INFANTRY HALL, PROVIDENCE.
Boston Symphony Orchestra,
Mr. EMIL PAUR, Conductor
Fifteenth Season in Providence.
PROGRAMME
OF THE Fifth Concert,
Wednesday Evening, March 10, At Eight precisely.
With Historical and Descriptive Notes by j
William F. Apthorp. j
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(2) Boston
^ ^ If Providence. Orchestra
Mr. EMIL PAUR, Conductor.
Fifth Concert, Wednesday Evening, March 10, At Bight precisely.
PROGRAMME.
Robert Schumann - - Overture to "Genoveva,'' in C minor, Op, 81
Anton Rubinstein - Concerto for Pianoforte, No. 4, in D minor, Op. 70
I. Moderato (D minor; ------2-2 II. Moderato assai (F major) ------3-4 III. Allegro assai (D minor) _-_____' 2-4
Ludwig van Beethoven - - Symphony No. 4, ia B-flat major, Op, 60
I. Adagio (B-flat major) ------4-4 Allegro vivace (B-flat major; _____ 2-2 II. Adagio (E-flat major) ------3-4 III. Allegro vivace (B-flat major) ------3-4 Trio: Un poco meno Allegro (B-flat major) - - 3-4
IV. Finale : Allegro ma non troppo (B-flat major) - 2-4
Liszt - Hungarian Rhapsody No. 6 (" Pesther Carneval ") (First time.)
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(4) Overture to "Genoveva," in C minor, Opus 8i. Robert Schumann.
Genoveva, opera in four acts, the text by Robert Reinick (after the tragedies by Tieck and Hebbel), the music by Robert Schumann, was first given in Leipzig on June 25, 1850. Schumann was not very well pleased with the libretto Reinick had prepared for him, and made material change^ in it to suit himself. The music was begun in 1847, and the score finished
in August, 1848 ; but the production of the work was considerably delayed.
It was received with respect, but made no more than a succes (Vestime, and was withdrawn after three performances.
The overture begins with an introduction, Langsam (Slow) in C minor
(4-4 time), which opens sombrely and thoughtfully with pianissimo, swelled and diminished, syncopated chords of the dominant 7th and minor 9th in the wood-wind and horns, over an unsyncopated bass in the strings and second pair of horns. The first violins enter with a pathetic, waving figure in sixteenth-notes, leading to some now sombre, now dramatic contrapuntal developments in Schumann's most profoundly emotional vein, and ending with a recitative-like phrase in the first violins, thematically connected both with what has gone before and with what is to follow.
The main body of the overture, Leidenschaftlich bewegt (Allegro appassio~
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(5) nato) in C minor (2-2 time), opens with the intensely passionate first theme
— in which we recognize the sighing figure of the foregoing recitative-phrase in the first violins, over descending chromatic groups of triplets in the
'celli. Although methodically different, there is a certain similarity in emo- tional expression between this theme and the first theme of the Allegro of
Beethoven's overture to Egmont ; only that the one is as distinctively Beetho- venish as the other is sharply characteristic of Schumann. This first theme is developed at a considerable length, the passionate fortissimo subsidiary period that follows it being too closely related to it thematically to be con- sidered as a separate theme. An anxious, almost panting transitional pas- sage leads to a descending phrase in the first violins alone (an arpeggio on the chord of the dominant 7th and minor 9th of the key of E-flat) which in- troduces the second theme. The thesis of this theme (in E-flat major, rel-
ative major of the tonic) is a bright, breezy hunting-call for three horns, a
brilliant stroke of originality being produced by reinforcing the high E-flat
of the third horn with the trumpets in the last measure but one ; the antith-
esis is a melodious phrase — at once seductive and nervously passionate
— in the wood-wind. This second theme, too, is developed at considerable
length, the development soon assuming the character of actual working-out.
Indeed, it is impossible to determine exactly where the free fantasia begins,
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as the development of the second theme merges into it imperceptibly.
Soon comes an episodic period of the most strenuous imitative contra- puntal working-out on a figure borrowed from the slow introduction. This and the second theme form the thematic material of the free fantasia.
A rushing fortissimo passage for all the violins and violas in unison leads over to the third part of the movement. This stands in quite regular relations to the first part, only the instrumentation is much strengthened the second theme now comes in the tonic, C major. As its development in the first part merged insensibly into that of the free fantasia, so does it now merge equally insensibly into the coda. The coda is long based on the second theme, the development being full of the most furious Schu- mannesque brio — it seems as if the composer would never let his theme SHORE LINE BETWEEN BOSTON and NEW YORK THROUGH TRAIN SERVICE FROM EITHER CITY.
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(7) go — until at last the trombones add their voices to the orchestra in a final
" apotheosis " on a new phase of a figure that has already appeared in
some of the passage-work of the free fantasia. This climax is one of the
most tremendous even Schumann ever worked up. The overture ends
triumphantly in C major.
It is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons. 2 valve-horns,
2 plain horns, 2 trumpets, 1 pair of kettle-drums, 3 trombones, and the
usual strings. The trombones do not enter till the last part of the coda.
Concerto for Pianoforte, No. 4, in D minor, Op. 70.
Anton Rubinstein.
The first movement of this concerto, Moderate in D minor (2-2 time), is a fine instance of compact, concise form. The wind instruments in the
orchestra begin immediately with the exposition of the stern first theme,
which is briefly developed by the full orchestra until the solo instrument
enters with a short, fiery introductory cadenza, and then dashes upon the
first theme, in its turn, carrying it through alone, with a call from the
trumpets and horns between the phrases. Then the pianoforte proceeds
to the first subsidiary, working it up together with the orchestra, the
development assuming more and more the character of running contra-
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<$) puntal passage-work. Then the pianoforte passes to the passionate second theme, in F major, which leads to a quieter conclusion-theme in the same key, given to the strings and pianoforte together. This theme, ending with a modulation back to D minor, closes the first part of the movement,
Neither Haydn nor Mozart could have written a first part more exclusively devoted to the bare presentation of thematic material. Compared with the simple brevity of this first part, the free fantasia is rather long and, fot
Rubinstein, quite elaborate. The third part of the movement begins irregularly, not with a return of the first theme, but with the running pas- sage-work of the development of the first subsidiary; this is now carried through at somewhat greater length than in the first part of the move- ment, and leads to the second theme, now in B-flat major, which the piano- forte develops as before, the clarinet and flute coming in with little freely imitative counter-phrases. The conclusion-theme follows in B-flat major, in precisely the shape it did at first, and is followed by a free cadenza for the solo instrument, which, in turn, leads over to a resounding return of the first theme in the tonic, D minor, given out by the full orchestra
against brilliant ornamental octaves in the pianoforte ; this begins a long
Coda, running mostly on the first subsidiary, and worked up with the greatest energy by solo instrument and orchestra.
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(9) The second movement, Moderato assai in F major (3-4 time), begins with a sustained A on the horn, against which the strings and wood-wind play alternate harmonies leading over from the key of D minor to F major, the pianoforte entering, against a sustained call in the solo trumpet, to complete the modulation. All this is transitional and introductory. The pianoforte then plays the cantabile first theme wholly alone, the orchestra coming in only with a few connecting measures between the first and second periods of the melody. This theme is immediately repeated, with a more elaborate arpeggio accompaniment, the pianoforte playing the melody and the arpeggj being divided between it and the flutes and clari- nets, the strings coming in to furnish a richer harmonic background.
Then comes a more rapidly moving second theme in D minor, the piano- forte part running in restless sixteenth-notes, and the orchestra playing phrases which have, at least a rhythmical, connection with the first theme.
Then follows the same transition from D minor to F major that was heard at the beginning of the movement, and the first theme returns in the tonic,
F major, played by the clarinet over full harmony in the rest of the wood- wind, the pianoforte embroidering the cantabile melody with rising and falling double arpeggj. A very short Coda brings the movement to a close.
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BOOSEY & CO., 9 East 1 7th St., New York. (10) The third movement, Allegro assai in D minor (2-4 time), opens with some fitful introductory phrases in the strings in the tonic, D minor, end- ing on the dominant, A; then, after two measures' rest, comes a sudden and unexpected modulation to the key of E flat major, and the pianoforte sets in alone with the first theme, which begins on the first inversion of the chord of E-flat major. But the ear soon finds its bearings, and the pre- ceding little modulation to E-flat does not long fool it as to what the tonal- ity really is. It soon recognizes that the opening chord of the theme is really the " Neapolitan 6th " on the subdominant of D minor, and has nothing to do with the key of E-flat major. The theme, once given out by the pianoforte, is repeated in fortissimo by the whole orchestra, and then further developed by both forces. Then comes a rapidly running second theme in D major, worked up by the pianoforte against occasional accom- panying figures in the orchestra till the first theme returns in the tonic and is again repeated as an orchestral tutti. Then follows some transitional passage-work, leading to the announcement of a quieter third theme by the pianoforte, which is soon developed very fully by the solo instrument and then by it and the orchestra together. Fragments of the first theme crop
up in the latter, after a while, and soon the first theme itself returns in the pianoforte, to be repeated in ////// by the orchestra. Then the second
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The orchestral part of this concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2. trumpets, 2 horns, 1 pair of kettle drums, and the usual strings.
Symphony No. 4, in B-flat major, Opus 60. Ludwig van Beethuven.
(Born in Bonn on Dec. 16, probably 1770; died in Vienna on March 26, 1827.)
This symphony was written in 1806. It was first played at a concert gotten up for Beethoven's benefit in Vienna in the latter part of March,
1807. It was preceded on the program of this remarkable concert by
Beethoven's first, second, and third symphonies ! The score was pub- lished in March, 1809 by the Bureau des Arts et dTndustrie in Vienna and Pesth.
Although by no means so startling a work — to modern ears — as its predecessor, the Eroica, this symphony met with almost as much opposi-
tion at first. Carl Maria von Weber particularly abominated it ; what he wrote of it has remained one of the most curious monuments of critical blindness. According to him, the work had neither theme, nor harmony,
! nor form ; nothing but ear-scorching dissonances and inexplicable noise
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First Prizes: Centennial, 1876; Paris, 1878 and i88g ; World's Fair, 1893. DREYDOPPEL-SOAP.
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Since him, more intelligent criticism has raised it to the very highest rank,
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musical form.
The first movement opens with a slow introduction, Adagio in B-flat
major, 4-4 time. Against softly sustained B-flats in the wood-wind and
horns, the strings in octaves give out a thoughtful phrase in B-flat minor^
ending on the dominant. Then comes a staccato groping in the first violins, through which we hear a soft sigh from the bassoons, answered by the 'celli and double-basses. Staccato chords of the dominant 7th and minor 9th in the wood-wind, horns, and violas lead to a return of the long- sustained B-flats in the wind, against which the strings repeat their B-flat
minor phrase ; ending this time, not on the dominant, F, but on G-flat.
This G-flat is immediately taken as an F-sharp, dominant of B-natural minor; and the violin gropings, bassoon and bass sighs, and staccato 7th and 9th chords are now repeated in this key. Some further modulating developments follow, leading at last to the dominant of D-minor; from which note, A, the whole orchestra jumps to a fortissimo outburst on the dominant-7th chord of B-flat major. Brisk ascending Jusees lead to the main body of the movement.
This Allegro vivace in B-flat major (2-2 time) opens with a succession of chords of the dominant, each one led up to by a fusee of the violins after which the first theme — a sort of zigzag arpeggio phrase — appears
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in the strings, answered by a more (anlabile figure in the wood-wind. The development is long and persistent. A transitional subsidiary — synco- pated harmonies in the wind, then in the full orchestra — leads over to the dominant, F major, in which key the humorous second theme comes in in the bassoon, answered imitatively by the oboe, then by the flute, the latter melodiously rounding off the period. The strings then take up the last figure of the flute, and develop a sterner second subsidiary, which leads in crescendo climax to the conclusion-theme, a canonical dialogue between clarinet and bassoon in F major, accompanied by the strings, and
strongly carried out by the full orchestra ; debouching at last into a synco- pated third subsidiary, with which the first part of the movement closes.
There is a repeat.
The free fantasia is long, and runs wholly on the first theme, save for one peculiarity which makes this movement unique, as far as I know, in the history of symphonic writing. In the midst of the elaborate working-out of the first theme, an entirely new cantabile phrase appears against it, first in the violins and 'celli, then in the flute, clarinet, and bassoon, lastly in the violins in octaves, as a counter-theme. Now, as this is the first bit of real cantilena that has been heard in the movement, it should — by one stand- ard, at least — be called the second theme. And it only makes its appear-
ance in the midst of the free fantasia
The third part of the movement is entirely regular, the second and con-
clusion themes coming in the tonic. There is a short coda.
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The second movement, Adagio in E-flat major (3-4 time), begins with an introductory measure, in which the second violins give out a figure which is prominent in the accompaniment of some of the themes of the movement, and even assumes a thematic importance of its own. Then the first violins sing the melodious first theme, accompanied by the second violins, violas, and 'celli. This is then repeated in fuller harmony by the wood-wind, accompanied by the strings. A strong subsidiary follows in the tonic, measures of billowing arpeggj in the middle strings being regularly answered by more cantabile phrases in the first violins some crescendo passage-work leads to the second theme in the dominant,
B-flat major : a tender melody of the clarinet, accompanied by a series of little syncopated sighs in the first violins and groping pizzicati in the second violins and other strings, the period closing with a measure of rapturous forte in all the wood-wind in 3rds. A conclusion-theme follows
in the same key : a sinuous phrase in thirty-second-notes, beginning in the 'celli, then rising step by step through the other strings to the first
violins ; the accompanying figure of the first measure of the movement persists in the bass until it is taken up by the whole orchestra and closes the first part.
The free fantasia — for the movement is in the sonata-form — is com- paratively short, but none the less elaborately worked out. It is here that
the accompanying figure -shows itself as an actual theme.
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(15) The third part of the movement stands in perfectly regular relations to
the first, and ends with a short coda, toward the end of which the accom-
panying figure returns for the last time in the kettle-drums amid the total
silence of the rest of the orchestra.
The third movement, Allegro vivace in B-flat major (3-4 time), is really a
scherzo, although not marked as such in the score (Peters edition) ; it is,
" however, marked Menuetto : Allegro vivace" in Breitkopf & Hartel's
Thematic Index. This "Menuetto" is thoroughly a misnomer; for the
rhythmic unit is the dotted half-note, not the quarter-note, thus making the
movement a true scherzo. It is quite regular in form, the trio, Un poco
meno Allegro in B-flat major, recurring twice.
The fourth movement, Allegro ma no?i troppo in B-flat major (2-4 time),
is a brilliant and elaborately developed rondo on one principal theme and
several subsidiaries. The principal theme has rather the character of
running passage-work, but some of the subsidiaries are more cantabile.
This symphony is scored for 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2
horns, 2 trumpets, 1 pair of kettle-drums, and the usual strings. The score
is dedicated to Count von Oppersdorf.
Hungarian Rhapsody No. 6, " The Carnival at Pesth." Franz Liszt.
Liszt wrote fifteen compositions for the pianoforte, to which he gave the name of Rhapsodies hongroises ; they are based on national Magyar melo-
The Boston Symphony Orchestra Programme
For the twenty=four Boston Concerts, With Historical and Descriptive Notes by William F. Apthorp,
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(16) dies. Of these he, assisted by Franz Doppler, scored six for orchestra.
There is considerable confusion between the pianoforte set and the orches- tral transcriptions in the matter of numbering. Some of the orchestral transcriptions, too, are transposed to different keys from the originals.
Here are the lists of both sets.
Original Set, for Pianoforte.
I. In E-flat major, dedicated to E. Zerdaheli.
If. In C-sharp minor and F-sharp major, dedicated to Count Ladislas Teleki.
III. In B-flat major, dedicated to Count Leo Festetics.
IV. In E-flat major, dedicated to Count Casimir Eszterhazy.
V. Hiro'ide iligiaque, in E minor, dedicated to Countess Sidonie Reviczky.
VI. In D-flat major, dedicated to Count Antoine d'Apponyi.
VII. In D minor, dedicated to Baron Fery Orczy.
VIII. In F-sharp minor, dedicated to M. A. d'Augusz.
IX. Le Carnaval de Pesth, in E-flat major, dedicated to H. W. Ernst.
X. Preludio in E major, dedicated to Egressy Beny. t
XI. In A minor, dedicated to Baron Fery Orczy.
XII. In C-sharp minor, dedicated to Joseph Joachim.
XIII. In A minor, dedicated to Count Leo Festetics.
XIV. In F minor, dedicated to Hans von Biilovv.
XV. Rdkdczy Marsch, in A minor.
Orchestral Set.
I. In F minor . (No. 14 of the original set).
" ( <( 1 II. Transposed to D minor (No. 12 )•
III. Transposed to D major (No. 6 "
« a IV. Transposed to D minor and G major (No. 2 " " V. In E minor (No. 5 ' )•
< it " < \ VI. Pesther Carneval, transposed to D major . . . (No. 9
t ions remain the same as in the original set.
No. 2 of the original set has also been scored for orchestra, transposed to C minor and F major, by Carl Muller-Berghaus. Liszt arranged No.
14 of the original set for pianoforte and orchestra, under the title of
Ungarische Fantasie.
The Carnival at Pesth begins Moderato in D major (4-4 time) with some strong preluding in the lower strings on a figure taken from the theme that is soon to follow, interrupted by staccato chords in the full orchestra. A quieter phrase follows in the strings, answered by the wood-wind. Then
(17) the theme is given out by the trumpet, answered by the clarinets and horns in 3rds, over a simple accompaniment in the harp and strings pizzicati.
The development is carried out at great length and with very varied or- chestration, the melody being varied with all sorts of elaborate figural embroidery. After a while the tempo changes to Allegretto (2-4 time), and a dainty dance-theme is announced by the violas and clarinet, to be ex- tendedly developed and embroidered in its turn. Then comes a Finale :
Presto (2-4 time), in which a rushing Friska theme is worked up, now in D minor, now in D major, in alternation with scraps from the previous themes
— a resounding return of the first theme being especially noteworthy.
The piece is scored for 1 piccolo-flute, 2 flutes, 2 oboes, 2 clarinets, 2 bas- soons, 4 horns, 2 trumpets, 3 trombones, 1 bass-tuba, a set of 3 kettle- drums, triangle, bass-drum and cymbals, harp, and the usual strings. The score is dedicated to H. W. Ernst. MUSICAL INSTRUCTION. BOSTON.
Solo Harpist of the Boston Symphony Or- chestra, and teacher at the New England Conservatory of Music, will accept a limited HEINRICfl SCHUECKER, number of pupils during the monthly visit of the Orchestra in this city. For information address 10 Greenwich Park, Boston.
Concert and Oratorio. Vocal Instruction. Miss No. 160 BOYLSTON STREET, ROOM 7. HOTELS. CARROLLTON HOTEL,
Baltimore, Light and German Streets, - BALTIMORE, MO. AMERICAN AND EUROPEAN PLAN.
The largest and leading hotel in the city, with all modern improvements. The most central location accessible to all parts of the city. All lines of city passenger cars pass its doors. JAMES P. SHANNON, Manager. THE CONTINENTAL,
9th and CHESTNUT STREETS, . . . PHILADELPHIA. CENTRAL LOCATION.' APPOINTMENTS PERFECT.
Rates, from $2.50 to$4.00 per day. L. U. MALTBY.
(18) INFANTRY HALL, - - - PROVIDENCE.
Sixth and Last Concert
BY THE BOSTON SYMPHONY ORCHESTRA
Mr. EMIL PAUR, Conductor,
Wednesday Evening,
April 2\,
AT 8.
(19) MUSICAL INSTRUCTION. CONDUCTOR AND ORGANIST
Mr. N, D, SPRAGUE, Butler Exchange, Room No. i FIFTH FLOOR.
INSTRUCTOR OF VIOLIN, - ~ ...... _•«« ~ ««w . «._«.«». Musical Director, Providence Opera House. *°< we..™*,*., s. Room , FELIX R. WENDELSCHAEFER, »** , 5 ' PROVIDENCE, R.I. Telephone 2499.
Violinist.
Mrs. A. C. Shepardson-Nauck, MuS ic Rooms,
387 ANGELL STREET.
None but competent and successful native European School of Languages teachers of long experience. For further particulars applv at school, 357 HoppinDin Homestead Building, Westminster Street, or at residence, 169 Angell Street. 357 Westminster St. WILHELM NAUCK, Principal. TEACHER OF MUSIC, flerr BANS SCHNEIDER,
~w«* iq v,, Late of the Conservatory of ROOM jy C COLOGNE. GERMANY, CONRAD BUILDING.
'Cello Soloist and Teacher. Gnstav 0. Hornberger, 49 FRANCIS STREET.
™ESDAYS—-- ™^"-. Clifford McAusIan, Mrs. Fannie 3
VOICE CULTURE. 248 Weybosset Street, Room 9,
TEACHER OF VIOLIN.
623 Miss JULIA Y. MIDGLEY, ^ , BUTLER EXCHANGE.
Will teach in Providence on Tues- days and Wednesdays of the coming season. Appointments for lessons m be de b correspondence MrS. ANNE GILBRETH CROSS fJ ™ y addressed to No. 57 Pierce Building, Copley Square, Boston. (20)