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TWENTIETH REHEARSAL and CONCERT Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telepkene, M92 Back Bay.) TWENTY-FOURTH SEASON, J904-J905. WILHELM GERICKE, CONDUCTOR programme OF THE TWENTIETH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, MARCH 31, AT 2.30 O'CLOCK. SATURDAY EVENING, APRIL J, AT 8.00 O'CLOCK. Published by C A. ELLIS^ Manager. 1293 "THE MAKERS OF THESE INSTRUMENTS have shown that genius for piano-, forte making that has been defined as 'an infinite capacity for taking pains'. The result of over eighty- one years of application of this genius to the production of musical tone is shown in the Chickering of to-day." Catalogue upon Application CHICKERING & SONS EttaHisAed iSaj 79, Tremont St, Boston U94 : TWENTY-FOURTH SEASON, I904-J905. Twentieth Rehearsal and Concert* FRIDAY AFTERNOON, MARCH 3J, at 2.30 o'clock. SATURDAY EVENING, APRIL J, at 8.00 o'clock. PROGRAMME. Brahms . Tragic Overture, Op. 8i . Violin, Tschaikowsky . Concerto in D major, for Op. 35 I. Allegro moderato. II. Canzonetta. III. Allegro vivacissimo. Hugo Wolf ..... Italian Serenade, First time Huber ..... Symphony No. 2, E minor, Op. 115 I. Allegro con fuoco. II. Allegro con fuoco non troppo. III. Adagio ma non troppo. " IV. Finale : Metamorphoses suggested by pictures by Bocklin." SOLOIST Mr. KARL BARLEBEN. There will be an intermission of ten minutes before ttie 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 an interval 6e- tween the numbers. City of BoBton, Revised Regulation of August 5, 1898.— Chapter 3, relatingr to the covering of the head in places of public amusement. Every licensee shall not, in his place of amusement, allow aiiy 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 obstruct such view, may be worn. Attest : J. M. GALVIN, City Ckrk. 1295 L P. Hollander & Co. announce an exhibition in their ORDER DEPARTMENT on third floor of IMPORTED SPRINCi MODELS of Qowns, Coats, and Dresses 202 to 216 Boylston Street SPOONS and FORKS. STERLING SILVER. Substantial Weights. Choice Patterns. Plain or Ornamented. .PRICES BASED UPON A LOW FIXED VALUE PER OUNCE. Smith Patterson Company, Wholesale and Retail Jewellers, 52 Stimmer Street, Boston. Tragic Overture, Op. 8i Johannes Brahms (Bom at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) Although the Tragic Overture is Op. 81, and the Academic Op. 80, the Tragic was composed and performed before the Academic; it was performed for the first time at the fourth Philharmonic Concert at Vienna in 1880*; it was published in i88r. The first performance in Boston was by the Symphony Orchestra, October 29, 1881. Later performances at these concerts : December 15, 1883, February 13, 1886, March 29, 1890, March 26, 1892, April 7, 1894, November 23, 1895, January 6, 1900, March 26, 1904. The overture has been characterized as "a tragedy not of actual happenings but of soul hfe." No hero, no event, suggested programme tausic or any specific musical portrayal, although HansUck, sworn partisan of Brahms, says that, if it be necessary to associate the over- ture with any particular tragedy, that tragedy is "Hamlet." The overture may be said to be a musical characterization of the principles of tragedy as laid down by Aristotle or Lessing ; it mirrors, as Reimann puts it, the grandeur, the loftiness, the deep earnestness, of tragic character; "calamities which an inexorable fate has imposed on him leave the hero guilty ; the tragic downfall atones for the guilt ; this down- fall, which by purifying the passions and awakening fear and pity works on the race at large, brings expiation and redemption to the hero himself." The overture is scored for piccolo, two flutes, two oboes, two clari- nets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, strings. The work begins Allegro ma non troppo, D minor, 2-2. After two * Yet some German commentators give January 4, 1881, and Breslau as the date and the place of the first performance of both the " Tragic " and the " Academic." "The Easter riorn." Music by S. COLERIDGE-TAYLOR. With Organ, Violin, or 'Cello Accompaniment. Keys F, A-flat, and B-flat . Price, 75 cents "O BJest Redeemer." Music by ERNEST NEWTON. With Organ Accompaniment. Keys B-flat, C, D, and E-flat .... Price, 75 cents " Resurrexit." Music by F. PAOLO TOSTI. With Organ Accompaniment. Keys D, E, F, and G Price, 75 cents •• Resurrection florn." Music by PAUL RODNEY. With Organ Accom- paniment. Keys A-flat, B-flat, and C Price, 75 cents "Why Seek Ye?" By ADDISON A. ANDREWS . Price, 20 cents *' If ye then be Risen with Christ." By C. VILLIERS STANFORD, Price, 25 cents To be had of all Leading Dealers and the Publishers, BOOSEY & COMPANY, 9 Easl 17lh Street, NEW YORK 1297 V. Ballard ^ 80119 Importing Ladies' Taiiors Announce Arrival of their New Spring and Summer Cloths, Dress Goods, and nodel Qarments which in point of design, quality, and variety surpass anything show^n in previous seasons Special order department for smart Shirt "Waists and Suits. Large line of Wash Goods and Silks Sole makers of the Ballard Safety Riding Habit. With its use dragging accidents cannot occur 256 Boylston Street . Boston 1298 — introductory fortissimo chords the first theme is announced ""against a drum-roll bv strings. The first portion of the theme is repeated by wood-wind, violas, 'cellos, double-basses, supported at times by brass. A subsidiary theme appears in violins and violas. Wind instruments sing an expressive syncopated passage; the first section of the chief theme is intoned by wood-wind and strings in unison; second trom- bone and bass tuba have a descending and pianissimo motive. The second theme, a song in F major, is given to violins, accompanied by strings, clarinets, bassoons. Two episodes with fresh material follow. In the development the first theme and the trombone-tuba theme are especiallv used. The second and song theme is soon crowded out by the chief theme, which is augmented and still more passionate. The first section of the overture is so much developed that it often seems the true free fantasia; but the fantasia is comparatively short, comparativelv, for the working-out is elaborate, but the enormous length of the first section makes the fantasia seem short. The third section contains the conclusion-period of the first, with some devia- tions from the original plan; it leads to a short coda. Mr. Karl BarlEben, vioHnist, was born at Bremen, Germany, in 1866. He at first studied painting, but in his nineteenth year he turned toward music, and was a pupil at the Leipsic Conservatory from 1886 to 1889, where his violin teacher was Brodsky. He has been concert- master at Hanover, leader of a string quartet, and a teacher at the Conservator}^ at Barmen- Elberfeld. He has been associated with the Boston Symphony Orchestra for several years. In 1901-1903 he trav- elled as a virtuoso in Europe, and played in Berlin, St. Petersburg, Hanover, Brunswick, Leipsic, Hamburg, and other cities. EASTER SONGS RECENT Dennee, Charles ORGAN COLLECTIONS Easter Song .... $0.50 E. Hanscom, W. Schmidt's Organ Collection The Day of Resurrection . .65 (Truette) ^1.50 Lynes, Frank The Solo Organist. (Knabel) . 1.50 Fear not, ye seek Jesus . .35 Flagler's Collection, No. 2.00 Neidlinger, W. H. 3 Shepard's Organ Book i.oo Alleluia ! He is Risen . .60 Schnecker, P. A. Organist's Library, No. 3 . 1.50 Awake, Triumphant Mom . .50 Book of Organ Music Marston, Q. W. (J. H. Rogers) 2.00 to (duet, Glory, Glory our King nusic performed at these concerts tenor and soprano) . .60 constantly on hand ARTHUR P. SCHMIDT, BOSTON NEW YORK CHARLES W. HOMEYER & CO., 120 BoyUton 5treet 136 Fifth Avenue X65 Tremont St., BOSTON, MASS. 129» CoNC^RtO IN t) MAJOR, I^OR VlOUN, Op. 35. Pbter Tschaikowsky (Born at Votkinsk, in the government of Viatka, Russia, May 7, 1840; died at St. Petersburg, November 6, 1893.) Tschaikowsky spent the winter and early spring of 1877-78 in cities of Italy or Switzerland. Marcli, 1878, was passed at Clarens. On the third of that month he wrote Mrs. von Meek that the weather had been unfavorable for walking, and that therefore he had spent much time in hearing and playing music at home. "To-day I played the whole time with Kotek.* I have not heard or played any good music for so long that I thus busy myself with extraordinary gusto. Do you know the French composer Lalo's 'Spanish Symphony'? This piece has been produced by the now very modern vioHnist Sarasate." He praised Lalo's work for "its freshness, piquant rhythms, beautifully harmonized melodies," and added: "Like Leo DeHbes and Bizet, he shuns studiously all routine commonplaces, seeks new forms without wishing to appear profound, and, unHke the Germans, cares more for musical beauty than for mere respect for the old traditions." Two days after Tschaikowsky wrote to Mrs. von Meek that he was at that moment Joseph Kotek, violinist, teacher, and composer for violin, was bom at Kamenez-Podolsk, in the govern- ment of Moscow, October 25, 1855. He died at Davos, January 4, 1885. He studied at the Moscow Conserv- atory and afterward with Joachim. In 1882 he was appointed a teacher at the Royal High School for Music, Berlin.
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