Boston Symphony Orchestra Concert Programs, Season 17, 1897-1898
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Lafayette Square Opera House, Washington. Boston Symphony Orchestra, Mr. EMIL PAUR, Conductor. Seventeenth Season, 1897-98 PROGRAMME OF THE THIRD CONCERT TUESDAY AFTERNOON, JAN. 18, 1898, AT 4.15 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 The Red Eagle, III. Class, an honor never before granted to * manufacturer. The Royal Academy Of St. Ceecilia 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 : — 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. Alhx. 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 Hall, 15 and 17 Lower Seymour S«., Portman Sq., W., London, England. Steinway's Pianofabrik, St. Pauli, Neue Rosen-Strasse, 20-24, Hamburg, Germany. SOLE REPRESENTATIVES, E. F. DROOP & SONS, 925 Pennsylvania Ave., WASHINGTON, D.C. " LAFAYETTE Boston SQUARE OPERA Symphony HOUSE. ? Seventeenth Season, 1897-98. Orchestra Thirteenth Season in Washington. Mr. EMIL PAUR, Conductor. THIRD CONCERT, TUESDAY AFTERNOON, JANUARY 18, AT 4.15. PROGRAMME. Bedrich Smetana Overture to "The Sold Bride Wolfgang Amadeus Mozart Aria, " Voi che sapete," from "The " Marriage of Figaro Ludwig van Beethoven Symphony No. 7, in A major, Op. 92 I. Poco sostenuto (A major) - 4-4 Vivace (A major) 6-8 II. Allegretto (A minor) 2-4 III. Presto (F major) 3-4 Presto meno assai (D major) 3-4 IV. Allegro con brio (A major) 2-4 - Charles Gounod • Recitative and Aria, "To cheat my love," from the " opera " Mirella Richard Wagner The Emperor's March, in B-flat major Soloist, Mme. LILLIAN BLAUVELT. (3) — Overture to " The Sold Bride," in F major. Bedrich Smetana. This overture begins vivacissimo in F major (2-2 time) with a strong as- sertion of its principal theme by all the violins, violas, 'celli, and wood- wind in unison and octaves against mighty chords in all the brass and the kettle-drums. This vigorous theme soon becomes the subject of a fugue, what the old Italian theorists called a "fugue of imitation," both subject and response entering on the tonic, — the second violins leading off, to be followed in turn by the first violins, violas and first 'celli, and second 'celli and double-basses ; the exposition is followed by a vigorous passage for the full orchestra, which, according to fugue terminology, is a "diversion," and, according to the terminology of the overture form, is the first subsidiary. The fugal work continues, the wind instruments now taking part in it as well as the strings, and the subsidiary theme coming in every now and then as a counter-subject. A longish climax ends in a more extended homo- phonic development of the first subsidiary in fortissimo by the full or- chestra, after which all the wood-wind, and then all the strings, again assert the first theme in unison and octaves against chords in the brass and ket- tle-drums, as at the beginning of the work. Now comes the second theme, a melody in the oboe, accompanied by the clarinets, bassoon, horn, and second violins ; it is little more than a passing episode, however, being hardly developed at all, and is followed by another melodious theme in the violins and first 'celli, against which the wood-wind pit the first subsidiary Weber Pianos. The distinguishing characteristic of the Weber Piano is its Sym- pathetic Tone. That is because it is constructed from the Musician's Standpoint. SANDERS «& STAYMAN, (Sole representatives of the Weber and other high-grade pianos, also the Estey organs and the /Eolian.) 1327 F Street, N.W., Washington, D.C. PERCY S. FOSTER, Manager. (4) as a lighter counter-theme. After a very little of this, the first theme re- turns again in the wood-wind, then in the strings, and the fugal work begins afresh, and is carried out with considerable elaboration, leading, as before, to a resounding fortissimo of the full orchestra on the first subsidiary ; this passage is somewhat more extendedly developed than the corresponding fortissimo was farther back, and leads at last to the re-entrance of the first theme in all the wood-wind and strings (minus the double-basses), as at the beginning of the overture, with the same strong chords in the brass. One thinks that the original fugue is to be repeated da capo, but no : with a sud- den jump from F major to D-flat major, the flutes, and then the oboes, softly take up the first subsidiary ; scraps of this theme keep coming in over sustained harmonies in the lower strings and wind, as the music dies away to pianissimo. Then fragments of the first theme reappear in the strings, and the theme is worked up to a rushing coda by the full orchestra. The overture is scored for 2 flutes, 1 piccolo-flute, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, 1 pair of kettle-drums, and the usual strings. Symphony No. 7, in A major, Opus 92 . Ludwig van Beethoven. (Born in Bonn on Dec. 16, 1770 (?) ; died in Vienna on March 26, 1827.) The MS. score of this symphony is dated May 13, 18 12. Its first public performance was in the large hall in the University in Vienna on Decern- Ikadacht 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, Waterville, Me., says: " Have found it of great benefit in nervous headache, nervous dyspepsia and neuralgia; 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. — ber 8, 1813, at a concert gotten up for the benefit of the soldiers wounded at Hanau on October 30. It was played under the composer's direction, his Wellington 's Sitg oder die Schlacht bei Vittoria, being given at the same concert. It was a special occasion, and Salieri, Spohr, Mayseder, Hum- mel, Romberg, Moscheles, and other musicians of almost equal note played in the orchestra. The seventh symphony was an unqualified success. This symphony has been called the apotheosis of the dance,— a term which has also been applied to Schubert's great symphony in C major, not that any particularly specialized dance-forms or dance-rhythms appear in either, but that each one of the four movements in both is characterized by a rhythmic simplicity, vigor, and pertinacity which give it much of the dance quality in a general way. The first movement opens with an introduction, Poco sostenuto in A major (4-4 time), the form of which is singularly sharply defined. Against crashing chords of the full orchestra, the oboe, then the clarinets, then the horns, then the bassoons, give out a strong, simple figure which is forth- with worked out contrapuntally against alternate ascending scale-passages in the violins and basses. Next follows a more melodious second theme in C major, first given out by the wood-wind against sustained notes and trills in the violins, then by the strings against sustained and repeated notes in the wood-wind. Then comes some more working-out of the initial A FIT SHIRT Or a shirt fit isn't found in ready-mades. The careful eyes, the skilled hands, the trained needles, the select materials, the exact "sizing up," belong to the make=to-order branch. $1.50 HERE! A frayed curl or a slight rip needn't send you buying. We repair your worn shirts, at little cost. JOSEPH AUERBACH, 623 Pennsylvania Avenue, Makes shirts, fits out, and hats you. Telephone 454. (6)' ; figure by the whole orchestra Jortissimo in A major, followed by a repeti- tion of the second theme, now in F major. A short coda leads over to the main body of the movement. The main body of the movement, Vivace in A major (6-8 time), is no- table for the almost unceasing persistency of the rhythm of the " dotted " triplet in it. The light, dancing first theme is given out in piano by the wood-wind and horns, accompanied by the strings, and then repeated in fortissimo by the full orchestra. The second theme, so like the first in rhythm as hardly to be distinguishable from it, enters piano in the strings in C-sharp minor, then passes through E-flat major in the wood-wind to E major in the full orchestra, ending softly in C major.