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HARMANUS BLEECKER HALL, ALBANY. BostonSymptiony Qrotiestra Mr. WILHELM GERICKE, Conductor, Twenty-fourth Season, J904-J905. PROGRAMME OF GRAND CONCERT Monday Evening, February 27, AT 8.15 PRECISELY. With Historical and Descriptive Notes by Philip Hale, Published by C. A* ELLIS, Manager. 1 CONCERNING THE "QUARTER {%) GRAND" f[Its Tone Quality is superior to that of an Upright €£It occupies practically no more space than an Upright. f£It costs no more than the large Upright. f[It weighs less than the larger Uprights. Hit is a more artistic piece of furniture than an Upright. CL It has all the desir- able qualities of the .larger Grand Pianos. 4LIt can De moved through stairways and spaces smaller than will admit even the small Uprights. CATALOGUE UPON REQUEST CHICKERING & SONS Established X823 791 Tremont St., BOftOB REPRESENTED IN ALBANY BY CLUETT & SONS BOStOn Harmanus Bleecker Hall, Symphony s Albany. •/ * * T Twenty-fourth Season, J904-J905. Orchestra Third Concert in Albany Mr. WILHELM GERICKE, Conductor. GRAND CONCERT, MONDAY EVENING, FEBRUARY 27, AT 8.15 PRECISELY. PROGRAMME. " Goldmark . Overture, In Italy," Op. 49. First time in Albany Franz Liszt ..... Spanish Rhapsody for Pianoforte Wieniawski . Concerto in D minor, No. 2, for Violin and Orchestra, Op. 22 I. Allegro moderate II. Romance : Andante non troppo. III. Allegro con fuoco ; Allegro moderato (a la Zingara). " Tschaikowsky . Symphony No. 6, Pathetic," in B minor, Op. 74 I. Adagio ; Allegro non troppo. II. Allegro con grazia. III. Allegro molto vivace. IV. Finale : Adagio lamentoso. SOLOISTS: Mr. ERNEST SCHELLING. Mr. TIMOTHEE ADAMOWSKI. The pianoforte is a Mason & Hamlin. There will be an intermission of ten minutes after the violin concerto. t The Symphony since Beethoven By FELIX WEINQARTNER 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. DITSON & CO., New York J. E. DITSON & CO., Philadelphia ORDER OF YOUR HOME DEALER OR THE ABOVE HOUSES 4 "In Italy/* Overture for Orchestra, Op. 49 . Carl Goldmark (Born at Keszthely, Hungary, May 18, 1830; now living in Vienna.) Goldmark's overture, "In Italien," was produced at a Philharmonic Concert, led by Ernst Schuch, in Vienna on January 24, 1904. The first performance in America was by the Chicago Orchestra, Theodore Thomas conductor, at Chicago, December 3, 1904. The overture is scored for two flutes (one interchangeable with piccolo), two oboes, one English horn, two clarinets, one bass clarinet, two bassoons, four horns, three trumpets, three trombones, one bass tuba, kettledrums, tambourine, snare-drum, cymbals, triangle, harp, strings. It is in the form of the old Italian overture. It begins with an al- legro section, which is followed by a slow movement, after which the lively section is repeated. Allegro con fuoco, C major, 4-4 (12-8). There is no introduction, but after a measure of bassoons, kettledrums, and basses the chief theme, of a gay character, is announced by violins and wind instru- ments. This is developed by full orchestra. The second theme, of a gentler nature, is sung (Ruhig, A-flat) by solo oboe, accompanied by bassoons, horns, harp, triangle, and tambourine, and there is a counter- melody in 'cellos and double-basses. This theme is developed, and the chief theme is developed with it, something after the manner of the stretto in a fugue, until the slow section is reached. Langsam (Andante), 4-4. An expressive theme is sung by the oboes, accompanied by harp and muted strings. The second part of this section recalls in its mood the "Sankuntala" overture, and the divided strings and the harp, with the use of horns and wood-wind, give the The Imperial Edition of Song Albums The finest collections of Songs now offered to the musical world. Golden Treasury of Song Tschaikowsky Album of Forty=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 CONSERVATORY OF MUSIC G. W. CHADW1CK, Director STUDENTS 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. €J 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. 6 coloring dear to Goldmark. This section ends with a repetition of the first motive, sung originally by the oboes. A crescendo in the form of an organ-point on the dominant G leads to a repetition of the Allegro con fuoco, but in the course of this Allegro there are reminiscences of the motives of the slow section, which are combined with the two themes of the Allegro. Mr. Ernest Schilling, pianist, was born near Philadelphia about thirty years ago. His first teacher was his father, Dr. Felix Schelling The boy at the age of five appeared in public to show his technical proficiency and his unusual sense of pitch. He entered the Paris Con- servatory when he was nine years old, and continued his studies at Basle with Hans Huber. As a lad he played in London, Paris, and in cities of Germany, Switzerland, Sweden, and Denmark. Paderew- ski became interested in him, and taught him for some time. During the last four years Mr. Schelling has appeared as a virtuoso in cities of Europe and South America. He is court pianist to the Duke of Mecklenburg-Schwerin. The list of his compositions includes a sym- phony, "Symphonic Legends" for orchestra, a fantasia for piano and orchestra, chamber music, and piano pieces. Spanish Rhapsody for Pianoforte Franz Liszt (Rearranged as a concert piece for pianoforte and orchestra by Fer- ruccio B. Busoni.) (Liszt born at Raiding, near Odenburg, Hungary, October 22, 181 1; died at Bay- reuth, July 31, 1886. Busoni born at Empoli, April 1, 1866; now living at Berlin.) Liszt made a concert tour in Spain and Portugal in 1844-45. He left Pau and arrived at Madrid in October, 1844, and gave seven concerts there. Honor was shown him in many ways. A poet declared that, as genius knows no country, Liszt in Spain was a Spaniard, and Queen Isabella decorated the composer-virtuoso, and gave him a diamond pin. Liszt also gave concerts in other towns of Spain. There is not much said about this trip in the published correspond- ence of Liszt. In a letter to Franz von Schober, dated Gibraltar, March 3, 1845, Liszt wrote: "In any case to Paris I will not go. You The only Cocoa w.ifh a Rich PH»£ES'acoa Chocolate Flavor. know why. My incredibly Wretched connection with has per- haps indirectly contributed more than anything to my Spanish- Port- uguese tour. I have no reason to regret having come, although my best friends tried to dissuade me from it. Sometimes it seems to me that my thoughts ripen and that my troubles grow prematurely old under the bright and penetrating sun of Spain." The allusion is to Liszt's breaking of the long relationship with the Countess d'Agoult. Some time in 1844-45 Liszt sketched a pianoforte piece entitled "Reminiscences d'Espagne." This piece was played by him March 31, 1846, at the eighth of ten concerts given by him in Vienna in the hall of the Gesellschaft der Musikfreunde. It is said that the Spanish Rhapsody was based on this piece and composed at Rome about 1863.

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