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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 .

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