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CARNEGIE HALL, NEW YORK. Boston Symplpy Orchestra Mr. WILHELM GERICKE, Conductor. Seventeenth Season in New York. PROGRAMMES OF THE FIRST CONCERT THURSDAY EVENING, NOVEMBER 6, AT 8J5 PRECISELY, AND THE FIRST MATINEE SATURDAY AFTERNOON, NOVEMBER 8, AT 2.30 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. (i) ME S S R S . CHICKERING & SONS PIANOFORTE MAKERS Invite Critical Inspection of Their Latest Production The Quarter Grand The Smallest Grand Embodying Modern Principles Ever Made RETAIL W A R E R O O M S 791 TREMONT STREET, BOSTON Represented by JOHN WANAMAKER, New York. 2) : BOStOn , CARNEGIE HALL, Symphony I ** VORK - •^ * Twenty-second Season, A, 1902-1903. Orchestra Seventeenth Season in New York. Mr. WILHELM GERICKE, Conductor. FIRST CONCERT, THURSDAY EVENING, NOVEMBER 6, AT 8.15 PRECISELY. PROGRAMME. Brahms .... Symphony No. 3, in F major, Op. 90 I. Allegro con brio (F major). II. Andante (C major). III. Poco allegretto (C minor). IV. Allegro (F minor). Beethoven Concerto for Pianoforte, No. 5, in E-flat major, Op. 73 I. Allegro (E-flat major). II. Adagio un poco moto (B major). III. Rondo: Allegro ma non troppo (E-flat major). u Richard Strauss .... Tone-poem, Don Juan/' Op. 20 " Beethoven . Overture to Leonore " No. 2, in C major, Op. 72 SOLOIST Mr. FREDERIC LAMOND. The Pianoforte is a Mason & Hamlin. There will be an intermission of ten minutes after the Beethoven Concerto. (3) Our NewSmall Grand We especially invite the critical attention of artists and lovers of the beautiful in pianos to our NEW SMALL GRAND, which represents the latest and highest development in that field of piano manufacture A request by mail will bring you price and ter?ns. EVERETT PIANO CO. 141, 143 I ifth Avenue, New York Symphony No. 3, in F major, Op. 90 ... Johannes Brahms. (Born at Hamburg, May 7, 1833 ; died at Vienna, April 3, 1897.) This symphony was first performed on Dec. 3, 1883, at Vienna. The first performance in Boston was by the Boston Symphony Orchestra under Mr. Gericke, Nov. 8, 1884. The first performance in the United States was at a public rehearsal of one of Mr. Van der Stucken's Novelty Con- certs, on Oct. 24, 1884. The copyright of the manuscript was sold to the publisher Simrock, of Berlin, for 36,000 marks ($9,000) and a percentage on sums realized by performances. Hans Richter in a toast christened this symphony, when it was still ira manuscript, the " Eroica." Hanslick remarks concerning this: "Truly, if ' Brahms' first symphony in C minor is characterized as the Pathetic ' or ' ' the Appassionata ' and the second in D major as the Pastoral,' the new- ' symphony in F major may be appropriately called his Eroica ' " yet ; Hanslick took care to add that the key-word was not wholly to the point ? for only the first movement and the finale are of heroic character. This third symphony, he says, is indeed a new one. " It repeats neither the poignant song of Fate of the first, nor the joyful Idyl of the second ; its fundamental note is proud strength that rejoices in deeds. The heroic element is without any warlike flavor; it leads to no tragic action, such as the Funeral march in Beethoven's ' Eroica.' It recalls in its musical character the healthy and full vigor of Beethoven's second period, and nowhere the singularities of his last period ; and every now and then in passages quivers the romantic twilight of Schumann and Mendelssohn." The first movement, Allegro con brio in F major, 6-4, opens with three introductory chords (horns, trumpets, wood-wind), the upper voice of which, F, A-flat, F, presents a short theme that is as an emblematic figure, or device, which recurs significantly throughout the movement. Although it is not one of the regular themes, it plays a dominating part, immediately as bass and later as an opposing voice in middle and upper position to the first theme, which is introduced by the violins in octaves, supported by violas, violoncellos, and trombone at the beginning of the third measure. The short introductory, now counter, theme rises as a bass, and produces thereby a strongly-marked cross-relation, — the A-flat of the bass against the preced- ing A-natural of the first theme. This deliberate violation of the rules has THE MANAGEMENT OF THE NEW ENGLAND CONSERVATORY OF MUSIC Amo^A* SIC. ORESTE BIMBONI AND THE OPENING — OF THE SCHOOL OF OPERA, Which will give, in addition to the performances in JORDAN HALL, N D TWO PERFORMANCES, SSI , N &?»W BOSTON THEATRE. CHUB QPUni ADQIJIDQ Will be awarded at a competition to take place at the Conservatory, rUUn OUnULftllUnirO OCT. 31. Names of competitors must be sent (by letter) to the wzovi'<Jtoe^rk eacn;n^s*l*t director on or before OCT. 27. A preliminary examination will be held in NEW Y0RK OCT 2p. Not more than two of these scholarships will be awarded to students of the Conservatory. The=ngagen«„«is a,so d Mr qeORG HENSCHEL, who will teach — until March, 1903 — EXCLUSIVELY in the Conservatory. Particulars and terms (for one or any number of lessons) may be had of the Registrar or from Mr. Henschel personally. * (5) « ! provoked much discussion, although the swing of the theme is in no way in- fluenced by this cross-relation, or Qucrstand. Some find here the " keynote to some occult dramatic signification." Mr. William F. Apthorp has voiced " this opinion with peculiar felicity : It seems to me that it can only be ex- plained on the supposition of some underlying dramatic principle in the movement, such as the bringing together of two opposing forces, — Light and Darkness, Good and Evil, or perhaps only Major and Minor, — for on purely musical grounds the thing has little sense or meaning. The first theme starts in passionately and joyously, in the exuberance of musical life ; the counter-theme comes in darkly and forbiddingly, like Iago's «( . O, you are well-tun'd now But I'll set down the pegs that make this music, " As honest as I am.' The second chief-member of the body of the first theme is silent for four measures, while the first violins continue ; but it again appears in the bass, A, C, A. Enharmonic modulation leads to A major, the tonality of the second theme. There is first a slight reminiscence of the " Venus- " " — " berg scene in Tannhauser," " Naht euch dem Strande ! ; and Dr. Hugo Riemann goes so far as to say that Brahms may have thus paid a tribute to Wagner, who died in the period of the composition of this symphony. The second theme is of a graceful character, but of compressed form, and is in strong contrast with the broad and sweeping first theme. The rhythm, 9-4, is complicated. The clarinet sings against a bassoon phrase over a double drone-bass or organ-point from the deeper strings, while the flute embellishes. This is repeated, and the strings bring a short phrase in antithesis. But, with the end of this section in 9-4 and with the return " to 6-4 and the stormier mood, the oboe gives out the device ' (A, C, A). ^ • The free fantasia, or middle section, is comparatively short, — nine pages of the score to fourteen occupied by the exposition. Both themes are developed, and the " device " is developed melodically by horn and oboe. The recapitulatory section begins with a reannouncement of the " de- vice" in full harmony (F, A-flat, F, in wood-wind, horns, trumpets, and An Enviable Record STECK of over 45 Years The "OLD RELIABLE 1) Interesting booklets sent free for the asking. GEORGE STECK & CO., I3G FIFTH AVENUE, NEW YORK. PIANOS (6) strings), and the " device " is repeated by the trumpets, horns, trom- it gives way to the as at the begin- bones, bassoons ; and announcement, ning of the movement, of theme and counter-theme together. The development is much like that in the first part. The second theme, in 9-4, is now in D major. The first theme is in F major at the begin- ning of the elaborate coda. After a struggle it triumphs over its old adversary, and, triumphant, dies away in pianissimo. The second movement, Andante in C major, 4-4, opens with a hymn- " like passage, which in the first three chords reminds one of the " Prayer in "Zampa." It is played in four-part harmony by clarinets and bassoons, re-enforced after two measures by horns and flutes in the lower register. Violas and violoncellos in four parts repeat the last measures of several phrases, as an echo. The theme developed in this manner is followed by a variation for the strings, wood-wind, and horns. The transition to the second theme consists of a figured and extended repetition of the first half- period. This second theme is sung first by clarinet and bassoon, then by oboe and horn, in octaves, while there is a subdued accompaniment in the strings. The strings lead in a supplemental passage, wood-wind instru- ments answer them, and then there is a phrase of six measures remarkable for its transitional harmonies. The first theme returns in new and elabo- rate variations. The remarkable harmonies reappear as an approach to the short coda, which is built on fragments of the first theme, in clarinets and bassoons, then in the brass, while rising arpeggios in oboe and flute lead to the close. The third movement is a poco allegretto in C minor, 3-8, and is a ro- mantic substitute for the traditional scherzo.

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