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Boston Symphony Orchestra Concert Programs, Season METZEROTT MUSIC HALL, WASHINGTON. BOSTON SYMPHONY ORCHESTRA. EMIL PAUR, Conductor. Thirteenth Season, 1893-94. PROGRAMME OF THE FOURTH CONCERT Monday Evening, February 5, At Eight. With Historical and Descriptive Notes by William F. Apthorp. PUBLI3HED BY C. A. ELLIS, MANAGER. MASON & HAMLIN RECEIVED HIGHEST HONORS ON PIANOS AND ORGANS, AT World's Columbian Exposition, CHICAGO, 1893. SPECIAL MENTION. SCREW-STRINGER: Conceded by Judges' Report to be of great value; by which tuning is made easier, and because of which the Mason & Hamlin Piano is declared to remain in tune longer than any other piano. Pronounced a Unique and Artistic Instrument, a LISZT ORGAN ! and decided advance in construction. WASHINGTON REPRESENTATIVES, J. F. ELLIS & CO., 937 Pennsylvania Avenue. f2> Boston Metzerott || Music 1*. Washington Symphony || _i Orchestra Season of 1893-94. EMIL PAUR, Conductor. Fourth Concert, Monday Evening, February 5, At Eight. PROGRAMME. Hector Berlioz, Three Movements from the "Romeo and Juliet '' Symphony, Op. 17 A Part II. Fete at Capulet's House : Andaute malinconico e sostenuto (F major) - - - 4-4 Allegro (F major) - - - 2-2 - - Part III. Love-scene : Adagio (A major) - 6-8 Part IV. Queen Mab, Scherzo : Prestissimo (F major) - 3-8 Trio : Allegretto (D minor) ----- 3-4 Schubert - Song with Orchestra, " Die Allmacht" Orchestrated by ARTHUR MEES. Anton Rubinstein - - Ballet-Music from "Feramors" I. Dance of Bayaderes I. Allegretto (B-flat major) - 2-4 II. Candle-dance of the Brides of Kashmire; moderato con moto (D minor) ------ 3-4 Richard Wagner - - Overture to " Tannhaeuser," in E major Andante maestoso (E major) ______ 3-4 Allegro (E major) ________ 2-2 Richard Wagner - Wotan's Farewell and Fire-Charm, from "Die Walkuere " Soloist, Mr MAX HEINRICH. (3) MANUFACTURERS OF GRAND, SQUARE, AND UPRIGHT PIANOS EUGEN D'ALBERT: PVom 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 i?i America. ....... ALFRED GRUNFELD: I consider them the best instruments of our times. P. TSCHAIKOVSKY : Combines with great Tolume 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) Hector-Louis Berlioz (born at la Cote-Saint-Andre, near Grenoble. France, December n, 1803, died in Paris, March 9, 1869) has long been regarded as the true father of modern orchestration. He is also to he noted as the first promoter of the modern romantic movement in Music in France,— as Victor Hugo was in Poetry and the Drama,— and the one who gave the first strong impulse to orchestral composition in that country. In some ways Berlioz stands out as an almost unique exception among composers of genius : one might say that he stands among great com- posers much as Australia does among continents. A certain naturalist " once said of Australia that all rules go by contraries there : We find the pear growing with the big end next the stem, mammals with the bills and breast-bone of birds (Duck-billed Platypus and Echidna), and birds without wings (Apteryx)." In like manner Berlioz brilliantly exemplifies the oppo- site of some of the rules that commonly apply to men of genius. Most great composers — unless, like Mozart, Schubert, and Mendelssohn, they BRAIN-WORKERS. Horsford's Acid Phosphate is recommended by physicians of all schools, for restoring brain force or nervous energy, in all cases where the nervous system has been reduced belo>y the normal standard by overwork, as found in lawyers, teachers, students, and brain-workers generally. Descriptive pamphlet free on application to Rumford Chemical Works, Providence, Il.l* Beware of Substitutes and Imitations. FOR SALE BY ALL DRUGGISTS. (5) die young — have three successive "manners," or periods : first, the period of imitation, when their style reflects that of their teachers or of the great predecessors whom they have taken as models ; next, the period of bud- ding originality and the formation of an individual style ; and, last, the period in which their individual genius finds full expression and their pecul- iar style is completely formed,— the period in which they exploit new and hitherto unexplored domains in their art. Berlioz's life and art-work show almost diametrically the opposite of this. His earliest compositions show the most absolute originality, in form, conception, character of melodic material, and expression ; then he passes through a period in which his style gains in solidity and mastery, in which he acquires greater power of fixing his conceptions and giving them an intelligible and plastic form ; and, lastly, we find him reaching a period in which his style becomes more simplified, and even reflects the influence of great composers (notably Gluck) who had gone before him. One of his most marked traits was his absolute melodic originality, and this shows itself in his works from the very beginning. Take, for instance, the opening adagio melody in the Introduction of his Fantastic symphony, a melody taken note for note from a song he wrote when only twelve years old : it is individual as possible, it does not remind one in the least of anything ever written by any other composer, it is Berlioz through and through, Berlioz all over, and nothing but Berlioz. Even the quaintly uncanny theme of the flute and English- horn in the Trio of his Queen Mab Scherzo in the Romeo and Juliet sym- phony, written when he was at the height of his second manner, is not more thoroughly his own ! And, what is most curious, we find this unique- ness of melodic character far less prevalent in his latest works : in his JOHN F. ELLIS & CO., No. 937 PENNSYLVANIA AVENUE. Chickering Pianos, Mason & Hamlin Organs and Pianos. Music, Musical Instruments, Strings, and Trimmings of all kinds. PIANOS. MOVED, TUNED, AND REPAIRED. PIANOS FOR RENT. Telephone 1218. 6) : Troyens not only the frequent greater simplicity of style, but the very cut of many of the melodies themselves, remind one of Gluck, Spontini, or Salieri. In the matter of orchestration Berlioz followed the same direction com- posers had taken ever since the form of the classic orchestra had been solidly established by Gluck and Haydn,— a form which had been preserved in all its essentials even by Beethoven ; but the onward step taken by Berlioz, albeit still distinctly in the same direction, was so long and important that it really carried him well past the boundary line of the classic method, and opened a new year of orchestral treatment. From Haydn to Beethoven the strings had been the true basis and foundation of the orchestra ; the two other groups of instruments — the wood-wind on the one hand, and the brass-wind and percussion on the other— had been used mainly for the sake of coloring. But with Berlioz, the liberation of the wind instruments and instruments of percussion from their whilom secondary position became complete : he divided the whole orchestra into four independent, if mutually co-operant, groups, all of which stood virtually on an equal footing. These were the strings, the wood- wind, the brass-wind, and the instruments of percussion (the horns, al- though technically brass instruments, were treated by him as belonging either to the wood-wind or the brass-wind group, according to circum- stances). More than this, not content with the old method of using one group (generally the strings) to accompany one or more instruments belong- ing to another, he would often unite together instruments belonging to different groups in a way to form essentially a new combination in which no one set could properly be said merely to accompany the other, but all the co-operant instruments were treated on an equality. The role he as- New England Conservatory or music (FOUNDED BY DR. EBEN TOURJEE.) RICHARD H. DANA, President. CARL FAELTEN, Director. The Courses of Study are arranged with a view to giving a broad and comprehensive musical education. The Faculty have been chosen with reference not only to their standing as artists,* but also with regard to their ability as teachers of the highest excellence. The Associated Departments of Music, Elocution, Fine .«.ris, and Modern Languages, together with their liberal courses of Free Collateral Advantages, provide the most ample means for acquiring a thorough and complete knowledge of one or all of these subjects at comparatively small cost. Mons. Alexandre Guilmant, addressing the Faculty and students on the occasion of his recent visit to the Conservatory, said " It is a great pleasure to me to meet you together. This Conservatory is a great astonishment to me. I had never dreamed of so large a one in America. I feel it is also equally thorough. It reminds me of the Paris Conservatoire, and I feel that it is doing similar work. I feel the greatest interest in your work, and am lure the Conservatory is on a most earnest and solid basis. I wish it all prosperity." Send for calendar, or eall at the institution. F. W. HALE, General Manager. Franklin Square, Boston, Mass. During last season the following members of the Faculty appeared as soloists in these concerts: MUs Louise A. Leimer, Messrs. Heinrich Meyn, G«orge M. Nowell, Carl Stasny, and Leo Schuli. (D SHORE LINE BETWEEN BOSTON and NEW YORK THROUGH TRAIN SERVICE FROM EITHER CITY. 10.00 a.m. " BAY STATE LIMITED." Parlor Cars only. Special Tick- ets required. Buffet Cars through. Due at 3.00 p.m. 10.03 a.m. " DAY EXPRESS." Buffet Parlor Cars and Day Coaches.
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