// PRdGRHftME warn Highest enjoyment of outdoor life comes from bicycling. Everybody will tell you that. If you ride you already know it. Highest enjoyment of bicycling comes only to those who are fortunate enough to possess GOLUflWA BICYCLES 9 The finest riding school Everybody will tell in the city, with skillful you that Columbias instructors and approved methods. give unfailing pleas- Special hours for Ladies. ure and satisfaction. If you ride a Colum- Pope Mfg. Co. bia you already 221 Columbus Ave. know it. Boston. Factories and General Offices, Hartford, Conn. Boston „ „ ^ Music Hall, Boston Symphony | FIFTEENTH SEASON, Orchestra 1895-96. EMIL PAUR, Conductor. PROGRAMME OF THE ELEVENTH REHEARSAL AND CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Friday Afternoon, January 10, At 2.30 o'clock. Saturday Evening, January 1 1, At 8 o'clock. PUBLISHED BY C. A. ELLIS, MANAGER. 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PROGRAMME. Peter Ilyitch Tschaikowsky Symphony No. 6, in B minor, " Pathetique," Op. 74 (Second Time.) 4-4 I. Adagio (B minor) ______ Allegro non troppo (B minor) - 4-4 II. Allegro con grazia (D major) - 5-4 III. Allegro molto vivace (G major) - - 4-4 (12-8) IV. Finale : Adagio lamentoso (B minor) - - 3-4 Max Bruch - - Fantasia on Scotch Folk-melodies, for Violin, Op. 46 I. Introduction : Grave (E-flat minor) - 4-4 Adagio cantabile (E-flat major) ___-.'_- 3-4 II. Scherzo : Allegro (G major) 3-2 III. Andante sostenuto (A -flat major) - 4-4 IV. Finale : Allegro guerriero (E-flat major) - - 4-4 Margaret Rnthven Lang - Concert Aria, " Armida," Op. 24 (MS.) (First Time.) Hector Berlioz - Overture to "The Corsair," Op. 21 (First Time.) SOLOISTS: Miss GERTRUDE FRANKLIN and Mr. T. ADAMOWSKI. (371) L P. Hollander & Co. CONTINUANCE OF OUR . Great Annual Bargain Sale. 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(372) " Symphony No. 6, in B minor, Pathetique," Op. 74, Peter Ilyitch Tschaikowsky. This symphony was published and performed very shortly before his death. It is supposed that he meant the last movement, Adagio lamentoso, to be his own Requiem. The first movement opens with a brief introduction, Adagio in B minor (4-4 time), based upon a slow version of a figure taken from the first theme of the ensuing Allegro. This is given out in the lower register of the bas- soon, against dark, sombre harmonies in the violas, 'celli, and double- basses. The main body of the movement, Allegro non troppo in B minor (4-4 time), opens with the exposition of the strenuous, sighing first theme in four-part harmony, at first in the divided violas and 'celli, then in the flutes and clarinets. This theme is then concisely developed by the strings, and followed by a first subsidiary, first given out pianissimo by the strings, and then developed in double counterpoint by them and the wood-wind. Here we have a good example of Tschaikowsky's love for sharp contrasts : at first the contrast is one of color, between the warm brown, so to speak, of the violas and 'celli, and the brighter tints of the flutes and clarinets, in the exposition of the first theme ; then comes the contrast in rhythmic and melodic character, between the lightly skipping upper and middle voices, and the smoothly flowing bass of the subsidiary — a contrast which well fits this latter for being developed in double counterpoint. The Con- trapuntal development of the subsidiary is followed by a long crescendo climax of passage-work for fuller and fuller orchestra on figures from the first theme, during which a new phrase of the horns assumes greater and greater prominence. When this long climax, which has almost the char- acter of actual working-out, has reached its apex, a decrescendo sets in, with solemn harmonies in the trombones and tuba, over a restless, nervous bass in the 'celli ; a cantabile phrase in the latter now leads over to the second ATonk FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Horsford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion ; and, where the system has become debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. Cornell Easten, Philadelphia, Pa., says, " I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility and exhaustion." Descriptive pamphlet free. Rumford Chemical "Works, Providence, R.I. Beware of Substitutes and Imitations. (373) Special Sale of Model Garments, A FEW GOWNS, JACKETS, CAPES, AND RIDING HABITS AT HALF COST TO CLOSE AT ONCE. 256 Boylston Street, Boston. OYSTERS AND SALADS WEBER'S A SPECIALTY 25 Temple PL and 33 West St. GENUINE VIENNA ICES. JACOB THOMA, Notman Photo Co. VIOLIN MAKER, 3 a (Awarded a Prize Medal at the Vienna STUDIOS, B0ST0H - Exposition.) J 4g0 Bo»ton'St.,l Old Violins, Violas, 'Cellos, All the Newest Styles of Artist Italian Strings, Silver PHOTOGRAPHS: G's, Artist Bows, Paris Rosin, Violin Cases of all kinds, etc. MEZZO-TINTS, Antonius and Hieronymus Amati, IVORY FINISH, Etc. Anno 1625; PRICE, $1,000. Flash-light Pictures made at Residences. ARTISTIC REPAIRS A SPECIALTY. BOWS REHAIRED. WEDDING PARTIES. Music Hall Building, Room - - BOSTON. FANCY DRESS PARTIES. 7, DINNER PARTIES. Repairer for the Boston Symphony Orchestra. (374) theme almost exactly in the way we find in some of Weber's overtures. The tempo now changes to Andante ; the key is D major (relative major of the tonic). The muted first violins and 'celli sing the cantilena of the sec- ond theme " teneramente, motto cantabile, con espansione " in octaves, against gently swelled and diminished harmonies in the lower wood-wind and horns. The second subsidiary, Moderato mosso in D major, follows hard upon it, a gracefully rising and falling phrase given out alternately by the flute and the bassoon, over a string accompaniment in a strongly marked rhythm. The development of this second subsidiary is very extended, and leads at last to a strong return of the second theme, sung in double octaves by the violins and violas, now unmuted, against a homophonic accompani- ment in repeated triplets (so-called " Gounod triplets ") in the other strings, wood-wind, and horns. This melody is now further developed than at first, an augmentation of one of the figures from the first theme assuming more and more importance as a counter-theme, and at last almost the character of a conclusion-theme. Recitative-like repetitions of parts of the second theme by the clarinet, over soft chords in the strings and a subdued roll in the kettle-drums, bring the first part of the movement to a close. So far, the general principles of the sonata-form have been well adhered to, although the development has been somewhat excessive and over-elabo- rate for the first part of a symphonic movement. But, from this point on, nearly all traces of sonata-form are lost, and the rest of the movement might be called a long free fantasia ; in this respect the movement resem- bles the first in Schumann's D minor symphony, which also is wanting in a third part. To be sure, this movement of Tschaikowsky's is not wholly wanting in, at least rudimentary, indications of a third part : after the long and elaborate free fantasia proper, in which nearly all the thematic material of the movement is thoroughly worked out, the first theme does at last re- turn ; but by no means in its original shape, and not in the tonic. It comes back in B-flat minor in the violins, against syncopated triplets in the horns. New England Conservator]] of music POUNDED IN 1853 BY DR. BBBN TOURJBE. RICHARD H. DANA, President. CARL FAELTEN, Director. The Leading Conservatory of America. The Most Perfect in its The Most Complete in all EQUIPMENTS.