CARNEGIE HALL, NEW YORK* Boston Symphony Orchestra. Mr. WDLHELM GERICKE, Conductor* Fifteenth Season in New York. PROGRAMMES OF THE FIRST CONCERT THURSDAY EVENING, NOV. 8, AT 8.15 PRECISELY, AND THE FIRST MATINEE SATURDAY AFTERNOON, NOV. JO, AT 2.30 PRECISELY. With Historical and Descriptive Notes by William F, Apthorp. PUBLISHED BY G A, ELLIS, MANAGER. (i) Established Established 1S2: 1823 w%? $* <£f)tttortng PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever R i: P R I ES I N i I D BY JOHNWANAMAKKR, New York, N.Y. :, BOStOn , CARNEGIE HALL, Symphony s NEW YORK. A Twentieth Season, 1900-1901. Orchestra Fifteenth Season in New York. Hr. WILHELfl GERICKE, Conductor. FIRST CONCERT, THURSDAY EVENING, NOVEMBER 8, AT 8.15. PROGRAnriE. u Hector Berlioz - - Overtute. The Roman Carnival/' Op* 9 Ernst von Dohnanyi - Concerto for Pianoforte in E minor. Op. 5 (First time in New York.) I. Adagio maestoso (E minor) - 3-4 Allegro (E minor) ------ 2-2 II. Andantino (A minor) _____ 2-2 III. Vivace (E minor) ______ 3.4 Karl Goldmark - - - - Scherzo in A major. Op. 45 (Fir3t time.) u Antonin Dvorak Symphony No. 5. in E minor. From the New World," Op. 95 I. Adagio (E minor) ______ 4-8 Allegro molto (E minor) ----- 2-4 II. Largo (D-flat major) - 4-4 III. Scherzo : Molto vivace (E minor) - 8-4 IV. Allegro con fuoco (E minor) - 4-4 SOLOIST: Mr. ERNST VON DOHNANYI. The Pianoforte is a Stein-way. There will be an intermission of ten minutes before the symphony. For the Programme of the First Matinee, Saturday afternoon, November 10, see page 11. (3) EVERETT PIANOS GRAND AND UPRIGHT DISTINCT ART CREATIONS IMITATING NONE, BUT POSSESSING INDIVIDUAL QUALITIES WHICH MAKE THEM THE BEST NOW MANUFACTURED Everett Warerooms 141-143 Fifth Avenue, near 21st Street NEW YORK BOSTON CINCINNATI CHICAGO " Overture, The Roman Carnival," Opus 9 . Hector Berlioz. (Born at la Cote-Saint-Andre (Isere), France, on Dec. 11, 1803; died in Paris on March 9, 1869.) " The subtitle of this overture is : Second Overture to Benvenuto Cellini, to be played before the Second Act of the Opera." Its principal theme is taken from the Saltarello, danced on the Piazza Navona in Rome in the closing scene of the first act. The overture begins, Allegro assai confuoco, immediately with this theme, given out in forte by the violins and violas, and answered on the second measure in free imitation by the flutes, oboes, and clarinets, the horns, bassoons, trumpets, and cornets coming in on the third measure with a second response. Then follows a measure of sudden silence ; light trills in the strings and a sudden flaring- up in the wood-wind and horns lead to a long-sustained E in the horn, which is answered by a low G-natural in the clarinet. The move- ment now changes from Allegro assai con fuoco, 6-8 time, to Andante sostenuto, 3-4 time ; against a pizzicato accompaniment in plain harmony in the strings, the English-horn outlines a tender melody ; soon the vio- las take up the song, against a counter-theme in the flutes, the move- ment developing later on into a duet between the English-horn and violas. Then some of the wood-wind and brass, together with the ket- tledrums, triangle, and tambourine, strike up softly a lively dance- rhythm,— as of dance-music heard in the distance,— while the bassoons and 'celli, on one part, and the flute, oboe, English-horn, and violins, on the other, play the preceding tender love-melody in close canon ; as the further development of this melody proceeds, the distant dance-music is hushed after a while, and, just as all is about to sink back into silence, rapid ascending and descending scales suddenly flare up in the wood- wind, — like a sudden irruption of a torch-bearing crowd into the silent square,— the tempo changes again to Allegro vivace, 6-8, and the strings begin softly to sketch out the theme and rhythm of the Saltarello. Here the main body of the overture begins. Berlioz does not follow the regular sym- phonic plan of the overture form at all ; he here begins by building up his theme, as it were, out of small fragments, and then proceeds immediately with the development and working-out. There is no proper second theme ; but, about the middle of the movement, as the wild dance-music grows <A Tonic and Nerve Food Horsford's Acid Phosphate. Half a teaspoon in half a glass of water affords quick relief when depressed, or weary from overwork, worry, insom- nia or other nerve-destroying conditions. Imparts new life and vigor to brain and body. Sold by Druggists in original package only. (5) *WISSNER* GRAND and UPRIGHT PIANOS USED BY EMINENT ARTISTS Main Offices and Warerooms, Wissner Hall, Fulton Street and Flatbush Avenue. Factories, 1 078- J 088 Atlantic Avenue, Brooklyn, N.Y. -,v •.* -.v >.* kh >** &©*© Branch Warerooms: New York, Newark, Jersey City, New Haven, and Bridgeport. softer and softer, the love-song of the introduction returns (not as a second theme, but as a counter-theme worked up contrapuntally against the principal one), first in the bassoons, then in the trombones and other wind instruments, and is made the subject of some quasi-canonical imita tions, while the strings continue the rhythm of the Saltarello. The latter soon comes back in all its vigor, and is worked out afresh. The overture is scored for 2 flutes (of which one is interchangeable with piccolo), 2 oboes (of which the second is interchangeable with English-horn), 2 clarinets, 4 horns, 4 bassoons, 2 trumpets, 2 cornets, 3 trombones, cym- bals, 2 tambourines, triangle, 1 pair of kettle-drums, and the usual strings. Concerto for Pianoforte, in E minor, Op. 5. Ernst von Dohnanyi The first movement opens with a slow introduction, Adagio maestoso in E minor (3-4 time), the orchestra giving out eight measures of solemn fortissimo in full harmony, developing a figure that bears some resemblance to the first theme of the main body of the movement. This exordium is answered by a short cadenza for the solo instrument. Eight more meas- ures of orchestra, and another cadenza. The tempo now changes to Poco meno adagio, and the orchestra proceeds to develop the theme already given out, in contrapuntal imitation, the pianoforte soon coming in with a pas- sionate phrase in the right hand against rolling arpeggj in the left. The introduction closes decrescendo, leading immediately over to the main body of the movement. This, Allegro in E minor (2-2 time), opens with the first theme, given out by the strings, and developed by them and the wood-wind and horns. The pianoforte enters fortissimo with a more ornate variant of this theme. It is followed by the second theme, in the relative G major, developed alternately by the wood-wind and the pianoforte ; some brilliant passage- work leads over to the entrance of the third theme, in B major, a brief melodious passage given out by the lower strings and bassoon, answered by the solo instrument. Just as you expect the development to come, however, the second theme returns in the orchestra against running passage- work in the pianoforte, leading to a fourth theme, in B minor — a strong nervous theme, in which the rhythm of the dotted eighth and sixteenth is prominent ; this is briefly worked up by -the orchestra and pianoforte, the Firm established in the year 1857. The "OLD RELIABLE 11 Interesting booklets sent free for the asking. GEORGE STECK & CO., No. 11 East 14th Street, New York. (7) second and third themes soon returning, against running octaves in the solo instrument, fragments of the first theme cropping up in the strings, and leading to a resounding //////' on the first theme. A short solo passage in the pianoforte, on a new version of the third theme, leads to some working-out of the second theme in the orchestra against running passage work in the pianoforte, which leads in turn to the return of the first theme at the beginning of the third part of the move- ment : not. however, in the tonic, but in C minor. The development of this part is quite different from that of the first. The first theme is now immediately followed by the third (somewhat more extendedly developed than in the first part of the movement), and this by some working-out in which figures from the fourth, second, and first themes appear alternately and in conjunction. The form becomes freer and freer, up to a return in the orchestra of the theme of the Adagio introduction some new develop- ; ments on this theme, against running arpeggj in the pianoforte, form a gradually diminishing coda, the movement ending pianissimo in E major. The second movement, Andantino in A minor (2-2 time), opens with a long-drawn cantilena sung by the horn, over pizzicato counterpoint in the violas and basse s, the violas soon adding a legato middle voice {col arcd). The pianoforte th e n enters alone with the passionate phrase it gave out in the Poco meno a</agio of the introduction to the first movement. Some free recitative-like passages in pianoforte and orchestra lead to a return of the opening \\o*n melody, now sung in A major by the first violins and 'celli in unison, against triplet chord-passages in the pianoforte. This is followed by some extended developments on a new phrase in the clarinet and horn (soon with a counter-phrase in the oboe and bassoon), accom- panied by double arpeggj on the pianoforte.