DOSiOll Music Hall, Boston. Symphony — | TH1RTE SEASON. Orchestra 189S94
EMIL PAUR, Conductor.
PROGRAMME
OF THE
Fifteenth Rehearsal and Concert
WITH HISTORICAL AND DESCRIPTIVE NOTES
BY WILLIAM F. APTHORP.
Friday Afternoon, February 16, At 2.30 o'clock.
Saturday Evening, February 17, At 8 o'clock.
PUBLISHED BY C. A. ELLIS, MANAGER.
(505) V
(506) Fifteenth Rehearsal and Concert
Friday Afternoon, February 16, at 2.30.
Saturday Evening, February 1 7, at 8.00,
PROGRAMME.
Johannes Brahms - Symphony No. 2, in D major, Op. 73
I. Allegro non troppo (D major) - 3-4 II. Adagio non troppo (B major) __•_- 4-4 III. Allegretto grazioso (Quasi Andantino) (G major) 3-4 IV. Allegro con spirito (D major) - 2-2
Max Bruch - Romanza for Violin with Orchestra, in A minor, Op. 42 (First Time.)
Camille Saint-Saens Concert Piece for Violin with Orchestra, in E minor, Op. 62 (First Time.)
Emil Hartmann "A Northern Campaign, " Overture to a Tragedy, in F minor, Op. 25 (First Time.)
Anton Rubinstein " Don Quixote," Musical Character-Picture (Humor- esque), Op. 87 (First Time.)
Soloist, Mr. C. M. LOEFFLER.
The programme for the next Public Rehearsal and Concert will be found on page 535.
(507.) :
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(509) Symphony No. 2, in D major, Op. 73 . . . . Johannes Brahms.
The first movement {Allegro non troppo, in DJimajor, 3-4 time) begins idyllically, the first theme being softly announced by the horns and wood- wind, the horns playing the first and third phrases, the wood-wind the second and fourth. The structure of this theme is regular enough, save that it does not come to any distinct closing cadence, but is enchained
with what follows; yet the harmony and the shifting tonality give it a
peculiarly vague, dreamy character. The first phrase, in the horns, is in
D major over a dominant organ-point in the bass, but closing on a chord
of the 6th instead of on the full triad of D ; the second phrase, in the
wood-wind, is also in D major over a tonic organ-point in the bass, but
closing on the chord of B minor ; the third phrase, again in the horns, is in
E minor over an organ-point on E; and the fourth phrase, in the wood-
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(510) over a dominant organ-point which does not rise to the tonic at the end, but remains on A. Some passage-work in the violins and some soft, mysterious harmonies in the trombones and tuba lead to the entrance of a more florid phrase, treated in imitation in the violins and flutes, which partakes of the nature both of a subsidiary theme and of a figural variation of the first. A short crescendo leads to the entrance of the true first sub- sidiary, a staccato phrase in the oboes and horns, beginning in F-sharp
minor, but continually modulating as it goes on. The cantabile second theme, a flowing melody in 3rds and 6ths, soon comes in in the violas and
'celli in F-sharp minor, and is developed at some length by the strings and
wood-wind, leading at last to a strong second subsidiary in a livelier
rhythm, in A major. This is followed by some cantabile passage-work, in
which the first and second violins in octaves imitate the 'celli and double-
basses, against a strongly marked syncopated rhythm in the violas, clari-
nets, and horns, which might be accepted as a conclusion-theme, were it
not that the real concluding period of this first part of the movement is
represented by a return of the second theme, first in the violas and second
violins against a florid counter-figure in triplets in the flute, then in the
flutes, oboes, and clarinets against the same flowing figure in the violins.
This first part of the movement is regularly repeated. With the exception
of the strong second subsidiary and the ensuing imitative passage-work,
this whole first part has been idyllic, almost pastoral, in character.
With the free fantasia, which is quite long and very elaborate, the music
soon assumes a more strenuous character, albeit idyllic moments are not
wanting. After a well worked-up climax a descending scale-passage in the
flute and clarinet, over sustained harmonies in the trombones and an
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• During last season the following members of the Faculty appeared as soloists in these concerts MiM Louise A. Leimer, Messrs. Heinrich Meyn, George M. Nowell, Carl Stasny, and Leo Schuli. (5H) organ-point on E in the 'celli and basses, leads to the beginning of the third part. The first theme now enters in D major in the oboes and horns, with the same harmony and shifting of key as at first, but now accompanied by a florid counter-theme, taken from the figural variation that immediately followed the announcement of the first theme in the first part of the move-
ment. Then comes the same passage-work as at first, now in , the wood- wind and somewhat extended, leading as before to mysterious harmonies in the horns, trombones, and tuba, after which the second theme appears in B minor in the violas and 'celli, but now accompanied by a new counter- figure in 3rds, played alternately by the violins and the flutes and clarinets.
This second theme is followed, much as before, by the second subsidiary and the ensuing imitative passage-work, after which it returns once more with its florid counter-figure in triplets, and brings the third part of the movement to a close almost exactly like that of the first part. Except that the first subsidiary does not make its reappearance, this third part is a quite regular reproduction of the first, due allowance being made for occa- sionally more extended treatment.
There is a longish coda, in which the hitherto neglected first subsidiary appears once more, and is developed at considerably greater length than in the first part of the movement.
The second movement {Adagio non troppo, in B major, 4-4 time) opens thoughtfully, expressively, and solemnly with a phrase in the 'celli, accom- panied by solemn harmonies in the wind instruments, the melody at last
passing into the violins. Some serious contrapuntal passage-work on a
subsidiary figure leads to a well- contrasted second theme in 12-8 time
(T Istesso tempo, ma grazioso), which enters in F-sharp minor in the wood-
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one of the profoundest and most deeply thoughtful in all Brahms. There
are even moments in it when, to use Schumann's expression, "das Gruben-
licht ausgeht" (the miner's lamp goes out), and the listener is left, as it
were, in well-nigh total darkness.
The third movement {Allegretto grazioso, quasi Andantino, in G major, 3-4 time) corresponds in a measure to the traditional scherzo,— in character,
if not in form. It consists of the development of a graceful Landler theme
(for the most part by the wood-wind, over a pizzicato accompaniment in the
'celli), interrupted by more lively episodic interludes, — the first Presto, ma non assai, in 2-4 time, the second also Presto, ma non assai, in 3-8 time.
The fourth movement is a brilliant rondo on four themes, in some of
which the Hungaiian character is very marked. It is exceedingly elabo-
rately worked out, and carried through with great brilliancy and dash.
The symphony is scored for the usual modern grand orchestra, with trom-
bones and bass-tuba, but without harp, piccolo, or other less common instruments. The score bears no dedication. DAMASKS
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(613) Max Bruch was born in Cologne on January 6, 1838, and is still living.
His father was a government official, and his mother a brilliant singer.
His mother took the greatest pains in directing his musical education. He
studied harmony and counterpoint under Breidenstein at Bonn ; in 1852 he won the Mozart Scholarship at Frankfurt-am-Main, and continued his studies under Ferdinand Hiller, Ferdinand Breuning, and Carl Reinecke at Cologne. About this period he wrote his first opera, Loreley, to the same text which Mendelssohn partly set. About 1856 he went to Leipzig, visit- ing also Munich and other musical centres, then settling in Mannheim where he studied dramatic composition and wrote some of his best known works. In 1865 he was made musical director of the Conzert-Institution at Coblentz, and in 1867 Kapellmeister to the Prince of Schwartzburg-
Sondershausen. In 1870 he resigned this office to go to Berlin. Bruch
has written in almost every musical form ; but the one in which he has won the greatest fame and with which he is most identified to-day is the
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dramatic cantata. His Scenes from Frithjof's Saga, his Odysseus, Fair
Ellen, Arminius, and Lay of the Bell have been given and admired all over
the musical world, with the exception of France and Italy. As a sym-
phonic writer, he has won less general recognition ; but his violin con-
certos, notably the first, in G minor, rank among the best modern works
in their form.
ROMANZA FOR VlOLIN WITH ORCHESTRA, IN A MINOR, Op. 42. Max Bruch.
This composition, which is dedicated to Robert Heckmann, is in the
form of a slow movement on two themes, with an episodic subsidiary.
After some quiet introductory chords in the wind and strings {Andante
sostenuto, in A minor, 3-4 time) the first theme is announced and carried
through by the solo instrument, accompanied at first by the strings and
later by the strings and wind together. This theme is developed at con-
siderable length, and leads at last to a tutti passage in which the first sub-
sidiary appears in C major and is developed by the orchestra alone. The
second theme then makes its appearance in the solo violin, playing in
double-stopping, in F major, and is in its turn developed. Some florid
passage-work in the violin leads to a return of the first subsidiary in D
major,— first in the strings and later in the wood-wind and horns, — against
which the violin embroiders some florid, recitative-like figures. The first
theme at last returns in the tonic A minor in the solo instrument, over a
more elaborate orchestral accompaniment than before ; a brief hint at the
subsidiary in the full orchestra (in C major) then leads to a return of the
second theme, now in A major, in the solo violin. A short coda in
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Tickets on Sale at all Railroad Offices. Boston Office, 211 Washington Street. (516) which the subsidiary appears once more in the accompaniment brings the work to a close. (Georg Julius Robert Heckmann, to whom this Romanza of Bruch's is dedicated, was born in Mannheim on November 3, 1848. He was a violin pupil of Ferdinand David at the Leipzig Conservatorium in 1867-70. He was appointed Conzertmeister (leading first violin) of the Euterpe in Leip- zig, then travelled a little on concert tours, and has been since 1872 Con- zertmeister, solo violinist, and head of a noted string quartet in Cologne.
He is a prominent violinist. His wife, Marie Heckmann (born Hartwig), is a pianist of some reputation.)
Concert Piece for Violin with Orchestral Accompaniment, in A minor, Op. 62 Camille Saint-Saens.
This composition opens with a short, slow introduction (Largamente, in
E minor, 4-4 time) which is little more than a preparatory cadenza for the solo instrument. Its first phrase, however, is recognizable as belonging to
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(517) the theme of the ensuing movement {Allegro, in E minor, 2-2 time), which is worked up with some slight changes in tempo by the violin against a simple orchestral accompaniment, and ends in &forte tutti passage, leading to a more melodious second theme in the relative G major. This is given out by the solo violin, and developed by it, until the full orchestra takes it up in a strong tutti. The rest of the piece is taken up with the working-out of these two themes, the second returning after a while in E major, in which key the composition ends. The cadenza introduced at this concert at the close of
the solo part is by Mr. Loeffler himself ; the place for its introduction is marked in the score by the composer.
ENTR'ACTE.
Figaro Redivivus.
" And what 's more, if you don't want to believe me, Beppino over there
at the chess-table will back me up ! Per bacco s\ e vero / Beppino, Beppino," began the fat ex-tenor, Sior Angiolin, giving a significant wink to his col- league who was studying his antagonist's features with eager eyes.
" What 's up ? " asked Beppino in a huff. " A fellow can't even play a
game of chess through ! We 're in the Cafe Corso here, and not on the " Piazza S. Petronio ! Let me be ! " What an old. growling bear ! — well, it has nothing to do with the case, believe me, maestro — the thing happened just as I 've been telling you," he began again in the purest Tuscan, taking a pocket-brush from his waist- coat and smoothing down his time-rusted wig over his temples, — " I was a
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little cuss then, and used to run about on the boards as the son of the theatre watchman.
" I can remember the first performance of Rossini's Barber as if it had come off yesterday, — I can see it so vividly in my mind's eye. The h-11 of an evening !
"Tell about it, do!" said I to stir up Sior Angiolin, as he drew a long breath. " Why did that devil of a Rossini have to wear a nut-brown overcoat, so that the enraged Romans cried out ' orrore' at him in the street? — why did that thief of hearts have all the buxom patrician ladies on the string, so that he could only save himself by the skin of his teeth? — Yes, that " overbearing son of the muses was a rogue through and through !
" Well, what happened, after all, on that notorious first night ? " I asked eagerly. " Oh ! all sorts of little points that the maestro had not foreseen in the score, and which gave the Romans their wished-for chance to go for the hated maestro, who had dared to compose their great Paisiello's master- piece all over again, from beginning to end, and put a head on him."
" See here, my young friend," he went on' garrulously, laying his open hand upon my shoulder, " I played the cymbals in the orchestra at that time. Rossini sat at the clavicembalo, to accompany the recitatives, and the strings kept snapping like pistol-shots, just as if the devil himself had
been sitting inside the strumming-box ! When Figaro came on, the left side-scene fell over, — Count Almaviva's voice gave out after the first notes " of his serenade —
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(519) "Jettatura completa!" lisped Sior Angiolin, and began mechanically to feel of the big coral horn that hung on his watch-chain as a charm to keep off the Evil Eye,— " in the shaving scene there suddenly burst out a cry of fire, ' al fuoco, alfuocoj a big black tomcat took a leisurely constitutional across the stage during the singing-lessor^— in short — mio caro Sior Martino — an endless row, raging and screaming, made up the discordant finale of that incredible evening, that has remained notable in the annals " of the Roman stage !
" Rossini laughed as if he would burst," chipped in a little infirm old man from one of the tables near us, holding a huge cane in his trembling hands, ^ I remember it still quite well, I sat in the first row of the parquet, and was one of the few who applauded roundly."
" But I saw something more original in Parma, at the first performance of Bellini's opera, Zaira" Don Checco, the nonogenarian art-enthusiast, went on in his high, squeaking voice, with almost youthful energy — "Fiasco, fiasco, total fiasco! — but Bellini stationed himself at the door of
the theatre and screamed into all the people's faces that they were bestie da soma — mules — and didn't know anything about music! The Parma folks remembered that of him way up to Norma"
"There 's that crazy chap," Sior Angiolin began again, pointing to an
elderly gentleman, dressed with the most recherchee elegance, who was
walking up and down in front of the cafe in excited conversation with a " Bolognese theatre-agent,— that vain old fool ! Graffigna, Achille — he 's going to bring out his Barbiere di Siviglia this evening at the Teatro
Brunetti — and, as if the measure of his outrage were not full, the impu-
dent, ignorant beggar has the cheek to put the special notice on the bills : OLD VIOLINS CRAVENETTES AND TROPOLITAN MACKINTOSHES Violas, 'Cellos, Italian Strings, Fine Bows, Elegant nest Quality; Exclusive Styles & Textures Cases, etc. Barzoni New Violins, First-class Re- pairing and Bow Hairing.
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! ' Adapted to the present public taste ' — That arch-rogue, that note- squasher per bacco s' e vero — I '11 hiss this evening till I'm cherry-red in the face."
" Audiatur" said I to the heated Sior Angiolin.
"You get out, with your Intendantur and your Latin. When I was young we did n't learn either Greek or Latin — not even reading and writ- ing, and (clapping himself proudly upon the chest) were better stuff than you light-waisted chaps to-day. Besides," he went on soothingly, turning to me, "if you, card maestro, get away from your conductor's chair with whole bones this evening, — if the infuriated crowd has n't pulled out your pretty black hair for you before the performance is over, you had better bring the Madonna del Carmine two fat wax candles at early mass to- " morrow — Salvezza di vita — for she will have saved your life !
Saying this, he drew the stump of a Virginia out of the outside breast- pocket of his very dirty grey linen suit, used up sundry matches before he could get the weed to draw, shoved his straw hat back from his forehead, fanned himself cool with his little Japanese wooden fan, and went his way, bowing condescendingly to us all.
"Per bacco s' e vero/" we heard still muttered in the distance. The
nonogenarian art-enthusiast tripped off, too, and told us of the younger " generation, with studied politeness : He who laughs last, laughs best ! Coraggiof Avanti /"
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The theatre was lighted up a giorno. The pit was full to suffocation ;
the upper tiers of boxes no less so. The general temper of the assembled
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(521) ;
expectant crowd was cheerful,— they meant to demonstrate to the burlone
Achille Graffigna ad oculos, and, if necessary, also tangibly, that the Bar-
Mere di Siviglia was not to be trifled with. On the right, behind the rail of the back row of boxes, was a party engaged in lively conversation, " Per
bacco s' e verof" was heard from time to time, and then Sior Angiolin, the
chief matador, would turn his wrathful glance toward the stage.
Up in the Olympus were perched a goodly lot of workmen and street ragamuffins, who were to hiss vehemently at a given signal. The strategics
and tactics of a stormy theatre-evening were noticeable, complete in every
particular. Through it all were heard the monotonous cries of the lem-
onade, ice-cream, and newspaper vendors and cushion sellers. I took up my Mton with a trembling hand — muttering "come what may,"— and gave the signal to begin.
The foreign flavor of the music, the entirely different treatment of the
subject, the whole scheme of which approached more nearly to the style of
French op'era-comique, took the crowd aback, and the people listened almost involuntarily to the first part of the performance. That was no longer
Doctor |Bartolo, not Rosina, nor Almaviva ! And when Don Basilio
appeared with his Calumny-aria, which comes decidedly near Rossini's in point of originality, without being in the least like it, a storm of applause broke forth from amongst the friends of the maestro. Sior Angiolin gave the ring-leaders up in Olympus an intelligible signal, — and the battle began in piena regola. In vain did Don Basilio appear countless times on
the stage, bowing to the right and left — the row went on !
Then at last appeared the maestro in black dress-coat and white kid
gloves, and seemed about to say something.
" Imbecille!" cried out Angiolin's gang.
" Be quiet, let him speak ! " came from the opposite side. " " We won't have any reformer of our great Rossini ! " " Alia porta / — put the disturbers out ! " You music-of-the-future people may go to grass — but don't forget to " take Graffigna with you !
" Will you let him speak, or will you not ? " cried out a stalwart corn-
dealer, stepping up to Angiolin's gang.
Meanwhile Graffigna had crumpled up the rim of his new stove-pipe hat,
and now began his speech, in an agitated voice, but freely withal, as fol-
" if lows : Gentlemen ! You are all people of culture,— and there should happen to be some uneducated folk among you, they had better go away they will get their money back at the box-office." " " Bravo, bravo ! came from the right.
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(523) "
" Imbecille /" from the left.
"Now just see," he began again, "when Paisiello wrote his Barber (my departed grandfather told me about him, he was a splendid fellow) he broke with tradition. There were no conventional tirades, no bits of colora- tura made for the special use of the notorious soprano — he brought life " into the comedy ! He was cried down as a heretic ! " " Bravo, bravo ! they screamed from the right. " " Stop ! from the left. " " " When Rossini " (" Bravo, bravo ! came from the left) came out with his Barber, full of genius as it was, he was hissed ; and yet this opera has long kept its head above water."
" In the same spirit as my great predecessor, I have tried to modernize this unfathomable and inexhaustible subject ; on the first page of my score
' stands : Inspired by Rossini's splendid creation, enlarged and brought
' nearer to the spirit of the times by Achille Graffigna ! This was the grand signal for the attack. What now came from the gallery in the way of sonorous hisses mocks all description. Graffigna appeared several times on the stage and bowed in the direction of the gal- " lery ! While going away, he muttered between his teeth : Pubblico igno- " rante, — vergogna !
I, in my restlessness, could only master the storm by suddenly having the whole orchestra play the Italian national hymn standing. A tempest of applause raged through the house,— the excitement calmed down,— the performance was allowed to go on quietly, and there was at times even frenetic applause. In the pianoforte-lesson, in which Signora Renzi sang a pretty song, and in the terzetto " Zitti, zitti —piano, pia?io !",
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Thus the regularly planned shipwreck could not be carried out, — the embittered opponents of Graffigna took the whole show by its most humor- ous side, and next day all the cafes in Bologna rang with the bella parodia of Rossini's Barber. Graffigna — had already prepared a new title-page " for his next score. One could read thereon : The Secret Marriage, after Cimarosa's masterpiece. Conceived by divine inspiration, and imparted " to his fellow men, for their good and edification, by A. Graffigna ! This maestro was the type of misunderstood genius,— had nevertheless money
enough to have his works brought out at brief intervals at his own expense,
usually with involuntary humorous results. " After my death," he would say with unction, " they will scrape me out
of the earth soon enough — but then, then it will be too late " — and he would send a tear-moistened glance up to heaven. On our way home we had to pass through the colonnades and by the
portico of the cafe Corso. Through the screams of the old women offering
flowers, and the boys offering matches, to the passers-by in front of the
great main door-way, we could hear the famous " Per bacco s' e vero /" Sior
Angiolin, cherry-red in the face, pounded right stormily upon the marble
slab of his little table with his clenched fist, and kept shrieking out to the " crowd : Pen-greenhorns, note-blotters, you can't put that off on us
Bolognese ! You ought to kiss the god Rossini's feet — erect temples to
his brightly shining genius, give model performances of all his operas,
take the beautiful air in Matilda di Shabran — just wait, how does it go ? ? —
yes, yes, that 's it! ! La — la — la — la — la — la (he squeaked furiously). Rossini was great, greater than the whole Israelite mythology put together.
Per bacco s' e vero /"
kx&jmwt)
. 9 VVAAMAJC;^\\WtwVVJE/¥W
(525) Two years later.
In front of the show-window of Lucca's music shop and opposite the main entrance of the Teatro S. Radegonda in Milan separate groups had formed, engaged in the liveliest conversation. In its genuinely Southern excitability and the vehemence of discussion the crowd had extended itself beyond the curbstone into the road-way, and blocked the passage for the passing vehicles that were loitering at a foot pace.
" And they say he even sent the score to Rossini in Paris, begging the old master for a kind judgment on it," began a rather pale art-disciple, holding his roll of music tight under his arm.
" God knows," piped a little, crooked man, hiding his viola in its thread- bare green bag under his coat, so that the bow stuck out below,— " that dair Argine is the devil of a fellow ! God be good to me, but I like his Barbiere rinnovato much better than Rossini's old hackneyed one. And then," he went on with an air of great importance, "you have to play in the orchestra yourself to find out the real beauties of a work."— Saying which, he took a pinch out of the snuff-box he had been holding open for some time. " They say Rossini sent the score back to him with the witty remark : — 'Tutte le ciambelle non riescono col buco> * that all cakes don't turn out well.' " Ha, ha, ha ! That 's good ! Rossini all over !
All at once the crowd grew silent, pointing together at a still rather young, but prematurely aged, man, dressed with exceeding carelessness in dowdy black, who had just turned the corner of the Corso Vittorio Ema- nuele, — bowed to the groups, and disappeared into the Teatro S. Rade- gonda !
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Vr " Eccolo ! That 's he," said the viola-player, as he pressed his instrument
more tightly to his side under his coat with his left arm, and pushed his
spectacles straight on his nose with his right hand.
" If the man lived anywhere but in Italy, he would be a Croesus to-day
Here in Italy artists, and those of genius, at that, have to starve ! The
good dalF Argine, who writes three or four of the most enchanting ballets
every year, works for his daily bread, and tries to drown his chagrin at the
little recognition he gets in sweet wine of the country all night at the
Osteria dell' Orso! Yes, yes, benedetta Italia!"
The viola-player who was so eager in maestro dall' Argine's defence was joined by his colleagues, the bass-trombone and horn, who came up the
street, with their instruments also hanging over their shoulders in grey
bags, and admonished to come into the orchestra, as the performance was on the point of beginning.-
JUT.
We are at the finale of the first act. Almaviva comes on in an intoxi-
cated condition and knocks everything about the already sufficiently
plagued Doctor Bartolo's ears in his own house ! Listen ! what silvery
tones now ring out, clear as a bell ? It is Rosina, who has a charming
little song to sing. The singer is bewitching, enchanting, and sings like
the dear little angels in heaven ! Every one shouts with delight ! The
viola-player's face in the orchestra beams with rapture, and, in his enthu-
siasm, he keeps coming in wrong with the syncopated accompaniment in
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(528) The finale swells more and more to a surging sea of mighty waves of tone, — it oversteps the bounds of Opera buffa, to try its 'prentice hand at the trade of Opera seria,— dalP Argine Has done his best / — The principal phrase, sketched out with the surest knowledge of the stage and with true genius, gradually grows in the most beautiful polyphony to a splendid edi- fice, to an effective stage-finale, which far outshines Rossini's finale. The audience is carried away and does not stint itself in the matter of applause.
Calls for the composer grow louder. How different seems dalP Argine's feeble figure, weighed down by long suffering, from the pretentious form of " the misunderstood genius," Graffigna ! In the box at the right sits the director of the Milan Conservatory, grown grey in honors, and follows the progress of the musical performance with interest.
" When two congenial natures complete each other," he remarked to a disciple of the muses who addressed him, "you must not speak of self-
glorification, least of all of depreciation of our musical forefathers ! I hold dalP Argine to be the only musician now living who is able to follow in
Rossini's footsteps with original force."
A year later we escorted a tired man to his rest. The band of the porta ticinese played a dead-march from the ballet Brahma, one of the ballets
fullest of genius we had ever heard ! The tired man was dalP Argine, who had fallen asleep over a new ballet score, to awake to a better life. He had scarcely reached the age of Mozart and Raphael,— rich hopes were borne with him to the grave. On a great laurel-wreath that hung on
one side of the hearse you could read the words : Figaro redivivus /
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(529) Emil Hartmann was born in Copenhagen on February 21, 1836, and is
still living. His father was Johann Peder Emil Hartmann (born in Copen-
hagen on May 14, 1805), one of the most prominent Danish composers.
Emil first studied music under his father; then in i860 under Niels Wil-
helm Gade, his brother-in-law, in Leipzig. In 1861 he was appointed or-
ganist at a church in Copenhagen, and in 187 1 of the Royal Chapel of
Christianborg ; but, his health being feeble, he retired to Sollerod, near
Copenhagen, in 1873, and devoted himself entirely to composition. He
has written several operas which had, at least, a local success, two sym-
phonies, some overtures, and no little chamber music. He comes of a distinctly musical family, his grandfather, August Wilhelm Hartmann, hav-
ing been an organist of distinction, and his great-grandfather, Johann Hart-
mann, a noted violinist.
"A Northern Campaign," Overture to a Tragedy, in F minor, Op. 25 Emil Hartmann.
The French sub-title to this work, which is dedicated to Wilhelm Tau- " bert of Berlin, is Les Vikings, Ouverture tragique" The slow introduc-
tion (Poco adagio, in 4-4 time) begins with a sort of tragic wail in the wood-
wind and horns in C minor, over an organ-point on G in the basses, violas,
and kettle-drums. A short passage for the first violins alone leads to a more
stately, march-like phrase in A-flat major in the horns, trumpets, trom-
bones, and tuba. These two phrases, the one in the brass, the other in the wood-wind and horns, are briefly worked up together against more and more brilliant arpeggj in the harp. A return of the solo phrase in the vio-
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The free fantasia is quite long and elaborate, and the third part bears the regular relations to the first, save that the development of the first theme is much more extended. There is a long and stormy coda, the overture closing with the sighing phrase in the wood-wind and horns {Poco adagio) with which it opened. The work is scored for full modern orches- tra, with trombones and tuba, piccolo-flute, harp, tamtam, cymbals, and triangle.
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CHANDLER & CO., Soli Agints, - - Winter Strut, BOSTON. (531) "Don Quixote/' Musical Character-Picture (Humoresque), Op. 87. Anton Rubinstein.
The fly-leaf of the orchestral score of this composition, which is dedi- cated to Count Max Fredro, bears the following legend : —
"The reading of novels of chivalry, in which the knight-errant under- takes the task of helping the unfortunate, serving his lady, and achieving great deeds of valor in her name, so bewilders Don Quixote's ideas that he determines to turn ,knight-errant, to be a prop to the unfortunate, and to serve his Dulcinea (a village woman), and do great things in her honor. He arms himself to set out.—
" Armed and in the complete dress of a mediaeval knight, he mounts his steed (Rosinande) and begins his wanderings.
" He meets with a grazing flock of sheep, takes them for an army of monsters, and deems it his duty to purge the earth of them ; he rushes into their midst and scatters them.— Satisfied with his feat, he roves on, meets three village women, singing merrily on their way, thinks to recognize his
Dulcinea in one of them, throws himself at her feet, and conjures her to
accept him as her knight, and to be assured of his love and services. The women take him for a crazy man, laugh at him, and run away.— He is perplexed at this reception, but persuades himself that it probably was owing to his not having earned enough fame by his deeds, and determines not to rest before the world is full of his fame. He roves on, meets a gang of criminals who are being led to prison by an armed escort, takes
them for innocent unfortunates, scatters their guards, and liberates the
criminals themselves. Thoroughly rejoiced at this fine action, he is about
to continue his travels when he is suddenly fallen upon by the same crimi- nals and half beaten to death; he groans and laments, this ingratitude
exasperates him, and, sobered at last, he abjures all thoughts of knighthood
and dies amidst his sorrowing relations."
This account is a good guide to the composition, which adheres to no
traditional musical form, and is rather recalcitrant to technical analysis. It is scored for full modern orchestra, but without bass-tuba or any unusual instruments.
(632) f Thursday Evening, Mar. I, CHICKERING HALlJ [Tuesday Evening, Mar. 6,
Two Vocal Recitals BY Mr. and Mrs. MAX HEINRICH. MATHILDE RUDIGER, FROM GERMANY, Concert Pianist and Teacher of the Janko' Key-board,
Has the honor to announce that she is prepared to exhibit and explain the celebrated and most interesting JANKO KEYBOARD, At her Studio, Boston Music Hall Building, Room 24, "Wednesdays and Fridays, From 12 to 1 P.M.
Everybody is invited to come and see this remarkable new invention, which opens a great field, es- pecially to young professionals. Miss Riidiger gives instructions to professional pianists, advanced pupils, and beginners, in private lessons as well as in classes. Children learn in half the time what they can accomplish on the old key-board. Pupils can arrange for practice-hours on the new key-board at Miss Riidiger's studio. npfjp SIXTH SEASON, 1893-94. T™°»" ADAMOWSKI A. MOLDAUER, 2d Violin. MAX ZACH, Viola. ADAMOWSKI, Violoncello. QUARTET J. IN CHICKERING HALL.
Tuesday Afternoon, February 20th, at 3 o'clock.
FIFTH AND LAST CONCERT.
PROGRAMME.
SCHUMANN Quartet in A minor, No. I, Op. 41.
MACKENZIE Solo for Violin, "Benedictus." Mr. T. ADAMOWSKI. PARKER Trio for Piano, Violin, and 'Cello (MS.), First time.
Tickets, with reserved seats, on sale at the Box Office, Music Hall.
(533) ;; FIRST AND HIGHEST AWARD Over ALL Competitors for
1893
WORLD'S COLUMBIAN EXPOSITION.
TO THE COMMITTEE OF JUDGES. DEPARTMENT L, LIBERAL ARTS. No. Card-6865. Exhibitor — Checkering & Sons, Boston, Mass. Exhibit — Pianos. Comments:
I report that this exhibit deserves an Award ; the tone quality, which is of the highest grade of excellence, possessing great volume, deep, full, musical, and sympathetic the duration and singing quality of the tone are of the same high character ; the scale, which is evenly balanced, and throughout free from weak spots — scientifically and musically correct , the most powerful strokes failing to reveal any harshness or break the action is of the highest class in every respect, regulated with extreme nicety ; the touch is all that may be desired ; being equally characterized by delicacy, elasticity, responsiveness and promptness in repetition ; in every detail of construction the choicest materials are used ; the workmanship is of the best and the cases are chaste and artistic in design. (Signed) MAX SCHIEDMAYER, Judge.
K. BUENZ, \ President and Secretary Board of Judges, J. H. GORE,} Liberal Arts. CHICKERING & SONS, 791 Tremont St., BOSTON, MASS ECONOMY,
The best way to economize is to use what clothing you have instead of buying new. Many people are doing this now. If you have never tried it, you can have no idea how nice an old suit can be made to look by our DRY CLEANSING process, which removes all the dirt, leaving the material soft and clean, and almost as nice as new. LEWANDO'S French Dyeing and Cleansing Establishment MAIN OFFICES:
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(534) Sixteenth Rehearsal and Concert.
Friday Afternoon, February 23, at 2-30.
Saturday Evening, February 24, at 8,00.
PROGRAMME.
Haendel - Concerto Grosso, No. 10, in D minor
For String- Orchestra.
Aria
Haydn - Symphony No. 2, in D major
Aria
Beethoven ------Overture, "Egmont
Soloist, Mr. MAX HEINRICH,
(535) Mr. Carl Faelten's First Beethoven Recital, IN BUMSTEAD HALL,
Tuesday Afternoon, February 20, at three o'clock.
PROGRAMME.— Sonata, C major, Op. 2, No. 3 (Dedicated to Joseph Haydn. Written 1791-92). Sonata, quasi una Fantasia, C-sharp minor, Op. 27, No. 2 (Dedicated to Countess Julie Guicoiardi. Written 1801). Sonata Appassionata, F minor, Op. 57 (Dedicated to Count Franz von Brunswick. Written 1806). Sonata, A major, Op. 101 (Dedicated to Baroness Dorothea Ertmann. Written 1816).
Tickets for single recitals, $1.00, on sale at Box Office, Music Hall, and at Oliver Ditson Company. Second Recital, March 6.
Steinert Hall, Wednesday Afternoon, Feb, 21, '94, at 3. CONCERT BY Mrs. ALICE DUTTON ATWILL, Assisted by Miss JENNIE DUTTON and Mr. FRANZ KNEISEL.
Tickets, One Dollar, for sale at Steinert & Sons and at the Hall.
CHICKERING HALL 152 TREMONT STREET CONCERT By Mrs. E.LSA CUSHING Mr. T. ADAMOWSKI, Assisting
Wednesday Afternoon, February 21, at 3.30 P.M.
PROGRAMME.— " Pourquoi " and "Bell Song " from " Lakme," Leo Delibes. " Morte di Margherita," from Bo'ito's "Mefistofele." Songs by Palm, Chaminade, and Rotoli. Mr. Adamowski will
play a Romanza by Svendsen ; " Melodie," Paderewski ; and Mazourka, Zarzycki.
Tickets on sale at C. C. Harvey's, 152 Tremont St
Union Hall, Monday Evening, Feb. 19, 8 o'clock. FIRST GRAND RECITAL BY Mme. PAULI, German Prima Donna, ASSISTED BY Mr. THOMAS CLIFFORD, Baritone. Mr. STRUBE, Violinist. Mr. SCHULZ, 'Cellist. Miss GAUL, Pianist.
Tickets for sale at Ditson's, Haines's, Thorndike Hotel News Stand, Connelly's, at Adams House, and at the door the evening of the concert.
(536) ; ; IF YOU WANT
To buy a strictly first-class Piano, For cash or upon instalments;
To buy a second-hand Piano ; To rent a Piano Your Piano tuned
Your Piano repaired ; Your Piano polished; Your Piano moved, GO TO CHANDLER W. SMITH,
Wholesale and Retail Representative for the Gildemeester & Kroeger and Shaw Pianos,
176 TREMONT ST., Tremont Theatre Entrance, BOSTON. The Boston Symphony Orchestra
I Programme, with Historical and Descriptive Notes by WILLIAM F. APTHORP, will be sent by mail each week to any address upon the pay- ment of three dollars. Bound copies of the Programme for the entire season can be had at the same price by applying be- fore the last concert. Address all communications to F. R. COMEE, MUSIC HALL, BOSTON.
Mrs. Ayonia Bonney Lichfield, VOICE MASTER. (Old Italian Method.) Residence, 52 Hereford Street (between Commonwealth Avenue and Newbury Street).
Terms : Half-hour Lessons . . . $40.00 per quarter ,; Lessons in Classes . . . $16.00 "
(»37) SANDERS THEATRE, . CAMBRIDGE.
EIGHTH CONCERT BY
• • THE • •
Boston I Symphony I Orchestra
Mr. EMIL PAUR, Conductor.
ON
Thursday Evening, March 8, at 7.45.
A limited number of admission tickets will be on sale at the door the evenings of the concerts.
FRANZ KNEISEL, ist Violin. THE OTTO ROTH, 2d Violin. L. SVECENSKI, Viola. KNEISEL ALWIN SCHROEDER, Violoncello. NINTH SEASON, QUARTET 1893-94.
WILL GIVE THREE CONCERTS,
IN BRATTLE HALL, CAMBRIDGE, ON Wednesday Evening, March 21,
Tuesday Evening, April 3, and Tuesday Evening, April 24,
AT 8 O'CLOCK.
Soloists and Sale of Tickets to be announced.
(538) MUSICAL INSTRUCTION. 3 PARK STREET.
Miss CHARLOTTE I. HAWES J Private and class lessons in Piano, Har- mony, and Musical Literature.
TEACHER of SINGING SDMNER COOLIDGE, 149 A Tremont Street.
Master of the Italian School, Well known and recognized in Boston as the teacher of Madame LILLIAN NORDICA, Mr. JOHN O'NEILL, No. 62 Boylston Street. VOICE CTJLTTJKE and DEVELOPMENT no "wear and tear" in training.
Teacher of the Harp. A LARGE NUMBER OF NEW AND HEINRICH SCHUECKER, SECOND-HAND ERARD HARPS FOR SALE AND TO LET. IO GREENWICH PARK, BOSTON. VOCAL TEACHER, Mrs. L. P.
Hotel Oxford, - Huntington Avenue.
Has the honor to announce that he is pre- pared to receive students of singing (ballad, Mr. MAX HEINRICH classic song, oratorio, opera) at his studio, Room 572, Steinert Building, Boylston and
Tremont Streets. : : : : : VOCAL INSTRUCTION. Miss GERTRUDE EDMANDS, ADDRESS, MUSIC HALL, BOSTON.
Concert Pianist & Teacher MATHILDE RUEDIGER OF THE OLD AND FROM GERMANY. JANKO KEY-BOARD.
Room 24, Music Hall Building, BOSTON. VOICE CULTURE. LEADING EXPONENT of THE LAMPERTI METHOD IN AMERICA. MARTIN ROEDER, Pupils of world-wide reputation (see circular). 178 A Tremont St.
APPLICATIONS DAILY, FROM 12 to l.
(539) PUPIL OF Mr. Wm. L. Whitney and Sig. Luigi Vannuocinl. EFFIE VIRGINIA PALMER Licentiate (Artist) and Henschel-Hayden Medalist, New England Conservatory.
(SOPRANO), For Lessons, Concerts, At Homes, Church, etc.,
Address 673 Boylston St., Copley Sq.
Teacher of Violin, Theory and Composition
Mr. 6DSTAY STRUBE Highest references as Violin Soloist and Ensemble Player. (Member of Boston Symphony Orchestra), 2 CENTRE STREET, ROXBURY. PUPIL OF
Mr. Wm. L. Whitney and Sig. Luigi Vannuccinl. ALENA 6. EMERSON, Henschel Medalist, 1891-92. (SOPRANO), For Concerts, Oratorio, Lessons,
Address 67 Walnut Avenue. HOTELS.
HOTEL GRENOBLE
56th to 57th STS. & 7th AVE. NEW YORK. The Select Fire-proof Family Hotel of New York City. European Plan. Within two blocks of Central Park. Broadway car passes door. 42d St. and Grand Central cars within one-half block. Cross- town cars two blocks. Elevated R.R. one block.
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The largest and leading hotel in the city, with all modern improvements. The most central locatioa accessible to all parts of the city. All lines of city passenger cars pass its doors.
JAMES P. SHANNON, Manager. THE CONTINENTAL.
Corner 9th and Chestnut Streets, - PHILADELPHIA, PA.
Complete in Appointments, Location, and Cuisine.
Rates, $3.00 to $4.00 per day. Parlor Suites extra in proportion.
J. E. KINGSLEY & CO., Proprietors.
Press of Gbo. H. Ellis, 141 Franklin Street, Boston.
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