B os ton Mu s i c H a ll .

BO ST O N SY MPH O N Y O RC H ESTRA

Em PE RFO RME RS )

M TO M . WI L H EL GERI CKE N DUC R R , CO ,

I

E N N v 7 AT W E D N ES D A Y AFT N O O o . R , , / ? s y

S O L O I S T

KE GEO GE J B AR R . jMR . R

T he Piano u sed i s a Ch i c ke r i ng . “V T /L I L ? “Jib :

u ' (a Q ,

PROGRAMME'.

“ H ERO L D O V ERTURE . Zampa .

“ B RECITATIV E AN D ARIA . from Arminius . RUCH

M R . P A R K E R .

MO SZKO K N O . 1 O . 39 WS SUI T E in F , , p I

' ‘ I AL L E GR O MOL I E B R I O SO ._ . O ’ ‘ _ I I . AL L E GR E I T O GI O Jos o .

I I I . T EMA C O N V AR I AZI O N I .

I V . I N T E R ME ZZO ._

V . PER PE T UUM MO B I L E .

SO N GS W I T H PI AN O .

” “ L F H H a ) O N THE WAL S O S AL AMAN C A . ART UR W ITIN G

‘ “ PO RTER b) SE V E R AN CE . C . H .

“ ‘ E T O K ME S FT L Y H A D ARTH UR FO O T E c ) L O V O O B Y THE N .

M R . P A R K E R .

“ P ZZ P f S . D L B S AL T Z AND I IC AT O O L KA . rom ylvia E I E

S T . B Z T UI E N o. 2 I E ,

“ MAR H . T a WAGN R C nnh aeus er . E

L ouis Jos eph Ferdinand Herold was a prize student of the Paris Conservatoire

1812 . in He , like so many Frenchmen , desired to write /works for the theatre ; “ ” b ut it was not until after many ineffectual attempts that his opera of Zampa f gained a success ; this was in 1 831 . The very next year it was ollowed by “ ’ ” “ ” a u Z of another opera , Pre Clercs , more excellent than ampa onl y because a H e ’ better unanimi ty between dramatist and composer . O ne of rold s eager \ “ “ ” : m w ho t o biographers has said We recognize in Zampa the hand of a aster , the spirit of Italian music unites the depth of the German and th e elegance of ’ the Herold s early practising took the form of bal let mus ic and hi s influence in determini ng the present graceful and charming style of mod ern m n French writers in this for was not inco siderable . Ma ' one of t A rminius is a secular oratorio by Bruch , the more excellen of

w h m . modern German composers , o considers i t his ost important work It and

others in the same form by Bruch is familiar i n Boston . The work is dedicated w ho f Z 1 87 t o Mr . Henschel , at its first per ormance at urich , in 7, sang the title

S , t part , and also the difficult tenor part of iegmund he local tenor being sud u O f d enly incapacitated . The story of the work treats of the successf l uprising

the leading German tribes , in the year nine of the Christian era, against their

. A m or i of Roman oppressors r inius , ( Hermann ) ch ef the Cherusci , was their

- leader . The scene for tenor ( Siegmund ; sung to day follows the call to arms of of Arminius in part three of the work . Siegmund , a follower Arminius , is ex l d fi d iled because he slew the Roman who insu te d his belove , an d he having e , his i s e father has been thrown into chains . It fin ly decl amatory , interrupted by a

few measures of revery . m ' V . . Si e un . RE C ITATI E AIR g d 0 days of grief and desol ation O sorrow , how wilt thou end ? Within my breast there rankles deep a pain past tears ’ I C ' assuaging ; a banished man I wander lone , through lands ruled as hieftain The dastard Roman I slaughtered w h o my betrothed insulted as in tranquil

converse we sat by the brook . Yet I slew him and fled . Woe on me that I ' fled For they have taken my father , his feeble frame they have chained ’ ' ' all in miscreant s fetters , alas Curst be your race , ye robbers curst by god s evermore '

n In o e of the English biographical dictionaries Mr . Moritz Moszkowski gives “ the following humorous account of himself : I took my first step before the

m r A . 23 1 854 public in my earl iest youth , following y birth , which occu red ug , ,

. w m of at Breslau I selected this ar month in hopes a tornad o , which always

of . plays so conspicuous a part in the biography great men This desired tempest , w n t in consequence of favorable eather , did o occur, while i t accompanied the

m . birth of hundreds of men of less i portance Embittered by this injustice , I t o n n th e determined ave ge myself o world by playing the piano , which I con ’ ” tinned in Dresden and Berlin as Ku ll a k s pupil . Moszkow ski now teaches in ’ - Kull k s . l a school The classmate of wel known Americans , Americans have of w h o been , and are , pupils his , while those play his pianoforte music in this

country are legion . The only works i n the larger forms of hi s which are played “ ” S of A in the United tates are two suites , a symphony entitled , Joan rc , and “ ” - . A m a concerto for violin The suite played to day , like the Joan of rc sy phony , w of L was ritten by desire of the Philharmonic Society ondon , and performed by

on 2 1886 . it for the first time June , It is elastic rather than formal music ; not at all a copy of the severer style of the men who Often made the suite form the vehicle for profound learnin g .

The triangl e , piccolo , glockenspiel are factors of this modern work , which also

calls for an extra bassoon and three tympani . The first movement is the more t h perfect in form , preserving the essential character of e first m ovement of a

. a lle ett i s o - symphony The second movement , gr o g oj o , two four rhythm , pos sesses much of the most ingenious orchestration of the five which constitute the

. suite The triangle , bells , and piccolo , in their piquant manner , serve orna mentally upon its more earnest but no less interesting business which is sha red

- nearly equally by the viol ins and wood wind . An a nd ante s and variations constitute the third movement . Th e v ariation i i m number e ght , and nclude a oto continua for first violins with pizzi c a to accompaniment , while the flute , and flute and harp are singled out as h aving m much char ing work alloted them, The theme itself , first given out by the

— - . i nter mez o wood wind , is a lovely song The z in the minuet trio form , the trio of portion which is the more important , but preludes the last movement , “ ” i p erpetuu m mobi le . The perpetual motion begins in the violins w ith a pi zz i cota accompaniment . These semiquavers continue , sometimes assertive , often

a . A far in the b ckground , throughout the movement contrasted episode is that early announced by the horns , which the violins expand . The second subj e ct starts in the clarinet , the first violins playing a version of the perp e tuum mobile. ' v i li ns S ab rid The development includes a fugal episode begun by the o fi . ome g ment of the customary form is mad e as the movement continues . The final cod a is bright and animated .

L e o Delibes is a popular French composer now about fifty years ol d . He has w ritten works for the theatre during thirty years , achieving his greatest successes “ “ ” “ ” “ with the ballets L a Coppelia Sylvia Syl ” i h O 1 via was produced Boston by the American pera Company , in April , 886 . The bal let though of more modern origin than Opera is yet a child of some t w o I t hundred years . is a play in pantomine in which music and dancing are d a : 1 l important features . The music from Delibes ballet played to y is ( ) a s ow wal tz , of w hich our onl y complaint is that it is so soon over , and that it has no trio t o compel the repetition of its first strain . It is preceded by a few bars of — — - e o. 2 i nter m zz ( ) A charming little movement again too short , entitled Pizzi ” cato , which is almost entirely for the stringed instruments .

” 1838 1 8 5 . one of b i o ra Georges Bizet , born in , died in 7 Bizet, says his g “ h e rs off . p , was cut in the very dawn of his career He achieved little , because ortunit w as the opp y, denied him , but in that l ittle he accomplished much ; giving f to music the most success ul opera of the day , and by a single effort earning an ” “ ” undying name . The composer of Carmen wrote several Suites for orches ’ ” L Arl e s i e nne a w tra . His second , , posthumous ork , ( first heard in Boston at S O a Popular Concert by the Boston ymphony rchestra , on May 7, com ’ prises certain of the interludes t o D um as s not originally in D cluded in the first suite . This composer set the school for Massenet , elibes , w hi s and their fello s , who through death , lost an exampl e they have emulated

n t . . but o equalled Bizet had a fibre which the others lack His music , with all a nd its cleverness , elastic contour and individuality has stamina purpose , which

- traits do not s o strongly appear in the contemporaneous French school of to day . ’ ' The new Bizet Suite is not to be taken as that composer s best ; but it is some m s a le I nt thing charming in a French patois . The move ents are : Pa tor , er m o Minuet and Fa r and le . ezz , , o

” ’ T a nnhaeu s e r of m n , the third Wagner s operas , is a happy co binatio of legend ary and historical matter ; the legend of T annh aeu s e r being combined wit h the of “ ’ story of the Battle the Bards at Wartburg . T annh se us e r and the Singer s ” contest at the Wartburg its its correct title . The march occurs i n the seco nd S act , the ingers Hall of the Wartburg , and with the chorus immediately fol low “ ” ing introduces the song contest . Berlioz speaks of its plentiful modulations , but asserts that the orchestra impresses them wi th such vigor and authority ” that they are accepted without resistance . 08 am 1 new

BO ST O N SY MPH O N Y @ RO H EST RA

( 8 0 PE R FO R ME RS )

M . W L H L M N DU R I E GER I CKE, CO CTOR ,

- S E A S O N 1 8 8 8 8 9 .

Second h 4 n

5

W DN N V MB 2 TH E ESDAY AFTE RNOO N , O E ER 8 , AT f g k ‘f

S O L O I S T

H E R R M O R I Z RO S EN T H AL .

T he Pi n a o u sed i s a S teinway . PROGRAMME.

O . MO Z VE RTURE The Marriage of Figaro , ART

O O NOFO T E O C NCERT for PIA R E in minor , CH PIN

m d o i c A o Rom nc e R i V . lleg r a , va e

O LARG , HANDEL — SO L O O L I N MR . KN E I S E L . VI ,

SCEN ES O S S SS N PITT RE Q UE , MA E ET

_A — r h i r B . An l . _F e B oh m . Ma c e . de allet g e us ét e e

SO O N O S for N O FO T SZ RHAP DIE H GR I E PIA R E , LI T

( Arranged by Moriz Rosenthal .

” O of O VE RTURE , The Merry Wives Windsor , NIC LAI ’ ’ s u e s Writing of Mozart s ability to depict in the orchestra Fi g aro s story , as gg ’ “ ’ ” B e a uma rc h a is s m L e Ma i a e d c Fi a r on Folle Joum c e O t ted by co edy , r g g o , t o “ Jahn says : The capabilities of instrumental music i n this direction are m ost th e m a a strikingly d isplay ed in overture , in co posing which Mozart appe rs to h ve ‘ ’ ’ him L a Foll e Jour ne c . kept before the second title of the play , He has made

of the . one very characteristic alteration in the course overture At first the rapid . impetuous pr es to was interrupted by a slower m idd le movement . In the original d score , the point where the return to the first subject is ma e , is marked by a

a nd a nte D . T h e pause on the dominant seventh , followed by an in minor leaf t r s on which its continuation and the return to h e p e to was sketched is torn out . It is plain that Mozart altered his m ind when he came t o the instrumentation of

h . t e overture , which he has sketched , in the usual way Perhaps a middle move Si i li a na him ment begun l ike a c did not please ; in any case , he thought it better not to disturb the cheerful expression O f his opera by the introduction of any foreign element . And in very truth , the merry , lively movement pursues its unin m m te rrupt ed course , from the first eager ur ur of the violins to the final flourish

f . O n e m o trumpets bright , cheerful elody succeeds another , running and dancing m m t h e for very lightness of heart , like a clear ountain strea rippling over pebbl es e l c ri fie s m in the sunshine . A sudden stroke here and there e t the otion ; and m m w . t , once , when a gentle melancholy shines forth the erri en is as it ere , trans m figu r e d into the intensest happiness and content . A piece o f usic can hard ly be more lightly and lo osely put together than this ; there is an entire w ant of h — m study or el aboration . Just as the impul ses of hig ly wrought poetic oods exist n m one m o ut u observed , and pass fro to the other , so here one otif grows of the ” other , till the whole stands before us , we scarce know how .

w Chopin wrote for the orchestra in connection with the pianoforte , his t o “ th e pianoforte concertos , b eing almost only compositions of his for a number of “ . his : ChO in f instruments Ehl ert , in one of discriminating essays , says p el t t o of himself compelled satisfy all demands exacted a pianist , and write the un

v . H p t w o of e a oidable pianoforte concerto e com osed them at an arl y period , of before his Paris time , and acquitted himself his task as best he could . It was not w t o consistent ith his nature express himself in broad terms . His lungs for - were too weak the pace in seven league boots , so often required in a score

he must touch the keys by himself , without being called upon t o heed the player s itting next him . The concertos are much admired by pianists ; to both the player of sentiment and the virtuoso do they appeal . Fr . N ie c ks says of the “ a d a i - : fi ne g o of the one played to day it is very in its way , but such is its cl oy one for n ing sweetness that longs something braci g and active . This desire the composer satisfies only partially in the last movement . Neverthel ess , he succeeds ” in putting us in good humor by his gaiety , pretty ways , and tricksy surprises . e fi e ct s Among the orchestral , the use of the horns in the cantabile theme of the a lle r i man e first g o , and the muted string accompan ment in the ro c , will be noted . r n H ellmes b er er of The Largo by Handel is an a ra gement by g Of Vienna , an “ ” r air from the Opera of X erxes . It is a little song sung by some youth o maiden - w h o for under a favorite plane tree , invokes protection her beloved tree , and asks “ r . X one if ever leaves were dearer , o shade sweeter erxes was Of the last Of ’ - : Handel s thirty nine Operas when he wrote it he was getting Old , was in d ebt, c mi and suffered from rheumatism , yet it contains more distinctively o c matter

than any of his works .

M 1 2 Jules Emile Frederic Massen et was born at ontaud , France , May , w on He was educated at the Paris Conservatory , where he the Prix de Rome , “ ” . 186 L a in 1 863 , (w hich Berlioz had before him ) In 7, his Opera , Grand Tante , of was produced at the O pera Comique , through the influence Ambroise Thomas .

This opera , an d some orchestral suites which followed it , attracted favorabl e attention t o the young composer ; but his talents were not definitely a c know l in edged , even France , where he is a great favorite , until after the production Of “ ” n a O f u D o C esar de Bazan , an pera Comique in three Acts and o r Tableaux ,

N 30 1 8 2 . in ovember , 7 His published c ompositions are numerous and varied , e or d ra cluding , i n addition to the works already mention d , the oratorios sacred “ ” “ ” “ ” “ L a L e mas O i Marie Magdeleine , Eve, Vierge , the Operas Roi de L a ” “ “ L e of on e hore , Manon , and Cid a number melodies for and two voices ,

and . w choruses , piano music He is best kno n in this country by his suites for “ ” “ ” “ . S e e e a olit aine s S e orchestra such as c nes Pittoresques , Sc nes N p , and c nes ” Alsaciennes .

Liszt speaks of an existing Hungarian national musical art - form called a ‘ ’ m Hongroise , which he defines as being analogous to an epic poe in the manner s t o of an Ode ; the trophes Of which are in striking contrast each other , the whol e s consisting Of a slow movement ( L as a n ) followed by a quick one ( Fri s c hka ) . ‘ ’ F x for n n urther , he e plains his reasons adopti g the term Hungaria Rhapsody by saying that when he came t o publish the results Of a long intercourse with the gipsies of Hungary and collectors of the tunes which they were in the habit of w e i c playing , he felt that the ord rhapsody most suitably expressed the p element , f which , as he ancifully regarded it , he recognized in their performances , with ‘ the analogy of which t o those of the rhapsodists of the Homeric age he was ‘ ’ fo rcibly struck . He called them Hungarian because he felt that in the future t t o not it w ould no be be just class them with that which had existed in the past , ” the Magyars having adopted the gipsies as their national musicians . A B a r ( C. . r y. ) m for a The pianoforte is the instru ent w hich the Hungarian Rh psodies ,

which afterw ards received an orchestral setting, were originally written .

“ ” The overture t o The Merry Wives Of Windsor is almost as fam i liar t o ’ ’ Shake s e re s he d ouvr e of American audiences as p comedy . The Opera , the c f f its composer , is still counted among the most favorite o German comic Operas , m and is lodged in the repertoire Of al ost every German theatre. B o on Mu ic H a ll s t s .

- S E A S O N 1 8 8 8 8 9 .

B O T O Y P Y E S N S M H O N O RCH STRA.

MR. I L I C O CTO W H EL M ER KE N DU R. G , C

7

WED ESDAY AFTE R JA UA B TH A N NOO N , N RY O , T

S O L O I S T S M . L R C . M . O E FFL E R .

V M X A E E I T E . R . R R R g r

PROGRAMME.

” Fre is chuet z . . O V ERTURE . Der WEBER

f . Z C O NCE RTO or HORN M O ART .

Al leg ro .

R o m anc e .

R ond o .

DI R . R E H T E R .

” ' f S . L RK WEDDING ARCH rom Rustic Wedding ymphony GO D MA .

S O A ASI for L N O . 46 . . . C TC H F NT E VIO I , p ( two movements BRUC H

FI R . L QPE F F L E E .

O O TO AC T D N C O F TH PP NT C S INTR DU CTI N III , A E E A RE I E , C S S N O F TH ST S A N D O M G TO N S PRO E IO E MA ER , H A E HA m ” SA C S . f . H ro Die Meistersinger WAGNER .

O O . a L S f . L Z . YMPH NIC P EM T sso , amento e Trion o IS T

L e nto .

l l o e i o o : L n o A eg r str p t s e t . i o Ad a g mesto . n o o Me ad a g i . Al l r o m o o c o n r z ia i eg ett ss g a ( q u as me nue t t o) . r o n i no l b A lleg o c t o r i o . ' ” ’ Fre is c h ii tz b r k w i n In the overture to Der , We e s best nown opera ritten

1 82 1 th e m s f m e m e . e v t f G , co poser break away ro pr vious od ls Th o er ures o luck t he 1ns e lv es s c a 1 c e m f and M ozart were complete pieces in . aking re erence to the W d ram a s they may have been w ri tt en t o preced e : but e b e i m a kes t he overt i r e m a n epitome of t h e opera . He followed the sa e plan in the ove r tu r es t o “ ” ” d ’ Euryant he and O beron J ulius Bene ict , Weber s pupil savs Of the : t h e m m i innovation The system accordin g to ost co petent critics , nterfered materi a lly w ith t h e perfect musical form of t h e overture ' but the effect pro u d w a s m h d c e agical It is unq uestionabl e t at for coloring , characteristic

f n a d . A and poetical eel i g , these orchestral preludes are unpar llele fter the ' r th e Fr e is c b ii tz ‘ lovely ho n passage with which overture to Der begins . the ' ’ A t m m A t motives from Max s scene in ct one , the incanta ion us ga he s moonlight scene ( with the melody m ore fam iliar than a nv other in the opera ) and t he episodes connected with the action O f Max a nd C aspar follow .

a a 2 1 V , h d L e ut e b Mozart at lived in ienna and an acqu intance in Joseph g , a ’ w L e u t e b s l . native of Sa zburg , here Mozart was born vocation was cheese — g m h is v t 011 h om a w as r e a d v t onger , a oca ion solo player the French M oz rt o 1 1 us i c hv m fO 1 fa v m it e i n h elp the cheese pedler with a taste for , co posing his h f i r w 1 L e ut h ad t o n s t 1 ume 11 t but e had his fun o e a d . g e b d o pe ance as the price of every ne w concerto . ( Mozart wrote four) . O nce Mozart t hrew al l the parts O f his concertos and s y m phon ies about the room and m ade poor L eutg e b h collect t em on all fours ; meanwhile Mozart continued composin g . Aga in ’ b ha d t a L e u tg e to kneel d own behind a s ove while M ozart wrote . Moz rt s manu r h v O i m m h m n sc ipts s ows e idence the banter that was co on between t e . O e has “ L e u this legend : W . A . Mozart takes pity on t g e b ( ass and

A a . . nother is written al tern tely in black red , blue and green ink O tto J ahn ' says of the conce r tos : Their brevity enables t h e instrum ent to preserve ' i t s t r ue cha ra cter as one unsuited for display Of execu t ion . In the last move 6 - 8 m ment which is in the regul ation rondo ti e , the ori g inal natu re of the horn m h h as a hunting instru ent is made apparent . In ot er respects t e custo m m m a r . y concerto form is preserved The first ove ent is an all egro . the second a simple romanza , followed by a rond o . The accompaniment is simple .

ha s m n Goldmark composed two sy phonies . two overtures , two ope s . and lesser

- ” w . t 1 v e a i s O ld . orks He is hi ty six , and lives in Vienna The Rustic Weddi ng — — m usic mom pi ope 1 ly suite than s ymph onv begins w ith t he movement play ed

d a m m . t o to y, a ove ent so free in treatment as constitute an inn ovatio n upon the established ( sonata ) form in which the first movement O f a sy mph o n y i s usually t . A ye . w : written bout the ime the work was first pla d in Boston , M r D ight wrote “ ‘ ’ T he Wedding March , by Goldmark is a singular affai r . The q uaint rustic theme is first hummed over in soliloquy by the b asses ; then the outline is fill ed in with al l the instrumental col ors . Then issues a l ong series of variations most d m m fantastical , some statel y and some roll , so e ore than serious . even mournf u l . It were a curious w edding p1 oc e s s ion to s ee m ade u p of a ll manner of pa r ties in all manne i O f moods . The c i y i ng mood is as frequent as any for some go by ‘ wit 1 hand ke i ch iefs to eyes apparently : t hen a 1n e 1 1 y wild set tossing up thei r a nd flinging fire c 1 a cke rs and t 01 pe d oe s Othe r s seem c a pe 1 ing on hobby h 0 1 ses ; othe 1 s walk grave and thoughtful ; othe 1 s 111 a 1 ch i n knightly pomp and military splendor All the v a 1 iat ions a1 e ingenious full of quaint devices : a nd f ” a few , toward the end , especiall y , have weal th and beauty o expression . Besides h is two c o nc er tos Bruch has w r itten a n umber of concert pieces for r r a viol in and o chest , the Fantasie Ecossaise , and the Fantasie played to day , m min n 0' i r . ro e c e h r being most po tant The p g iven the a p in the accompaniment

O . 46 t of the Fantasie p , makes that composi ion unique among its fellows . Bruch

O . 4 te s 0, 1880 t o Sa ra s a t e . dedica s the Fanta ie p which was published in , Pablo S a re e \ t e nt m cotch airs , to a considerable , its elod ial basis . while in the title is b r th seen justification of the l i e ties in e form which mar k t he work .

“ ” n The name Mastersing ers belo ged to those poets of the people , who , since 13 th h the century , developed lyric poetry , which had been founded by t e court “ ” poets or Minnesingers of earlier times . With all their imagined cultivation ,

the worthy mastersingers had quite lost the true spirit of their art , and l ittl e r of of emained to them but , a lifeless and hollow set rules . most which were ’ th e r pedantic in extreme , and many idiculous beyond description . Wagner s ” ‘ Die Me is t e r s irr e r of o i comic opera , g treats a guild mastersingers , who a t one m of their annual co petitions , had as a prize for the best song , the hand in mar

r ia e of . g of one of the fair daughters their town A stranger knight comes al ong , “ th e u a t th e - n m joins g ild , t kes par in prize singi g and wins the aid . Die Meister ” r i n of singer was pe formed Buelow conducted , and it was the first ’ d d K Wagner s works pro uced un er the especial patronage of the ing of Bavaria . ’ The real pu rpose of t he Ope ra is to contrast the freedom of m odern ( Wagner s ) w a ll art . ith the limitations of art fettered by traditions , and in it adherents of m both old and ne w can find uch to adm ire . The selections played today come

entirel y out of the third act . The first precedes the rise of the curtain ; the second accom panies the d ance o f the Apprentices i n the closing Festival scene ; the third is t he music to which the Mastersingers enter 0 11 the same occasion ; t h e fourth being t h e s train w herein Hans Sachs is saluted as the pride and honor

of famous Nurem berg .

L ike others of L iszt’ s l arger works the symphonic poem Tasso was composed

and f for . first for pianoforte , was a terward rewritten orchestra In its first shape

- a r . it dates b ck to the ea ly forties The work played to day is in turn , a revision of

r e t he m A . 28 the fi st orch stral version , and was played for first time at Wei ar , ug , 4 ) 181 9 . 18 1 was the year Germany celebrated the hund redth anniversary of ’ W m ’ m h . L h . Goethe s birt ei ar . where Goethe had l ived , was iszt s o e A per ’ “ for m a n c e of Goeth e s d rama Tasso was included in the fete with which ’ e irn a r t h e and L W honored centenary of Germany s greatest poet , iszt was com

m r . hi s w L f issioned to write an overtu e to it In ritings iszt , after con essing the ’ “ u B : infl ence yron s Tasso had , over him , says Tasso , after loving and suffer w a s ‘ ing at Ferrara , avenged at Rome ; his glory still lives in the popular songs h h m of Venice . T ese t ree points are inseparable from his immortal me ory . To in w e a express them music , have called up the great shade of the hero as he p pears to - day haunting t h e lagoons of V enice ; we have next caught a gl impse of m é b e s y . g tes of h i figure , haught and sad gliding a on the f Ferrara , where pro d uc e d h is rrra s t e r ie c e s w e t o t he p ; l astl y , have followed hi m Rome . Eternal City , ” “ ” w him hi m m . which cro ned , glorifying in the artyr and poet Tasso is the ” w m L u e m second of t he t elve sy phonic poems iszt wrote . The i nstr ments — t - ployed in it are besides S rings . the usual wood wind and brass bass clarinet ,

um m l y . two extra tr pets , triangle , cy ba s , t mpani , side d rum , and great drum . M i a B os ton u s c H ll.

- S E A S O N 1 8 8 9 9 0 .

O TO Y MP O Y C B ST A S N H N R H R ,

ARTH R I KI SCH ON DUCTOR . MR. U C N ,

V W D F . MB R TH E N ESDAY A TE RNOO N NO E E 18 , AT

S O L O I S T S M ME . CA L AL R V ES ,

O N S C H E. M . . M O L A PRO GR OXDE.

l ” of . O VERTURE . Barber Sevi le RO SS INI

“ — to . S ARIA . My heart opens thy voice ( amson and D al ila . SAINT SAEN S

lVl lVl E A L V E S .

a ) SIEGFRIED IDYL L . WAGNE R

“ - b ) INVITATI O N T O DANCE . W EB ER B ERL I O Z

C O N CE RT F ANTASIE for F L UTE a nd O RC HE STRA on them es from th e “ E O pera O beron . D MERSS EMAN F ( irst time . )

arro ws .

SO NGS w rr n PIANO .

” T H E O L D SON G . G RIEG M I r CANNOT B E . SC H U ANN

WIE D ER FIN D EN . RHEINBE RGE R

N I M E . A L V E S .

. A O VERTURE . Rienzi W GNE R

T he Pi no o u i s S i n a f rte sed a te way . “ of of S The original overture t o the opera The Barber evill e has disappeared , “ ” the one substituted was written for Elisabetta an earlier opera by Rossini . m nor Rossini borrowed from himself with freedo , did he hesitate to appropriate what others had written . His memory was prodigious and as he was one of the l aziest composers on record—though a brilliant genius and one who permanently elevated Italian opera—it is not surprising that when in the rush of composition I n he failed to recognize what was a nd what was not his own property . num er able are the stories told of Rossini . Here is one . H e was breakfasting with

. friends , and contrary to his usual custom , abstained from eating anything Being : questioned by his hostess regarding so strange a proceeding , Rossin i replied “ The position I now occupy at your table rem inds me of a quaint experience m of that befell me som e years ago in a s all provincial town my native land . A performance of the “ Barber” was being given to my special honor and glory in the local theatre . Whilst the overture was i n full swing , I noticed a huge m m trumpet in the orchestra , anifestly blown with re arkable force and continuity by a member of the band ; but not a sound in the l east akin to the tones i nv a ri ably produced by that class of instruments could I hear . During the wait at f t o the close o first act , I went round to the conductor and asked him explain to f m to me the special purpose o the noiseless tru pet , which , I confessed , was me an absolute and somewhat surprising novelty . He answered , blushing to the ‘ ou r m an roots of his hair : Maestro , in this town there is not a living soul , ,

m or t o . f , wo an child , who knows how play the trumpet There ore I specially m engaged an artist to hold one up to his l ips . binding him by a sole n oath not m ’ to blow into it ; for it looks well to have a tru peter in a theatrical orchestra . m a I am like that man with the t rrnn pe t . I y not eat ; but I look well at your ” ’ m “ breakfast table . Louis Engel happily describes Rossini s usic to the Bar ” “ w y h er z Y o u feel as if you ere suddenly d ipped in ox g en . You laugh with him and are happy and merry with him ; nearly intoxicated with the champagne ” of music . ' “ m St . S Sa The selection from aens son and Dalila , sung today , is an extract S of t h from a love duet between Dalil a and amson in the second act e opera . A m brief cantabile movement , with the accompani ent chiefly in the d ivided i u lento m strings , leads into an expressive p , the strings acco panying as before , but supported more closely by the wood - wind ( ec hoing and re - echoing the — . A a nd a nti n vocal phrase ) and the harp n o episode , in which the wood wind iterate a chromatic figure , the soft brasses and harp touching the page here and there with charming effect , interrupts this second section , the resumption of b m which is marked y no new feature in the acco paniment save in the strings , where an almost constant tremulando is succeeded by the vocal phrase ( already w - referred to i n the ood wind ) now alternating with the sin ger . It is only at in lent m the climax of the repetition of the p o ovement , if at all , that the careful m listener will detect the lack of the issing voice part .

“ ” “ of S — I t 1 1 The story iegfried Idyll has thus been told was composed in 87 , ‘ ’ Si e fr i e shortly after the completion of the music to the drama g d , and the birth ’ of m —i n Richard Wagner s son of the same na e honor of Madame Wagner , S t upon whose birthday it was first performed , as a morning erenade , in fron of t h e T r i e b s clre n on villa which the Wagner family then occupied at , the L ake of

. Zii r i h Lucerne For this first performance Wagner invited musicians from c , ho t o L w , with others belonging ucerne , were drilled by Hans Richter at the last

. A 0 11 named place , the strictest secrecy being observed t early dawn , Madame ’ u Wagner s birthday , they ranged themselves on the steps leading p to the villa , Richter taking the trumpet part , and the master himself conducting . Hence “ the children of the house at once naively christened it Trippen - music ( Stair h s for music ; ) and hence , aving been de igned this special occasion , it has been ’ ‘ ’ said most properly to belong to the master s household music . At first there no of was thought publishing it , and having served the p urpose for which i t was

l . S t intended , it was aid by everal years passed , and it was no till it had been

- heard on two semi public occasions ( at Mainz and Meiningen ) that the master , ” t o t o yielding the sol icitation of friends and admirers , consented its publ ication . “ S ” The themes of the Idyll are taken from iegfried , the third of the four

- ib lun music dramas which comprise the N e gen tetralogy .

“ The original form of the Invitation is a Rondo Brilliant which Weber w rote 1 8 19 t o at Dresden in , and dedicated his wife . Musician s look upon it as h of marking an epoc in the history pianoforte composition . Ambros , a distin “ uis he d a of : g German esthetician , says it All that the German dance has in it ” of poetry , chivalry , love and tenderness , is expressed in these lovely melodies . “ t o : Riehl adds this The sketch has its undoubted historical value . It marks the

transition of modern dance music . The waltz was previously a sor t of mere m w ne w ani ated minuet , but Weber thre a and fiery impulse into the dance . w : m h Formal dignity and affectation ere gone the si ple , wellnig childish senti of mental ity the beginning of the century , with its colorless . insipid style of

. W r dancing , had sighed itself out ebe bestowed upon his music a fine , chival

n n m . ric to e , mi gled with hu an passions and feel ings With the fermenting ex it e me nt o f n n l c passio are combi ed spark ing coquetry , tender reveries , and , ” “ ” a ll t he . T he of above , pathos of love brilliant setting this idealized waltz is of m H b y that master instru entation , ector Berlioz, who inserted it , as a bal let , “ ” h e Fr e s c h ii tz o n th e of m i n to t opera of Der y , occasion the final perfor anc e

of that opera i n Paris .

’ “ t w o Passing over Wagner s youthful operas , Ri enzi appears first in the line ' ” “ ” of works which culminated in t he N ibelungen and Parsifal . Wagner wrote “ ” ’ of o f the book of Rienzi after a reading Bulwer s novel that name , with the n idea of maki ng the last of the Tribu es the hero of a grand spectacular opera . The music was composed while he was under the Spell of the gl ittering Spon - “ ” “ - r . tini and the brilliant Meye beer I had before me , he says , the Grand

O pera of Paris , with all its scenic and musical splendor , and my ambition was h t o not only to imitate , but wit reckless extravagance surpass all that had gone ” b efore . How well Wagner succeeded in writing an opera in the ol d style is shown by the fact that “ Rienzi ” has been continuously popular from the first and has held its ground by the side of the best works of those composers whom n f of he most desired t o emulate . Yet Wagner looked upon it as o e o the sins

of . h is youth . The overture is based upon the principal themes the o pera ’ m of Rie nz i s of First , the leading otive Prayer , which there are two presenta

tio ns in the i ntroductio n. This appears in the succeeding quick movement at

nearly doubl e its previous pace . The transition to the quick movement plays

an i mpo rtant part i n the introduction . The principal subject of the quick mo v ement is taken from the C horus of People ( whic h forms the fi nale of the “ ” m h t he t first act ) a nd cul inates wit Call o arms of the Church . This is sup m nte d b t he h of ple e y the theme of c orus , with which at the close the second act “ ” t h e Romans hail Rienzi as their deliverer . In the working out portion great “ ” t o the prominence is given the Call to arms . A n independent coda ends

overture triumphantly .

P O AMME' R GR .

“ ” E. Mi . O VERTUR gn on a . THO MAS

“ n . ARIA . from Han s Heili g M ARSCHNE R;

’ M R . R E I C H M A N N .

“ ' - SYM PHO NI C PO EM. Danse Macabre ; SAi N r SAEN s

‘ AIR HO NGRO IS . (FO R VIO L IN . ) E RNST

M R . K N E I S E L .

SO N GS w ith PI AN O .

a ) FR UH L I N G ST RAUM. SPICKER

” b ) Wm . B IST D U MEINE KOENIG IN . B RAHM S

L E c ) WAN D ER I D . SC HU MAN N

DI R . R E I C H M AN N .

’ on L - - - a ) M I NUET THE WIL O THE WISPS .

F L O Z b ) DANCE O SYL PHS . BER I

R: MARC H from T annhaeus er . WAGNE of of Ambrose Thomas is one the most respected musicians France , composer t h e of of several operas and ballets , and because of his position at head the ’ Paris Conservatory has long been arbiter of the S tate s musical a fiairs and coun s e llor among her foremost musicians . He was educated at the Paris Conserva

w on x , , tory , where he the Pri de Rome as did Berlioz before him which entitled ‘ ’ . 1 866 th e him to three years study and travel in Italy M ign o n , composed in , is ’ only one of Thomas s operas at all familiar in this country ; the overture ( which of is fou nded upon l eading motives the opera) is not written in strict form , the obligations of this composer t o the theatre not reaching far along the more seri f ous and exact l ines o the symphonist.

Heinrich Marschner was a friend and contemporary of Weber. He wrote off many operas , tossed dance music and part songs with celerity , and was gen e ra lly a prolific writer . Weber liked him ; Schumann criticized him though h ” kindly , t ought he had g reat dramatic talent ; Mendelssohn hoped to see him more independent and less Web e ri s h ; Berlioz thought he was one of th e first ” “ ” composers in Germany . Hans Heil ing , his principal opera , produced May 24 1833 ful , , was instantaneously success and still continues in the repertoire of many a German opera house .

D ANSE MACABRE .

Zi Zi Zi — im D h i n Zi Zi Zi h n g , g , g g e t , de e , g , g , g , e o e i s f i ski r a ca nc ac r ng , S r iki n i h h i s h omb T h e b on of t h e r h t g w t eel , a t , es dance s are eard t o c rack . D h mi n i h l u i O t eat at d g t p ays a dance t ne , t Zi Zi Zi u on i . t a g , g , g , p h s v i ol

T he Wi n w i b o a nd t he ni h i s B u hi o n ter nd l ws , g t all t st ' f a su dde they q u i t t he round ; Mo n h i n t h e i n k T h h s e e d l de t ees 'd , ey p s fo a d they ' t he o k h a s a ar ar n r ar u rw r , y, c c ’ T h o t he oom t he hi k o r g l w te s elet ns pass, 'crowed . R i i i n h i h o unn ng and leap ng t e r s r uds,

t These grotesque and ghastly lines by Henri Cazalis inspired S . Saens t o write.

- the cleverly devised and piquant piece of instrumentation played t o day , which ’ secured for him his earliest popularity in this country . Camille St . S aens s long “ ” of O expected opera Ascanio has just been performed at the pera , Paris . ’ D e “ ” The two graceful excerpts from Berlioz s ramatic L gend of Faust , are “ ’ from the twelfth and seventh scenes respectively The Mi nuet of the Will -o ” the- Wisps follows the invocation of Me ph is t O phe les :

of i Ye spirits fl ckering flame , ' Hither come Haste , I need your aid . i Q uick appear , qu ck appear '

’ - o - - W Ye Will the isps , your ban eful and treacherous glimmers must bewilder a

maid and lead her unto us . In the name of the devil get you dancing ' And fi d d le rs of take care , ye hell , to mark the measure well , else I will quench

yo ur glow .

” The Dance of Sylphs follows and is melod ically foun ded upon the section “ ’ m entitled Faust s Vision , a wond rous choral move ent .

“ ” of m In his Memoirs Berlioz tells the manner in which he co posed his Faust , on writing both words and music whenever he could ; in the coach , the railroad

m - in stea boats , and even i n towns , notwithstanding the cares of c oncert giving . “ N ow Thus he wrote the introduction , ancient Winter hath made place for ” S . A Me his pring , in an inn at Passau t Vienna he did the Hungarian March , p t ’ “ f ” o he le s o S . O ne p song , Mid Banks Roses , and the Dance of yl phs night , when he had lost his way in Pesth , he wrote the choral refrain Tra la “ ” - of the Chorus and Dance of Peasants , by the gas light in a shop . At Prague he got up in the middle of the night to j ot down th e m elody of the Chorus of ” ’ “ ” Angels , in Marguerite s Apotheosis , Ascend on High , innocent spirit ' which h he was afraid he would forget . At Breslau he wrote bot words and music of ’ “ ” n S am . O n m the Stude ts ong , J nox stellata returning to France he co posed “ ” A on the grand trio , ngel of light , whose cel estial image , while a visit to the

Baron d e Montville at his country house near Rouen . The rest was written or m é rather ( as he says ) i provised in Paris , either at home , in a caf , or in the

Tuileries gardens . He did not search for ideas ( he tel ls us ) , but let them come ,

d they presented themselves in the m ost unforseen manner. When at l ast the

etch of the score was complete , he went through the whol e again , touching u a nd p here there , piecing tog ether its component parts . and filling out the r i s t ument at ion which in places was very roughly ind cated .

” ’ T annh ae us e r of of , the third Wagner s operas , is a happy c ombination legendary and historical matter ; the legend of T annhaeus e r being combin ed “ T a nnh us e r with the story of the Battle of the Bards at the Wartburg . ae and the ’ ” S inger s contest at the Wartburg is its correct title . The march occurs in the ‘ ” of i mme d i second act , The Singers Hall the Wartburg , and with the chorus “ w . of ately follo ing , introduces the song contest Berlioz speaks its plentiful ” t h e modulations , but asserts that o rchestra impresses them with such vigor ” and authority that they are are accepted without resistance .