end of the concert are requested to do so in an interval bem tween the numbers. I City of Boston, Revised Re|{ulatlon of Auifust 5. 1898.— Chapter 3, relatinii to the coverin|{ of the head in places of public amusement. II Every licensee shall not, in his place of amusement, allow any person to wear upon the head a coTariag vhich obstructs the view of the exhibition or performance in such place of any person seated in any seat therein >rovided for spectators, it being understood that a low head covering without projection, which doe* not i')tMtruct such view, may be worn. Attest: J. M. GALVIN, Citr Clark. 885 =^ MIGNONETTE Horizontal GRAND Wliere others nave railed to bulla a Small ana Perfect Grana Piano meeting -witn present aay requirements, jJie House of Knaoe, after years or researcn ana experiment, nave succceaea m producing The WORLD'S BEST GRAND PIANO In tne small size or 5 FEET, 2 INCHES a piano tnat carries tne endorsement or tne leading musicians or today. C. C HARVEY CO. 144 BOYLSTON STREET BOSTON J 886 Symphony in A-flat major, Op. 55 Edward Elgar (Born at Broadheath, near Worcester, England, June 2, 1857; now living in Malvern.) This symphony was performed for the first time at Manchester, England, December 3, 1908, by the Halle Orchestra, led by Hans Richter. The first performance in London was on December 7, 1908, by the London Symphony Orchestra, led by Dr. Richter. The first performance in the United States was at New York on January 3, 1909, by the New York Symphony Orchestra, led by Mr. Walter Damrosch. The first performance in Boston was at a concert of the Boston Symphony Orchestra led by Mr. Fiedler, February 27, 1909. * * * This statement was made by the Glasgow Herald of December 4, 1908: "No one can accuse Elgar of composing in haste to repent at leisure. He studied the poem 'of 'Gerontius' for eleven years, and ' the first conception of The Apostles ' goes back to his school-days. The new symphony was begun seriously about a year ago, but, as it was expected for the Elgar Festival of 1904, it probably had been taking shape in the composer's brain long before any actual notes were transferred to paper." At the time of the first performance it was said that the symphony was inspired by the life and death of General Gordon. There was an immediate denial of this statement. To quote again from the Glasgow Herald: "Elgar's new symphony is suggestive enough, although there is no official 'program' attached. At first sight everything seems orthodox. There are the usual four movements, an Allegro with an introductory Andante, an Allegro molto, which is really a Scherzo, an Adagio, and a final Allegro preceded by a short Lento. Before dis- TO TEACHERS AND SCHOOLS. Educational Music in All its Branches. The Most Representative Music Publishing House in America. Sole Agents for ENOCH & SONS, London. ENOCH & CO., Paris. ELKIN & CO., London. G. RICORDI & CO., Milan. E. 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MAIN OFFICE BRANCH OFFICE COURT STREET TEMPLE PLACE — cussing details, perhaps it might be said here that, although the work has no 'program,' it follows a familiar emotional scheme. Auto- biography has been hinted at, but the experiences that are voiced may be sa;d to be as much general as particular. The 'program,' if there be any, is that evolved by Beethoven, and is in a sense as old as the Greeks—the struggle of man with his environment, Beethoven, unlike the Greek dramatists, believed that man was the master of his fate. He may be said to have invented the symphony that speaks of the victory to be wrested from sorrow. The four movements of the symphony since his day have been much concerned with the hero's indecisive fight with fate, his retiral for reflection, his return to the world in lighter mood, and his final struggle and victory. Sometimes we have what seems to be a love interest, sometimes it ends in the peace of philosophic pessimism, or even in despair, but the general scheme is usually plain enough without words. Elgar's many serious religious works show him to be a man who has thought and felt, and his symphony reflects what one might call the serious optimism of Beethoven. It is full of noble feeling, and its last word is unmistakably of triumph." * * An analysis of the symphony published in the Musical Times (London) of December, 1908, may be considered as official; "The problem of how far the symphonic form can be moulded to meet the individual requirements of a modern composer has been shelved of late, when so many composers have occupied themselves instead with the tone-poem, a form which is entirely pliable to the particular program chosen for illustration. Must the symphony be regarded as too rigid a structure to admit the free play of modern ideas, or can it be satisfactorily used for the illustration of a program EDWARD ELGAB ORCHESTRAL LITERATURE SURSUM CORDA HENDERSON. The Orchestra and Orches- (ELEVATION) tral Music. OP. 11 D. Q. MASON. The Orchestral Instruments and what they do. PROUT. The Orchestra. 2 Vols. PIANO SOLO . $0.50 BERLIOZ. Instrumentation. VIOLIN and PIANO ... .50 ELSON. Orchestral Instruments and their ORGAN 50 (Transcription by E. H. Lemare) CHARLES W.HOMEYER&CG. Arthur P. Schmidt 332 BoylstoD St. (Opp. Arlington St.) 120 BOYLSTON STREET (Walker Bid'tf) BOSTON. MASS. BOSTON. MASS, 889 as Tschaikowsky used it? Or, further, is there something new to be said in music which admits no translation into words, and can the symphony more fitly express that? Many have felt that a symphony by Elgar must help to answer such questions^ or at least give important data to those who are concerned with them. "Now that the symphony is before us, the first fact that strikes us is its likeness to the classical model. It is in four movements: i. An- dante nobilmente e semplice—^Allegro; 2. Allegro molto; 3. Adagio; 4. Lento—Allegro. The first is substantially in what is known as 'first movement ' form, with certain important modifications which we shall note later; the second is practically a Scherzo in all but name; the third is a serene slow movement in a binary form without develop- ment, and with an important Coda; while the fourth, after a slow introduction, breaks into a swinging theme, the principal one of a rondo movement.