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REHEARSAL and CONCERT Boston Symphony Orchestra* SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.) TWENTY-FOURTH SEASON, I 904-1905. WILHELM GERICKE, CONDUCTOR {programme OF THE FIFTH REHEARSAL and CONCERT VITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE. FRIDAY AFTERNOON, NOVEMBER J8, AT 2.30 O'CLOCK. SATURDAY EVENING, NOVEMBER J9, AT 8.00 O'CLOCK. Published by C'A. ELLIS, Manager. 265 CONCERNING THE "QUARTER (%) GRAND" Its Tone Quality is superior to that of an Upright. It occupies practically no more space than an Upright. It costs no more than the large Upright. It weighs less than the larger Uprights. It is a more artistic piece of furniture than an Upright. It has all the desirable qualities of the larger Grand Pianos. It can be moved through stairways and spaces smaller than will admit even the small Uprights. RETAIL WARE ROOMS 791 TREMONT STREET BOSTON Established 1823 : TWENTY-FOURTH SEASON, J904-J905. Fifth Rehearsal and Concert* FRIDAY AFTERNOON, NOVEMBER J8, at 2.30 o'clock- SATURDAY EVENING, NOVEMBER t% at 8.00 o'clock. PROGRAMME. Brahms ..... Symphony No. 3, in F major, Op. go I. Allegro con brio. II. Andante. III. Poco allegretto. IV. Allegro. " " " Mozart . Recitative, How Susanna delays ! and Aria, Flown " forever," from " The Marriage of Figaro Wolf . Symphonic Poem, " Penthesilea," after the like-named' tragedy of Heinrich von Kleist (First time.) " Wagner ..... Finale of " The Dusk of the Gods SOLOIST Mme. JOHANNA GADSKI. There will be an intermission of ten minutes after the Mozart selection. SPECIAL ANNOUNCEMENT. By general desire the concert announced for Saturday evening, Decem- ber 24, '* Christmas Eve," will be given on Thursday evening, December 2a. The doors of the hall will be closed during the perfortnanre of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the numbers. City of Boston, Revised Beerulation of Aug'ust 5, 1898.— Chapter 3, relatiniT to the coveriner of the head in places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which doe* not ; obstnict such view, mAy be worn. Attest: J. M. GALVIN, City Clerk. J 267 L. P. Hollander & Co. New York Establishment removed to 220 and 222 Fifth Avenue When in New York, we cordially invite you to inspect the several floors of our new buildings. We have devoted our best efforts towards making the premises as attractive and elegant as possible consistent with a business house. m SPOONS and FORKS. STERLING SILVER. uz Substantial Weights. Choice Patterns, Plain or Ornamented. PRICES BASED UPON A LOW FIXED VALUE PER OUNCE. SMITH, PATTERSON ^ CO., Wholesale and Retail Jewellers, 52 Summer Street, Boston. e/s^^^s^^:^^^^^^^:^^: Symphony No. 3, in F major, Op. 90 Johannes Brahms (Bom at Hamburg, , May 7, 1833; died at Vienna, April 3, 1897.) This symphony was first performed on December 3, 1883, at Vienna. The first performance in Boston was by the Boston Symphony Or- chestra under Mr. Gericke, November 8, 1884. The first performance in the United States was at a pubHc rehearsal of one of Mr. Van der Stucken's Novelty Concerts, on October 24, 1884. The copyright of the manuscript was sold to the publisher Simrock, of Berlin, for 36,000 marks ($9,000) and a percentage on sums realized by perform- ances. Hans Richter in a toast christened this symphony, when it was still in manuscript, the "Eroica." Hanslick remarks concerning this: "Truly, if Brahms' first symphony in C minor is characterized as the Pathetic' or the 'Appassionata' and the second in D major as the 'Pastoral,' the new symphony in F major may be appropriately called his 'Eroica'"; yet Hanslick took care to add that the key-word was not wholly "to the point, for only the first movement and the finale are of heroic character. This third symphony, he says, is indeed a new one. "It repeats neither the poignant song of Fate of the first, nor the joyful Id}^ of the second; its fundamental note is proud strength that rejoices in deeds. The heroic element is without any warlike flavor; it leads to no tragic action, such as the Funeral march in Beet- hoven's 'Eroica.' It recalls in its musical character the healthy and full vigor of Beethoven's second period, and nowhere the singularities of his last period; and every now and then in passages quivers the romantic twilight of Schumann and Mendelssohn." The first movement. Allegro con brio, in F major, 6-4, opens with three introductory chords (horns, trumpets, wood-wind), the upper voice of which, F, A-flat, F, presents a short theme that is an emblematic figure, or device, which recurs significantly throughout the movement. Although it is not one of the regular themes, it plays a dominating part, immediately as bass and later as an opposing voice in middle and upper position to the first theme, which is introduced by the vio- lins in octaves, supported by violas, violoncellos, and trombone at 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 Wc arc showing the NEWEST PARIS MODELS, from which we are taking orders for Afternoon and Visiting Gowns Prices, VU. and up. For English Walking Suits We have an exclusive line of LONDON WORSTED and HOME- SPUN CLOTHS in handsome dark colorings. Prices for these suits yO« and up. House Qowns and Fancy Waists At Reasonable Prices V. BALLARD & SONS . 256 Boylston Street 270 ; the beginning of the third measure. The short introductory, now counter, theme rises as a bass, and produces thereby a strongly-marked cross-relation, —the A-flat of the bass against the preceding A-nat- ural of the first theme. This deliberate violation of the rules has pro- voked much discussion, although the swing of the theme is in no way influenced by this cross-relation, or Querstand. Some find here the "keynote to some occult dramatic signification." Mr. William F. " Apthorp has voiced this opinion with peculiar felicity : It seems to me that it can only be explained on the supposition of some underlying dramatic principle in the movement, such as the bringing together of two opposing forces, —Light and Darkness, Good and Evil, or per- haps only Major and Minor,—for on purely musical grounds the thing has little sense or meaning. The first theme starts in passionately and jovously, in the exuberance of musical life; the counter-theme €omes in darkly and forbiddingly, like lago's " ' . O, you are well-tun' d now! But I'll set down the pegs that make this music, " As honest as I am.' The second chief-member of the body of the first theme is silent for four measures, while the first violins continue; but it again appears in the bass. A, C, A. Enharmonic modulation leads to A major, the tonality of the second theme. There is first a slight reminiscence of the " Venusberg" scene in "Tannhauser,"—"Naht euch dem Strande !" and Dr. Hugo Riemann goes so far as to say that Brahms may have thus paid a tribute to Wagner, who died in the period of the compo- sition of this symphony. The second theme is of a graceful character, but of compressed form, and is in strong contrast with the broad and sweeping first theme. The rhythm, 9-4, is complicated. The clarinet sings against a bassoon phrase over a double drone-bass or organ-point from the deeper strings, while the flute embellishes. This is repeated, and the strings bring a short phrase in antithesis. But, with the end of this section in 9-4 and with the return to 6-4, and the stormier mood, the oboe gives out the "device" (A, C, A). Mrs. H. H. A. Beach Successful Songs of 1904 New Cantata for Sims, Hattie Louise Sweetheart, my Song is come . I0.50 Women '-S Voices Dietrick, Alala. Eventide 30 Op. 59, The Sea Fairies . $0.50 Vannah, Kate. O my Beloved .50 Op. 56, Four New Songs Autumn Song .50 .... Foote, Arthur. Constancy . .50 Go not too Far .... .50 I know not how to find the Spring .50 Metcalf, John W. At Nightfall .50 Shena Van .... .50 TWO KEYS All music performed at these concerts constantly on hand. ARTHUR P. SCHHIDT Co. 120 Boylston Street Charles W. Homeyer & BOSTON 165 TREMONT STREET Third Floor Opposite Elevator BOSTON 271 The free fantasia, or middle section, is comparatively short, —nine pages of the score to fourteen occupied by the exposition. Both themes are developed, and the "device" is developed melodically by horn and oboe. The recapitulatory section begins with a reannouncement of the "de- vice" in full harmony (F, A-flat, F, in wood-wind, horns, trumpets, and strings), and the "device" is repeated by the trumpets, horns, trom- bones, bassoons; and it gives way to the announcement, as at the beginning of the movement, of theme and counter-theme together. The development is much like that in the first part. The second theme, in 9-4, is now in D major.
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