MUSIC HALL, BOSTON.
BOSTON SYMPHONY ORCHESTRA.
ARTHUR NIKISCH, Conductor.
Tenth Season, 1890-91.
PROGRAMME
OF THE
Fourteenth Rehearsal and Concert
FRIDAY AFTERNOON, JANUARY 30, AT 2.30.
SATURDAY EVENING, JANUARY 3 I , AT 8.00.
WITH HISTORICAL AND DESCRIPTIVE NOTES PREPARED [BY
G. H. WILSON.
PUBLISHED BY C. A. ELLIS, Manager.
(417) PSALTERY. CLAVICEMBALO. VIRGINAL. SPINET. HARPSICHORD. CLAVICHORD. PIANOFORTE.
One of the greatest steps in the history of the
Pianoforte is the Screw-stringer, an improved
method of holding the strings, invented and pat-
ented in 1883 by Mason & Hamlin, and which has proved so successful that the MASON & HAMLIN PIANOFORTE
Is fast becoming as famous as the Mason & Hamlin Organ.
Mason & Hamlin Organ and Piano Company.
154 and 155 TREMONT STREET.
(418) ' Fourteenth Rehearsal and Concert.
Friday Afternoon, January 30, at 2.30.
Saturday Evening, January 31, at 8.00.
PROGRAMME.
Schumann ------Symphony No. 1, in B-flat
( Andante un poco maestoso.
- ( Allegro molto vivace. Larghetto. Scherzo. Allegro animato e grazioso.
Handel - - Concerto Grosso, No. 5, in D, for String Orchestra Introduction. Allegro. Presto,
l Largo.
I Allegro. Minuet. (FIRST TIME IN BOSTON.) --..-- Brahms Symphony No. 1, in C minor, Op. 68
Un poco sostenuto; Allegro. Andante sostenuto. Un poco allegretto e grazioso. Adagio piu andante; Allegro non troppo, ma con brio,
The Programme for the next Public Rehearsal and Concert will be found on page 443.
(419) : SHORE LINE BOSTON TO NEW YORK NEW YORK TOU BOSTON Trains leave either city, week-days, as follows, except as noted DAY EXPRESS at 10.00 a.m. Arrive at 4.30 p.m. AFTERNOON SERVICE at 1.00 p.m. Arrive at 7.30 p.m. Dining Car beween Boston and New London. "GILT EDGE" LIMITED at 5.00 p.m.
Daily, Sundays included, and arrive 1 1 p.m. Dining Car between Boston and New London. The last trains between the two cities to leave and arrive at termini the same day. MIDNIGHT EXPRESS at 12.00 o'clock. Daily, Sundays included, and arrive at 7.00 a.m. The LAST TRAIN from either City.
Wagner Drawing-room Cars on Day Trains. Compartment Sleeping Cars on Night Trains.
Trains leave Boston from Park Square Station ; New York, from Grand Central Station.
J. R. KENDRICK, Gen'l Manager. GEO. L. CONNOR, Gen'l Pass'r Agent. oxjXd QQHrQiLNrir railboad.
Royal Blue Line for Washington. BALTIMORE & OHIO R.R. FOR BALTIMORE, CHICAGO, WASHINGTON, ST. LOUIS, CINCINNATI, INDIANAPOLIS, COLUMBUS, PITTSBURG.
Only Line via Washington to the West.
Two Through Trains Daily to Chicago, Cincinnati, and St. Louis Without Change. Six Fast Trains Daily to Washington.
Magnificent Pullman Palace, Drawing-room and Sleeping Cars ON ALL TRAINS. NEW YORK TO WASHINGTON IN FIVE HOURS.
CHAS. O. SCULL, Gen 1 Pass'r Agt., A.J. SIMMONS, New Eng. Pass'r Agt. Baltimore, Md. 211 Washington St., Boston, Mass. C. P. CRAIG, Gen'l Eastern Pass'r Agent, New York.
(420) Symphony No. 1, in B-flat, Op. 38. Schumann.
Andante un poco maestoso.
Allegro molto vivace.
Larghetto.
Scherzo, molto vivace with Trio I. and Trio II.
Allegro animato e grazioso.
This is Schumann's "Spring" symphony. It emanates from the happiest period of his life. The obstacles to his marriage had been overcome, and he had won a high position as a composer and an authority in music. In a letter to Dorn in 1839, Schumann complains of the pianoforte as "too narrow a field for his thoughts," and announces his intention of applying himself to orchestral writing to make up for his want of practice. The B- flat symphony is the first published essay in the new (to him) and larger field. Years before, in 1829, when a Heidelberg student, undecided be- tween the professions of law and music, he wrote to Wieck, his old piano-
" forte teacher and future father-in-law : I detest theory pure and simple, as
you know ; and I have been living very quietly, improvising a good deal, but not playing much from notes. I have begun many a symphony, but finished nothing, and every now and then have managed to edge in a Schu- bert waltz between Roman law and the pandects, etc." Of these juvenile student attempts in the symphonic form, one at least, in G minor, was played in public (in Schneeberg in 1833).
Schumann's love for Clara Wieck was the incentive which led him to persistent work in mastering the science of music, in overcoming his youth- LP. HOLLANDER & CO.
NEW GINGHAMS, CHALLIES, FRENCH LAWNS, FIGURED FOULARDS, WASH SILKS. NOW OPEN.
82 AND 83 BOYLSTON ST. AND PARK SQ. (421) LADIES' TAILOR,
Annual Sale of Model Garments,
STREET GOWKS, JACKETS, DLSTERS, and MAPS.
All to be sold WITHOUT REGARD to Cost
96 Boylston Street, Opp. Public Garden, BOSTON.
OYSTERS AND SALADS WEBER'S A SPECIALTY. GENUINE VIENNA ICES. 25 Temple PL and 33 West St.
Established 1873. A BAILEY'S CHAS. E. FOSS, 1873-1876, PAGE & BAILEY. UMBRELLA STORE. 1876-1888,-J. B. BAILEY. 9 TEMPLE PLACE. (formerly with C. F. Hovey & Co.).
Special attention given to recovering and repairing umbrellas and parasols.
*F A large and complete assortment of umbrellas of th: best makes constantly on hand.
The only store exclusively devoted to umbrellas 1888-1890, W. M. LOWNEY. in Boston.
Feb,, 1890, J. B. BAILEY.
45 WEST ST. (422) ful " detestation of theory." The earliest of the four published symphonies was first performed at the Gewandhaus, Leipzig, Mendelssohn conducting, on March 31, 1841, having been composed but shortly before. A few weeks after the performance he wrote to a friend : "I have now a household of my own, and my circumstances are different from what they were. The time since you last heard from me has passed in happiness and work. I wished for you to hear my symphony. How happy I was at the perform- ance ! — I, and others also, for it had such a favorable reception as I think no symphony has had since Beethoven." This state of things, as Grove says, the music reflects very characteris- tically. So full of it was Schumann's mind that the composition of the entire work — without the scoring — is said to have taken only four days. The title " Spring Symphony," which, however, is not adopted upon the printed title-page, is Schumann's own. In the volume of letters (" Robert Schumann's Briefe neue Folge," new series, B. & H., Leipzig), the first mention of it occurs : " Fancy," he says, " a whole symphony,— and a ' Spring' symphony, too !" Schumann has also put on record the fact that its connection with the bursting season of spring was his original idea ; for an inscription on a portrait of himself, which follows the first two bars of the symphony, reads : " Beginning of a symphony, occasioned by a poem of Adolf Biittger's. To the poet, in remembrance, from Robert Schumann, Leipzig, 1842."
OLD VIOLINS, VIOLAS and 'CELLOS, Artist Italian Strings, Imported Silver Ws. ARTIST BOWS By Knopf, Gand, Tubbs, Lamy, &c. Sole Agent for the BARZONI VIOLINS AND VIOLONCELLOS. All styles of Plush Lined Leather Boxes, Paris Rosin, Sarasate G Strings, Weichold Tested Strings, etc. Instruments taken in exchange and sold on instalments. Artistic repairs by my own workmen. Spe- cialty of bridges and bass-bars. Bows re-haired. A fine Music Box for sale cheap, just imported. FREEMAN A. OLIVER, Winter Street, Rooms 8 and g, Chandler's Building, near Music Hall. (423) It is conceded that the buoyant B -flat symphony witnesses, in a truly
astonishing manner, Schumann's forward stride in the technique of com-
position. Purists point out its "lovely imperfections"; but few of these
" are unwilling to say, with Ehlert : It possesses all the charm of a first
creation ; it is imbued with the fragrant breath of a young pine grove, in
which the sun plays at hide-and-seek ; it embodies as much of a bridal
air as if Schumann were celebrating his symphonic honeymoon." Joseph
Bennett points out the distinctions which marked the approach to compo-
sition in the higher forms between Schubert and Schumann. The former
" worked up to higher manifestations of the symphonic forms through his
larger pieces for the chamber, such as the octet ; but Schumann passed
at a step from the pianoforte to the orchestra, from the sonata to the symphony."
" Schumann," writes Wasielewski, " conceived and treated the sym-
phonic form in a peculiar spirit, based on the study of masterpieces, espe-
cially those of Beethoven. The ideas are thoroughly Schumannic. Higher
artistic value is bestowed on them by the fact that these ideas are expressed
in the old established form. They seldom reveal the arbitrary enormities
which so often occur in his earlier works."
Grove remarks that the trombone passage in the second portion of the finale, while, perhaps, containing a reminiscence of the first movement of Schubert's C major symphony,— heard by Schumann (who brought the MSS. from Vienna) at Leipzig, only a few months before the composition of the
B. PRIESTLEY & CO.'S Silk Warp Henriettas
are made of the Purest and Finest Silk and the Best Quality of Australian Wool. Every yard is guaranteed to be perfectly satisfactory to the wearer. All the Priestley fabrics are STAMPED EVERY FIVE YARDS,
on the under side of the selvedge, with the manufacturers' name (B. Priest- ley & CO.) in gilt letters. Unless so stamped, they are not genuine.
(424) work,— is yet treated in his own way, producing a solemn effect not easily
forgotten. An instance of Schumann's imperfect acquaintance with the orchestra of that date, also pointed out by Grove, is shown in the original score of the introduction. The energetic phrase for horns and trumpets,
with which it begins, was first written a third lower (the corrected notes are
D, B-flat, C, D) ; but, when the work came to rehearsal, under Mendels- sohn, it appeared that the notes G and A, being stopped notes, could
hardly be heard, and the change had to be made. This was for a long
time a great joke with Schumann.
Writing to Mendelssohn from Dresden, in 1845, he says: "You are now in the middle of my symphony (rehearsing for the Gewandhaus concert). You remember the first rehearsal, in 1841, and the stopped
notes in the trumpets and horns, at the beginning ? It was exactly as if
they had caught cold ; and I am obliged to laugh now whenever I
think of it."
There follows Joseph Bennett's analysis of the B-flat symphony: —
First Movement.
" The first allegro is introduced by an andante un poco maestoso, which begins with a kind of motto phrase, stated in unison by horns and trumpets
without accompaniment. Mendelssohn had an exactly parallel idea at the
' opening of his Hymn of Praise ' symphony, which was performed a few
months before Schumann wrote his symphony. That the credit of origina- FRENCH ORGANDIES AND GAZINES, THE LAST PARIS NOVELTIES. R. H. STEARNS & CO.,
TREMONT STREET and TEMPLE PLACE.
(425) ' tion belongs to the author of the Hymn of Praise ' is thus settled by dates, but Mendelssohn's friend and admirer may claim the merit of recognizing and frankly turning to account a very happy thought. The two musicians
' worked out the idea in different ways. Mendelssohn uses his motto ' in the allegro simply as a tributary, whereas Schumann makes his enter into the principal theme.
" The allegro molto vivace opens, as just stated, with the ' motto ' phrase of the introduction, which now forms part of a very energetic, bustling, and well-marked leading subject. Schumann does not develop his theme at length. His studies of great masterpieces, particularly, mayhap, of
Beethoven's ' C minor,' inclined him to a concise first part. Very soon, therefore, the horns, with their reiterated and unaccompanied notes, give warning of the second subject, which the clarinets proceed to state. The new melody is as plaintive and tender as its predecessor was bold and vigorous, and thus the composer obtains the by no means slight advan- tage of a good contrast. He is otherwise happy in his themes, which, as well as having melodic character, lend themselves freely to effective orches- tral treatment.
" In the second part of the movement, Schumann yields himself unre- servedly to the work of exhaustive development. He shrinks neither from elaboration nor length, but he never becomes obscure. Indeed, this
' working out,' if not technically quite above criticism, reveals most remark-
MANUFACTURERS AND RETAILERS OF
FINE GAS AHD ELECTRIC FIXTURES, BANQUET LAMPS, PIANO LAMPS, and FIREPLACE GOODS,
BUY OF THE MAKERS,
C. H. McKENNEY & CO.,
Nos. 634 and 636 Washington St.,
Ourlonly place of business. Opp. Boylston St.
(426) :
able power for a first effort in symphonic writing. It should be observed that interest is augmented by the use of several subsidiary themes, which are cleverly associated with the principals. After the usual recapitulation, and when the coda is reached, a novel feature presents itself in the shape of a passage for strings only, of a hymn-like character. It has been called
'a little song of thankfulness,' and might be that or anything else poetic and engaging."
Second Movement.
" The slow movement, larghetto, E-flat, is one of the effusions by this master which set the fancy at work in efforts to explain it through refer- ence to circumstances or emotions all can appreciate. One thing quite certain is that here we have a delicious and expressive tune, which no man in whose soul is music can listen to without emotion. The form of the movement is that of variations wherein the theme remains unaltered, and only the accessories change. Three times does the melody appear first, from the violins ; next, from the violoncellos ; and, lastly, from th e oboes and horns, the accompaniment becoming more elaborate with each repetition."
Third Movement.
" The scherzo, molio vivace, G minor, is remarkable for two trios, — an innovation which Schumann was the first to make. In his symphonies in B-flat and A, Beethoven repeats the trio ; and from this Schumann may
PIANOS TO RENT.
Collins & Fairbanks, EMERSON HATTERS. PIANOS Ladies' Round and English Superior Quality. Moderate Prices. All Pianos Fully Warranted. in Walking Hats Great Catalogues Free. Variety. FIFTY THOUSAND SOLD AGENTS FOR HENRY HEATH'S LADIES' HATS. BOSTON, 174 TREMONT ST. Washington St., Boston. 381 NEW YORK, 92 FIFTH AVENUE.
Pianos Sold on Instalments. (427) ^ FIRE INSURANCE- 2o KlteBY ST. gBPSToN-
ALL THE MUSIC LOUIS H. ROSS & CO., performed at these concerts, with all other music that SUCCESSORS TO can be needed, and all instruments upon which such music can be played, may be White, Smith Music Publishing Co., procured of RETAIL DEPARTMENT. OLIVER DITSON COMPANY, 32 WEST STREET, Cor. Mason.
449, 45 1 Washington St., - Boston. All the latest Music soon as published GERMANIA BAND FOREIGN PHOTOGRAPHS, AND ORCHESTRA. Views, Paintings, and Sculpture, MOUNTED AND UNMOUNTED. First-class Musicians for all occasions. BRAUN'S CARBON PHOTOGRAPHS. A Small Orchestra for Weddings, Dinners, Artistic Picture Framing. Parties, Receptions, etc. , a specialty. GEO. W. STEWART, Manager, C. H. DUNTON & CO.,
Phillips Building. 120 Tremont Street. 50 BOYLSTON STREET. CNEW ENGLAND tt ONSERYATORI OF MUSIC.
Next Term begins Feb. 5, 1891.
CLASSES IN ALL DEPARTMENTS. Pianoforte, Organ, Voice, Violin, Violoncello, Double Bass, Flute, and all other orchestral in- struments. Solfeggio, Harmony, Theory, Compo- sition, Ensemble Playing, etc. Instruction given by competent teachers in class and private lessons. Tuition, $6 to $60 per term of ten weeks. Solfeggio, $2 per term.
Concerts, Lectures, and Orchestral Practice free to Students. CARL FAELTEN, Acting Director.
(428) have taken an idea to be developed as we now have it. The trios are
well contrasted, differing, as they do, in key, rhythm, and character."
Fourth Movement.
"The finale, allegro animato e grazioso, resembles the first allegro in
opening with a motto phrase. But here the whole force of the orchestra
is employed ; and the phrase is an ascending scale, beginning on the
dominant, and having a broken rhythm which imparts great character.
After one statement, a light and lively principal theme is entered upon.
The term 'principal theme' strictly appertains, however, to the 'motto,'
which forms by far the most conspicuous, striking, and effective part
of the movement. The finale should be heard with the closest attention
to this phrase, Schumann's treatment of it being always masterly and
impressive, and such as more than warrants the composer in risking the
close of his work upon a motif apparently wanting in adaptiveness."
Concerto Grosso, No. 5, in T>, for String Orchestra. Handel.
Handel wrote twelve concertos for two solo violins, and violoncello solo
with accompaniment of full string band. The one played to-day is unfin-
ished. In the original manuscript both beginning and end are wanting.
All the concertos were written in October, 1739, soon after the completion
of "Israel." "This day," says the London Daily Post of Oct. 29, 1739,
"are published proposals for printing by subscription, with His Majesty's
Until the present year but one city in the country New York & New England R.R. (New York) contained a
EXPRESS TRAINS FOR NEW YORK. Circulating Library of Music.
Leave Boston 12.00 M. Now Boston has been added to the list. We do Arrive York 6.30 not thinl* the musical public will be slow in dis- New P.M. covering its great value as a means of recreation and Leave Boston 3.00 P.M. education. There is no more delightful pastime than reading music at sight. Arrive New York 9.00 P.M. PARLOR AND DINING CARS. SUBSCRIPTION. i month, $1.50; months, $3.00; 6 months, The 3 P.M. Train runs daily, including Sundays. 3
THROUGH TRAIN FOR $5.00 ; 1 year, $8.00.
Philadelphia, Baltimore, and Washington, Entitling subscribers in town to 5 pieces, which may twice week. Via Transfer Steamer, Maryland Route. be exchanged a Special arrangements for out-of-town subscribers. Leaves Boston 7.00 P.M. daily. Library contains Music for Piano solo, 4 hands, 2 Pianos, Piano and Strings, etc. Through Pullman Sleeping- Cars. Office, Depot, BOSTON MUSIC CO. 322 Washington St., Frfot of Summer St,, BOSTON. 28 West Street.
(429) Toyal license and protection, Twelve Grand Concertos, in seven parts, for four violins, a tenor, a violoncello, with a thorough-bass for the harpsi- chord. Composed by Mr. Handel. Price to subscribers, two guineas.
Ready to be delivered by April next. Subscriptions are taken by the author, at his house in Brook Street, in Hanover Square, and by Walsh."
Repeating the advertisement on November 22, the publisher (Walsh) adds,
" Two of the above concertos will be performed this evening at the Theatre
Royal, Lincoln's Inn." Handel was the rage in London at this time.
Whatever he did was of great public interest. He was applauded and reviled, copied and caricatured.
The concerto played to-day is in seven short movements. The opening measures, preceding the allegro, though in the nature of an introduction,
are not, either in the manuscript score or the published score of the
German Handel Society, characterized by any time-mark. The introduc- tion (so called), allegro, and presto, are written in seven parts, the remaining
movements in four.
ENTR'ACTE. THE VILLAGE MUSICIAN.*
The old village musician was a man remarkable in his way. One David
Turton, of Horbury, in Yorkshire, was perhaps typical of the better class.
A man of intense enthusiasm for his art, and passionate love of his viol,
* From " Old Country Life," by S. Baring-Gould, M.A.
ALBERT £. PARSONS, \
Ladies' Tailor and Dressmaker
93 A Boylston Street.
.Grand Mark Down Sale.
Commencing January 5
AND CONTINUING THROUGH THE MONTH.
My entire stock of the choicest novelties both for the present season and Spring and Summer wear. Orders taken for GOWNS, WRAPS, JACKETS, HABITS, ULSTERS, etc., at GREATLY REDUCED PRICES. Some very choice Imported Gowns, Wraps, and Jacket! will be sold below cost of importation. A few handsome EMBROIDERED CLOTH and VELVET ROBES at HALF PRICE.
(430) — ;
one may be quite sure that his viol shared his bed, taking it by day when
Turton was out of it, like Box and Cox. The story was told of him that he
was returning one night from a concert at Wakefield, where he had been
performing, when he passed through a field in which was a savage bulk
The bull, seeing him, began to bellow, and run at him with lowered horns.
" Now, then," said old David, "that note must be double B." He whipped
the bass-viol out of the green bag, set it down, and then drew his bow over the strings, to try to hit the note bellowed. The bull staggered at the
response, stopped, threw up his head, and turned tail.
But there were musicians of a less dignified character, jolly, reckless, drinking dogs, who fiddled at every festive gathering till they could fiddle
no more. They were invariably present at a wedding.
In a popular song called " Chummie's Wedding," it is said of the merry-
makers, " The fiddler did stop, and he struck up a hop While seated on top of a bunk But not one of the batch could come up to the scratch, They were all so outrageously drunk."
Very quaint old tunes were played. As the space for dancing in cot- tages was extremely limited, the performance was often confined to one couple, sometimes to a single performer,— a man who took off his shoes, and went through really marvellous steps. The step dance is now gone, or all but gone, but was at one time much cultivated among the peasantry of the west of England. Much depended on the fiddler, who played fast
Dainty Fabrics, for Dancing and Evening Dresses, House and Tea Gowns, SOFT SATINS, BROCADES, CREPES, EASTERN SILKS, GAUZES, ETC.
Just opened a special lot of White Silks in exquisite figured effects and inexpensive.
51 and 53 EAST INDIA HOUSE, SUMMER STREET, W. H. DAVIS & CO. BOSTOIST, XJ.S.^.. Agents of Liberty & Co., Regent St., London.
(431) or slow, aijd changed his air, the dancer altering his pace and step and the
whole character of his dance to suit the music.
The village clerk was generally the great musical authority in the parish.
He led the orchestra in the church, and not unusually also played at merry-
makings. It may be remembered that in "Doctor Syntax " is a plate rep-
resenting the parson, in his black cocked hat and bushy wig, performing
on his violin to the rustics as they dance about the May-pole ; and, again
fiddling, he leads the harvest-home procession. Such conduct would be
regarded as highly indecorous now ; but was there harm in it ? Was it not
well that the parson should be associated with the merrymakings of his
flock, that he should lead and direct their music ?
Those old orchestras were, I fear, subject to outbreaks of discord ; and
that was one reason why they were displaced, first by the barrel-organ, then
by the harmonium. Well, but the solar envelope is always torn by tempests ;
and yet it diffuses a light in which we live and enjoy ourselves, regardless
of these storms. The very necessity for living together in some sort of
agreement, in order that they might be able to perform concerted pieces,
was of educative advantage to the old musicians. It taught them to sub-
due their individuality to the common welfare ; and so, not only because
it gave more persons an interest in the conduct of divine worship than at
present is the case, but also because the orchestra was a great educative
school of self-control, its disappearance from every village is to be re-
gretted.
CH. C. PARKYN, MANAGER of the MANICURE. Bernhard Listemana Gab, MLLE. ALARY, AND 23 Winter Street, Boston. ALSO AT Boston Philharmonic Orchestra Mansur Block, 51 Central St., Will take charge of Concerts and Recitals LOWELL, MASS. for visiting and resident Artists and Debutantes.
Knabe Warerooms, 178 Tremont St.
(432) ;
Symphony No. 1, in C minor, Op. 68. Brahms.
Un poco sostenuto ; Allegro. Andante sostenuto. Un poco allegretto e grazioso.
Adagio piu andante ; Allegro non troppo, ma con brio.
" And he is come, a youth, at whose cradle the Graces and Heroes keep watch. He bears the name of Johannes Brahms, came from Hamburg, where he worked in retirement, but was trained by an excellent and enthu- siastic teacher (Marxsen) in the most difficult doctrine of the art, and was introduced to me by an honored and well-known master. Also, in his out- ward appearance he bore all the marks which announce to us, This is one with a mission. Sitting at the piano, he began to unveil wonderful regions.
We were drawn into more and more magic circles. To this was added his playing, full of genius, which made of the piano an orchestra of lamenting and jubilant voices. There were sonatas, or rather veiled symphonies songs whose poetry might be understood without words, although a deep
vocal melody ran through them all ; some piano pieces, partly of a demoniac
nature and of the most graceful form \ and sonatas for violin and piano, string quartets, — every one so different from every other that each seemed to flow from a different spring. And then it seemed as if, rushing along as a river, he united all in a waterfall which bore over the down-shooting waves the peaceful rainbow, and on the banks was played around by but- terflies, and accompanied by the voices of nightingales."
It was Robert Schumann who, in October, 1853, thus wrote of his pupil
FULL DRESS.
Dress Vests, $3.00, 5.00, and 8.00. (New styles in Pique, Silk and Satin.) Dress Shirts, $1.50, 2.00, and $3.00. (Large variety in all qualities.) Dress Gloves, $1.50, 2.00, and 2.25. Dress Studs, $1.00 and 1.50. Dress Buttons, $1.00 and 1.50. Dress Bows, 25, 35, and 50c. (Imported Bows a s >ecialty.) Dress Braces (latest, black), $1.50, 2.00, and 2.50. Dress Shirt Protectors, $1.00, 2.50, 3.00. Dress Handkerchiefs. Choice style. Russian Tippets (new for dress), $3.00. NECK DRESS.
Large variety in Puff Scarfs and 4-in-Hands.
T3 A \T * O Cor - Washington and West Sts. IVA X Oi Cor. Boylston and Washington Sts.
(433) to the Neue Zeitschrift fur Musik, after he had given up its editorship, and
ceased almost entirely to contribute to it. Brahms wrote no symphonies
for publication until his chamber music, songs, and compositions embrac-
ing choral forms had made him renowned in two hemispheres. Such an
example of deliberate repression of talent is without a parallel. The total
number of his symphonies is four. Nine years represent the period of
their composition, the one in C minor having been first performed at
Carlsruhe, Nov. 4, 1876; the E minor, No. 4, at Meiningen, Oct. 25, 1885.
The first performance in Boston of the C minor symphony was at a Har-
vard Symphony concert, Jan. 3, 1878 ; the last at a Boston Symphony con-
cert. The analysis which follows is reduced from one prepared for Mr.
Henschel's London Symphony programme.
First Movement.
The symphony in C minor opens with a short but highly characteristic
and significant introduction, tin poco sostenuto, — significant because it con-
tains the germs, and expresses the mood, so to say, of the whole first move-
ment. Without preliminaries, we are thrown at once into the midst of the
passionate longing, the restless strife, expressed in the opening bars. An
unrelenting bass, given with great strength on one and the same note — the ground tone — by the contrafagotto, tympani, and double basses, seems to
chain down to earth the soul that would fain soar heavenward on the wings
of that fervent melody sent forth by the violins and 'celli. This dualism
appears to us the main idea of the introduction, as well as of the whole
first movement, of which the first theme and its appendage suggest dis-
content verging on despair, the second hope ; and it is a wonderful feature,
a similar one to which we cannot recollect, that this second theme consists
entirely of the same material as the first, only in the corresponding major
key, thus seeming to indicate that hope is not vague, and its realization
not expected from outside, but that it is firmly founded ivithin the heart so
(434) e ^=£© Pe ^ €0, FRUITS GLACES AND CRYSTALLIZED.
CHERRIES, WHITE. CHERRIES, RED. CHERRIES, SOUR. CHERRIES, CRYSTALLIZED. CHERRIES, EN BROCETTES. APRICOTS. LIMES, GOLDEN. LIMES, RED. LIMES, GREEN. LIMES, WHITE. PEARS, RED. PEARS, WHITE, GREEN GAGES, PRUNES. MIRABELLES, FIGS, ANGELIQUE. WALNUTS. ASSORTED FRUITS. PINEAPPLE, RED. PINEAPPLE, WHITE. STRAWBERRIES, ROSE LEAVES. VIOLETS.
Directly Imported by
s. s. pierce & CO., IMPORTERS AND GROCERS,
Scollay Square and Copley Square, 209 & 211 State Street.
(435) restless and despondent, and that its realization also will come from within.
The coda of the first movement is exceedingly beautiful. . . .
Second Movement.
The following andante sostenuto is in the key of E major, not so remote
from the key of the first movement as one may think, since the preceding
allegro ends with a major chord. It opens with a simple melody, expres-
sive of tranquil and joyful contemplation,— sentiments which prevail all
through the movement. Twice only reference is made to the " strife " of
the first allegro. The reminiscence occurs in the fourth and fifth bars
from the beginning, and in the corresponding place later on, hidden by the
difference in time and key, but otherwise most clear, inasmuch as the first four notes of the first allegro theme are given with the same harmonies.
The oboe continues the first theme, given out by the violins, with a lovely
phrase which leads back to the former, and is followed immediately by a new theme of a more passionate character, leading still to another, intro-
duced again by the oboe and taken up by the clarinet, the nature of which two instruments lends a peculiar charm to the plaintiveness of the melody.
The working out of these many subjects is wonderfully clear and interest- ing, and the orchestration of a beauty which is greatly enhanced by the
SIMPSON & CO. ANNOUNCE a full line of Jouvin & Cie Celebrated Gants de Suede. A full line of the Regent Craven Tan Glove, 4-Button. Also, Riding Gauntlets A full line of the latest craze, gray pearl, with black em- broidery, in Mousquetaire and 4-Button. Misses' 4-Button and Mousquetaire Suede Gloves. OTroGR^RS Boys' Dogskin Gloves. Gents' Street Gloves, 2-Button, $1.00 per £ Hamilton Piace • Bostoi pair. Special attention given to fitting out Wed- Chas Polloo dings, Balls, etc., etc. CABINET CEL EBRITIES A SPECIALTY. "We can always give you the correct thing for a very moderate price. NOVELTIES FOR SEASON 1890-1891. Simpson s Lacing Gloves, in Kid, Suede, and Dogskin. SUTCLIFFE'S ENGLISH STUDIES FOR ARTISTS, Gloves made to order in one hour's notice. including Landscapes, Marine, Clouds and Orders by mail attended with care. Skies, Peasant Life, etc. VALENTINE'S NEW SERIES. Norway and Morocco. SIMPSON & CO., DONKIIM'S HIGH ALPS. 4-8 and 50 Temple Place. Scovill's Album for unmounted Views, in the use Branch 118 Tremont Street. of which no paste is required.
(436) introduction of a solo violin in the octave above the oboe and horn toward the end.
Third Movement.
The third movement now following, 2m poco allegretto e grazioso, and which we may call an intermezzo, consists of two distinct parts, the first in
A-flat, 2-4, the second in B major, 6-8, which latter takes the place of the trio in a scherzo. It shows us the master in his happiest disposition, being; of a grace so tender and simple that we are made to feel as if the happy- days of childhood, which know of no great sorrow and care, were passing before the composer's inner eye. He seems to revel in the feelings awak- ened by these reminiscences, and everything indicates contentment and happiness, till, shortly before the end, the clarinet tries to be heard in uttering a short lamenting phrase foreshadowing sorrow. This, however,, remaining unheeded, the lovely movement ends as gracefully and tenderly as it began.
Fourth Movement.
The last movement commences as if with a long sigh coming from the depth of the soul. All recollections of the past seem to have faded away^
PHOTOGRAPHIC APPARATUS FOR AMATEURS.
C. A. Campbell k Co. COAL.
59 Congress Street, Boston. Full assortment of Cameras, Kodaks, Hawk- eyes, Albums, Films, Dry Plates, Chem- TELEPHONE 299. icals, etc., including all novelties.
Competent Instructors to Assist Patrons, BENJ. FRENCH & CO., No. 319 Washington Street, Opposite Old South. (437) and there is a mysterious stir in the strings expressive of something like
fear ; again the long-drawn sigh, the notes of which are the same — only in the minor key — which afterwards make up the glorious main theme of the allegro; again those pizzicato strings, greatly increasing in speed and strength, like thoughts trying to fly before some unknown danger. Begin- ning now in the depth of the double basses, and arousing all the instru- ments which hitherto have been employed, everything seems preparing for
some great effort, some rash deed ; and the excitement is growing from bar to bar, when suddenly, on the height of this commotion, the thunder-like entrance of the drums brings everything to a stop. For a moment all is suspense, and then, founded on a soft chord of the trombones, which now appear for the first time in the whole work, the horn pours forth a melody of surpassing beauty, a melody, moreover, in which we seem to recognize that clarinet phrase — but now in major, as if glorified — to which we drew atten- tion at the end of the third movement. Softly the muted violins and violas
set in. The flute passionately repeats this melody, which seems to have been
sent from some other world to carry comfort and peace into every troubled
heart. A soft and solemn chant of the trombones enhances the profound
impressiveness of this phase of the introduction. The muted strings again
accompany the horns, which now vie with each other in bringing out with
CHICKERING HALL.
Tuesday, February 3, Thursday, February 5, Tuesday, February 10, AFTERNOONS AT 2 O'CLOCK. FAREWELL CHOPIN RECITALS BY Mr. VLADIMIR DE PACHMANN.
Season and Single Tickets now on sale at Box Office, Music Hall.
(438) the of the melody first intrusted to them even greater transport beauty ; and, after a bar of quiet, filled out by the dominant chord in the trombones and horns, the radiant theme of the allegro bursts upon us in its full intensity.
What follows now is so clear that attention may be drawn only to the second theme, in which a loving and approving voice seems to encourage the hero in the energy and activity which breathes through every bar of this wonderful finale. Not for one moment do this energy and activity
flag ; indeed, they increase at a time when it would seem almost impossible.
Shortly before the coda, the basses, strengthened by the contra-bassoon and bass trombone, take up the first theme, first softly, then stronger and stronger, till, carrying everything with it in a tremendous rush of sound, the climax is reached in the coda piu allegro. The solemn chant of the intro. duction now reappears, but changed into a triumphant hymn of praise, and rising still further to a height of passion almost amounting to ecstasy.
If you've enjoyed this Concert it's been due in part to your comfortable apparel.
GET A PAIR OF LANGDON & BATCHELLER'S GENUINE THOMPSON'S "GLOVE FITTING" NEW "B" CORSETS,
and you'll secure luxury in the shape of a perfectly made Garment, extra long waist, high bust, superb shape. Call at any first-class corset department in Boston.
(439) s
503 ^a4^vt^u^K/ $&>,
If you want anything perfectly delicious, step into Miss FISK'S, 44 TEMPLE PLACE, and get either an Ice Cream Soda or a Cup of Hot Chocolate, Beef Tea, or any of her numerous drinks.
99 BOYLSTON ST.
Ivory Miniatures and Portraits.
ESTABLISHED 1835. Adams & Ilsley, 150 TREMONT STREET, BOSTON. The Baker Harness, Best Riding Saddles, Solid Sole Leather Trunks, Valises, Bags, etc. Also a Fine Assortment of Umbrellas. The Baker Harness has been unrivalled in public esteem for fifty years. Riding Saddles of our own manufacture for ladies and gentlemen are unsurpassed. We are the only firm in Boston manufactur- ing Solid Sole Leather Trunks, and make a specialty of these goods; also Bags, Valises and Horse Goods of all descrip- tions and of best quality.
ADAMS & ILSLEY, 150 Treiont Street, BOSTON.
ARTIST ORCHESTRAL CLUB. BOSTON PHOTOGRAPHER, Organized by members of the Boston 493 Washington St. Symphony Orchestra. Corner Temple Place Mr. E. FIEDLER, Mr. JACQUES HOFF- Photographs representing Greek Mythology MANN, Violins. Mr. S. GOLDSTEIN, Viola. just made form elegant Christmas gifts. We would Mr. LEO SCHULZ, 'Cello. Mr. M. HEINDL, remind our patrons and others that there are no Flute. Mr. A. GOLDSTEIN, Contrabass. more acceptable presents than fine specimens of the photographic art. Our studio is completely Open for Concert Engagements. Solo Playing al- equipped for the best work. Early orders will be a Specialty. . . . Members of the organization carefully filled. so receive pupils for their respective instruments. For terms, address UADnV 493 WASHINGTON ST. K. GOLDSTEIN, Music Hall, BOSTON, Mass, nMnUTj boston. (440) Handel and Haydn Society,
MUSIC HALL,
Sunday Evening, Feb. i, at 7.30.
THE DVORAK STABAT MATER
(FIRST PERFORMANCE).
Miss CLEMENTINE DE VERE, Soprano.
Miss EMILY WINANT, Alto.
Mr. WILLIAM J. WINCH, Tenor.
Mr. EMIL FISCHER, Bass
THE GREAT CHORUS of the SOCIETY. A FULL ORCHESTRA.
Mr. CARL ZERRAHN, Conductor. Mr. B. J. LANG, Organist.
Tickets, $1.50 or $1.00 according to location. Now on sale at Music Hall.
(441) LETTERS FROM THE WORLD'S GREATEST PIANISTS. VON BULOW. D'ALBERT. BOTH DECLARE THE KNABE THE BEST PIANOS IN AMERICA. VON BULOW'S LETTER, EUGEN D'ALBERT'S LETTER AFTER — TO — CONCERT TOUR, 1890. WM. KNABE &CO. To WM. KNABE, Esq., Baltimore. Dear Sir: My renewed and by more use — under aggravat- (Translated from the German.) ing circumstances, as bad health and tiresome travelling — enlarged experience of your Pianos oppor- this {second and last transatlantic) season has During my sojourn here I had frequent throughout confirmed myself in the opinion I ex- tunities to make myself acquainted with the Knabe pressed last year, viz '. That sound and touch of Pianos, and from fullest conviction I declare the Knabe Pianos are more sympathetic to my ears to the best instruments of America. Should and hands than sound and touch of any other Pianos them be in the United States. As I met with frequent op- I return here for artistic purposes,— which may portunities ofestablishing comparisons between the be the case very soon,— / shall most certainly use Knabe Pianos and instruments of rivalizing or would-rivalizing producers, I dare now add that I the pianos of this celebrated make. I give this declare them the absolutely best in America. testimonial with pleasure, voluntarily, and entirely With sincere regards, unsolicited for by the house of Knabe. Yours truly, DR. HANS VON BULOW. EUGEN iD'ALBER T. Hamburg, 2?th May, i8qo. New York, May lb, 1S90.
GRAND, UPRIGHT PIANOS AND SQUARE. BALTIMORE. NEW YORK. WASHINGTON. E. W. TYLER, Sole Agent, 178 TREMONT ST., Boston.
People Contemplating Suicide
Can learn the easiest way to dye by applying to LEWANDO'S
French Dyeing and Cleansing Establishment 5 17 TEMPLE PLACE, BOSTON. 286 FIFTH AVE., NEW YORK.
(442) FIFTEENTH REHEARSAL and CONCERT
Friday Afternoon, February 6, at 2.30.
Saturday Evening, February 7, at 8.00.
PROGRAMME.
Saint-Saens Symphonic Poem, "La Jeunesse d'Hercule"
Scharwenka - Concerto for Piano in B-flat minor
" Wagner Waldweben, from " Siegfried
Chadwick Symphony No. 2, in B-flat
Soloist, Mr. XAVER SCHARWENKA,
(443) :
THE WAGNERIAN DRAMA.
Mr. H. E. KREHBIEL
(of the New York Tribune) will give a course of five lectures on Richard Wagner and his Lyric Dramas
At Steinert Hall, on Thursday afternoons, at three o'clock, as follows
IV. January 29, " Der Ring des Nibelungen." (The Prologue.) V. Februarys, "Der Ring des Nibelungen." (The Tragedy.)
The lectures will be illustrated at the pianoforte by Mr. HENRY HOLDEN HUSS. Tickets now PIANO RECITALS :m::r,s. w. hi. sheewood, AT HER RESIDENCE, » FEBRUARY 12, 26, AND MARCH 12, ASSISTED BY IMIISS O-A-IROXjIIfcTIEi OLARKB AND IMHUSS ELSA SHERWOOD TICKETS, - - SI.OO. Obtained of Mrs. Sherwood only, at 288 Newbury Street. (444) MUSIC HALL. SATURDAY, FEB. 7, 1891 GRAND Operatic Festival Matinee BECINNING AT I O'CLOCK. UNPRECEDENTED ARRAY OF SOLOISTS. SOPRANOS. Mile. MARIE DECCA, from the Grand Opera, Paris. (First appearance in Boston.) Mrs. E. HUMPHREY-ALLEN. Miss ELIZABETH HAMLIN. Miss MABEL SHARLAND Mme. KATHINKA PAULSEN-WHITE (First appearance in Boston). (First appearance in America). MEZZO-SOPRANO. CONTRALTO. Mme. G. CAMPANARI Miss GERTRUDE EDMANDS. (First appearance in America). TENORS. Sig. ITALO CAMPANINI. Mr. WM. H. FESSENDEN. Mr. HERBERT JOHNSON. BARITONES. Sig. DEL PUENTE. Sig. CAMPANARI. Mr. C. E. HAY. BASSES. Mr. MYRON W. WHITNEY. Mr. D. MARKS BABCOCK. INSTRUMENTALISTS Mr. HERMANN EMIL ZOCH, Pianist. Mr. T. ADAMOWSKI, Violinist. Mr. FRITZ GIESE, 'Cello. ^M^. C. L. STAATS, Clarinet. Also A CHORUS OF ONE HUNDRED MALE VOICES. ARTHUR W. THAYER, Conductor. THE PHILHARMONIC ORCHESTRA, SIXTY MEN. BERNHARD LISTEMANN, Conductor. THE PROGRAMME WILL INCLUDE SELECTIONS FROM "M1GNON." "TRAVIATA." "DON CARLOS." "CARMEN." "UN BALLO." "MAGIC FLUTE." "WALKUERE." "QUEEN OF SHEBA." "STRADELLA." "TANNHAEUSER." "GIACONDA." "DON GIOVANNI." "PRE AUXCLERCS." "OTHELLO." "SIEGFRIED." " SON and STRANGER." "BARBIERE." "FAUST." " PEARL OF BRAZIL." " LUCIA." Tickets, with Reserved Seats, $1.50 and $1.00 Each. (445) i £s..civ±v-hn ± i XLivii'i^rL. TWO PIANO RECITALS BY Mrs. H. H. A. BEACH, IN AID OF The Marine Biological Laboratory. PROGRAMME For Thursday Afternoon, February 19, 1891, AT 2.30. Compositions of Frederic Chopin. SCHERZO, B-flat minor, Op. 31. NOCTURNE, B major, Op. 9, No. 3. ETUDES, Op. 10, Nos. 12 and 3. Op. 25, No. 6. BARCAROLLE, Op. 60. PRELUDES, Op. 28, Nos. 1, 7, 10, 11, 6, 3, and 22. BERCEUSE, Op. 57. IMPROMPTU, G-flat major, Op. 51. MAZURKA, Op. 50, No. 1. VALSE in E minor (posthumous). POLONAISE, Op. 40, No. 2. BALLADE in A-flat, Op. 47. The second concert of compositions by Beethoven, Bach, Grieg, Brahms, Moszkowski, Rubinstein, Paine, Foote, Chadwick, etc., will be given on Friday, February 27. Programme to be announced later. Tickets are One Dollar for Each Concert. Now on sale at Tremont Temple, and at Miles & Thompson's Music Store, 13 West Street. (446) Monday Afternoon, Feb. 2, BUMSTEAD HALL, at 2. LAST PIANOFORTE RECITAL BY Mme. HELEN HOPEKIRE BEETHOVEN. CHOPIN. NAWRATIL. SCHUMANN. VOGRICH. PADAREWSKI. MENDELSSOHN- i LISZT. LISZT. Single Reserved Seat, $1.00 Unreserved, .50 On sale at the office of Music Hall. MUSICAL INSTRUCTION. CARD.— An opportunity is offered ALL music teachers, in WHATEVER branch, to advertise in these pages and bring themselves directly before the musical public of Boston, -who are con- stant readers of this Programme. This opportunity is a most valuable one, and is already find- ing much favor among teachers. SPECIAL rates are offered, and professional cards solicited. Teacher of Singing, ELIOT HUBBARD, 165 TREMONT ST. Room SO. VOCAL INSTRUCTION, MiSS GERTRUDE FRANKLIN, 1*» A Tremont Street. Residence, 5 Ashburton Place. VOCAL TEACHER, SUMNER COOLIDGE, 149 4 Tremont Street. Pianist and Teacher, From GERMANY. MATmILDE BDDIGERi Bulow-Scholtz Method. Speaks English Fluently Room 24, Music Hall Building, Boston. Fridays, p.m. 5 to 6, arrangements with pupils. (447) VOCAL INSTRUCTION, Mrs, CHARLES J. LEWIS, Hotel Newton, - - Suite n, 55 EAST NEWTON ST. Teacher of Singing. Pupil of Vannuccini, of Florence, and Delle Sedie, of Paris (with certificate). MADAME MARIUS, Room 28, Music Hall Building, Mondays and Thursdays from 2 to 6. Residence, 10 St. James Ave. TEACHER OF THE CORNET LAFRICAIN'S ORCHESTRA. EDWARD N. LAFRIGAIN, Reliable musicians furnished for weddings, re- ceptions, the German, etc. Office at Russell's Music Store, 10 Hamilton Place. Teacher of Pianoforte, Organ, Harmony, C. L CAPEN, and Counterpoint, Receives Pupils at 149 A Tremont St., Room 64. OVER-TONE VOCAL METHOD, Mme. EDNA HALL, 206 Dartmouth St. VOCAL INSTRUCTION, Miss GERTRUDE EDMANDS, 132 Huntington Avenue. SUITE 3. rGcLchcr of Sinsrinsr Mad. Desiree Artot de Podilla, 64 Rue ^froy, Paris. Applications for Advertising Space in this Programme should be addressed to C. A. ELLIS, Music Hall, Boston. Geo. H. Ellis, Printer, 141 Franklin Street, Boston. (448)