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Boston Symphony Orchestra Concert Programs, Season 15, 1895-1896

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Boston Symphony Orchestra Concert Programs, Season 15, 1895-1896 ACADEMY OF MUSIC, PHILADELPHIA. BOSTON SYMPHONY ORCHESTRA. Mr. EMIL PAUR, Conductor. Fourteenth Season, 1894-95. PROGRAMME OF THE FIRST CONCERT, Monday Evening, October 29, At Eight. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. Grand and Upright Pianofortes. Liszt, Church, Chapel, and Parlor Organs. Also ^Eolians and Virgil Practice Claviers. NEW BUILDING, 146 BOYLSTON STREET (OPPOSITE COMMON), BOSTON. Women's Tailor-made Costumes To Special Order. We are daily receiving many special orders for Tailor-made Costumes which are promptly exe-cuted in the highest style of the art. ' The assortment of handsome English and Scotch Cloths is, it is believed, the most comprehensive ever shown in America, and therefore affords the widest possible range for selection. The garments are fashioned after the latest Paris and London designs, or styles that have originated in our own workrooms, as preferred. The workmanship, fit, and style of garments are all that could be de- sired, and prices exceedingly moderate. The Dressmaking Department has been thoroughly reorganized, and we are prepared to execute orders in the best manner, at most moderate prices. Strawbridge & Clothier. (2) " Boston Academy of MUSIC, t if Symphony 11 Philadelphia. Orchestra Season of 1894-95. Mr. EMIL PAUR, Conductor. First Concert, Monday Evening, October 29, At Eight. PROGRAMME. " Wagner ------- Overture, " Tannfraeuser " Lenepreu - - ----- - Aria, " La jeune captive Schumann ------- Symphony in C major I. Sostenuto assai (G major) ----- 6-4 Allegro, ma non troppo (C major) - 3-4 - 2-4 II. Scherzo : Allegro vivace (C major) ' Trio I.: (G major) - 2-4 Trio II.: (C major) - - 2-4 III. Adagio espressivo (C minor) - - - 2-4 IV. Allegro molto vivace (C major) - - 2-2 Gluck -_-__ Tambourin, Gavotte, and Chaconne - Massenet - - - - - - - . Aria, " Galathee " Goldmark -------- Overture, " Sappho (First time.) Soloist, Mrs. JULIE M. WYMAN. (3) MANUFACTURERS OF GRAND, SQUARE AND UPRIGHT OS EUGEN D'ALBERT: From fullest conviction, I declare them" to be the best In- struments of America. DR. HANS VON BULOW: Their sound and touch are more sympathetic to my ears and hands than all others of the country. I declare them the absolutely best in America. ALFRED GRUNFELD: I consider them the best instruments of our times. P. TSCHAIKOVSKY: * Combines with great volume of tone rare sympathetic and noble tone color and perfect action. ....... WAREROOMS : ======== BALTIMORE, WASHINGTON, 22 and 24 E Baltimore Street. 817 Pennsylvania Avenue. NEW YORK, 148 Fifth Avenue. (4) " Overture to Tannhaeuser," in E major . Richard Wagner. Ever since 1861, when Wagner remodelled portions of the opera for its performance at the Academie Impe'riale de Musique in Paris, there have been really two overtures to Tafinhauser,— the regular prelude, or Vorspiel, to the opera and a concert-overture. The latter, which was originally the overture to the opera, but afterwards discarded by the composer, is the one given *at this concert. The difference between the two versions is impor- tant : both begin alike and remain alike, note for note, up to just before the re-entrance of the theme of the pilgrims' chorus, with its spirally whirl- ing violin accompaniment. At this point, right in the midst of the rushing Venus-Mountain music, the newer, " dramatic " version breaks away from the original, and leads directly into the bacchanalian music of the first scene of the opera. In 1861 Wagner had firmly established his principles of the music-drama, and his overture to Tannhauser no longer satisfied him ; ac- cording to his then matured musico-dramatic creed, an overture — or, as he preferred to call it, a Vorspiel — must not be a musical resumt of the action of an opera, but essentially a prelude to it. He found that the final return of the pilgrims' chorus had no dramatic sense, and therefore cut it out, con- necting the overture, as has been said, directly with the first scene of the opera. Perhaps also he may have felt that there were purely musical reasons against retaining the original Coda of the overture ; the pilgrims' chant, returning in E major on three trombones and three trumpets in FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. 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THE "vCOLIAN" ifi fS Combines Flute, Clarionet, Violin, 'Cello, Cornet, and Viola imitations, forming a small parlor orchestra, which, though played mechanically, can be regulated W by any child operating the stops, controlling various instrumental effects and changing time and expression as a leader directs an orchestra. SEND FOR CATALOGUE. C. J. HEPPE & SON, PIANOS, Etc. 1117 Chestnut and 6th and Thompson, Philadelphia. ^aJEaaRfJKEflfHfafTlJHfZW^^ (6) unison against a doubly and trebly brilliant accompanying figure in the violins, would make the same theme sound dull and ineffective by contrast, when sung in E-flat major by the chorus in the third act of the opera, and to a far less brilliant violin accompaniment. Be this as it may, every con- sideration was in favor of curtailing the overture to serve as a prelude to the opera ; but the original form of the composition was so extraordinarily effective in itself that it has been retained for concert use. All the themes in the overture to Tannhauser are taken from the music of the opera. There is, to begin with, the pilgrims' chant, which forms the slow introduction to the composition, and returns in the closing Coda with redoubled force and energy. Then, in the Allegro, the first theme — spi- rally ascending in the violas beneath a high tremolo on the violins — and all its subsidiaries are taken from the bacchanalian music of the first scene in the Venus-Mountain ; the second theme, an impassioned melody sung by the violins against ascending figures in the 'celli, is none other than Tann- hauser's song in praise of Venus, which all but costs him his life in the Singers' Contest in the second act, after gaining him his freedom from the thraldom of Venus in the first. The alluring little episode on the clarinet, near the middle of the movement, is Venus's phrase, — " Geliebter, komtrt ! sieh1 dort die Grotte!" (Beloved, come! see the grotto yonder!),— with which she tries to lure Tannhauser back to his allegiance to her and her charms in the Venus-Mountain scene in the first act. The overture is so well known and generally popular that little need be said of it by way of ex- New England Conservatory of music (FOUNDED IN 1853 BY DR. EBEN TOURJEE.) RICHARD H. DANA, President. CARL FAELTEN, Director. The Leading Conservatory of America. Complete in all its departments. You are respectfully invited to visit the institution and examine its methods and facilities. Send or call for Illustrated Prospectus and Calendar. F. W. HALE, General Manager, . Franklin Square, BOSTON, MASS. he e artment o£ English and r-j-T £ P American Literature will be under Mr. Eben Charlton Black, late of Edinburgh University. Public lectures every alternate Tuesday evening, beginning September u. (7) SHORE LINE BETWEEN BOSTON and NEW YORK THROUGH TRAIN SERVICE FROM EITHER CITY. 10.00 a.m. "BAY STATE LIMITED." Parlor earsonly. Special Tick- ets required. Buffet Cars through.. Due at 3.00 p.m. 10.03 a.m. "DAY EXPRESS." Buffet Parlor Car3 and. Day Coaches. Dae 4.30 p.m. 1.00 p.m. "AFTERNOON EXPRESS." Buffet Parlor Cars and Day Coaches. Arrives at 7.30 p.m. 3.00 p.m. " SHORE LINE EXPRESS." Parlor Cars, Parlor Smoking Car and Through Coaches. Dining Car Let. Boston and New London. Due 9 p.m' 5.00 p.m. " GILT EDGE " EXPRESS. Due at ll.00 p.m. Daily. Parlor Cars, Parlor Smoking Car, and Through Coaches. Dining Car between Boston and New London. 12.00 O'CLOCK MIDNIGHT EXPRESS. Due at 7.00 am. Daily Com- partment Sleeping Cars and Day Coaches. Open for occupation at 9.15 p.m. PHILADELPHIA, BALTIMORE, and WASHINGTON SERYICE. Yia Shore Line, Transfer Steamer "Maryland," and Pennsylvania Route. 9flA « to rATA¥TAT "I?VT>T?T7CO Solid Pullman Vestibuled Train. (Daily, Sundays •UV di.lll. lyUlAMl A £LJU Jli-AJr Ji.Ei>5i3. excepted.) 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