New England Conservatory of Music - Neume Yearbook (Boston, MA)

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Oloncprta bg tljr (Ennapmatnrg (i rrl|pstra MR. G. W. CHADWICK, Conductor 19 17-1918 November 1 6. 191 7 Beethoven .... Allegretto from the Symphony in A major In Memoriam Mrs. R. D. Evans Clucl( Overture to Iphigenie in Aulis Mozart Concerto in E flat major for Two Pianofortes and Orchestra Dr. Jeffrey and Mr. Mason of the Faculty Bach Suite in D major Beethoven .... Symphony No. 4 in B flat major November 27, 1917 A Concert by Advanced Students, accompanied by the Conservatory Orchestra December 14, 1917 A Concert by the Conservatory Choral Club and the Conservatory Orchestra February 8, 1918 Cherubini .... Overture to The Water-Carrier Arthur Shepherd . . Fantaisie Humoresque for Pianoforte and Orchestra (First performance.) (Conducted by the com- • poser. ) Soloist, Mr. Pattison of the Faculty Gabriel Faure . . . Suite from the Incidental Music to Pelleas el Melisandc Schumann .... Symphony No. 1 in B flat major March 5, 1918 A Concert by Advanced Students, accompanied by the Conservatory Orchestra (Conducted by Mr. Wallace Goodrich)

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;icl candidates for the vacancies in each department. Three rehearsals a week are held, one of which is for wind instruments alone under the direction of Mr. Lenan. Students of the Conservatory are encouraged to attend rehearsals, one of which is largely devoted to accompaniments. The teachers of the wind instruments attend the rehearsals and help the students over peculiar difficulties in their parts. In this way the student gains the practical experience and necessary routine as a member of a symphony or opera orchestra. Of course the student membership necessarily changes from year to year, but most of the players acquire an experience of three or four years before they leave the Conservatory. The repertoire of the orchestra was at first confined chiefly to the works of the classic period, but gradually as the orchestra grew in efficiency more modern works were studied and eventually a number of works of this character were performed by the orchestra for the first time in Boston. The Library of the orchestra now contains more than one thousand sets of parts, in- cluding many choral works and some operas. The scores are, for the most part, kept in the main Library of the Conservatory, where they may be studied when not in use by the orchestra. The Library has been materially augmented by gifts of parts by the Harvard Musical Association and the Philharmonic Society, and by individuals, and it is being continually enlarged. This orchestra reaches the artistic life of the school at every point. In the first place, members of the orchestra gain here a routine and experience which fit them for positions in the best symphony and opera orchestras of this country and such positions are now being filled by our students in the Boston Symphony and other Symphony Orchestras of the country. Secondly, every student who can sing or play, conduct or compose, may use the orchestra as his laboratory, provided such use is warranted by his ability. Students who learn score reading and playing are given every opportunity actually to conduct the orchestra and are coached by the Director at the rehearsals. Students of composition may have their work rehearsed and performed if of sufficient merit. The privileges are also extended to the students of Harvard University who are taking the courses in music and special rehearsals are held from time to time for the purpose of illustrating the Harvard Course in Appreciation of Music. The Instrumentation Class has its studies demonstrated by the orchestra, where the errors are made evident to the ear as well as to the eye. A successful public performance as soloist with the orchestra before an audience of genuine music-lovers gives a young student such confidence that future engagements of the same kind (no matter how important) need have no terrors for him. At the orchestra rehearsals on Tuesday afternoons, to which all students are welcome, they not only have the opportunity of listening to many of the finest orchestral masterpieces, but are given a continual example of how the artistic details of a composition should be studied out and of the infinite pains indispensable to the perfection of technique and expression. During the past fifteen years upwards of one hundred twenty-five concerts have been given, including choral works and operatic performances. Some of these concerts have been conducted by students of the conducting class, and in the season of 1 905- 1 906, during the absence of the Director in Europe, the orchestra was in charge of Mr. Wallace Goodrich. Mr. Arthur Shepherd and Mr. Clement Lenan ' have also conducted. With these exceptions, all of the concerts have been conducted by Mr. Chadwick.

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] ew En land Cons ory o-f ] lu s April 12, 1918 Edlvard BuTlingame Hill (Conducted by Mr. Wallace Goodrich) Stevensoniana. Four pieces for Orchestra after poems by Robert Louis Stevenson. (First time in Boston.) Saini-Saens .... Concerto No. 3 in B minor, for Violin and Orchestra Soloist, Mr. Paul T. White (Class of 1918) Chadii ic}( .... Symphony No. 3, in F major May 10, 1918 Beethoven .... Overture to Egmont Lully Aria from Amadis Haydn Aria from The Seasons Mr. Bennett of the Faculty Volffmann .... Serenade in F major for String Orchestra Mozart Symphony in C major (Jupiter)