CARNEGIE HALL, NEW YORK. Boston Symphony Orchestra Mr. WILHELM GERICKE, Conductor. | Nineteenth Season in New. York. PROGRAMMES OF THE FOURTH CONCERT THURSDAY EVENING, FEBRUARY 16, AT 8.(5 PRECISELY, AND THE FOURTH MATINEE SATURDAY AFTERNOON, FEBRUARY J8, AT 2.30 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. l ytanos CONCERNING THE "QUARTER {%) GRAND" l^lts Tone Quality is superior to that of an Upright. <RIt occupies practically no more space than an Upright. <QJt costs no more than the large Upright. H[Xt weighs less than the larger Uprights. Q It is a more artistic piece of furniture than an Upright. ^ It has all the desir- able qualities of the .larger Grand Pianos. 41 It can be moved through stairways and spaces smaller than will admit even the small Uprights. CATALOGUE UPON REQUEST CHICKERING & SONS Established 1833 791 Tremont St., REPRESENTED IN NEW YORK BY JOHN WANAMAKER : DOStOll , CARNEGIE HALL, newyork. Symphony* K A A Twenty-fourth Season, J904-J905. Orchestra Nineteenth Season in New York. Mr. WILHELM GERICKE, Conductor. FOURTH CONCERT, THURSDAY EVENING, FEBRUARY 16 AT 8.15 PRECISELY. PROGRAMME. Cdsar Franck ...... Symphony in D minor I. Lento. II. Allegretto. III. Finale : Allegro non troppo. Bruch .... Serenade for Violin and Orchestra. First time I. Andante con mo to. II. Allegro mpderato alia marcia. III. Notturno : Andante sostenuto. IV. Allegro energico e vivace. Richard Strauss . " Don Juan," a Tone-poem (after Nicolaus Lenau), Op. 20 Goldmark .... Overture, " In Italy," Op. 49. First time SOLOIST Miss MARIE NICHOLS. There will be an intermission of ten minutes after the serenade. 3 The since Beethoven By FELIX WEINGARTNER A treatise on the highest form of musical art by one of the world's foremost orchestral conductors. The opinions here recorded are of in- trinsic value, fearless in conviction and pithy in expression, by a critic who is at once scholarly, unbiassed in his judgments, and unconventional. It is a book not only for music students, but for all who listen to orchestral music, inspiring as it does a keener and more discriminating appreciation of the works of the masters who have wrought in this form. It is seldom so much sane criticism is condensed into so few pages. It is a masterly review of the symphony.— Philadelphia Inquirer. His book is a small one, but it is pithy, and may be accepted as the summary of the beliefs of a man who has passed his years of maturity in close scrutiny of the scores of the masters.— New York Sun. The translation has been sympathetically done. Weingartner says that no reader of this edition will suffer from the false impression which was read into his first edition, — that he considers further development of the symphony impossible. The book gives a concise and interesting comment on the composers.— Boston Journal. Musicians and students should read this little book carefully and thoughtfully. It is a veritable oasis in the midst of the multitude of technical books pouring from the press.— Carl G. Schmidt. In this book Weingartner has done something to clear the musical atmosphere, though some will not like the way their favorites have been treated, however just that treatment may be. The great musicians since Beethoven pass in review, and the reader will gladly acknowledge his obligations for such expert help in learning to know them better. — Lutheran Observer. The book is of convenient size, neatly bound, and printed in large, clear type. An excellent portrait of the author serves as a frontispiece. Price, $1.00. OLIVER DITSON COMPANY, Boston C. H.JDITSON & CO., New York J. E. DITSON & CO., Philadelphia ORDER OF YOUR HOME DEALER OR THE ABOVE HOUSES , Symphony in D minor for Orchestra .... Cesar Franck (Born at Liege, Belgium, on December 10, 1822 ; died at Paris on November 8, 1890.) This symphony was produced at the Conservatory, Paris, February 17, 1889.* It was composed in 1888. It was performed for the first time in Boston at a Symphony Concert on April 15, 1899, and it was also played on December 23 of that year. ^ The symphony, dedicated to Henri Duparc, is scored for two flutes, two oboes, one English horn, two clarinets, one bass clarinet, two bassoons, four horns, two trumpets, two cornets-a-pistons, three trom- bones, one bass tuba, a set of three kettledrums, harp, and strings. The following analysis is based, in a measure, on a synopsis prepared by Cesar Franck for the first performance at the Paris Conservatory concert. Lento, D minor (4-4). There is first a slow and sombre introduction, which begins with the characteristic figure, the thesis of the first theme of the movement ('cellos and basses). This phrase is developed for some thirty measures, and leads into the Allegro, or first movement proper. Allegro non troppo, D minor, 2-2. The theme is given out by all the strings and developed with a new antithesis. Mr. Apthorp " remarks in his analysis of this symphony : It is noticeable that, when- ever this theme comes in slow tempo, it has a different antithesis from when it comes in rapid tempo. The characteristic figure (thesis) re- minds one a little, especially by its rhythm and general rise and fall, of the 'Muss es sein?' (Must it be?) theme in Beethoven's last quartet in F major." There is a short development, and the opening slow pas- sage returns, now in F minor, which leads to a resumption of the Alle- gro non troppo, now also in F minor. This leads to the appearance of the second theme, molto cantabile, F major, for the strings, which in turn is followed by a third theme of a highly energetic nature, which is much used in the ensuing development, and also reappears in the Finale. The free fantasia is long and elaborate. Then there is][a return of the theme of the introduction, which is now given out for- * Franck wrote a symphony for orchestra and chorus, " Psychd," text by Sicard and Fourcaud, which was composed in 1887 and produced at a concert of the National Society, March 10, 1888. The Imperial Edition of Song Albums The finest collections of Songs now offered to the musical world. Golden Treasury of Song Tschaikowsky Album of Porty=four Songs Soprano Album Tenor Album Contralto Album Baritone Album EACH $1.50 To be had of all Dealers or BOOSEY & COMPANY, 9 East 17th Street, NEW YORK THE NEW ENGLAND ONSERVATORY OF MUSIC G. W. CHADWICK, Director TUDENTS ARE RECEIVED AT ANY TIME during the school year for special work in any department or for full graduating courses. Lessons are given in private or in small classes, ac- cording to the wish or needs of the pupil. IJ The faculty consists of the foremost artists and educators of the present day. q The departments of OPERA and OR= CHESTRA furnish abundant opportunity for the public performance of advanced students. The frequent Conservatory con- certs, recitals, lectures, which are free to all students, alone provide a liberal education. €| The year book will be sent on application. For further particulars apply to RALPH L. FLANDERS, Manager, Huntington Avenue and Gainsborough Street, Boston, Mass. tissimo and in canonic imitation between the bass (trombones, tuba, and basses) and a middle voice (trumpets and cornets) against full harmony in the rest of the orchestra. The theme of the Allegro non troppo is resumed, and leads to the end of the first movement. II. Allegretto, B-flat minor, 3-4. The movement begins with pizzi- cato chords for the string orchestra and harp. The theme, of a gentle and melancholy character, is sung by the English horn. The first period is completed by clarinet, horn, and flute. The violins then an- nounce a second theme, dolce cantabile, in B-flat major. The English horn and other wind instruments take up fragments of the first motive, in B-flat minor. Now comes a new part, which the composer himself characterizes as a scherzo . The theme, of lively nature, but pianissimo, is given to the first violins. Clarinets intone a theme against the rest- less figuration of the violins, and this is developed with various modu- lations until the opening theme returns, first in G minor, then in C minor. Then the whole opening section, announced by the English horn, is combined with the chief theme of the scherzo, given to the violins. III. Finale: Allegro non troppo, 2-2. After a few energetic in- troductory measures the chief theme appears, dolce cantabile, in 'cellos and bassoons. After the first period of nearly sixty measures, a phrase in B major, announced by the brass, is answered by the strings. A more sombre motive follows in 'cellos and basses. The opening theme of the second movement now reappears (English horn), accompanied by a figure in triplets. The composer gives this description of the remainder of the movement : Development of the themes of the Finale. A marked retard in the tempo. A fragment of the opening theme of the second movement alternates with fragments of the sombre third theme of the Finale. Resumption of the original tempo, with a great crescendo, which ends in a climax, —the restatement of the opening D major theme with all possible sonority. The chief theme of the second movement returns, also with great sonority. The volume of tone subsides, and the third theme of the first movement reappears. This leads to a coda, constructed from the chief themes of the first movement in conjunction with the opening theme of the Finale. * * * A statue to Cesar Franck, the work of Alfred Lenoir, erected in.