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UMS Concert Program, January 26, 1917: Boston Symphony Orchestra -- Dr. Karl Muck

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Season: 1916-1917
Hill Auditorium Ann Arbor

Friday Evening, January 26, 1917, at 8.00
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Aside from the delight the Baldwin Tone gives you there is the added pleasure of the associations that must cling to it.
There are the memories of exquisite Chopin recitals by de Pachmann; of songs in which, you heard the singing tone of the Baldwin blend with Sembrich's voice; of solos in which the pure melody of Elman's violin was sustained, strengthened by the Baldwin.
Because of many memories like these, musicians love the Baldwin just as you do the things in your home which are priceless becauseof their associations.
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Thirty-sixth Season, 1916-1917
Dr. KARL MUCK, Conductor
The ideal of the Steinway Piano is a beautiful voice. The work of the Steinway family is to. create a sensitive but permanent vehicle for its expression.
"The Steinway realization means the elevation and furtherance of the great art of music. Their field is the world and mankind is the beneficiary. Rarely have men had such inspiration and more rarely have they risen to the heights or possessed such unobscured and prophetic vision of the intellectual needs."
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Thirty-sixth Season, 1916-1917 Dr. KARL MUCK, Conductor
Witek, A.
Noack, S. Mahn, F. Tak, E.
Habenicht, W. Fiumara, P.
Gerardi, A. Kurth, R.
Roth, O. Hoffmann, J.
Ribarsch, A. Traupe ,W.
Fiedler, B. Spoor, S.J
Pinfield, C. Gunderson, R.
Rissland, K. Schmidt, E.
Goldstein, H. Earaniecki, A.
Berger, H. Siilzen, H.
Gewirtz, J. Rosen, S.
Theodore wicz, J. Bak, A.
Sauvlet, H. Griinberg, M.
Goldstein, S. Fiedler, A.
Ferir, E. Wittmann, F.
Van Wynbergen, C Elumenau, W.
Werner, H. Schwerley, P.
Gietzen, A. Berlin, W.
v.Veen, H. Kautzenbacb, W.
Wamke, H. Malkin, J.
Keller, J. Nagel, R..
Barth, C. Nast. L.
Belinski, M. Folgmann, E.
Steinke, B. Warnke, J.
Kunze, M. Gerhardt, G.
Agnesy, K. Jaeger, A.
Seydel, T. Huber, E.
Ludwig, O. Schurig, R.
Flutes. Maquarre, A. Brooke, A. de Mailly, C. Battles, A.
Oboes. Longy, G. Lenom, C. Stanislaus, H.
Clakinets. Sand, A. Mimart, P. Vannini, A.
Bassoons. Mosbach, J. Mueller, E. Piller, B.
English Horn. Mueller, F.
Bass Claeinet. Stumpf, K.
Contea-Bassoon. Fuhrmann, M.
Horns. Wendler, G. Lorbeer, H. Hain, F. Resch, A.
Horns. Jaenicke, B. Miersch, E. Hess, M. Hubner, E.
Trumpets. Heim, G. Mann, J. Nappi, G. Kloepfel, L.
Trombones. Alloo, M. Belgiomo, S. Mausebach, A. Kenfield, L.
Tdba. Mattersteig, P.
Harps. Holy, A. Cella, T.
Tympani. Neumann, S. Kandler, F.
Zahn, F. (
Burkhatdt, H.
Gardner, C.
Okgan. Marshall, J. P.
Librarian. Sauerquell, J.
Assistant Librarian. Rogers, L. J.
The tone of the Chickering is the voice of ripened experience and constant study in the production of perfect pianofortes. "It is the tone of nature," said de Pachmann, "it sings like a lovely voice"
play the interpretations of the world's foremost pianists--tone for tone, phrase for phrase--the exact duplication of the artists' own renditions from actual recordings.
Thirty-sixth Season, 1916-1917
Dr. KARL MUCK, Conductor
Schumann . . Symphony in E-fiat major, No. 3, "Rhenish," Op. 97
I. Lebhaft.
II. Sehr miissig.
III. Nicht schnell.
IV. Feicrlich. V. Lebhaft.
Brahms.....Academic Festival Overture, Op. 80
Bizet . . . Suite, "L'Arlesienne," No. 1. Music to Alphonse
Daudet's Play I. Prelude. II. Minuetto.
III. Adagietto.
IV. Carillon.
Wagner . . . . . . Overture to "Tannhauser"
There will be an intermission of ten minutes after the symphony
The length of this programme is one hour and forty-five minutes
Symphony in E-flat major, No. 3, "Rhenish," Op. 97.
Robert Schumann
(Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856.)
This symphony was sketched and orchestrated at Dusseldorf between November 2 and December 9, 1850. The autograph score bears these dates: "I. 23, 11, 18(50); II. 29, 11, 50; III. 1, 12, 50," and at the end of the symphony, "9 Dezbr., Dusseldorf." Clara Schumann wrote in her diary, November 16, 1850: "Robert is now at work on something, I do not know what, for he has said nothing to me about it." It was on December 9 that he surprised her with this symphony. Sir George Grove, for some reason or other, thought Schumann began to work on it before he left Dresden to accept the position of City Conductor at Dusseldorf; that Schumann wished to compose an important work for production at the lower Rhenish Festival.
The first performance of this symphony was in Geisler Hall, Dusseldorf, at the sixth concert of Der Allgemeine Musikverein, February 6, 1851. Schumann conducted from manuscript. The music was coldly received. Mme. Schumann wrote after the performance that "the creative power of Robert was again ever new in melody, harmony and form." She added: "I cannot say which one of the five movements is my favorite. The fourth is the one that at present is the least clear to me; it is most artistically made--that I hear-but I cannot follow it so well, while there is scarcely a measure in the other movements that remains unclear to me; and indeed to the
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layman is this symphony, especially in its second and third movements, easily intelligible."
The programme of the first performance gave these heads to the movements: "Allegro vivace.. Scherzo. Intermezzo. Im Charakter der Begleitung einer feierlichen Zeremonie (In the character of an accompaniment to a solemn ceremony). Finale."
The symphony was performed at Cologne, February 25, 1851, in Casino Hall, when Schumann conducted; at Diisseldorf, "repeated by request," March 13, 1851, Schumann conductor; at Leipsic, December 8, 1851, in the Gewandhaus, for the benefit of the orchestra's pension fund, Julius Rietz conductor.
The first performance in England was at a concert given by Luigi Arditi in London, December 4, 1865.
The first performance in Boston was at a concert of the Harvard Musical Association, February 4, 1869.
The Philharmonic Society of New York produced the symphony, February 2, 1861. ¦ The symphony was published in October, 1851.
Schumann wrote (March 19, 1851) to the publisher, Simrock, at Bonn: "I should have been glad to see a greater work published here on the Rhine, and I mean this symphony, which perhaps mirrors here and there something of Rhenish life." It is known that the solemn fourth movement was inspired by the recollection of the ceremony at Cologne Cathedral at the installation of the Archbishop of Geissel as Cardinal, at which Schumann was present. Wasielewski quotes the composer as saying that his intention was to portray in the symphony as a whole the joyful folk-life along the Rhine, "and I think," said Schumann, "I have succeeded." Yet he refrained from writing even explanatory mottoes for the movements. The fourth movement originally bore the inscription, "In the character of the accompaniment of a solemn ceremony"; but Schumann struck this out, and said: "One should not show his heart to people; for a general impression of an art work is more effective; the hearers then, at least, do not institute any absurd comparison." The symphony was very dear to him. He wrote (July 1, 1851) to Carl Reinecke, who made a four-handed arrangement at Schumann's wish and to his satisfaction: "It is always important that a work which cost so much time and labor should be reproduced in the best possible manner."
The first movement, Lebhaft (lively, animated), E-flat major, 3-4,
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begins immediately with a strong theme, announced by full orchestra. The basses take the theme, and violins play a contrasting theme, which is of importance in the development. The complete statement is repeated; and the second theme, which is.of an elegiac nature, is introduced by oboe and clarinet, and answered by violins and wood-wind. The key is G minor, with a subsequent modulation to B-flat. The fresh rhythm of the first theme returns. The second portion of the movement begins with the second theme in the basses, and the two chief themes are developed with more impartiality than in the first section, where Schumann is loath to lose sight of the first and more heroic motive. After he introduces toward the end of the development the first theme in the prevailing tonality, so that the hearer anticipates the beginning of the reprise, he makes unexpected modulations, and finally the horns break out with the first theme in augmentation in E-flat major. Impressive passages in syncopation follow, and trumpets answer, until in an ascending chromatic climax the orchestra with full force rushes to the first theme. There is a short coda.
The second movement is a scherzo in C major, Sehr massig (very moderately), in 3-4. Mr. Apthorp found the theme to be "a modified version of the so-called ' Rheinweinlied,'" and this theme of "a rather ponderous joviality" well expresses "the drinkers' 'Uns ist ganz cannibalisch wohl, als wie fiinf hundert Sauen!' (As 'twere five hundred hogs, we feel so cannibalic jolly!) in the scene in Auerbach's cellar in Goethe's 'Faust.'" This theme is given out by the 'cellos, and is followed by a livelier contrapuntal counter-theme, which is developed elaborately. In the trio horns and other wind instruments sing a cantilena in A minor over a long organ-point on C. There is a pompous repetition of the first and jovial theme in A major; and then the other two themes are used in combination in their original form. Horns are answered by strings and wood-wind, but the ending is quiet.
The third movement, Nicht schnell (not fast), in A-flat major, 4-4, is really the slow movement of the symphony, the first theme, clarinets and bassoons over a viola accompaniment, reminding some of Mendelssohn; others of "Tu che a Dio spiegasti 1' ali," in "Lucia di Lammermoor." The second theme is a tender melody, not unlike a refrain heard now and then. On these themes the rom'anza is constructed.
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The fourth movement, Feierlich, E-flat minor, 4-4, is often described as the "Cathedral scene." Three trombones are added. The chief motive is a short figure rather than a theme, which is announced by trombones and horns. This appears augmented, diminished, and afterward in 3-2 and 4-2. There is a departure for a short time to B major, but the tonality of E-nat minor prevails to the end.
Finale: Lebhaft, E-flat major, 2-2. This movement is said to portray a Rhenish festival. The themes are of a gay character. Toward the end the themes of the "Cathedral scene" are introduced, followed by a brilliant stretto. The finale is lively and energetic. The music is, as a rule, the free development of thematic material of the same unvaried character.
The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two valve horns, two plain horns, two trumpets, three trombones, kettledrums, and strings.
Academic Festival Overture, Op. 80.....Johannes Brahms
(Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.)
Brahms wrote two overtures in 1880,--the "Academic" and the "Tragic." They come between the Symphony in D major and that in F major in the list of his orchestral works. The "Tragic" overture bears the later opus number, but it was written before the " Academic," --as Reimann says, "The satyr-play followed the tragedy." The "Academic" was first played at Breslau, January 4, 1881. The university of that town had given him the degree of Doctor of Philosophy (March 11, 1879), and tnis overture was the expression of his thanks. The Rector and Senate and members of the Philosophical Faculty sat in
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the front seats at the performance, and the composer conducted his work, which may be described as a skilfully made pot-pourri or fantasia on students' songs. Brahms was not a university man, but he had known with Joachim the joyous life of students at Gottingen,--at the university made famous by Canning's poem:-Whene'er with haggard eyes I view
This dungeon that I'm rotting in, I think of those companions true Who studied with me at the U--¦
--niversity of Gottingen-niversity of Gottingen;
the university satirized so bitterly by Heine.
Brahms wrote to Bernhard Scholz that the title "Academic" did not please him. Scholz suggested that it was "cursedly academic and boresome," and suggested " Viadrina," for that was the poetical name of the Breslau University. Brahms spoke flippantly of this overture in the fall of 1880 to Max Kalbeck. He described it as a "very jolly potpourri on students' songs a. la Suppe," and, when Kalbeck asked him ironically if he had used the "Fox-song," he answered contentedly, "Yes, indeed." Kalbeck was startled, and said he could not think of such academic homage to the "leathery Herr Rektor," whereupon Brahms duly replied, "That is also wholly unnecessary."
The first of the student songs to be introduced is Binzer's "Wir hatten gebauet ein stattliches Haus" : "We had built a stately house, and trusted in God therein through bad weather, storm, and horror." The first measures are given out by the trumpets with a peculiarly stately effect. The melody of "Der Landesvater" f is given to the second violins. And then for the first time is there any deliberate attempt to portray the jollity of university life. The " Fuchslied " J (Freshman song), "Was kommt dort von der Hoh'" is introduced
"Wir hatten gebauet." The verses of A. Binzer, to an old tune, were sung for the first time at Jena, November 19, 1810, on the occasion of the dissolution of the Burschenskajt, the German students' association founded in 1815 for patriotic purposes.
f "Der Landesvater" is a student song of the eighteenth century. It-was published about 1750. !¦ X "Yas kommt dort" is a student song as old as the beginning of the eighteenth century.
at fromO umder illO
You might go to Paris, or any of the great musical centers of Europe, to hear and study the great operas, but you won't find anywhere more practical actual voice demonstrations or a better opportunity to become intimately acquainted with the methods of the greatest living artists, than is afforded you by the
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suddenly by two bassoons accompanied by 'celli and violas pizzicati. There are hearers undoubtedly who remember the singing of this song in Longfellow's "Hyperion"; how the Freshman entered the Kneipe, and was asked with ironical courtesy concerning the health of the leathery Herr Papa who reads in Cicero. Similar impertinent questions were asked concerning the "Frau Mama" and the "Mamsell Sceur"; and then the struggle of the Freshman with the first pipe of tobacco was described in song. "Gaudeamus igitur," the melody that is familiar to students of all lands, serves as the finale.
The overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, double-bassoon, four horns, three trumpets, three trombones, bass tuba, a set of three kettledrums, bass drums, cymbals, triangle, strings.
Bernhard Scholz was called to Breslau in 1871 to conduct the Orchestra Society concerts of that city. For some time previous a friend and admirer of Brahms, he now produced the latter's orchestral works as they appeared, with a few exceptions. Breslau also became acquainted with Brahms's chamber music, and in 1874 and in 1876 the composer played his first pianoforte concerto there.
When the University of Breslau in 1880 offered Brahms the honorary degree of doctor, he composed, according to Miss Florence May, three "Academic" overtures, but the one that we know was the one chosen by Brahms for performance and preservation. The "Tragic" overture
There are many singular legends concerning the origin of " Gaudeamus igitur," but there seems to be no authentic appearance of the sonR, as it is now known, before the beginning of the eighteenth century, when the song was popular at Jena and Leipsic.
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This gifted singer shows her musical training by her preponderance of German songs in the collection she has brought together. The various numbers have been sought out with indefatigable zeal, largely from treasures of song buried or neglected in the works of great writers, and are therefore, in many ways, new to the average teacher or singer. Songs from other lands, such as Russia and Scandinavia, are also included. The book contains a biographical sketch, portraits, a striking portrait on the cameo plate paper cover, in the engraver's best art.
Miss Farrar's selection evidences a most eclectic and at the same time impeccable musical taste.--Musical_ Courier.
and the Second Symphony were also on the programme. "The newlymade Doctor of Philosophy was received with all the honor and enthusiasm befitting the occasion and his work." He gave a concert of chamber music at Breslau two days afterward, when he played Schumann's Fantasia, Op. 17, his two Rhapsodies, and the pianoforte part of his Horn Trio.
"In the Academic overture," says Miss May, "the sociable spirit reappears which had prompted the boy of fourteen to compose an ABC part-song for his seniors, the village schoolmasters in and around Winsen. Now the renowned master of forty-seven seeks to identify himself with the youthful spirits of the university with which he has become associated, by taking, for principal themes of his overture, student melodies loved by him from their association with the early Gottingen years of happy companionship with Joachim, with Grimm, with Meysenburg, and others."
Mr. Apthorp's analysis made for performances of this overture at Symphony Concerts in Boston is as follows: "It [the overture] begins, without slow introduction, with the strongly marked first theme, which is given out by the strings, bassoons, horns, and instruments of percussion, and developed at a considerable length, the development being interrupted at one point by a quieter episode in the strings. A first subsidiary in the dominant, G major, leads to an episode on Friedrich Silcher's 'Wir hatten gebauet ein stattliches Haus,' which is given out in C major by the brass instruments and wood-wind; the fine, stately effect of the high trumpets in this passage is peculiarly noteworthy. This episode is followed by some transitional passagework on a new theme in C major, leading to a reminiscence of the first theme. The second theme, which might be called a new and somewhat modified version of the first, now enters in C major, and is extendedly developed in the strings and wood-wind. A second subsidiary follows at first in E major, then in G major, and a very short conclusionpassage in triplets in the wood-wind brings the first part of the overture to a close.
"The long and elaborate free fantasia begins with an episode on the
Artist pupils in leading opera houses: Mme. Marguerite Sylva, Opera Comiquc, Paris and Chicago Grand Opera; Mile. Jeanette Allen. Grand Opera, Berlin; Mr. George Feodoroff, Solo Tenor. Grand Opera, Paris; Mr. Henry Miller. Basso, La Scala, Milan, and Constanza, Rome; Mr. Edmund Burke, Baritone, Covent Garden, London, and many others. Correspondence invited.
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