Boston Symphony Orchestra Concert Programs, Season 10, 1890
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MUSIC HALL, BOSTON. 30ST0N SYMPHONY ORCHESTRA, ARTHUR NIKISCH, Conductor. Tenth Season, 1890-91. PROGRAMME OF THE Sixth Rehearsal and Concert. FRIDAY AFTERNOON, NOVEMBER 21, AT 2.30. SATURDAY EVENING, NOVEMBER 22, AT 8.00, WITH HISTORICAL AND DESCRIPTIVE NOTES; 'PREPARED BY G. H. WILSON. PUBLISHED BY C. A. ELLIS, Manager. (161) * The MASON & HAMLIN PIANC S S the same hlSh standard of excellence which has always characterized ii «^ON & the 5?™ HAMLIN ORGANS, and won for them the Highest Awards at ALL GREAT WORLD'S EXHIBITIONS since and including that of Paris, 1867. SOLD ON EASY TERMS AND RENTED. MASON & HAMLIN ORGAN AND PIANO Cofl BOSTON, Mason & Hamlin Hall, 154 and 155 Tremont Street. NEW YORK, Fifth 158 Avenue. CHICAGO, 149 Wabash Avenue. Organ and Piano Catalogue sent free to any address. (1«2) SIXTH REHEARSAL AND CONCERT. Friday Afternoon, November 2 , at 2.30. 1 Saturday Evening, November 22, at 8.00. PROGRAMME. Beethoven ----- Symphony No. 1, in C major Adagio molto; Allegro con brio. Andante cantabile con moto. Minuet. Adagio; Allegro molto e vivace. Haydn ------ Concerto for Violoncello, in D (FIRST TIME IN BOSTON.) Allegro. Adagio. Rondo. Smetana - Symphonic Poem, "Vltava" (FIRST TIME IN BOSTON.) Weber -- - - - - - - Overture, "Oberon" Soloist, Mr. ANTON HEKKING. The Programme for the next Public Rehearsal and Concert will be found on page 187. (1*3) : SHORE LINE BOSTON T(1 NEW YORK NEW YORK TOU BOSTON Trains leave either city, week-days, as follows, except as noted DAY EXPRESS at 10.00 a.m. Arrive at 4.30 p.m. AFTERNOON SERVICE at 1.00 p.m. Arrive at 7.30 p.m. Dining Car beween Boston and New London. "GILT EDGE" LIMITED at 5.00 p.m. Daily, Sundays included, and arrive 1 1 p.m. Dining Car between Boston and New London. The last trains between the two cities to leave and arrive at termini the same day. MIDNIGHT EXPRESS at 12.00 o'clock. Daily, Sundays included, and arrive at 7.00 a.m. The LAST TRAIN from either City. Wagner Drawing-room Cars on Day Trains. Compartment Sleeping Cars on Night Trains. Trains leave Boston from Park Square Station ; New York, from Grand Central Station. 94 C n m Philadelphia, Baltimore, and Washington Express. B I %J 11 1 III B Drawing-room Cars and Parlor Smoking Cars. Arrives Philadelphia, 6.47 p.m., Baltimore, 9.52 p.m., Washington, 10.55 p.m. Leaves "Washington, 8.10 a.m., Baltimore,a.m., 9.08 Philadelphia, 11.30 a.m. Arrives Boston, 9.00 p.m. J. R. KENDRICK, Gen'l Manager. GEO. L. CONNOR, Gen'l Pass'r Agent. Royal Blue Line for Washington. BALTIMORE & OHIO R.R. FOR BALTIMORE, CHICAGO, WASHINGTON, ST. LOUIS, CINCINNATI, INDIANAPOLIS, COLUMBUS, PITTSBURG. Only Line via Washington to the West. Two Through Trains Daily to Chicago, Cincinnati, and St. Louis Without Change. Six Fast Trains~^atly-to Washington. Magnificent Pullman Palace, Drawing-room and Sleeping Cars ON ALL TRAINS. NEW YORK TO WASHINGTON IN FIVE HOURS. CHAS. O. SCULL, Gen'l Pass'r Agt., A.J. SIMMONS, New Eng. Pass'r Agt., Baltimore, Md. 211 Washington St.,{Boston, Mass. C. P. CRAIG, Gen'l Eastern Pass'r Agent, New York. 1 (164) ; Symphony No. 1, in C major, Op. 21. Beethoven. Adagio molto ; Allegro con brio. Andante cantabile con moto. Minuet. Adagio ; Allegro molto e vivace. It seems to be an admitted fact that the C major symphony is the first which Beethoven ever wrote, as it was the first performed and published and his only orchestral- compositions before it would seem to have been his first and second piano concertos. Traces of the finale of the symphony are found in Beethoven's copy-books of 1795, at which time he was a pupL under Albrechtsberger. These tell-tale pages also display the pupil's fugi- tive grasp of counterpoint. On the 2d of April, 1800, the symphony was first performed at a concert given by Beethoven in Vienna. Beethoven uses the clarinets throughout the work,— a circumstance which, in 1795, amounted to an innovation : otherwise, the scoring is for the usual Haydn- Mozart orchestra. The following has been compiled : — First Movement. The symphony commences, like most of Haydn's later works in this class, and a few of Mozart's, with a short introductory movement,— adagio molto. In his fourth and seventh symphonies, Beethoven has shown how extended and independent such introductions can be made ; but the pres- ent one is only twelve bars in length, merely serving as a prelude in the key of C. This opening may not seem novel or original to us, but in 1800 it was audacious and surely startling enough to ears accustomed to the reg- ular processes of that time. In the allegro which succeeds this introduc- LP. HOLLANDER & CO. SPECIAL SALE VACATION WEEK OF Misses' and Children's Dresses and Garments, INCLUDING SOME GREAT BARGAINS IN ODD and BROKEN LOTS. 82 and 83 BOYLSTON ST. and PARK SQ., BOSTON, (165) LADIES' TAILOR. AUTUMN AND WINTER SEASON, 1890. We have on exhibition models of Street Gowns, Jackets, and Ulsters. We are also showing models of Fur- trimmed Jackets, Coats, and V/raps just designed for this month. 96 Boylston Street, Opp. Public Garden, BOSTON. OYSTERS AND SALADS WEBER'S A SPECIALTY. GENUINE VIENNA ICES. 25 Temple PI. and 33 West St. Established 1873. X> BAILEY'S CHAS. E. FOSS, o 1873-1876, PAGE & BAILEY. <£, UMBRELLA STORE. 9 TEMPLE PLACE. (formerly with C. F. Hovbv & Co.). Special attention given to recovering and repairing umbrellas and parasols. * A large and complete assortment of umbrellas of the best makes constantly on band. The only store exclusively devoted to umbrellas 1888-1890, W. M. LOWNEY. in Boston. Fob., 1890, J. B. BAILEY. 45 WEST ST. tion there is not much to call for remark. In the leading theme there is a likeness to the first subject of the " Prometheus " overture. The second subject (in the dominant key of G, according to rule) is very melodious and agreeable ; and the arpeggio accompaniment in the strings, and the broken accent in bars five and six, make it continuous and lively. The whole of this movement has much in common with the over- ture to "Prometheus." An effective and original passage — almost to be called an episode — arises in the treatment of this theme, where the bass has a portion of the subject, with a separate melody above it, — first in the oboe, and then in the oboe and bassoon in octaves. Second Movement. The second movement — andante cantabile con moto — is a well-known and old favorite. In form and rhythm and mode of treatment the opening recalls the equally favorite andante in Mozart's G minor symphony, but the likeness ceases with the opening. An original passage is here notice- able, in which the kettledrum has, probably for the first time in orchestral music, an independent solo part. On the first occurrence, it acts as the bass to a melody in the violins and flutes ; on the second, it is accompanied by a succession of chords divided between the wind and string band. The drum* solo is an example of favor shown to that somewhat intractable in- strument, which Beethoven repeated more than once in his later works with fine effect. * In Mr. Elson's new book, " Theory of Music," the author interestingly sketches the development of the kettledrums, or tympani, and notes their use by classic and modern composers. Old violins, VIOLAS and 'CELLOS, Artist Italian Strings, Imported Silver G's. ARTIST BOWS By Knopf, Gand, Tubbs, Lamy, &c. Sole Agent for the BARZONI VIOLINS AND VIOLONCELLOS. All styles of Plush Lined Leather Boxes, Paris Rosin, Sarasate G Strings, Weichold Tested Strings, etc. Instruments taken in exchange and sold on instalments. I have just returned from Europe with a large assortment of the above. Artistic repairs by my own workmen. Specialty of bridges and bass-bars. FREEMAN A. OLIVER, 25 Winter Street, Rooms 8 and 9, Chandler's Building, near Music Hall. (167) Third Movement. The minuet and trio form the only original portion of the work. But they are original in every sense of the word. In the former, though he " entitles it minuet" Beethoven forsook the spirit of the minuet of his pred- ecessors, increased its speed, broke through its formal and antiquated mould, and produced a "scherzo" which may need increased dimensions, but needs no increase of spirit to become the equal of those great move- ments which form such remarkable portions of his later symphonies. The change is less obvious because Beethoven has adhered to the plan and measure of the old minuet and trio, instead cff adopting others, as Men- delssohn did in his scherzos ; and he himself in at least one instance {Alle- gretto vivace of pianoforte sonata in E-flat, Op. 31). But, while listening to this movement, we have only to bear in mind the best minuets of Haydn or Mozart to recognize how great is the change, and to feel that, when Bee- thoven wrote this part of his first symphony, he " took a leap into a new world." It is the second portion of the melody that Beethoven has made most use of in the bold modulations and shifting colors with which he develops his idea, until the small canvas grows with the vigorous and suggestive picture. In many respects, this movement contains a distinct prediction not only of the general character of the latter scherzos, but even of their phrases. When some one was discussing with Haydn some extra-stringent rules of the contrapuntists, the old composer broke off the conversation " with the words : What nonsense ! How much more to the purpose it " would be if some one would show us how to make a new minuet ! Here, B.