THE LYRIC, BALTIMORE. BostonSmnptiony Orchestra WILHELM GERICKE, Conductor. Twenty-fifth Season, 1905-1906. PROGRAMME OF THE Fifth and Last Concert WEDNESDAY EVENING, MARCH 14, AT 8. J 5 PRECISELY. by Philip Hale. With Historical and Descriptive Notes Published by C. A. ELLIS, Manager. 1 THE fcjm& Ifamlin PIANO During the musical season of 1 905-1 906 is being played in prin- cipal cities from Boston to San Francisco, in Recital, before Musi- cal Clubs, leading musical organizations, with the great orchestras, and by the greatest pianists, among whom may be named the following : (Boston Symphony Orchestra, Wilhelm Gericke, Conductor. Pittsburgh Orchestra, Emil Paur, Conductor. HAROLD BAUER (Indianapolis Orchestra, Hans Schneider, Con- ductor. Kneisel Quartet. Chicago Orchestra, Frederick Stock, Conductor. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. RUDOLPH GANZ New York Philharmonic Orchestra, Felix Wein- gartner, Conductor. Philadelphia Orchestra, Fritz Scheel, Conductor. Kneisel Quartet. Boston Symphony Orchestra, Wilhelm Gericke, Conductor. New Haven Orchestra, Horatio W. Parker, Con- ANTOINETTE SZUMOWSKA ductor. Chicago Orchestra, Frederick Stock, Conductor. Adamowski Trio. EMIL PAUR . : Pittsburgh Orchestra. Boston Symphony Orchestra, Wilhelm Gericke, HEINRICH GEBHARD . Conductor. Kneisel Quartet. ( Kneisel Quartet. VINCENT D'INDY .1 . J Longy Club. ( Boston Orchestral Club, Georges Longy, Con- ALFRED De VOTO . < ductor. ( Longy Club. Baltimore Representatives R. LERTZ & SON 14 West Saratoga Street Boston Symphony Orchestra. PERSONNEL. Twenty-fifth Season, 1905-1906. WILHELM GERICKE, Conductor. First Violins Hess, Willy, Concertmeister. Adamowski, T. Ondricek, K. Mahn, F. Bak, A. Roth, O. Krafft, W. Eichheim, H. Sokoloff, N. Kuntz, D. Hoffmann, J. Fiedler, E Mullaly, J. C. Moldauer, A. Strube, G. Rissland, K. Second Viouns. Barleben, C. Schuchmann, F. E. Kurth, R. Kuntz, A. Akeroyd, J. Tischer-Zeitz, H. Goldstein, S. Fiedler, B. Fiumara, P. Marble, E. B. Berger, H. Traupe, W. Swornsbourne, W. W. Eichler, J. Edw Violas. Zach, M. Sauer, G. F. Hoyer, H. Krauss, O. H. Ferir, E. Kolster, A. Kluge, M. Gietzen, A. Heindl, H. Zahn, F. Violoncellos. Warnke, H. Loeffler, E. Barth, C. Hadley, A. Nast, Keller, J. Nagel, R. Heindl, A. L. Adamowski, J. Heberlein, H. Basses Keller, K. Bareither, G. Butler, H. Schurig, R. Kunze, M. Seydel, T. Gerhardt, G. Elkind, S. Flutes. Oboes. Maquarre, A. Brooke, A Longy, G. Sautet, G. Fox, Paul Maquarre, D. Lenom, C. English Horn. Clarinets. Bass Clarinet. Mailer F. Grisez, G. Mimart, P. Vannini, A. Fritzsche, O. Bassoons. Contra-bassoon A. Sadoni, P. Regestein, E- Debuchy, Helleberg, J. Horns Hackebarth, A. Lorbeer, H. Hain, F. Schumann, C. Hess, M. Phair, J. Trumpets. Trombones. Hampe, C. Mausebach, A. Kloepfel, L. Mann, J. F. Kenfield, L. S. Brenton, H. E. Merrill, C. Drums. Harp. Tuba. Tympani. Rettberg, A. Ludwig, C. R. Schuecker, H. Dworak, J. F. Librarian. Cymbals. Triangle, etc. Bass Drum. Castanets. Ludwig, C. F. Sauerquell, Senia, T. Burkhardt, H. Bower, H. J -<SWi&m us!a. PIANO that has been manufactured continuously for over Eighty-two years, which has been honored and distin- guished by States and Sovereigns, by learned societies and World's Expositions, by the greatest contemporaneous mu- sicians who have bestowed upon it the highest testimonials, awards, and decorations, embracing every known method of publicly recog- nizing distinguished merit. The public honors alone include 129 First Medals and Awards. A vast experience is thus exemplified in the Chickering Piano of to-day. CHICKERING & SONS Established 1823 791 TREMONT STREET -- Re fcsentcd in n _. n P Baltimore by The KRANZ-SMITH PIANO CO. G. FRED KRANZ, President N. W. corner Charles and FayettelStreets 4 Boston The Lyric, ^ - f Mount Royal and bymphOnV i£ Maryland Avenues, T Baltimore. Twenty-fifth Season, 1905- Clt*CflC^f"l*^lV^l WUWOll €X J906. Twenty-first Season in Baltimore. WILHELM GERICKE, Conductor. FIFTH AND LAST CONCERT, WEDNESDAY EVENING, MARCH 14, AT 8.15 PRECISELY. PROGRAMME. Goldmark " Overture to Sakuntala," Op. 13 Jaques-Dalcroze . Concerto in C minor, for Violin and Orchestra, Op. 50. First time here I. Allegro con ritmo. II. Largo. III. Finale quasi fantasia (Allegro appassionato). " Debussy . Prelude to Stdphane Mallarmd's Eclogue, The " Afternoon of a Faun Symphony in major, Schubert ...... C No. 7 I. Andante ; Allegro ma non troppo. II. Andante con moto. III. Scherzo : Allegro vivace. Trio. IV. Finale : Allegro vivace. SOLOIST: Mr. HENRI MARTEAIL There will be an intermission of ten minutes before the symphony. 5 HAROMAN PIANO THE genius employed for the past sixty- four years in the manufacture of these instruments has produced a piano with a pure musical tone. Besides possessing this tone they have a peculiar feature in that they actually improve with use. Established in 1842. Booklets of information. Hardman, Peck & Co., Makers Fi^th Avenue and 19th Street, New York Represented in Baltimore by COHEN & HUGHES 304 North Howard Street — Overture to ''Sakuntala," in F major, Op. 13 . Carl Goldmark (Born at Keszthely, in Hungary, May 18, 1830;* now living at Vienna.) This overture, the first of Goldmark's important works in order composition, and the work that made him world-famous, was played for the first time at a Philharmonic Concert, Vienna, December 26, 1865. The first performance in Boston was at a concert of the- Harvard Musical Association, December 6, 1877. The following preface is printed in the full score : For the benefit of those who may not be acquainted with Kalidasa's famous work, "Sakuntala," we here briefly condense its contents. Sakuntala, the daughter of a nymph, is brought up in a pentitentiary grove by the chief of a sacred caste of priests as his adopted daughter. The great king Dushianta enters the sacred grove while out hunting; he sees Sakuntala, and is immediately inflamed with love for her. A charming love-scene follows, which closes with the union (according to Grund- harveri, the marriage) of both. The king gives Sakuntala, who is to follow him later to his capital city, a ring by which she shall be recognized as his wife. A powerful priest, to whom Sakuntala has forgotten to show due hospitality, in the intoxication of her love, revenges himself upon her by depriving the king of his memory and of all recollection of her. Sakuntala loses the ring while washing clothes in the sacred river. When Sakuntala is presented to the king, by her companions, as his wife, he does not recognize her, and he repudiates her. Her companions refuse to admit her, as the wife of another, back into her home, and she is left alone in grief and despair; then the nymph, her mother, has pity on her, and takes her to herself. Now the ring is found by some fishermen and brought back to the king. On his seeing it, his recollection of Sakuntala returns. He is seized with remorse for his terrible deed; the profoundest grief and unbounded yearning for her who has disappeared leave him no more. On a warlike campaign against some evil demons, whom he vanishes, he finds Sakuntala again, and now there is no end to their happiness. The introduction operas, Andante assai in F major, 3-4, with rich and sombre harmonies in violas, 'cellos (largely divided), and bas- soons. Mr. Apthorp fancies that the low trills "may bear some ref- * Yet the latest biographer of Goldmark—Otto Keller, of Vienna—gives the erroneous date, 1832, still found in some recent biographical dictionaries of musicians. See Keller's "Carl Goldmark" (Leipsic, s. d., in the "Moderne Musiker" series). the Hem^ oi PIANOFORTE TECHNIC r^rr By RALPH H. BELLAIR5, Mus. Doc. Oxon. This work approaches the study of the pianoforte from an entirely new point of view. The simultaneous development of the rhythmical with the mechanical side of pianoforte playing constitutes its subject. accepted as tke It has received endorsement in the highest 'quarters, . and may be latest utterance in connection with scientific pianoforte technique. The section devoted to scale-playing alone will illustrate this fact. have In framing this work, the eminent labours of Tausig, Pischna, and von Bulow received the greatest appreciation. Thus, from the earliest stage transposition has been well as of key has been sedulously eschewed, freely adopted ; but monotony of rhythm as and herein lies the novelty of treatment. — The points of immediate import which have been consistently kept in view are: The normal musical sentence, as most commonly found in instrumental music. The rhythmic or metrical figure. The transposition of keys (varied tonality). major will be The old-fashioned five-finger exercise in semiquavers in the key of C vainly sought for within these pages. 4 BOOSEY & COflPANY, 9 EAST 17TH STREET, NEW YORK : SECOND EDITION ELSON'S Music Dictionary By LOUIS C. ELSON Professor of Theory of Music at the New England Conservatory of Music Ever since Tinctor, about 1475, wrote the first music dictionary, there has been an endless succession of books dealing with musical defini- tions. This is but natural and proper, since the musical art is constantly changing. A music dictionary, unless frequently revised, easily drops behind the times. There are no obsolete terms in Elson's Music Dictionary, but every necessary word is included, with its pronunciation. By pronuncia- tion is meant a phonetic spelling in the English language, not merely accent marks. This ap- plies as well to composers' names ; for instance, Rachmaninoff = Rachh-#za>£7z-nee-noff. In addition to 289 pages containing the defi- nitions and pronunciations of all the terms and signs that are used in modern music, are the following Rules for pronouncing Italian, German, and French. A list of popular errors and doubtful terms in music. A list of prominent foreign composers, artists, etc., with their chief works, the pronunciation of their names, and the date of their birth and death.