PRoGRsnnc iiasim^l|amlm BOSTON'S GREAT ART PRODUCT 492-494 BOYLSTON STREET SYMPHONY HALL, BOSTON HUNTINGTON (S- MASSACHUSETTS AVENUES _, , Ticket Office, 1492 / Telephones, I Back^ ^ Bay-d { Administration Offices. 3200 } TWENTY-EIGHTH SEASON, 1908-1909 MAX FIEDLER, Conductor Programme nf ti|f Twenty-second Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, APRIL 16 AT 2.30 O'CLOCK SATURDAY EVENING, APRIL 17 AT 8.00 O'CLOCK COPYRIGHT, 1908, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER 1729 Mme. CECILE CHAMINADE The World's Greatest Woman Composet Mme. TERESA CARRENO The World's Greatest Woman Pianist Mme. LILLIAN NORDICA The World's Greatest Woman Singer USE Piano. THE JOHN CHURCH CO., 37 West sad Street New York City REPRESENTED BY G. L SCHIRMER & CO., 38 Huntington Avenue, Boston, Mass. 1730 Boston Symphony Orchestra PERSONNEL Twenty -jeighth Season, 1908-1909 MAX FIEDLER, Conductor ClTtjiciktring i^taiitD 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 1833 791 TREMONT STREET Cor. NORTHAMPTCN ST. Near Mass. Ave. o 1W^ BOSTON '^^^ 'I 1732 TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT- AND NINB Twenty-second Rehearsal and Concert* FRIDAY AFTERNOON, APRIL 16, at 2.30 o'clock. SATURDAY EVENING, APRIL 17, at 8 o'clock. PROGRAMME, Beethoven Overture to Collin's Tragedy, " Coriolanus," Op. 62 Foote .... Suite in E major, Op. 63, for String Orchestra First performance I. Prelude. II. Pizzicato and Adagietto. III. Fugue. Dukas . Scherzo, "The Sorcerer's Apprentice" (after a Ballad by Goethe) Dvorak . Symphony No. 5, in E minor, "From the New World," Op. 95 I. Adagio: Allegro molto. II. Largo. III. Scherzo. IV. Allegro con fucco. There will be an intertmssion of ten minutes before the symphony. The doors of the hall will be closed during the performance 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 he' tween the numbers. City of Boston. Revised RetfnlaHoit: of Antfust 5. 1898.— Chapter 3. relating to the coverlnii of the head In places of public amnsement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a eorciing which obstmcts the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstract vmA view, may be won. Attest J. M. GALVIN, City Clerk. 1733 Once Ac Kaole C. C. HARVEY CO 144 BOYLSTON STREET BOSTON 1734 Overture to "Coriolanus," Op. 62 . Ludwig van Beethoven (Bom at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) ' The original manuscript of the overture bears this inscription : ' Over- tura (zum Trauerspiel Coriolan) composta da h. v. Beethoven, 1807." The words in parenthesis are crossed out. The overture was pubHshed in 1808: "Ouverture de Coriolan, Tragedie de M. de Collin, etc., com- posee et dediee k Monsieur de Collin, etc." The other compositions of 1807 were the first Mass in C, the overture to "I^eonore-Fidelio," No, I, which was published as Op. 138, the Fifth Symphony, the ariette, "In questa tomba," the violin concerto changed into a piano- forte concerto, and probably the 'cello sonata, Op. 69. The tragedy by Heinrich Joseph von Collin was produced November 24, 1802, with entr'actes arranged from Mozart's music to "Idomeneo" by the Abb6 Stadler. It was afterward revived with Lange as the hero and played often until March 3, 1805. From that date to the end of October, 1809, there was only one performance of the tragedy, and that was on April 24, 1807, Thayer concludes that the overture was not written for this performance, because the overture had been played at two concerts in March. These concerts were at the palace of Prince Lobkowitz in Vienna, and only pieces by Beethoven were performed, the first four symphonies, the "Coriolanus" overture, a pianoforte con- certo, and airs from "Fidelio." The overture was criticised most favorably in the Journal des Luxus und der Moden and Cotta's Mor- genblatt as a "new work." A correspondent of the Allgemeine Musik NEW CYCLES OF SONG BIRD SONGS by Liza Lehmann. 2 keys Price, ;^i. 50 net PAGODA OF FLOWERS, a Burmese Story in Song, by A. Woodforde-Finden ........ Price, J2.00 net EIGHT nursery RHYMES for Quartette of Solo Voices, by Walford Davies ......... Price, 75 cents Also published for Ladies' Voices, 3 parts ..... Price, 75 cents SONGS OF FAITH. Set i, words by Tennyson. Set 2, words by Whitman. Music by C. V. Stanford. ..... Price, $1.00 SIX POEMS by Joan Trevalsa Price, $1.00 2 BOOSEY & COMPANY, Publishers, 9 East Seventeenth Street NEW YORK CITY 1735 L. P. Hollander & Co. 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Thayer adds: "How nobly Beethoven comprehended the character of Coriolanus has long been known; but how wonderfully the overture fits in the play can be judged properly only by those who have read ' Collin's nearly forgotten play," and he says in a footnote : 'The author, from boyhood a reader of Shakespeare's 'Coriolanus,' remembers well the dissatisfaction he experienced when he first heard Beethoven's overture; it did not seem to him to fit the subject. When he read Collin's play, his discontent turned into wonder." Beethoven knew the Coriolanus presented by Plutarch as well as the Coriolanus of Shakespeare and von Collin. One might say that the character of Coriolanus was in certain ways sympathetic to him; and some may wonder at Thayer's dissatisfaction. Wagner had no thought of von Collin, when he wrote: "If we recall to mind the impression made upon us by the figure of Coriolanus in Shakespeare's drama, and from all the details of the complicated plot first single that which lingered with us through its bearing on the principal charater, we shall see one solitary shape loom forth: the defiant Coriolanus in conflict with his inmost voice, that voice which only speaks the more unsilenceably when issuing from his mother's mouth ; and of the dramatic development there will remain but that voice's victory over pride, the breaking of the stubbornness of a nature strong beyond all bounds. For his drama Beethoven chooses nothing but these two chief motives, which make us feel more CHAMBER MUSIC NEW BOOKS ON MUSIC By Arthur Foote JOSEF HOFFMAN Piano Playing $075 EDWIN EVANS Op. 4. STRING QUARTETTE How to Compose in G minor. LAWRENCE GILMAN Op. 20. SONATA in G minor. Aspects of Modern Opera 1.25 Violin and Piano. BURETTE, F. W. Op. 32. TEMA CON VARIAZIONI. Appreciation of Music String Quartet. Op. 38. QUINTETTE in A minor. Piano and Strings. CHARLES W.HOMEYER& GO. Arthur P. Schmidt 332 BOYLSTON STREET (WALKER BUILDING) (Oppotit* Arlingto* StrMU m BOYLSTON STREET BOSTON BOSTON, MASS. 1737 GVBAltAR5.6C -SON^ OPENING WE PIESPECTFULLY ASK YOUR INSPECTION OF OUR COL- LECnON OF Paris Model Costumes And those of original design, which we confidently offer as being the most attractive from an artistic point that we have shown since the orgemization of our business. Sole makers of THE BALLARD SAFETY RIDING HABITS and CROSS SADDLE HABITS 256 BOYLSTON STREET - - - BOSTON ShrevCt Crump & Low Company* Diamonds. Gems. A choice display of Diamond Jewelry. A large and unique showing o\ Gold Jewelry. OLD ENGLISH SILVER. Agents for Patek Phillippe, the finest, surest. Watches. Our stock of Leather Goods, Stationery* Bric-a-Brac is very large and complete. Agents for the TIPFANY GLASS, showing a marvel- lous display of it. 147 Trcmont Street^ Boston. 1738 surely than all abstract exposition the inmost essence of that pair of characters. Then if we devoutly follow the movement developing ^olel}^ from the opposition of these two motives in strict accordance with their musical character, and allow in turn the purely musical detail to work upon us—the lights and shades, the meetings and paftings of these two motives—we shall at like time be following the course of a drama whose own peculiar method of expression embraces all that held our interest, the complex plot and clash of minor characters, in the acted work of the playwright. What gripped us there as an action set immediately before us, almost lived through by ourselves, we here receive as inmost kernel of that action; there set forth by characters with all the might of nature-forces, it is here just as sharply limned by the musician's motives, identical in inmost essence with the motives at work in those characters." (Englished by W. Ashton Ellis.) * * * The overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings. It is in one movement, Allegro con brio, in C minor, 4-4 as written, alia breve as played.