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Boston Symphony Orchestra Concert Programs, Season 13, 1893-1894

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Boston Symphony Orchestra Concert Programs, Season 13, 1893-1894 MECHANICS' HALL, WORCESTER. BOSTON SYMPHONY ORCHESTRA. EMIL PAUR, Conductor. Thirteenth Season, 1893-94. PROGRAMME OF THE FOURTH CONCERT Tuesday Evening, March 13, At 745. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. (1) MASON & HAMLIN RECEIVED HIGHEST HONORS ON PIANOS AND ORGANS, AT World's Columbian Exposition, CHICAGO, 1893. SPECIAL MENTION. SCREW-STRINGER: Conceded by Judges' Report to be of great value; by which tuning is made easier, and because of which the Mason & Hamlin Piano is declared to remain in tune longer than any other piano. Pronounced a Unique Artistic Instrument, a LISZT ORGAN ! and and decided advance in construction. C. L. GORHAM & CO., Local Representatives. WORCESTER, MASS. (2) " Boston Mechanics' Hall, ry % IP Worcester. Symphony If Orchestra Season of 1893-94. EMIL PAUR, Conductor. Fourth Concert, Tuesday Evening, March 13, At 7.45. PROGRAMME. Ludwig van Beethoven - - Symphony No. 8, in F major, Op. 93. I. Allegro vivace e con brio (F major) - 3-4 II. Allegretto acherzando (B-flat major) - 2-4 III. Tempo di menuetto (F major) - 3-4 IV. Allegro vivace (F major) ----- 2-2 Edvard Grieg - Concerto for Pianoforte, Op. 16, A minor I. Allegro molto moderato ----- II. Adagio _____-_- III. Allegro marcato _-___- Emmanuel Chabrier — — - - Entr'acte from " Gwendoline Anton Rubinstein - Ballet-Music from " Feramors I. Candle-dance of the Brides of Kashmire: Mode- rato con moto (D minor) - 3-4 II. Dance of Bayaderes: Allegretto (B-flat major) - 2-4 Richard Wagner - Overture " Flying Dutchman Soloist, Mr. CARL STASNY. THE PIANO IB A HENRY F. MILLER. (3) m MANUFACTURERS OF GRAND, SQUARE AND UPRIGHT PIANOS EUGEN D'ALBERT: From fullest conviction, I declare them to be the best In struments 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. TSCHAIKOVSKY: Combines with great volume of tone rare sympathetic and noble to?ie color and perfect action. ....... WAREROOMS BALTIMORE, WASHINGTON, xi and 24 E. Baltimore Street. 817 Pennsylvania Avenue NEW YORK, 148 Fifth Avenue. M. B. LAMB, Sole Agent, Lamb's Block, 43 PLEASANT ST. .4) Symphony No. 8, in F major, Op. 93 ... Ludwig van Beethoven. This symphony was written in 18 12, about the same time as the seventh, in A major, op. 92. It was first performed at a concert in the Redou- tensaal in Vienna on February 27, 18 14, and did not find much favor with the audience, although its immediate predecessor, the seventh, had made a great success at a similar concert on December 8 of the previous year. The eighth symphony has generally been considered roughly to mark the beginning of Beethoven's third manner; and it was doubtless a certain daring novelty of style, then regarded as eccentricity, in the work that at first prejudiced the public against it. Indeed, it must have seemed almost as novel and unprecedented in 18 14 as the Eroica had before it in 1805. In the matter of thematic material it shows little, if any, change from the composer's second manner ; it is rather by its general style, the manner of its development, its overbrimming humor, and wealth in sudden, unex- pected effects that it belongs distinctly to his third period. It marks a BRAIN-WORKERS. Horsford's Acid Phosphate is recommended by physicians of all schools, for restoring brain force or nervous energy, in all cases where the nervous system has been reduced below the normal standard by overwork, as found in lawyers, teachers, students, and brain-workers generally. Descriptive pamphlet free on application to Rumford Chemical Works, Providence, R.J. Beware of Substitutes and Imitations. FOR SALE BY ALL DRUGGISTS. (5) " longish step in the modern " direction after the seventh symphony ; a still longer and more decided one after the great B-flat major trio, which, although marked with a later opus-number (op. 97), was really written about a year before it, in 181 1. With the exception of the first, in C major, op. 21, it is the shortest of Beethoven's nine symphonies, and, in a certain sense also, the lightest ; its general character is bright, cheerful, and humorous ; but its development is often extremely elaborate, and both in the harmony and the working-out it reveals a certain finesse that belongs unmistakably to the third manner. The score bears no dedication. The first movement {Allegro vivace e con brio, in F major, 3-4 time) opens, without introduction, with the first theme. This theme is twelve measures long : the first phrase of four measures given out by the full orchestra in forte, responded to piano by the wood-wind and horns with a four-measure phrase, then responded to with another four-measure phrase by the full orchestra. This first theme is immediately followed by its subsidiary (also in F major), which in turn leads to the entrance of the more melodious, but still brisk and cheerful, second theme in D major. The arpeggio counter- figure to this second theme, on the first bassoon, is especially noteworthy for its humorous character. Some passage-work leads to the entrance of he conclusion-theme in C major, and in this key the first part of the move- ment ends. It is then repeated. The working-out is not very long, but is none the less elaborate and brilliant, leading by gradual climax to the return of the first theme at the beginning of the third part, — it enters in the 'celli, double-basses, and bas- soons, that is in the bass, instead of in the upper voice, and is treated in a more extended manner than at first. Saving this more extended treat- Latest English Songs for Concert and Drawing-room BY THE MOST PROMINENT COMPOSERS OF THE DAY. HOPE TEMPLE. Love's Adieu, Auf Wiedersehn, My World, Rory Darling, etc. STEPHEN ADAMS. Adieu Marie, Holy City, Blue-eyed Nancy, etc. Herrings are in the Bay, Irish J. L. MOLLOY. The Raven, Piper, Carnival, etc. F. H. COWEN. Promise of Life, Listen to the Children, Never a Rose, etc. FRED. BEVAN. Dream of my Heart, Silver Path, etc. And others by Denza, Roeckel, Gatty, Behrend, Leoni, etc., etc. Album of 20 New Songs with German and English Words by JACQUES BLUMENTHAL. THE FAMOUS BOOSEY EDITIONS. OPERAS. The most popular edition before the public. ORATORIOS. New edition. The best for Choir and Festival use. 50 cents each. ROYAL SONG BOOKS. Albums of songs by the gTeat masters and of all countries. In paper and doth. Write for Catalogue!. BOOSEY & CO., 3 East 14th Street, NEW YORK. («) ment of the first theme, the third part of the movement adheres to the plan of the first part with even more than ordinary strictness. It closes in the tonic exactly as the first part did in the dominant, and is followed by a rather long and very elaborate coda. It will be seen that nothing could be more regular in form than this movement, and, as has been said, the character of the themes themselves, although original and eminently Beet- hovenish, presents little that could be called particularly novel at the time they were written ; but all else in the movement was thoroughly new, the methods of development, the harmonic transitions, even to certain effects of instrumentation. The second movement {Allegretto scherzando, in B-flat major, 2-4 time) is based on the theme of a three-voice circular canon, or round, " Ta, ta, ta, lieber Malzel" sung in honor of the inventor of the metronome at a fare- well dinner given to Beethoven in July, 1812, before his leaving Vienna for his summer trip into the country ; Count Brunswick, Stephen Breuning, Maelzel, and other notabilities were present, and Beethoveen sang the soprano part in the canon himself. This otherwise inconspicuous fact has some interest, for the allusion to Maelzel and his metronome in the Alle- gretto of the eighth symphony goes beyond the mere employment of the theme of the canon, and is too evident to be overlooked : almost throughout the whole movement the wind instruments, either in a mass by themselves or in sporadic alternation with the strings, keep up a regular, metronomic ticking in sixteenth-notes, like a metronome or other piece of persistent clock-work. Beethoven had a great regard for Maelzel's invention, and looked for important things from it, although it was not perfected at that time. Against the steadily-ticking background of wind instruments, the first violins outline the dainty first theme, each phrase of which is answered by the basses. After a while a bolder second theme, in the dominant F major, comes in in the violins and violas in double-octaves, the wind instru- ments still keeping up their ticking, and the 'celli and double-basses repeat- ing over and over again the initial figure of the first theme as a basso ostinato. This in turn leads to a conclusion-theme in the tonic B-flat major, beginning with little sighs in the wind instruments, interrupted by the persistent initial figure of the first theme, and then developing into a flowing passage in 3rds in the clarinets and bassoons. This first part of the movement is then repeated with but little change, saving some figural variation of the first theme in the violins, and a development of the second in canonical imitation (in the tonic B-flat major) between the clarinets and bassoons, as '"antecedent," and the flutes, oboes, violins, and violas, as " consequent." A brief and entirely humorous coda brings the movement (7) SHORE LINE BETWEEN BOSTON and NEW YORK THROUGH TRAIN SERVICE FROM EITHER CITY.
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