SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES : Telephone, 1492 Back Bay TWENTY-SIXTH SEASON, 1906-1907 DR. KARL MUCK, Conductor Sixteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE FRIDAY AFTERNOON, MARCH 1 AT 2.30 O'CLOCK SATURDAY EVENING, MARCH 2 AT 8.00 O'CLOCK PUBLISHED BY C. A. ELLIS, MANAGER 1209 " PIANOS "Without exception the finest HAROLD BAUER piano I have ever met with." " Truly artistic instruments of ARTHUR NIKISCH the very first rank." " Unsurpassed by any Ameri- GEORGE CHADWICK can orEuropean instruments. "One can sing expressively VINCENT D'INDY on your piano." "Great beauty of tone and CH. M. LOEFFLER unusual capacity for expres- siveness." " I congratulate you on the great success achieved by the ANTOINETTE SZUMOWSKA untiring work devoted to the perfection of your instru- ments." f "Musical instrument of the FRANZ KNEISEL highest artistic stamp." I ( "I congratulate you on these HEINRICH GEBHARD wonderful instruments." I " Superb, ideal." EMIL PAUR I " Unequalled in beauty of TIMOTHEE ADAMOWSKI tone, singing capacity, and perfection of mechanism." { "Pre-eminently sympathetic to WALLACE GOODRICH J the player in both touch and ( tone." " j Unequalled in Europe or WILLY HESS \ America." { "I believe the Mason & Ham- RUDOLPH GANZ ^ lin piano matchless, an artis- / tic ideal." MASON & HAMLIN CO. 492-494 Boylston Street Opposite Institute of Technology 1210 Boston Symphony Orchestra PERSONNEL TWENTY-SIXTH SEASON, 1906-1907 Dr. KARL MUCK, Conductor Willy Hess, ConcertmeisUr, and the Members of the Orchestra in alphabetical order. Adamowski, J. Hampe, C. Adamowski, T. Akeroyd, J. Bak, A. Bareither, G. Barleben, C. Barth, C. Berger, H. Bower, H. Brenton, H. Brooke, A. Burkhardt, H. Butler, H. Currier, F. Debuchy, A. Dworak, J. Eichheim, H. Eichler, J. Elkind, S. Ferir, E. Fiedler, B. Fiedler, E. Fiumara, P. Fox, P. Fritzsche, O. Gerhardt, G. Gietzen, A. Goldstein, S. Grisez, G. Hackebarth, A. Hadley, A. Hain, F. Established Established 1823 1823 art) ttiktrin jg[ PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever Retail Ware7^oo77is^ 791 Tremont Street 1212 TWENTY- SIXTH SEASON, NINETEEN HUNDRED SIX AND SEVEN Sixteenth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH J, at 2.30. SATURDAY EVENING, MARCH 2, at 8 o'clock. PROGRAMME, Debussy .... " The Sea," Three Orchestral Sketches First time here I. From Dawn till Noon on the Ocean. II. Frolics of Waves. III. Dialogue of the Wind and the Sea. Alexander Ritter .... " Olaf's Wedding Dance," Op. 22 First time here Liszt 2 " " .... Episode No. from Lenau's Faust : Scene in the Tavern (Mephisto Waltz) Berlioz " ..... Overture, The Roman Carnival," Op. 9 There will be an intermission of ten minutes after the Debussy selection. The doors of the hall will be closed during the performance of each number on the profframme. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers. City of BestoB, Revised Re|{ulation of Auiiust 5. 1898.— Chapter 3. relating to tk« coverinii of the head in places of public Bmusement. Every licensee shall not, in his place of amusenient, allow any person to wear upon the head a corering which obstructs the view of the exhibition or performance in such place of *ny person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, wliich does not obstroct sw:h view, may be worn. Attest: J. M. GALVIN, City Clerk. 121.3 L P. Hollander & Co. NEW 5ILKS NEW WOOLLENS NEW WASH FABRICS We are showing our Spring; Importations of Dress Materials. All exclusive and in short lengths, and most of the goods being at very Moderate Prices 202 to 216 Boylston Street and Park Square VHOLESALC JpATTERSON AKD RETAIL [Company LAMPS With Leaded Glass Shades Many Styles or Decoration riENRl n , COLONIAL , LOUIS M, Louis XV , Renaissance. Practical as Lights Ornamental 52 Summer Street Boston 1214 ""The Sea" (Three Orchestral Sketches): I. From Dawn till Noon on the Ocean; II. Frolics of Waves; III. Dialogue of the Wind and the Sea Claude Debussy (Born at Saint-Germaine (Seine and Oise), France, August 22, 1862; now living at Paris.) These orchestral pieces ("La Mer: I. De I'aube a midi sur la mer; II. Jeux de vagues; III. Dialogue du vent et de la mer,—trois esquisses symphoniques") were performed for the first time at a Lamoureux concert in Paris, October 15, 1905. The concert, the first of the season of 1905-1906, was also the twenty-fifth anniversary of the establishment of the Concerts Lamoureux. Mr. Camille Che- villard conducted. The sketches, dedicated to Jacques Durand, were published at Paris in 1905. "From Dawn till Noon on the Ocean" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, three bassoons, four horns, three trumpets, three trombones, one bass tuba, a set of three kettledrums, cymbals, tam-tam, two harps, and strings. "Frolics of Waters" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, three bassoons, four horns, three trumpets, cymbals, triangle, a glockenspiel (or Celesta), two harps, and strings. "Dialogue of the Wind and the Sea" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, three bassoons, one double-bassoon, four horns, three trumpets, two cornets-a-pistons, three trombones, one bass tuba, a set of three kettledrums, bass drum, cymbals, tam-tam, glockenspiel, two harps, and strings. * * * These sketches are impressionistic. 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As Mr. Jean d'Udine said of these very compositions: "When art is concerned, grammatical analyses belong to the kingdom of technical study; they have a didactic character and interest only professionals. The public demands logical analyses from the critics. But how can any one analyze logically creations which come from a dream, if not from a nightmare, and seem the fairy materialization of vague, acute sensations, which, experienced in feverish half-sleep, cannot be disentangled? By a miracle, as strange as it is seductive, Mr. Debussy possesses the dangerous privilege of being able to seize the most fantastical sports of light and of fluid whirlwinds. He is cater-cousin to the sorcerer, the prestidigitateur, and his art rests almost wholly on the association of musical ideas whose relations are clearly perceived only in a state of semi-consciousness, with the con- dition of not thinking about them. It is an exclusively sensual art, wholly like that of Berlioz, situated almost outside of time, floating in space with the disturbing absence of rhythm shown by the careless, intoxicated butterfly, an art that is astonishingly French, pictorial and literary to that degree of disembodiment where sound is only a cabalistic sign." Whether you dispute or agree to this characterization of Debussy's art, —the comparison of his art with that of Berlioz is at least surprising, if it be not inexplicable,—Mr. d'Udine's statement that these sketches do not submit to analysis is unanswerable. To speak of fixed tonalities would be absurd, for there is incessant modulation. To describe Debussy's themes without the aid of illustrations in notation would be futile. To speak of form and development would be to offer a stumbling-block to those who can see nothing in the saying of Plotinus, as Englished by Thomas Taylor: "It is on this account that fire sur- passes other bodies in beauty, because, compared with the other ele- W. H. NEIDLINGER SALOME ^EW SO/NGS RICHARD STRAUSS When the Daylight goes. A Lullaby ;?o.5o Promise . .50 Vocal Score .... $7.00 The Banks o' Uoon .... .50 Libretto 25 My True Love's Eyes . • .50 Analysis and Quide, by Law- Arcadie . 60 rence Oilman . i.oo Two keys each. Arthur P. Schmidt CHARLES W. HOMEYER & CO. 120 BOYLSTON STREET (Walker Building) 165 Trenaont Street BOSTON Boston, Mass. 1217 — ; ments, it obtains the order of form; for it is more eminent than the rest, and is the most subtle of all, bordering as it were on an incorporeal nature." The question for the hearer to determine is whether Debussy and the ocean are on confidential terms. Henley wrote: "The ocean as confidant, a Laertes that can neither avoid his Hamlets nor bid them hold their peace, is a modern invention. Byron and Shelley discovered it ; Heine took it into his confidence, and told it the story of his loves ; Wordsworth made it a moral influence ; Browning loved it in his way, but his way was not often the poet's; to Matthew Arnold it was the voice of destiny, and its message was a message of despair; Hugo conferred with it as with an humble friend, and uttered such lofty things over it as are rarely heard upon the lips of man.