FOOT-GUARD HALL, HARTFORD. Boston SympDonyOrcnestia Mr* WILHELM GERICKE, Conductor, Twenty-fourth Season, J904-J905. PROGRAMME OF THE FIRST CONCERT Monday Evening, October 17, AT EIGHT. With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. Established Established 1823 1823 PIANOF TE MAKERS RECIPIENTS OF Hundred and Twenty-Nine FIRST MEDALS AND AWARDS ese Celebrated Instruments are To-day better than ever Retail Warerooms, 791 Tremont Street : " Boston FOOT-GUARD HALL, Hartford. Symphony* 5 . A Twenty-fourth Season, J904-J905. /"\ #•/"* Vl f± Cf" 1*^1 Sixteenth Concert in Hartford. Mr. WILHELM GERICKE, Conductor. FIRST CONCERT, MONDAY EVENING, OCTOBER 17, AT EIGHT. PROGRAMME. Dvorak Overture, " Othello," Op. 93 " Liszt " Die Lorelei Dvorak Suite in D major, Op. 39 I. Praeludium (Pastorale). II. Polka: Trio. III. Menuett (Sousedska). IV. Romanze. V. Finale (Furiant). Aria " Rienzi Wagner ._ ...... from " Dvorak . Symphony No. 5, in E minor, From the New World," Op. 95 I. Adagio : Allegro molto. II. Largo. III. Scherzo. IV. Allegro con fuoco. SOLOIST Mmc. LOUISE HOMER. There will be an intermission of ten minutes before the symphony. 3 ; All Lovers of Music SHOULD NEVER FAIL TO BUY EACH SUCCEEDING ISSUE OF THE Musicians Library This library consists of a series of volumes which, when complete, will contain all of the masterpieces of song and piano music. Every volume is edited by the highest authority, and contains an elaborate biographical and critical introduction, together with the best obtainable portrait of the composer. The vocal numbers are adapted for high and low voices, and the songs by foreign composers are poetic and singable translations. The " Musicians Library " will be published in uniform size and bind- ing, representing the highest excellence in music, printing, and typography. Already four vocal and three pianoforte numbers have appeared, and within the next few days there will be issued the following : — "Songs by Thirty Americans, " edited by Rupert Hughes; Wagner — 4< Lyrics for Soprano," edited by Carl Armbruster; Wagner — «« Lyrics for Tenor," edited by Carl Armbruster; " Modern French Songs," in two volumes, edited by Philip Hale Liszt — " Ten Hungarian Rhapsodies," edited by August Spanuth and John Orth. Price, in paper, gl.SO; cloth, ^2. JO, each. "LESSONS IN MUSIC FORM" By Percy Goetschius, Mus. Doc. A manual and analysis of all the structural factors and designs neard in musical composition, explaining each design, from the smallest to the largest, with numerous illustrations, accompanied by frequent reference to classic literature. This book is especially designed for the general music lover or student rather than for those studying composition, and is intend- ed to give increased enjoyment and understanding, as well as the power to interpret with intelligence and authority, for music lovers. Price, cloth, post-paid, $1.25. "EAR TRAINING FOR TEACHER AND PUPIL" By C. A. Alchin This work does not aim to take the place of the text-book and har- mony, but is designed rather for the training of the sense of hearing, to teach the reader to think in tones, so that he may sing, write, and play what he hears. This book is the direct outcome of the author's practical experience in teaching, and embodies in a concise and lucid form those principles which have demonstrated their value through repeated experi- ments The book is convenient in form, neat in appearance, and of admirable typography. Price, post-paid, $1 .00. OLIVER DITSON COMPANY C. H. DITSON & CO. BOSTON J. E. DITSON & CO. New York Philadelphia Order of your home dealer or any of the above houses "Othello," Overture for Grand Orchestra, Op. 93. The "Othello" overture is really the third section of Dvorak's triple overture, "Nature, Life, Love." The first of these is known generally in concert-halls as "In der Natur," Op. 91. The second is known as "Carneval," Op. 92. These three overtures were written to be performed together. The first performance was at Prague, April 28, 1892, at a concert of public farewell to Dvorak before his journey to America. The composer conducted. The first performance in America was at the concert given October, 21, 1892, under the auspices of the National Conservatory of Music of America, at the Music Hall, Fifty-seventh Street and Seventh Avenue, in honor of Dvorak, who then made his first appearance in this country. The solo singers were Mme. De Vere-Sapio and Mr. Emil Fischer. The orchestra was the Metropolitan. Mr. R. H. Warren conducted "America"; Colonel T. W. Higginson delivered an oration, "Two New Worlds: the New World of Columbus and the New World of Music"; Liszt's "Tasso" was played, conducted by Mr. Seidl; the Triple Overture and a Te Deum (expressly written for the occasion) were performed under the direction of the composer. The programme stated that the Triple Overture had not yet been per- formed in public. This programme also gave a description of the character of the work. It is said that trie scheme of the description was originated To Artists and Teachers of Singing The task of getting the latest English Songs can no longer be a difficult one, since we publish here all the new compositions of leading composers exactly on the same date they appear on the European market. Ask for BOOSEY & COMPANY'S Novelties If you cannot get them, write to Boosey & Company, 9 East 17th Street, /New York by Dvorak himself. The description is at times curiously worded, and Desdemona is represented as "retiring" instead of "going to bed." "This composition, which is a musical expression of the emotions awakened in Dr. Antonin Dvorak by certain aspects of the three great creative forces of the Universe—Nature, Life, and Love—was con- ceived nearly a year ago, while the composer still lived in Bohemia. The three parts of the overture are linked together by a certain under- lying melodic theme. This theme recurs with the insistence of the inevitable personal note marking the reflections of a humble individ- ual, who observes and is moved by the manifold signs of the unchange- able laws of the Universe." The overture "Nature," or, as Mr. Apthorp translated the German title, "On Nature's Bosom," or " 'Mid Natural Scenery," was described, as was the second overture, "Life," entitled at the first performance at Prague "Bohemian Carnival" and now known simply as "Carne- val." The former was likened unto "II Penseroso," the latter to "L' Allegro." "Love," or "Othello," was described as follows: "If the first two parts represented the impressions of Nature and Life as gay and stir- ring in general, the third overture lets Love appear as a serious and burning passion. The composer has tried to express some of the emotions engendered in him by the final scenes of 'Othello' as an em- bodiment of both the gentlest and the fiercest expressions of love. The composition is by no means a faithful musical interpretation of the Shakesperean lines, but rather the after-revery of a man whose imagination has been kindled by the theme of the play. Though the main part is written in F-sharp minor, as befits the serious and fiercely intense character of Othello's passion, it begins with a choral-like dominant in C-sharp, the prayer of Desdemona before retiring. While she is still praying for herself and for her husband, weird sounds in the orchestra suddenly announce the approach of the murderer. This is but an effect of the imagination, however, for presently the prayer of Desdemona continues till she falls asleep. Once more the orchestra The only Cocoa with' -a Rich DIGESTIBLE ^^V*VWV& Chocolate Flavor. THE NEW ENGLAND CONSERVATORY OF MUSIC G. W. CHADWICK, Director Announces the return of Signor ORESTE BIMBOINI and the opening of the SCHOOL OP OPERA. In addition to performances in Jordan Hall^the usual performances will be given in Boston Theatre (dates to be announced). FOUR OPERA SCHOLARSHIPS ($250 each) will be awarded at a competition to take place at the Conservatory on October 18 at 8 p.m. Competitors must apply in person at the Conservatory on Saturday, October 15, 10 to ii a.m., Monday, October 17, 2 to 4 p.m., Tues- day, October 18, 10 to 12 a.m. Mr. LOUIS C. ELSON will give an analytical lecture on " " Parsifal in Jordan Hall on Thursday, October 20, at 3 p.m. Complimentary tickets may be obtained by applying to Ralph L. Flanders, Manager of the Conservatory. — — — announces the approach of Othello. This time it is he. He pauses at the threshold. He enters the room, looks long at Desdemona, and kisses her. The theme changes to an allegro. Desdemona awakes, and then follows the cruel, pathetic scene between Desdemona and the Moor : Alas, why gnaw you so thy nether lip? Some bloody passion shakes your very frame. "Her entreaties are answered by the deep threats of Othello. Grad- ually the imaginary conversation becomes tinged with a note of mel- ancholy, and a regretful love scene ensues, according to the com- poser, till the Moor's jealousy and mad revenge gain the upper hand again. This motif is worked out at some length in the elaboration, and especially the deep notes of Othello's lion-like anger are sounded repeatedly. In the end he restrains himself no longer. The scene of anguish follows. Desdemona throws herself at his feet: DES. Kill me to-morrow, let me live to-night! Oth. Nay Des. But half an hour. Oth. Being done, there is no pause. Des. But while I say one prayer! Oth. (smothering her). It is too late. "Othello rises from the deed, and looks wildly about him.