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Boston Symphony Orchestra Concert Programs, Season 20,1900

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Boston Symphony Orchestra Concert Programs, Season 20,1900 ACADEMY OF MUSIC, PHILADELPHIA. oston Symphony Orchestra Mr. WILHELM GERICKE, Conductor. Sixteenth Season in Philadelphia. PROGRAMME OF THE THIRD CONCERT WEDNESDAY EVENING, JANUARY 16, AT 8.15 PRECISELY. With Historical and Descriptive Notes by William F* Apthorp. PUBLISHED BY C A. ELLIS, MANAGER. (i) Established Established 1823 1823 X- 5\ <£!)tcfcmttg PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY JOHN WANAM AKER, Philadelphia, Pa. v;x w (») DOStOn , Academy of Music, Philadelphia. SvmOhonV S: fj A 9/ *T* Twentieth Season, 1900-1901. Orchestra Sixteenth Season in Philadelphia. fir. WILHELH QERICKE, Conductor. THIRD CONCERT, WEDNESDAY EVENING, JANUARY 16, AT 8.15 PRECISELY. PROGRAMME. Wolfgang Amadeus Mozart - Symphony in G minor, No* 40 (Koechel, No- 550) I. Allegro molto (G minor) ----- 4-4 II. Andante <E-flat major) - 6-8 III. Menuetto : Allegro (G minor) - 3-4 Trio (G major) ------- 3-4 IV. Finale: Allegro assai (G minor) - 4-4 Cesar Franck - Symphonic Variations for Piano and Orchestra Franz Schubert - - - - Funeral March, in E-flat minor (Scored for Orchestra by FRANZ LISZT.) tt Franz Liszt - - Symphonic Poem No* 3, " The Preludes SOLOIST: Mr* COURTLANDT PALMER* THE PIANOFORTE IS A STEINWAY. (3) EVERETT PIANOS GRAND AND UPRIGHT DISTINCT ART CREATIONS IMITATING NONE, BUT POSSESSING INDIVIDUAL QUALITIES WHICH MAKE THEM THE BEST NOW MANUFACTURED Everett Piano Co. BOSTON, MASS. New York Warerooms, 141-143 Fifth Avenue CHICAGO CINCINNATI Symphony No. 40. in G minor (Koechel, No. 550). Wolfgang Amadeus Mozart. (Born at Salzburg on Jan. 27, 1756; died there on Dec. 5, 1791.) This symphony was written in 1788. The first movement, Allegro molto in G minor (4-4 time), opens immediately with the exposition of the first theme in the strings ; the melody is sung by the first and second violins in octaves over a simple, but strongly rhythmic, accompaniment in the violas and basses.* This theme is the regulation sixteen measures long, and ends by half-cadence on the dominant. Four measures of conclusion, also end- ing on the dominant, are added in the full orchestra. Then the first eight measures of the theme are repeated by the strings, with sustained har- monies in the oboes and bassoons, with the difference, however, that) whereas it remained steadily in G minor in its first exposition, it now makes a wondrously beautiful modulation to B-flat major. It is immediately fol- lowed by the first subsidiary in this key : sixteen measures of passage-work for the full orchestra, also ending by half-cadence on the dominant (F major chord). Next follows the second theme, in the relative B-flat major, a chromatic, sighing motive, given out by the strings and wood-wind, and *An anecdote is told of one of Liszt's concerts in Munich, in the days when he still appeared in public as a pianist. He had just played his own matchless transcription of Beethoven's Pastoral symphony, as only he could play it. It should be remembered that the Pastoral, though homely enough in its thematic material, and generally simple in its development and working-out, is, as a piece of orchestration, one of Beethoven's most complicated scores ; it thus presents quite peculiar difficulties to the pianoforte transcriber, difficulties which Liszt has conquered in a way that can only be called marvellous. After Liszt had played it at the con- " cert in question, Franz Lachner stepped up to him in the greenroom and said : You are a perfect magician ! Think of playing literally everything in that second movement and with only ten fingers! But I can tell you one thing even you can't play with all your magicianship." " What's that ? " asked Liszt. " The first six- teen measures of Mozart's little G minor symphony, simple as they are." Liszt thought a moment, and then said with a laugh: " I think you are right; I should need a third hand. 1 should need both my hands for " the accompaniment alone, with that viola-figure in it! <A Tonic and Nerve Food Horsford's Acid Phosphate. Half a teaspoon in half a glass of water affords quick relief when depressed, or weary from overwork, worry, insom- nia or other nerve-destroying conditions. Imparts new life and vigor to brain and body. Sold by Druggists in original package only. (5) ^•-^ My dear little friend, I am so happy you called around. I got the piano of my heart at last. Now, Mary, don't forget the name. When your papa is going to buy one for you, remember it is the MATCHLESS CUNNINGHAM And I wish to say to you it is matchless in tone, matchless in touch, and matchless in artistic beauty. Fifteen years' warranty is given with every piano, and the standing offer of $25,000 by the Company for a better made instrument ought to be sufficient without going into further details. It is manufactured in Phila- delphia, a fact of which this city ought to be proud. If not convenient to call at their warerooms, write for list. Cash if you have it, time if you wish it. The Cunningham Piano Co. 1 105 Chestnut Street. m developed for twenty-three measures, closing with a definite authentic cadence in B-flat major. A short second subsidiary leads over to some contrapuntal work on the initial figure of the first theme, against a new counter-figure, which here comes in as a conclusion-theme, the first part of the movement closing in B-flat major with the characteristically Mozartean winding-up passage for full orchestra, something like the tutti of a concerto. This first part is then repeated. The free fantasia begins with the first theme, now in F-sharp minor, but developed on a new plan, with frequent modulations. The working-out soon begins in earnest, and is carried forward with great contrapuntal elaboration, and at greater length than is usual with Mozart. The third part of the movement is quite regular. The most noticeable variations from the form of the first part being that, where the first theme modulates from G minor to the relative B-flat major (on its second repetition) in the first part, it now modulates to E-flat major (sixth degree of the principal key), and that the first subsidiary, entering in this key, is far more extendedly developed than in the first part, even to the point of imitative contrapuntal working-out, the development ending by half-cadence on the dominant of the principal key (G minor). From this point on, the movement keeps steadily in the tonic key, the presentation and develop- ment of second theme, second subsidiary, and conclusion-period being virtually the same as in the first part. A very short coda, beginning with MORE THAN THIRTY-SIX YEARS \ (\C\C\ IO/^OOtJ» UNDER ONE MANAGEMENT. I """• TH E HENRY F. MILLER PIANOFORTES. SPECIAL DESIGNS. MUSICAL QUALITY UNSURPASSED. A NATIONAL REPUTATION. Warerooms, 1123 CHESTNUT ST., Philadelphia. ; the second subsidiary, and then bringing in some play on the initial figure of the first theme in four-part canon, brings the movement to a close. The second movement, Andante in E-flat major (6-8 time), is also in the sonata-form. It begins with the presentation and development of the first theme, the construction of which is peculiar. It is given out for the most part by the strings, the horns forming a background of richer tone-color. The thesis of the melody comes first in the xelli and double-basses, the phrase ending in the violins ; then comes the antithesis, a sighing figure in the violins in octaves, closing with a little descending chromatic passage in 31'ds. Thesis and antithesis are now repeated, but in a considerably altered shape. The thesis now comes in the first violins, but with the eighth-notes in its original shape now lengthened to dotted quarter-notes the antithesis comes in the 'celli and double-basses, against a new counter- figure in the violins in octaves. Then comes a conclusion-period of three measures, with the melody in the wood-wind, over a little fluttering accom- paniment in the strings. The second theme follows, in the dominant (B- flat major) ; it consists mostly of passage-work in which we find that the little fluttering figure of the accompaniment of the concluding period of the first theme now assumes a marked thematic importance.* A more melo- dious conclusion-theme follows (in B-flat major), and closes the first part of the movement. Even here the little fluttering figure is not quite absent. • It is to be noted that when the classic masters applied the sonata-form to a quick movement (that is, in its repular application in first movements of symphonies or sonatas), the second theme is usually of a more cantabile character than the first. In slow movements, however, we often find this reversed; the first theme being a melodious cantilena, and the second partaking more of the nature of quasi-contrapuntal pas- sage-work. This is the case in the present Andante. Fischer's Music House Represents exclusively The MASON & HAHLIN IVIikS & POIND . J.& C. \ 1SCHER . flERKDlTH . PIANOS Whatever part of an instrument is wanted, you can get it at Fischer's, DO matter what the instrument is. 1710 Chestnut Street. (8) /EOLIAN PATRONS Mr. A. J. Drexel, Jr. (3) Mr. J. R. Drexel Mrs. George W. Childs Hon. John Wanamaker Mr. Rodman Wanamaker Mr. Thomas B. Wanamaker Mr. Richard Filbert (2) Col. E. Morrell Hon. E. H. Fitler (5) Mr. E. H. Fitler, Jr.
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