Boston Symphony Orchestra Concert Programs, Season 15, 1895
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ACADEMY OF MUSIC, BROOKLYN. Boston Symphony Orchestra Mr. EMIL PAUR, Conductor. Fifteenth Season, 1895-96. PROGRAMME OF THE FIRST CONCERT Tuesday Evening, November 12, 1895 At 8.15 precisely. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. MANUFACTURERS OF GRAND, SQUARE, AND UPRIGHT PIANOS EUGEN D'ALBERT: From fullest conviction, I declare them to be the best Instru- ments 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. TSCHAIKOWSKY: Combines with great volume oj tone rare sympathetic and ?ioble tone color and Perfect action. ....... WAREROOMS BALTIMORE, WASHINGTON, 22 and 24 E. Baltimore Street. 817 Pennsylvania Avenue. NEW YORK, 148 Fifth Avenue. (2) """ Boston Academy of i, Music, Symphony U Brooklyn. f\+msy\*% £_ci" t*d Fifteenth Season, 1895-96. \JJTC^IIC^Ll d. Eighth Season in Brooklyn. Forty-first Concert in Brooklyn. Mr. EMIL PAUR, Conductor. First Concert, Tuesday Evening, November 12, At 8.15 precisely. PROGRAMME. Wagner ------- Overture, " Rienzi ORCHESTRA. Leoncavallo ------- Prologue, " I Pagliacci Mr. CAMPANARI. Gluck ------- Aria, " Che faro " (Orpheus) Mme. scalchi. " Donizetti ------ Mad Scene from " Lucia Mme. MELBA (Flutb Obligato, M. MOL_.) Wagner _____ Prelude, " Tannhaeuser," Act EL Wagner ______ Prelude, " Lohengrin," Act HI. ORCHESTRA. " Gounod ___-- Aria from " La Reine de Saba Mr. D'AUBIGNE. " Arditi ------- Waltz Song, " Se saran Rose Mme. MELBA. Verdi ------- Monologue from " Falstaff Mr. CAMPANARI. Hector Berlioz _ _ _ _ a . Minuet of Will-o'-the-Wisps b. Waltz of Sylphs From " The Damnation of Faust," Op. 24. ORCHESTRA. " Verdi ------- Quartet from " Rigoletto Mme. MELBA, Mme. SCALCHI, Mr. D'AUBIGNE, Mr. CAMPANARI. Auber ------- Overture, " Carlo Broschi ORCHESTRA. (3) SHORE LINE BETWEEN BOSTON and NEW YORK THROUGH TRAIN SERVICE FROM EITHER CITY. 10.00 a.m. "BAY STATE LIMITED." n*mM bium rarior car. only. Special Ticket required. Due 3.00 p.m. 10.03 a.m. "DAY EXPRESS." Vestibuled Buffet Parlor Cars, and •.' Coaches. Due 4.30 p.m. 1.03 p.m. "AFTERNOON EXPRESS." Veetibuled Buffet Parlor Cars, ar. '.-aches. Due 7.30 p.m. 3.00 p.m. " SHORE LINE EXPRESS." Daily. Yestibuled Parlor Cars, j a:. Caches. tcn ancl New London. Due 9.00 p.m. 5.00 p.m. "GILT EDGE" EXPRESS. Daily. Yestibuled Parlor Cars, ache?. Dining Car Boston and New London. Due 11.00 p.m. 12.00 MIDNIGHT MAIL EXPRESS. Daily Allen Yestibuled Compart- ment Sleeping Car and Day Coaches. Due 7.00 a.m. (Open for occupation at 12.03 a.m. MIDNIGHT EXPRESS. Yestibuled Sleeping Cars, Boston w York. Yeatibuled Sleeping Cars Providence and New York. 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Royal • Blue • Line Finest and Safest Trains ? ^ K x x x *** a in the World, between NEW YORK AND WASHINGTON JERSEY CENTRAL, PHILADELPHIA & READING, and VIA BALTIMORE & OHIO RAILROADS. All trains vestibuled, heated by steam, lighted by the Pintsch Gas System, and protected by Pullman's Anti-telescoping Device. PULL/IAN DAY COACHES, PARLOR CARS, SLEEPING CARS, DINING CARS. NEW YORK TO WASHINGTON IN FIVE HOURS. Tickets on Sale at all Railroad Offices. (4) ; Overture to " Rienzi, the Last of the Tribunes," in D major. JZienzi, der Letzte der Tribunen, grand tragic opera in five acts, was written for the Academie de Musique in Paris. Wagner was inspired to write it by reading Bulwer's novel of the same title in Dresden in 1837, and began his sketch at Riga in the autumn of that year. He finished the libretto in the summer of 1838, and began to write the music in the autumn of the same year, finishing the first two acts by the spring of 1839 at Riga and Mittau. The rest of the work was written in Paris. The finished opera was 'offered to the Academie de Musique, and then to the Theatre de la Renaissance,* but was refused by both ; in 1841 Wagner sent the score to Dresden, where it was accepted and brought out at the Court Opera on October 20, 1842. The opera was written in emulation of the style of Spontini, Meyerbeer, and Halevy, and contains little or nothing that can be called characteristically Wagnerian. All the themes in the overture are taken from the body of the opera the overture itself is in the traditional form, with just enough working-out to raise it above the class of French " potpourri " overtures. It begins with a slow introduction, Molto sostenuto e maestoso in D major (4-4 time), which opens with a long-sustained, swelled and diminished A on the trum- pet. This trumpet-note is, in the opera, the agreed signal for the uprising of the people to throw off the tyrannical yoke of the nobles. It is twice repeated, after a slow passage in the basses and some solemn, church-like harmonies in the high wood-wind ; then a chromatic passage in the basses leads to the entrance of a majestic theme, played by the violins and 'celli in unison to a simple accompaniment in the other strings and some of the wind instruments : this theme is the melody of Rienzi's prayer in the fifth act of the opera. Its development is soon cut short by some stormy passage-work, which leads crescendo e sempre piil crescendo to a resounding * Not the present Theatre de la Renaissance, on the corner of the boulevard Saint-Martin and the rue de Bondy, but the older and far more famous house (now changed into a bank), better known as the Theatre- Italien, or " Salle-Ventadour." ATonic FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. 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(5) return of the theme in full harmony in all the brass, the first violins coming in between the phrases with a series of ascending turns which may be re- garded as the first symptom in Wagner of those famous violin effects in the overture to Tannhauscr* The development of the melody is again interrupted by a strong diminished-yth chord and a furious rolling of the snare-drums, over which latter some violent, recitative-like phrases lead to three more repetitions of the trumpet-signal, interspersed with tremulous harmonies in the strings, the last long-held A leading directly to the main body of the overture. This whole introduction is exceedingly dramatic and impressive. « The main body of the overture. Allegro energico in D major (2-2 time), begins at once with a fortissimo outburst of the whole orchestra on the first u theme, that of the chorus Gcgrusst sci, hoher Tag! Die Stunde naht, vorbei die Schmach / (All hail, exalted day ! The hour draws nigh, our " shame is o'er !) with which the Finale of the first act of the opera begins. This theme is developed precisely as it is in the above-mentioned chorus, and leads soon to the first subsidiary, the theme of the Battle-Hymn, " Santo spirito cavaliere" of the popular Rienzi faction in the third act of the opera; it is now given out fortissimo by the trumpets and trombones in octaves, each phrase ending on a resounding chord of the full orchestra. A transitional passage in the 'celli leads to the second theme, which is none other than that of Rienzi's Prayer, already heard in the introduc- tion, and now played in allegro in the key of the dominant, A major. It is followed by a. fortissimo return of the "Santo spirito cavaliere" theme, which is now heard for the first time in its entirety, the first phrase being given out by the brass in octaves, the second phrase in full harmony. This leads to the conclusion-theme, that of the Stretto of the Finale to the second act of the opera, the song of rejoicing, "Rienzi, dir sei Preis (Rienzi, praise to thee)," after Rienzi's treaty of peace with the nobles and his pardoning Paolo Orsini's attempt at his assassination. This joyous, if somewhat trivial, theme is developed by fuller and fuller orchestra, and ends the first part of the overture. The rather short free fantasia is almost entirely devoted to working out the "Santo spirito cavaliere" theme, and ends, as the introduction did, with a twice repeated return of the trumpet-signal.