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Boston Symphony Orchestra Concert Programs, Season 16, 1896-1897

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Boston Symphony Orchestra Concert Programs, Season 16, 1896-1897 INFANTRY HALL, PROVIDENCE. Boston Symphony Orchestra Mr. EMIL PAUR, Conductor. Fifteenth Season in Providence. PROGRAMME OF THE Sixth and Last Concert, Wednesday Evening, April 21, At Eight precisely- With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C A. ELLIS, MANAGER. (1) Steinwav & Sons w Piano Manufacturers N I TO HIS MAJESTY, WILLIAM II., EMPEROR OF GERMANY THE ROYAL COURT OF PRUSSIA. His Majesty, FRANCIS JOSEPH, Emperor of Austria. HER MAJESTY, THE QUEEN OF ENGLAND. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES. THE DUKE OF EDINBURGH. His Majesty, UMBERTO I., the King of Italy. Her Majesty, THE QUEEN OF SPAIN. His ILa;e:?:y. Emperor William 11 or" Germany ... "illiam Stbm mamifactTirer. :- -.?.- .- -- The Royal Academy o: 5: Caecilia :.: R; -. : :. :. -—.:i -.;.— ; • \ ~ - ;:.-.•." . :.;:• :.: triaa U M : :;:ei Mr W i:v. 5:e _ :. .;: ;: : :i: :.: :z Mr :: : 584 -; :~x — ." './ A .•;.:.'.-:.• ;.:-- - < . ; .-..--;:.;-. • :~ . ure-; >/:..: A. r A: ::. : 5. :>^ i~i :z i - : . ir.i := :i- : : : . : c . ;>.e s:c: Alex Pansottl .v -.-.-.;-. E D: San M.u::n;, .- ILLUSTRATED CATALOGUES BAILED PP.EE ON APPLICATION STEINWAY 6l SONS, Warerooms. Steinway Hall. 107-111 East 14th St.. New York. EUROPEAN DEPOTS. u- $-. ?:-:- w., Steinway Hall ^- Ss ;.•-•.. ir. Sz-. London. Eng-lani. - :.--:. Btetnway*B PlanofabrUs . Xr- A^rv-f:-:^. Eamburg. Germany M. STEINERT & SONS CO.. Sole Representatives. 246-248 Westminster Street. Providence. R.I. 1- Boston ~ l Infantry Hall, Symphonyt s PlOYidence. Orchestra Mr. EMIL PAUR, Conductor. Sixth and Last Concert, Wednesday Evening, April 21, At Eight precisely. WAGNER PROGRAMME, (By request.) " Parsifal." Prelude. "Tannhauser." Overture. „ T , ., (a. Prelude to Act I. -Lohengrin.' | b> Prelllde to Act IIL A "Siegfried" Idyl. " Rienzi." Overture. 41 Siegfried." Act II., " Forest Sounds." 41 Die Walkure." " Ride of the Walkyries." (3) We advertise only what we have, and exactly as it is. A Bicycle of One-horse Power. The best of cycling days are now with us, granting always that warmish clothes are provided. We provide them, and everything the bicycle man • or boy wears,— the cap, the bicycle scarf, the stockings, the sweater, and something far warmer than a sweater, far handsomer — bicycle reefers — short, heavy coats of black or Oxford frieze. Jerome Kennedy & Co. « Your money back if you want it. (4) Prelude to " Parsifal." Parsifal, a stage-consecration festival play in three acts, the text and music by Richard Wagner, was first given in Bayreuth on July 28, 1882. The poem was published in 1877, and the music completed in 1879. The right of stage-performance belongs exclusively to the Festival Theatre in Bayreuth, and the drama has never been given on the stage anywhere else. The prelude, which is perfectly free in form, begins, Sehr langsam {Lento assat)'va. A-flat major (4-4 time), with the SANGREAL-motive, given ou£ in gentle crescendo and diminuendo, by the violins, 'celli, alto-oboe, clarinet, and bassoon in unison ; the motive is then repeated by the trumpet, oboes, and half the first and second violins in unison against rising and falling arpeggj in the remaining violins and violas, repeated chords in the flutes, clarinets, and alto-oboe, and sustained harmonies in the bassoons and horns. Then the second phrase of the motive is given out and repeated, as before. Now the Call to Prayer is heard, swelling irom piano to forte in the trumpets and trombones, ending with the " Dresden Amen" * which is softly echoed by the wood-wind. The time now changes to 6-4, and the brass instruments intone the FAiTH-motive, which is carried out con- trapuntally at considerable length by various combinations of instruments. With a return to 4-4 time comes a briefer working-out of the SANGREAL- motive, against tremulous harmonies in the violins, followed by a short stormier episode on one of the motives that refer to Amforta's torments. A brief coda on the SANGREAL-motive, closing with the solemn Call to Prayer and the "Dresden Amen" brings the prelude to a pianissimo final cadence in the original A-flat major. This prelude is scored for 3 flutes, 3 oboes, 1 alto-oboe, 3 clarinets, 1 bass-clarinet, 3 bassoons, 1 double-bassoon, 4 horns, 3 trumpets, 3 trom- bones, 1 bass-tuba, kettle-drums, and the usual strings. *This peculiar form of cadence, in ascending 6ths, was also introduced by Mendelssohn in his " Reforma- tion " symphony. Exhamtiov Horsford's Acid Phosphate Overworked men and women, the nervous, weak and de- bilitated, will find in the Acid Phosphate a most agreeable, grateful and harmless stimulant, giving renewed strength and vigor to the entire system. Portland, Me., says: "I have used it in my own case when Qf m Edwin F. VOSe, suffering from nervous exhaustion, with gratifying results. I have prescribed it for many of the various forms of nervous debility, and it has never failed to do good." R.I. Descriptive pamphlet free on application to Rumford Chemical Works, Providence, Beware of Substitutes and Imitations. FOR SALE BY ALL DRUGGISTS. (5) Overture to "Tannhauser." Tannhauser und der Sdngerkrieg auf Wartburg, romantic opera in three acts, the text and music by Richard Wagner, was first given, under the composer's direction, at the Royal Court Opera in Dresden on October 19, 1845. The original cast contained some famous artists : Tichatschek sang Tannhauser ; Mitterwurzer, Wolfram Johanna Wagner (the ; composer's niece), Elisabeth ; and Schroeder-Devrient, Venus. Wagner wrote the poem in Dresden in 1843 ; and the score was finished in 1844-45. When the opera was to be given, in a French translation by Charles Nuitter, at the Academie Imperiale de Musique in Paris in 186 1, Wagner cut out the coda of the overture, connecting the latter immediately with the first scene of the opera, rewrote this first scene (Bacchanale) entirely, and largely ex- tended the following scene between Tannhauser and Venus. Jn this remodelled shape, the work was given on March 13, 1861. This is gener- ally known as the " Paris version " — now to be regarded as the only authentic one. Whatever may be thought of the wisdom of Wagner's changes in the first scenes of the opera itself, — and the Paris version of these scenes has been criticised as being too much in his later manner (he had already writ- ten Das Rheingold, Die Walkiire, and Tristan) to harmonize well with the style of the rest of the work, — there can be no doubt about the wisdom of his change in the overture. When he first wrote Tannhauser, he had not fully formulated his theories of the Music-Drama; the overture, with its resounding coda on the Pilgrim's Chorus and its full final cadence, was more a musical resume of the opera than an introduction to it ; its form was too complete and self-dependent to accord with Wagner's later the- ories, and it had too much the air of a concert piece. Cutting out the coda and enchaining it with the bacchanalian music of the first scene cured Hew England Conservatory of music. FOUNDED IN 1853 BY DR. EBEN TOURJEE. RICHARD H. DANA, President. CARL FAELTEN, Director. COMPLETE IN ALL ITS DEPARTMENTS. PIANOFORTE. THEORY. ELOCUTION. ORGAN. HARMONY. ORATORY. VOICE. COUNTERPOINT. PHYSICAL CULTURE. VIOLIN. COMPOSITION. LITERATURE. ORCHESTRA. CONDUCTING. LANGUAGES. Special Classes for children in Elementary Principles of Music. Orchestral and Ensemble practice for advanced students. Thorough and systematic training" for Soloists and Teachers. Practical School for Operatic training- and performance. For further information address New England Conservatory of Music, Franklin Square, Boston. (C) — this. There was another gain, too : the Pilgrims' Chorus, as it appeared in the original coda, sung in E major by the united trumpets and trom- bones, to a rapidly rushing violin accompaniment, had the disadvantage of throwing the same chorus completely in the shade, when sung in E-flat major in the third act of the opera, with a simpler and less brilliant violin accompaniment. Omitting the coda of the overture allowed the chorus in the third act to make its full effect. The overture in its original form may now be considered as a concert composition by itself. It is in this shape that it is almost invariably given at concerts. All the themes in the overture are taken from the music of the opera. It begins with a slow introduction, Andante maestoso in E major (3-4 time), in which the second Pilgrims' Chorus, " Beglikkt darf nun dich, O Heimath, ich schauen" is given almost entire : at first piano in the lower wood-wind and horns, to which the lower strings are soon added ; then fortissimo, with the melody in three trombones in unison, against an obstinate figure in the violins ; then dying away to pianissimo in the clarinets and bassoons. This introduction leads immediately over to the main body of the overture. This, Allegro in E major (4-4 time), begins with the spirally ascending first theme, the TANNHAUSER-motive, in the violas and clarinets, against high tremolos in the violins, followed by other subsidiary themes, all taken SHORE LINE —^— BETWEEN ——— BOSTON and NEW YORK THROUGH TRAIN«SERVICE FROM EITHER CITY. 10.00 a.m. "BAY STATE LIMITED." Yestihuled Buffet Parlor Cars only. Special Ticket required. Due 3.00 p.m. 10.03 a.m. " DAY EXPRESS." 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