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Boston Symphony Orchestra Concert Programs, Season 17, 1897-1898

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Boston Symphony Orchestra Concert Programs, Season 17, 1897-1898 Metropolitan Opera House, New York. Boston Symphony Orchestra. Mr. EMIL PAUR, Conductor. Twelfth Season in New York. PROGRAMME OF THE Fifth and Last Concert THURSDAY EVENING, MARCH 24, AT 8.15 PRECISELY. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. (11 Steinway & Sons, Piano Manufacturers BY APPOINTMENT 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 Majesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr William Stbinway the order of The Rkd Eagle, III. Class, an honor never before granted to a manufacturer The Royal Academy Of St. Ceecilia at Rome, Italy, founded by the celebrated composer Pales- trii a in 1584, has elected Mr. William Steinway an honorary member of that institution. The following it the translation of his diploma: — The Royal Academy of St. Ceecilia have, on account of his eminent merit in the domain of muse, and in conformitv to their Statutes, Article 12, solemnly decreed to receive William Stein- way into the number of their honorary members. Given at Rome, April 15, 1894, and in the three hundred and tenth year from the founding of the society. Albx Pansotti, Secretary. E. Di San Martino, President. ILLUSTRATED CATALOGUES MAILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms, Steinway Hall, 107-111 East 14th St., New York. EUROPEAN DEPOTS: Steinway Hall, 15 and 17 Lower Seymour St., Portman Sq., W., London, England. Steinway's Pianofabrik, St. Pauli. Neue Roseo-Strasse, ao )u Hamburg, Germany. METROPOLITAN BoStOn , J_ OPERA HOUSE, Symphony 1 new york. ? Seventeenth Season, 1897-98. Orchestra Twelfth Season in New York. Mr. EMIL PAUR, Conductor. FIFTH AND LAST CONCERT, THURSDAY EVENING, MARCH 24, AT 8.15 PRECISELY. PROGRAMME. Ludwig van Beethoven, Three Movements from the Ninth Symphony, in D minor, Op. 125. I. Allegro, ma non troppo, un poco maestoso. II. Molto vivace : Presto. III. Adagio molto e cantabile. Lndwig van Beethoven - Overture to " Leonore," No. 3, Op. 72 INTERMISSION. "Rienzi," Overture. "Siegfried," Idyll. Richard Wagner ("Lohengrin," Prelude Act II . ] '"Tristan and Isolde," Prelude and Isolde's Love Death. "Die Walkyrie," Ride of the Walkyries, Act III. (3) ; Three Movements from Symphony No. 9, in D minor, Opus 125. Ludwig van Beethoven. (Born in Bonn on Dec. 16 (?), 1770; died in Vienna on March 26, 1827.) Beethoven's ninth symphony, with final chorus on Schiller's Ode to foy, was written in 1823, and the score dedicated to Friedrich Wilhelm III., king of Prussia. The work was first performed at the Karnthnerthor- Theater in Vienna on May 7, 1824. The first movement, Allegro, ma non troppo, un poco maestoso in D minor (2-4 time), opens with a soft rustling on the bare 5th A-E in the second violins, 'celli, and horns, against which the first violins, violas, and double- basses keep repeating more and more hurriedly a fragment of the principal theme of the movement. This goes on in crescendo for sixteen measures then the full orchestra launches out in fortissimo upon the theme in itself, unison and octaves, in the tonic D minor. As soon as the theme has been completely set forth, the soft rustling fifths and sporadic fragments of its first figure return, now in the tonic (D-A), and are followed by a second exposition of the theme in the submediant, B-flat major. Now we come upon an irregularity, perhaps I should rather say a novelty, in the form. Although the movement, as a whole, is strictly in the sonata-form, the plan of its first part — and consequently of its third part also — is new. The regular subdivisions of a symphonic first part : first theme, second theme, and conclusion theme, with their respective subsidiaries, are nowhere to be recognized ; in their stead we find a continuous melodic development which takes up the whole of the first part of the movement. To be sure, this long continuous development divides itself up into several distinct periods,— eight in number,— each one of which periods is recognizable as a separate theme. But there is no such contrast in character between these eight themes as one finds, say, between the energetic first theme, the cantabile second theme, and the passage-work subsidiaries in most sym- phonic first movements ; neither are the separate themes very distinctly rounded off and melodically complete in themselves. One fldVs into the other so naturally, each successive one growing out of the preceding one, that, with all their difference in melodic and expressive character, they appear to be but successive sections of one great melodic development. This extended first part is followed by a long and exceedingly elaborate free fantasia. The third part begins fortissimo in the full orchestra with a single return of the principal theme in the tonic ; only, instead of the in- troductory rustling 5th D-A, we now have a chord of the 6th (F-sharp, D, A) in the major mode ; the theme itself comes however in D minor. The subsequent development of this third part is a quite regular repetition of the first, with the usual differences of key. The movement ends with a long and elaborate coda, which, according to Beethoven's later wont, is es- sentially a second free fantasia, in which the themes are worked out in a new way. An exceedingly dramatic peroration on a march-like variant of a portion of the principal theme over a chromatic bass brings the move- ment to a close in the tonic D minor. The second movement, Molto vivace, in' D minor (3-4 time), is really a scherzo, though not called so in the score. This famous scherzo, which is enormously extended in its development, is built on three leading themes, (4) the peculiar rhythm of the " dotted-triplet " being prominent — either in melody or accompaniment — through them all. The first, or principal, theme begins with this rhythm, but relinquishes it for even triplets in quar- ter-notes after the first measure ; but, as the theme is treated in Jugato, the dotted-triplet rhythm is reasserted with the entrance of each successive voice. The second theme is a more legato melody, which the wind instru- ments, as it were, construct for themselves out of some tricksy play the strings make with the triplet rhythm. The third is a bold, buoyant theme in 3rds and 6ths, played by the wind instruments against a persistent as- sertion of the dotted-triplet by all the strings in organ-point. A welcome variety is made in the long working out of this scherzo, by an occasional change from the rittno di quattro battute to the ritmo di tre battute,— or from an ideal 12-4 time to 9-4 time. The Trio of the Scherzo is a Presto movement in D major (2-2 time) on a short theme which bears some resemblance to that of the Finale, on the Ode to Joy, and is pitted against a curious, almost grotesque, little counter-theme, taken from a Russian peasant dance. It, too, is developed at great length. Both the scherzo and the trio are twice repeated, in alter- nation with each other. The third movement, Adagio molto e cantabile in B-flat major (4-4 time), is in a form absolutely original with Beethoven ; it might be described as a double theme with variations. After two introductory measures, in which the successive entrances of the two bassoons and clarinets have been described as "four drops of melody dropping into the harmony like as many drops of water," the strings announce the divine cantilena of the first theme, the concluding measure of each successive phrase of which is repeated by the clarinets, bassoons, and horns, until after the fourth phrase these wind instruments go on to add a sort of melodious coda to the theme, accompanied by swept staccato chords in the strings. This little coda, however, does not come to a complete cadence, but fades away, as it were, in a modulation to B major, in which key the second theme {Andante mode- rato, in 3-4 time), a melody of far lighter character and the persistently syncopated rhythm of which is noteworthy, is given out, first by the second! violins and violas, various wind instruments coming in later to add richness to the coloring. Nothing could be in stronger contrast than these two themes : the first all profound sentiment, the most expressive melody in all Beethoven's or- Headache Horsford's Acid Phosphate. Headache may arise from a disordered state of the stomach, or it may have a ner- vous origin. The Acid Phosphate by its action in promoting digestion, and as a nerve food, tends to prevent and alleviate the headache arising from either cause. Dr. F. A. Roberts, Waterville, Me., says: " Have found it of great benefit in nervous headache, nervous dyspepsia and neuralgia; and think it is giving great satisfaction when it is thoroughly tried." Descriptive pamphlet sent free on application to Rumford Chemical Works, = Providence, R.L BEWARE OF SUBSTITUTES AND IMITATIONS. For sale by all Druggists. (5) chestral writing ; the second graceful, moodily serene and beautiful, but wholly without the emotional depth of the other. And what is strangest of all is that these two themes have absolutely nothing to do with each other ; they are not only entirely different in mood, but there is no musical connection discoverable between them, to explain their juxtaposition ; all we can say is that the first dies away to make place for the second, and that the second dies away, without any real cadence, but with a sudden modulation back to B-flat major, to make way for a return of the first.
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