Boston , Music Halu Boston Symphony — f SIXTEENTH j~ + , f SEASON, Orchestra i89 6- 9 7. EMIL PAUR, Conductor. PROGRAMME OF THE Eighteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Friday Afternoon, March 12, At 2. SO o'clock. Saturday Evening, March 13, At 8 o'clock. PUBLISHED BY C. A. ELLIS, MANAGER. (C13) Steinway & Sons, Piano Manufacturers BY APPOINTMENT TO HIS MAJESTY, WILLIAM II., EMPEROR OF GERMANY. THE ROYAL COURT OP PRUSSIA. His Majesty, FRANCIS JOSEPH, Emperor of Austria. HER MAJESTY, THE QUEEN OF ENGLAND. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES. THE DUKE OF EDINBURGH. His Majesty, UMBERTO I., the King of Italy. Her Majesty, THE QUEEN OF SPAIN. His Majesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr. William Steinway the order of The Red Eagle, III. Class, an honor never before granted to a manufacturer. The Royal Academy Of St. Csecilia at Rome, Italy, founded by the celebrated composer Pales- trina in has elected Mr. William Steinway an honorary member of that institution. The following is 1584, — the translation of his diploma : The Royal Academy of St. Cacilia have, on account of his eminent merit in the domain of music, and in conformity to their Statutes, Article 12, solemnly decreed to receive William Stein- way into the number of their honorary members. Given at Rome, April 15, 1894, and in the three hundred and tenth year from the founding of the society. Alex. Pansotti, Secretary. E. Di San Martino, President. ILLUSTRATED CATALOGUES MAILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms. Steinway Hall, 107-111 East 14th St., New York. EUROPEAN DEPOTS : Steinway iJall, 15 and 17 Lower Seymour St., Portman Sq., W., London, England. Steinway 's Pianofabrik, St. Pauli, Neue Rosen-Strasse, 20-24, Hamburg, Germany M. STEINERT & SONS CO., New England Representatives, 162 Boylston Street, Boston. (614) Eighteenth Rehearsal and Concert. Friday Afternoon, March 12, at 2.30 o'clock. Saturday Evening, March 13, at 8.00 o'clock PROGRAMME. " Christoph Willibald, Ritter von Gluck Overture to " Iphigenia in Aulis (RICHARD WAGNER'S arrangement.) Edouard Lalo - - Symphonie Espagnole, for Violin and Orchestra, in D minor, Op. 21 J I. Allegro non troppo (D minor) ----- 2-2 \f II. Scherzando : Allegro molto (G major) - 3 8 IV. Andante (D minor) _____--- 3-4 V. Rondo: Allegro (D major) ------- 6-8 Karl Maria von Weber - "Invitation to the Dance," Op. 65 V (Arranged for Orchestra by FELIX WEINGARTNER.) (First time in Boston.) " " Frederic Hymen Cowen Symphony No. 3, in C minor, Scandinavian I. Allegro moderato ma con moto (C minor) - - 9-8 II. A Summer Evening on the Fiord: Adagio con moto (G major) ----- 4-8 Allegretto (G minor) ------- 38 III. Scherzo : Molto Vivace quasi Presto (E-flat major) 3 4 Trio : L' istesso tempo (A-flat minor) r - 3-4 IV. Finale : Allegro molto vivace (C minor) - 2-4 Soloist, Mr. T. ADAMOWSKI. (615) L. P. HOLLANDER & CO Opening of New Department FOR Laces, Passementeries, Braids, Gauzes, Lingerie, and Fichus. Our intention is to have exclusively High-class Novelties, and we shall show the finest variety of MADE-UP PASSEMEN- TERIES in BOLERO and other effects ever shown in Boston. These, with our beautiful lines of LACES and other trimmings, will be MARKED AT PRICES which will compare favorably with any. The department will be under the capable management of one who has had twenty years of the best experience in these goods. (616) — — ' Overture to "Iphigenia in Aulis." Christoph Willibald, Ritter von Gluck. (Born at Weidenwang, near Neumarkt, in the Upper Palatinate, on July 2, 17 14; died in Vienna on Nov. 15, 1787.) Iphigenie en Aulide, tragedy-opera in 3 acts, the text by the Bailli du Rollet (after Racine's tragedy), the music by Gluck, was brought out at the Academie Royale de Musique in Paris on April 19, 1774. It was the first opera Gluck wrote especially for Paris. The overture, in its original form, was enchained with the music of the first scene of the opera, and thus had no closing cadence. Mozart wrote a coda to it for concert performance. With this ending Richard Wagner was dissatisfied — for reasons given below — so he wrote another for a con- cert performance under his own direction in Zurich. He also mooted some points regarding the proper tempo of the main body of the overture. As the overture is to be played at this concert in Wagner's arrangement, it will not be uninteresting to quote some of his principal arguments on the subject. His whole article, addressed to the editor of the Neue Zeitschrlft fiir Musik in Leipzig, and dated June 17, 1854, is to be found in his Ge- sammelte Schriften und Dichtungen, Vol. V., page 143. Here are some extracts from it. " The last measures of the overture, as you know, lead immediately over to the first scene of the opera, so that the overture has no ending. But I remembered hearing it with an ending written by Mozart, at concerts in my youth, and also later before the performance of ' Iphigenia in Tauris at the Dresden Court Theatre under the direction of my former colleague Reissiger. To be sure, it lay in my recollection that it then always made a " ^— ' —— ' fyhaustioit Horsford's Acid Phosphate Overworked men and women, the nervous, weak and de- bilitated, will find in the Acid Phosphate a most agreeable, grateful and harmless stimulant, giving renewed strength and vigor to the entire system. Dr. Edwin F. VOSG. 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GROUND FLOOR. Old Violins, Violas, 'Cellos, Every music lover who enjoys reading music Artist Italian Strings, Silver at sight should subscribe. G's, Artist Bows, Paris Rosin, entitles the subscriber to draw ten $l.'50 Violin Cases of all kinds, etc. pieces a week for one month. $3.00 for three months. $5.00 for six months. ARTISTIC REPAIRS A SPECIALTY. $8.00 for one year. The library embraces a wonderfully fine choice BOWS REHAIRED. of music for pianoforte solos, four hands, two pianofortes, pianoforte and violin trios and quartets. Music Hall Building, Room 7, - • BOSTON. CIRCULAR WILL BE SENT ON APPLICATION. Depot of the publications of Boston Symphony Orchestra. G. Schirmer, New York. Repairer for the (618) cold, indifferent impression upon me ; but I now thought this to be ascribed to a complete misconception of the tempo, which I had appreciated later, and not to Mozart's ending ; and I now had the tempo in my own hand. So I tried a rehearsal of the overture, in Mozart's arrangement, with the orchestra. But, when I came to the coda, I found it impossible after the first eight measures to let the orchestra play any farther : I felt immedi- ately that, if this ending of Mozart's, of and by itself, agreed very unsatis- factorily with the essential idea of Gluck's overture, it was absolutely not to be listened to, so soon as it was played in the right tempo of what pre- cedes it in the composition. With this tempo, as I have found out by ex- perience, matters stand as follows : — " The standard cut of all overtures, especially to the first operas, in the last century, was that of a short introduction in slow tempo, followed by a longer movement in quicker time. People had grown so used to this that, ' in Germany, where Gluck's Iphigenia ' itself had not been given for a long time, the overture to this opera, which had come to separate performances at concerts only, came insensibly to be looked upon as written likewise according to the usual pattern. This composition unquestionably contains two different movements in originally different tempi; namely, a slow one up to the nineteenth measure, and, from there on, one twice as quick. But Gluck had it in his mind to make the overture immediately introduce the first scene, which begins with the same theme as the overture does. In order not visibly to interrupt the tempo up to this point, he accordingly wrote the allegro-movement in notes of half the time-value that he would have had to write it in, if he had indicated the change of tempo by the word ' Allegro.' This will be plainly evident to any one who reads on in NEW ENGLAND CONSERVATORY OF MUSIC. FOUNDED IN 1853 BY DR. EBEN TOURJEE. 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