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CARNEGIE HALL, NEW YORK. BostonSumptpiy Orchestra Mr. WILHELM GERICKE, Conductor- Seventeenth Season in New York. PROGRAMMES OF THE FOURTH CONCERT THURSDAY EVENING, FEBRUARY 19, AT ZA5 PRECISELY, AND THE FOURTH MATINEE SATURDAY AFTERNOON, FEBRUARY 21, AT 2.30 PRECISELY. With Historical and Descriptive Notes by Philip Hale* Published byCA, ELLIS, Manager. (i) ME S S R S . CHICKERING &> SONS PIANOFORTE MAKERS Invite Critical Inspection of Their Latest Production The Quarter^ Grand The Smallest Grand Embodying Modern Principles Ever Made RETAIL WAREROOM3 791 TREMONT STREET, BOSTON RBPRBSBNTBD BU JOHN WANAHAKER, New York. MME. BLOOMFIELD ZEISLER notified the management this afternoon that be- cause of the very serious illnessof her husband she must return home at once. Instead of the solo number, the orchestra will play the Bach Con- certo No. 2 in F major, for Violin, Flute, Oboe, and Trumpet solo. : BOStOn CARNEGIE HALL, Symphony 4 "™ V0RK- •^ MT %/ «t» Twenty-seconda .Season, 1902-19.03. Orchestra Seventeenth Season in New York. Mr. WILHELM GERICKE, Conductor. FOURTH CONCERT, THURSDAY EVENING, FEBRUARY 19, AT 8.15 PRECISELY. PROGRAMME. u " Cherubini Overture to the Opera, The Water-carrier Schumann . Concerto for Pianoforte, in A minor, Op. 54 I. Allegro affettuoso. II. Intermezzo : Andantino grazioso. III. Allegro vivace. R.Strauss Tone-poem, u Death and Transfiguration" Beethoven Symphony No. 5, in C minor, Op. 61 I. Allegro con brio. II. Andante con moto. III. Allegro. Trio. IV. Allegro. SOLOIST Madame FANNY BLOOMFIELD-ZEISLER. The Pianoforte is a Steinway. There will be an intermission of ten minutes before the symphony, (3) WHEN GABRILOWITSCH PLAYS one realizes what we claim for the Everett Piano. The most em- inent critics have noted it. One writes:. "His tone is luscious," An- 7 other, "He sang with \ a tone of wondrous OSSIP GABRILOWITflCH. beauty." And still others, *' He played with an infinite variety of tone color," "A limpid tone/' etc etc Great" artist that he is, this would not be possible with a piano of lesser tone quality. It is this;;/. Uous quality which stamps the Everett witn a character quite its own. EVERETT PIANO COMPANY MI, 143 FIFTH AVENUE, New York ; Overture to the Opera, " The Water-carrier." Maria Luigi Zenobio Carlo Salvatore Cherubini. (Born at Florence, Sept. 8, 1760;* died at Paris, March 15, 1842.) " Les deux Journees " (known in Germany as " Der Wassertrager " and in English as "The Water-carrier"), lyric comedy in three acts, text by " Citoyen Bouilly," music by " Citoyen Cherubini," and dedicated to " Ci- toyen Gossec," was first performed at the Theatre de la Rue Feydeau, Paris, the 26th Nivose, the year 8, or Jan. 16, 1800. The chief singers were Julie Angelique Scio (1 768-1807), Constance ; Gaveau, Armand Juliet, Mikeli, the water-carrier. The story is a simple one, a tale of adventure in the time of the Car- dinal Mazarin. Armand falls under the displeasure of the Cardinal, and, with his wife Constance, is finally saved through the devotion of a water- carrier. The " two clays " are the days of suspense which Armand and Constance undergo before they are sure of life. The overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 3 horns, bass trombone, kettle-drums, strings. It is in two parts : there is an introduction, E major, andante molto sostenuto, 4-4 ; and an allegro, E major, 4-4, which at the end becomes a presto. The allegro is built on two themes: the first, ff, is announced by violins; the second and milder is announced by bassoons and violas. The thematic material does not appear in the opera. " In the solemn introduction, forebodings of evil, dreamy prophecies of impending woe, fall vaguely on the ear, fixing our attention, 3^et perplexing us with thoughts of change. But now comes the allegro, in the first sub- ject of which we at once recognize the light-hearted poco cura?ite daring of the preux Chevalier ; in the second, so full of anxious tenderness, the * Cherubini gave this date to Choron in 1809; but according to his own catalogue of works the date is Sept. 14, 1760. THE MANAGEHENT OF THE NEW ENGLAND CONSERVATORY OE MUSIC BOUNCES THE RETURN OF g^ ORE§TE B1MBONI A™ ™V„r-Na SCHOOL OF OPERA, Which will give, in addition to the performances in JORDAN HALL, TWO PERFORMANCES, Z IS OTe™ BOSTON THEATRE. MR. CEORC HENSCHEL will teach — until March, 1903 — EXCLUSIVELY in the Conservatory. Particulars and terms (for one or any number of lessons) may be had of the Registrar or from Mr. Henschel personally. (5) utterances of his devoted Constance. The overture is, indeed, permeated by the same ideas which are the very core and essence of the coming drama but heroism alone characterizes peroration, in ; the which both hus- band and wife seem to be united in one grand resolve." For the analyst flourished before Wagner, Brahms, and Richard Strauss divided households. This overture was played at a concert of the Boston Academy, Jan. 15, 1843. It was probably played here before that date. It was played at the Boston Symphony Concerts of Feb. 23, 18S4, Dec. 27, 18S4, April 5, 1890. The opera was performed at the Boston Theatre. Jan. 24. 1S72. Carl Rosa conducted, and the cast was as follows: — Parepa R Marckli in a Clan Doria Angelina Miss Schofield Armand William Castle Tom Karl MlCHABl Aynsley Cook Dan i] E. Seguin The play-bill stated that this was the first performance in America. It seems hardly possible that the opera was not performed at the French opera house in New Orleans before that date. Bouilly, the librettist, they say, was a pompous, foolish person, and his libretto was condemned by the critics yet the opera made a profound ; impression and had a long run. Bouilly met Cherubini at the house of Josephine Beauharnais, and the composer was in search of a book. The librettist had a friend who had saved a magistrate under the Tenor, and on this incident the book was based. Scenes of the Rei« r n of Terror came vividly before the audiences at the first performances of the opera, and there are accounts of the depth of emotion aroused in the breasts of sur- vivors. And Bouilly was not without flattering recognition; for a dozen ur-carriers called on him one day with (lowers, and begged the privile of supplying him with free water for a year. - ' A distorted, mutilated version <>f the opera, entitled "The Ksr.ipes, and with music by Thomas AttWOOd, was produced at London in 180 1. An Enviable Record STECK of over 45 Years The "OLD RELIABLE M Interesting booklets sent free for the asking. GEORGE STECK & CO., 136 flFlH AVENUE, NEW YORK. PIANOS XONCERTO IN A MINOR, FOR PIANOFORTE, Op. 54. ROBERT SCHUMANN. (Born at Zwickau, June 8, 1810 ; died at Endenich, July 29, 1856.) Schumann wrote, after he had heard for the first time Mendelssohn play his own concerto in G minor, that he should never dream of composing a concerto in three movements, each complete in itself. In January, 1839, " and at Vienna, he wrote Clara Wieck, to whom he was betrothed : My con- certo is a compromise between a symphony, a concerto, and a huge sonata. I see I cannot write a concerto for the virtuosos : I must plan something else." It is said that Schumann began to write a pianoforte concerto when he was only seventeen, and ignorant of musical form, and that he made a second attempt at Heidelberg in 1830. The first movement of the Concerto in A minor was written at Leipsic in 1841, and it was then called a " Phantasie." It was played for the first time by Clara Schumann, Aug. 14, 1841, at a private rehearsal at the Gewandhaus. Schumann wished in 1843 or x ^44 to publish the work as an " Allegro affettuoso " for pianoforte with, orchestral accompaniment, " Op. 48," but he could not find a publisher. The Intermezzo and Finale were composed at Dresden in 1845. The whole concerto was played for the first time by Clara Schumann at her concert in Dresden, Dec. 4, 1845. Otto Dresel played the concerto in Boston at one of his chamber concerts, Dec. 10, 1864, when a second pianoforte was substituted for the orchestra. S. B. Mills played the first movement with orchestra at a Parepa concert, Sept. 26, 1866, and the two remaining movements at a concert a night or two later. The first performance in Boston of the whole concerto with orchestral accompaniment was by Otto Dresel at a concert of the Harvard Musical Association, Nov. 23, 1866. ASK FOR MINT JUJUBES A THROAT COriFORT FOR SINGERS AND SITOKERS. Relieve Coughs and Throat Irritations. ON SALE EVERYWHERE, 5C. BOXES, Mr. Mills played the concerto at a concert of the Philharmonic Society of New York as early as March 26, 1S59. The orchestral part of the concerto is scored for 2 flutes, 2 oboes, 2 clar- inets, 2 bassoons, 2 horns, 2 trumpets, kettle-drums, strings. The score dedicated to Ferdinand Hiller. I. Allegro affettuoso, A minor, 4-4. The movement begins, after a strong orchestral stroke on the dominant E, with a short and rigidly rhythmed pianoforte prelude, which closes in A minor. The first period of the first theme is announced by wind instruments. This thesis ends with a modulation to the dominant; and it is followed by the antithesis, which is almost an exact repetition of the thesis, played by the pianoforte. The final phrase ends in the tonic. Passage-work for the solo instrument follows. The contrasting theme appears at the end of a short climax as a tutti in F major.

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