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Prograttae FELIX FOX TO PRoGRAttAE FELIX FOX TO March 14, 1903. Mason & Hamlin Co., Cambridge, Mass. Gentlemen,— After now having played your Piano- fortes many times in recitals, in chamber concerts, and with orchestra, I feel constrained to express to you my great appreciation of and satisfaction at their musical tone and their superb action. In short, they are artistic creations in the fullest sense of the word, and their in- fluence is paramount in the advancement of music, the greatest of all the arts. Wishing you much continued success, believe me to be Yours faithfully, FELIX FOX. M. Steinert <& Sons Co. New England Representatives I Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-SECOND SEASON, J902-J903. WILHELM GERICKE, CONDUCTOR PROGRAMME OF THE TWENTY= SECOND REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE J* J* J* Jt FRIDAY AFTERNOON, APRIL 17, AT 2.30 O'CLOCK. SATURDAY EVENING, APRIL 18, AT 8j00 O'CLOCK. Published by C A. ELLIS, Manager. (1193) ME SS R S . CHICKERING & SONS PIANOFORTE MAKERS Invite Critical Inspection of Their Latest Production The Quarter Grand The Smallest Grand Embodying Modern Principles Ever Made RETAIL WAREROOMS 791 TREMONT STREET, BOSTON (1194) : TWENTY-SECOND SEASON, 1902-1903. Twenty-second Rehearsal and Concert* FRIDAY AFTERNOON, APRIL 17, at 2.30 o'clock. SATURDAY EVENING, APRIL J 8, at 8.00 o'clock. PROGRAMME. u " Gluck ..... Overture to Iphigenia in Aulis Richard Strauss Burleske in D minor, for Pianoforte and Orchestra (First time.) Borodin . On the Steppes of Central Asia, Orchestral Sketch, Op. 7 Raff . " Lenore," Symphony No. 5, in E major Part I. Happiness in Love. I. Allegro. II. Andante quasi larghetto. Partll. Parting. III. March tempo. Agitato. Part III. Reuniting in Death. Introduction and Ballad (after G. Burger's " Lenore "). IV. Allegro. L' lstesso tempo. SOLOIST Mr. HEINRICH GEBHARD. THE PIANOFORTE IS A STEINWAY. There -will be an intermission of ten minutes before the symphony. The doors of the hall will be closed during the performance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in the interval be- tween the numbers. City of Boston, Revised Regulation of Augrust 5, 1898.— Chapter 3, relating to the covering of the head in places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not ob- struct »uch view, may be worn. Attest: J. M. GALV1N, City Clerk. (1195) L. P. HOLLANDER & CO. SALE OF SUMMER DRESSES In Order Department on Third Floor JUST RETURNED FROM OUR PALM BEACH STORE A Large Assortment of Sample Gowns To suit the season, and while in very good condition are still not such as we wish to put in our new Spring Stock, and so we propose to sell them at a VERY LOW FIGURE PERCALES and UNLINED MUSLINS from $ \ 5.00 to $35.00 HANDSOME MULLS, FOULARDS, CREPE DE CHINES, and LINENS, lined and unlined, from $35.00 to $95.00 Also in same department we shall offer Monday a large assortment of beautiful imported SILK WAISTS Made to our special order in Paris. They are unlike anything shown in this country. Price, $ X 2.50 Overture to the Opera, "IphigEnia in Aulis." Christoph Wilibald, Ritter von Geuck. (Born at Weidemvang, in the upper Palatinate, July 2, 17 14; died at Vienna, Nov 15, 1787.) "Iphigenie en Aulide," a lyric tragedy in three acts, libretto by du Roullet,* music by Gluck, was performed for the first time at the Opera, Paris, April 19, 1774. It was the first of the operas written by Gluck for Paris, and, even before it was produced, it made a sensation. We learn from Grimm and Diderot's "Correspondance Litteraire" (Part II., vol. iii., pp. 79-84) of the discussions provoked. "For a fortnight no one thinks or dreams here of anything except music. It is the theme of all our talk and disputes, it is the soul of all our suppers, and to be interested in anything else would appear ridiculous. If you speak of politics, you are answered with a harmonic device; if you make a moral reflection, the ritornello of an arietta is the reply ; and if you try to recall the interest produced by this or that piece of Racine or Vol- taire, the only answer is a remark concerning an orchestral effect in Agamemnon's fine recitative. All the parties are fired with like fury. There are three especially conspicuous: that of the old French opera, which has sworn to recognize no other gods than Lulli and Rameau ; that which stands for purely Italian music and believes in the song only of the Jumellis {sic), Piccinis, Zachinis; and that of the Chevalier Gluck, who pretends to have found the most appropriate music for dramatic action, —music whose principles are drawn from the eternal source of harmony and the intimate relationship of our sentiments and sensations; this music belongs to no special country, but the genius of the composer has known how to adapt his style to the particular idiom of our language." *The music dictionaries give " du Rollet" but the librettist himself spelled his name with a u. (See Desnoiresterre's " Gluck et Piccini," p. 78.) Larousse spells the name Durollet. NEW ENGLAND CONSERVATORY OF MUSIC GEORGE W. CHADWICK, Director Mid-session Registration, April 16 School Year ends June 24 You are cordially invited to visit the new Conservatory Build- ing on Huntington Avenue, one block from Symphony Hall (1197) V. BALLARD & SONS Costume and Habit Tailors Special Announcement. We have recently secured the services of an artist cutter and fitter having years' experience with the celebrated house PAQUIN, PARIS. He will personally attend to orders in the more elaborate styles of COATS and GOWNS. We are showing a large and beautiful collection of PARIS MODEL COSTUMES. The Ballard Safety Riding Habit. 256 Boylston Street, Boston EASTER GIFTS Silk Tapestry with Gold Embroidery Wrist Bags and Card Cases WAIST SETS IN GOLD, SILVER, AND PORCELAIN A limited number of the new Persian Decoration PARIS BELTS Novel combinations of Steel, Coral, Pearl, and Jet AUTO HAT PINS Our whole stock is a wonderful collection of new and artistic creations of Jewelry, Silver, and Art Goods. Your inspection invited. A. STOWELL <fc COMPANY (Incorporated) 24 WINTER STREET. Makers mid Finders of the Unusual (1198) The part of Iphigenia was taken by brilliant Sophie Arnould, who might have disputed with Titus the title "the delight of mankind." The opera as a whole was coolly received the first night, although the librettist had prudently organized a claque with a friendly hatter at the head. At the second performance the opera was praised to the skies. The memoirs of the period are full of entertaining gossip con- cerning Gluck, the performance, the interpreters. We are told that Sophie Arnould was tightly laced as the virgin victim ; that she carried the tragic handkerchief of ancient stage queens and princesses,, the handkerchief that never left the hand in moments of anguish or rapture.* When the opera-house was reopened after the death of the king and the banishment of Madame du Barry, t "Iphigenia" again became the rage, and the coiffure a V Iphigenie was in high fashion. In those days of enormous structures this coiffure was comparatively simple : it consisted of a wreath of black flowers surmounted by the crescent of Diana, with a kind of veil which covered half the back of the head. The Abbe Arnaud, in his famous letter to Madame D. (April, 1774), dwelt at length on the grandeur and tenderness of the overture, which soon became a favorite concert piece, but there were dissenting voices. Forkel wrote: "This overture, which is brought forward as an exam- ple of a true overture, is in no way an overture, for it has not in the slightest degree any of the true and characteristic features. We must therefore put it in the class of symphonies, and it must then be said that as a symphony it has no high rank." The overture, as written by Gluck, is connected, as that of "Don Giovanni," immediately with the opening scene. Mozart, it is said, wrote an ending for concert performance, but this ending is now at- is tributed by some to J. B. S. Schmidt (1 779-1853). The overture scored for 2 flutes, 2 oboes, 3 bassoons, 4 horns, 3 trumpets, kettle- drums, strings. Gluck dedicated the score of his opera to the King of France. •Emma Albani, as Desdemona in Verdi's " Otello," carried the traditional handkerchief at Mechanics' Building in March, 1890. t These accidents inspired Sophie to say of herself and the other damsels of the Opera, "We are orphans, who have lost both father and mother." FOUR PIECES Collections of By L. BOCCHERINI Children's Songs Hm FiV6 S°ngS (R °U,ld Transcribed for the Pianoforte >*\ ,?', . Rabbit) .... #0.75 By GIUSEPPE HARTUCCI Shepard, Thos. G. "Me"(Cvcle) . 1.00 Gilchrist, W. W. Songs for the Chil- Largo . $0.60 Presto . $0.65 dren 1.00 Songs from ,„. An t> j e.c Gaynor, Jessie L. the Mmuetto. .40 Rondo . .65 child World . i.oo Smith, Gerritt. Song Vignette 1.25 The four transcriptions which make Abt, Franz. Thirty German Chil- up this set are modern in presentation, and dren Songs ...
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