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Boston Symphony Orchestra Concert Programs, Season 17, 1897-1898

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Boston Symphony Orchestra Concert Programs, Season 17, 1897-1898 ACADEMY OF MUSIC, PHILADELPHIA Boston Symphony Orchestra. Mr. EMIL PAUR, Conductor. Thirteenth Season in Philadelphia. PROGRAMME OF THE SECOND CONCERT Monday Evening, December 13, At 8.15 precisely. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. Steinway & Sons, Piano Manufacturers BY APPOINTMENT TO HIS MAJESTY, WILLIAM II., EMPEROR OF GERMANY. THE ROYAL COURT OF 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 Thh Red Eagle, III. Class, an honor never before granted to 1 manufacturer. The Royal Academy Of St. Caecilia at Rome, Italy, founded by the celebrated composer Pales- trina in 1584, has elected Mr. William Steinway an honorary member of that institution. The following is the translation of his diploma : — I'/ie Royal Academy 0/ 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, 107-1.11 East 14th St., New York. EUROPEAN DEPOTS : Steinway Hall, 15 and 17 Lower Seymour St., Portman Sq., W., London, England. Steinway'9 Pianofabrik, St. Pauli, Neue Kosen-Strasse, 20-24, Hamburg, Germany. SOLE REPRESENTATIVES, N. STETSON & CO., 1416 & 1418 Chestnut Street, Philadelphia. Boston 4, Academy of Music, Symphony Philadelphia, Seventeenth Season, 1897-98. Orchestra Thirteenth Season in Philadelphia. Mr. EMIL PAUR, Conductor. SECOND CONCERT, MONDAY EVENING, DECEMBER 13, AT 8.15 PRECISELY. PROCRAMME. v , Antonin Dvorak - Symphony No. 5, in E minor, " From the New World," Op. 95 I. Adagio (E minor) - - - - 4-8 Allegro molto (E minor) - - 2-4 II. Largo (D-fiat major) - - - - - 4-4 III. Scherzo: Molto vivace (E minor) - - 3-4 IV. Allegro con fuoco (E minor) - 4-4 Wolfgang Amadeus Mozart - Aria, " Non pill andrai," from " The Marriage of Figaro " yard Hagerup Grieg — - Suite, " Peer Gynt," Op. 46 Daybreak. The Death of A ase. Anitra's Dance. The Hall of the Mountain King. The imps are chasing "Peer Gynt." einrich Marschner - - - - Aria from "Hans Heiling a. Minuet of Will-o'-the-Wisps I from "The Damnation ector Berlioz . b. Waltz of Sylphs of Faust," Op. 24 c. II,I1Oczy March Soloist, Mr. DAVID BISPHAM. ONLY THE BUY MATCHLESS CUNNINGHAM ---~ PIANO. iio5 CHESTNUT STREET (4) Symphony Xo. 5, in E minor, "From the New World," Opus 95. Anton in Dvorak. (Born at Xelahozeves (Muhlhausen), near Kralup, Bohemia, on Sei>t. 8, 1841; still living.) This symphony was written in the summer of 1893, shortly after Dr. Dvorak's arrival in this country. Its thematic material is made up largely of Negro melodies from the Southern plantations. The first movement opens with a short slow introduction. Adagio in E minor (4-8 time), based on figures from themes used later in the symphony. It begins pianissimo in the lower strings, answered by the wood-wind ; then comes a sudden fortissimo, in which a throbbing figure in all the strings in unison and octaves is answered by the kettle-drums and short chords in the wood- wind and horns; after this some piano developments for fuller and fuller orchestra lead in brief climax to the main body of the move- ment. The main body of the movement, Allegro molto in E minor (2-4 time), begins with a strong assertion of the first theme, the first member being given out by two horns in unison, the second by the wood-wind in 3rds_ This theme is developed at considerable length, some figures being sub- jected to rhythmic and figural modifications which at times give it the air of a new subsidiary melody. After a while the second theme appears hi the relative G major, given out first by the flute, then taken up by the violins in octaves ; the development is far less extended than that of the first theme, and soon leads to the traditional repeat at the end of the first part of the movement. Both the first and second themes have a marked Negro accent. The free fantasia is by no means long nor very elaborate ; after a con- cise working-out of the thematic material exposed in the first part, it leads over to the return of the first theme in the tonic at the beginning of the third part. This is a sufficiently regular reproduction of the first, with some Headache Horsford's Acid Phosphate. Headache may arise from a disordered state of the stomach, or it may have a ner- vous origin. The Acid Phosphate by its action in promoting digestion, and as a nerve food, tends to prevent and alleviate the headache arising from either cause. Dr. F. A. Roberts, AYaterville, Me., says: " Have found it of great benefit in nervous headache, nervous dyspepsia and ueuraJgut,- and think it is giving great satisfaction when it is thoroughly tried." Descriptive pamphlet sent free on application to Rumford Chemical Works, = Providence, R.I. BEWARE OF SUBSTITUTES AND IMITATIONS. For sale by all Druggists. C. J. HEPPE & SON, PIANOS, Etc «<.«" *n j he Royal Courts tTCLUSiVExr.iii^ivF ACENTSOPAr.FNT.snf • / THCAJOUM of Europe, the homes of nearly all prominent Americans and the studios of master musicians are furnished o HAjLsry with the self-playing ^v Aeolian (Home Orchestra) for artistic music mSnQL'MSS faultlessly rendered. Without musical knowledge you are absolute maste r of it. You render the music just as you think it should be played. You control every slightest change of tone and tempo by the simple use of "stops." You play just what you want to hear and just when you want to hear it. Everything, classic or popular. Also every kind Over io.oco selections. of Self-playing: Catalogue free. Pianos . C. J. Heppe & Son «35rSI ' 1117 Chestnut St.$6th & Thompson Of RUSSIA PHILADELPHIA. m»**jtsn n$ncru,tr*c* ismculemo ^FSfer^ f* » **'C5CPOvtRCllvW- changes of key, and leads to a short, brilliant coda, which runs mainly on the first theme. The second movement, Largo in D-flat major (4-4 time), opens with some mysterious pianissimo harmonies in the brass and lower wood-wind, after which the melodious principal theme is sung by the English-horn over an harmonic accompaniment in the muted strings. The development is quite extended, the theme appearing at last in two muted horns. Then comes a change to C-sharp minor (enharmonic of the tonic in the minor mode) Un in poco piii mossoy and a short transitional passage on a subsidiary theme the flute and oboe leads to the entrance of the long-drawn cantilena of the second theme, in the wood-wind over a pizzicato contrapuntal bass. The development of this theme, alternating with its introductory subsidiary, takes up the whole middle part of the movement. A return to the original key and tempo brings back the first theme in the English-horn, the brief development having this time much the character of a reminiscent coda. The movement closes pianissimo with a four-part chord in the double-basses alone. The third movement, Scherzo : Molto vivace in E minor (3-4 time), is in the regular form of scherzo and trio, with the novelty, however, of each of these two divisions being based upon two separate themes. The first theme of the Scherzo (in E minor) generally appears in canonical imitation ; the second theme (poco sostenuto in E major) is a more cantabile melody. The first theme of the trio (in C major) and the second (in the same key) are both of a lively dance-like character. Just before the trio, and also in the coda that follows the repetition of the scherzo, the first theme of the first movement makes its reappearance. The fourth movement, Allegro con fuoco in E minor (4-4 time), is some- what unconventional in form, although conventional formal traits are not undiscoverable in it. After seven measures of fortissimo preluding in the strings, followed by two measures of full orchestra, two horns and two trumpets in unison give out the first theme fortissimo against crashing staccato chords in the rest of the orchestra — a style of scoring that vividly recalls Niels Gade, by the way. The development follows, at first in the strings, then in the full orchestra, with the melody in the first violins and wood-wind. Next comes a subsidiary in rushing passage-work for the full orchestra, still in fortissimo, which soon leads to the entrance of the second theme, a more cantabile melody, given out by the clarinet and HEW ENGLAND CONSERVATORY OF MUSIC. Founded in 1853 by Dr. EBEN TOURJEE. GEORGE W. CHADWICK, Musical Director. School year 1897=98 now open. Pupils may enter at any time during the session. Special attention has been given to the enlargement and development of the depart- ment of Harmony and Composition, which will be under the personal supervision of the Director. In addition to the very efficient staff of Pianoforte teachers who have for many years been connected with the institution, this department has been strengthened by the services of Mr. Carl Baermann (Royal Bavarian Professor) and Madame Helen Hopekirk.
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