MUSIC HALL, BALTIMORE. Boston Symphony Orchestra Mr. EMIL PAUR, Conductor. Fifteenth Season, i8g5-g6. PROGRAMME OF THE FIRST CONCERT Wednesday Evening, Nov. 13, 1895. At 8.15 precisely. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. MANUFACTURERS OF GRAND, SQUARE. AND UPRIGHT PIANOS EUGEN D'ALBERT: From fullest conviction, I declare them to be the best Instru- ments of America. ......... DR. HANS VON BULOW : Their sound and touch are more sympathetic to my ears and hands than all others of the country. I declare them the absolutely best in America. ....... ALFRED GRUNFELD: I consider them the best instruments of our times. P. TSCHAIKOWSKY: Combines with great volume of tone rare sympathetic and noble tone color and terfect action. ....... WAREROOMS BALTIMORE, WASHINGTON, 22 and 24 E. Baltimore Street. 817 Pennsylvania Avenue. NEW YORK, 148 Fifth Avenue. (2) " Music Hall, Boston , y Mount Royal and SvmOhonV 2E Maryland Avenues, ^J "*f ^ T BALTIMORE. {\fr*\ % r*C*\' f fl Fifteenth Season, 1895-96. VJ^ 1 vliv^Ll d. Eleventh Season in Baltimore. Thirty-fourth Concert in Baltimore. Mr. EMIL PAUR, Conductor. First Concert, Wednesday Evening, November 13, At 8.15 precisely. PROGRAMME. Karl Maria von Weber - Overture to " Oberon," in D major Verdi ------- Monologue from "Falstaff" Felix Mendelssohn-Bartholdy Symphony No. 3, in A minor (Scotch), Op. 56 I. Introduction: Andante con moto (A minor) - 3-4 Allegro un poco agitato (A minor) - 6-8 II. Vivace non troppo (F major) - 2-4 III. Adagio (A major) _______ 2-4 IV. Allegro vivacissimo (A minor) - 2-2 Allegro maestoso assai (A major) - 6-8 Leoncavallo ------ - Prologue, " I Pagliacci Peter Ilyitch Tschaikowsky Second and Third Movements from Serenade for Strings, in C major, Op. 48 II. Valse: Moderate Tempo di Valse (G major) III. Elegia : Larghetto elegiaco CD major) Richard Wagner ------ Overture, " Rienzi Soloist, Mr. G. CAMPANARI. 13) SHORE LINE BETWEEN BOSTON and NEW YORK THROUGH TRAIN SERVICE FROM EITHER CITY. 10.00 a.m. "BAY STATE LIMITED." vestibule* Buftat FUfcw car. only. Special Tionet required. Due 3.00 p.m. 10.03 a.m. "DAT EXPRESS." Vestibuled Buffet Parlor Care, and Tay Coach<=8. Due 4.30 p.m. 1.03 p.m. "AFTERNOON EXPRESS." Vestibule! Buffet Parlor cars, and Day Coaches. Due 7.30 p.m. 3.00 p.m. " SHORE LINE EXPRESS." Daily. Vestibule! Parlor Cars, and Day Coaches. Dining Car Boston and New London. Due 9 C2 p.m. 5.00 p.m. " GILT EDGE " EXPRESS. Daily Vertibuled Parlor Cars, and Day Coaches- Dining Car Boston and New London. Due 11.00 p.m. 12.00 MIDNIGHT MAIL EXPRESS. Daily Allen Vestibuled Compart- ment Sleeping Car and Day Coaches. Due 7.00 a.m. (Open for occupation at 9 } 12.03 a!m! MIDNIGHT EXPRESS. Vestibuled Sleeping Cars. Boston and New York. Vestibuled Sleeping Cars Providence and New York. 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Royal * Blue Line Safest ^ Finest and Trains x?x *i* in the World, between *** NEW YORK AND WASHINGTON JERSEY CENTRAL, PHILADELPHIA & READING, and VIA BALTIMORE & OHIO RAILROADS. All trains vestibuled, heated by steam, lighted by the Pintsch Gas System, and protected by Pullman's Anti-telescoping Device. PULL/IAN DAY COACHES, PARLOR CARS, SLEEPING CARS, DINING CARS. NEW YORK TO WASHINGTON IN FIVE HOURS Tickets on Sale at all Railroad Offices. (4) Overture to "Oberon" in D major . Karl Maria von Weber. Oberon, or the Elf-King's Oath, romantic opera in three acts, the text by James R. Planche', the music by Karl Maria von Weber, was first given at Covent Garden, London, on April 12, 1826. It is one of the exceedingly few English operas written by a world-famous dramatic composer. It was written in 1825-26, and was Weber's last opera. The libretto was based on Villeneuve's romance Huon de Bordeaux, and Sotheby's English trans- lation of Wieland's poem Oberon. The libretto was translated into German by Theodor Hell, and the opera brought out in this version in Leipzig in December, 1826, in Vienna on March 20, 1827, and in Berlin on July 2, 1828. The same German version was given in Paris in 1830, but without success ; but the opera was given, in a French translation, by Nuitter, Beaumont, and Chazot, at the Theatre- Lyrique in Paris on February 27, 1857, and did succeed with the public. It was first given in an Italian translation, with recitatives by Weber's pupil, Sir Julius Benedict, at Her Majesty's Theatre, London, on July 30, i860. It was first given in New York (in the original English version) on October 9, 1829, and in Italian (with Benedict's recitatives) in Philadelphia on March 9, 1870. The over- ture has long held its place in the orchestral repertory all over the musical world. The overture begins with a slow introduction {Adagio sostenuto, in D major, 4-4 time) which is all suggestive of the fairy character of the opera. First comes the slow call (D, E, F-sharp) on Oberon 's magic horn, an- swered by a little sigh in the muted strings ; then both call and sigh are repeated. Slow melodious phrases in the strings now alternate with a light, skipping, fairy-like figure in the flutes and clarinets, after which the ATonk FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Horsford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion ; and, where the system has became debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. Cornell Easten, Philadelphia, Pa., says, "I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility and exhaustion." Descriptive pamphlet free. Rumford Chemical "Works, Providence, R.I. Beware of Substitutes and Imitations. (5) trumpets, horns, and bassoons give a soft, march-like call, which is twice responded to by a dainty, tripping, dance-like figure in the muted strings. Soon a tender love-melody sounds in the lower register of the orchestra, harmonized in three parts, with the following absolutely original orchestra- tion : the upper voice is sung by the violas and first 'celli in unison, the middle voice by two clarinets in unison, and the bass by the second 'celli ; a short dreamy passage in the strings leads to a hold in the violas on the two notes D and E, and then comes suddenly what has been called M the loudest chord in all orchestration,"— a tremendous crash of the full or- chestra on the dominant chord of A. The unexpected suddenness of this orchestral thunderbolt has quite as much to do with the effect it produces it is is as the way in which scored ; but the effect unquestionable,— familiar as the overture is, it is hardly ever played anywhere, even to-day, without this chord's startling at least somebody in the audience, and the comic results of which this sudden shock has been productive on more than one occasion have given rise to many an anecdote. It is unquestionably one of the most tremendous " surprises " in all orchestral music. Now the main body of the overture {Allegro con fuoco, in D major, 4-4 time) begins. As the introductory orchestral crash was the most tremen- dous, so have the first four measures of this Allegro been called, and not without some show of reason, the most brilliant and dashing orchestral on- slaught in all music ; here Weber has fairly outdone himself in brilliancy. 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(6) ; His overtures to Der Beherrscher der Geister and to Euryanthe both began with a similar rush of the strings, but give only a faint idea of what Weber has achieved in this instance. This tumultuous theme is developed at considerable length, merging into some subsidiary passage- work, in which the alternation of some sharply rhythmic strokes in the strings and wind, in full harmony, with a strongly accented descending semi-tone in the strings and trombones, in unison and octaves, is particu- larly to be noticed ; the rhythmic figure resulting from this alternation almost deserves to be called a first subsidiary in itself.