INFANTRY HALL, PROVIDENCE. Boston SumpfiongQionestra Mr. WILHELM GERICKE, Conductor. Twenty-third Season, 1903-1904. ; PROGRAMME OF THE Second and Last Concert Tuesday Evening, February 2, AT 8.15. A " 1 With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. l (' r Established Established 1823 1823 Af .i?' (gtfjtttkmitg PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY GOFF AND DARLING 276 Westminster Street • Providence, R. I. Special Announcement Owing to the illness of Mr. Campanari, Mr. Charles Gilibert has kindly volunteered to sing in his place. Mr. Gilibert will sing the following numbers: — Bizet. Ralph's Air, " Quand la Flamme de l'Amour," from " The Fair Maid of Perth." SONGS, a. Massenet: " Le Crepuscule " (".Twilight "). " b. Perilhou : La Vierge a la Creche " (" The Virgin at the Manger"). " c. Poise : Song of Gilles from Joli Gilles." ' (With pianoforte accompaniment.) THE PIANOFORTE IS A STEINWAY. 6: " BOSton INFANTRY HALL, Symphony A Providence. Orchestra/~V 1 j T Twenty-third Season, 1903-1904. Mr. WILHELM GERICKE, Conductor. SECOND AND LAST CONCERT, TUESDAY EVENING, FEBRUARY 2, AT 8. J 5. PROGRAMME. Smetana ...... Overture, " The Bartered Bride " " " Verdi . Aria, Credo," from " Otello " " Ce'sar Franck . Symphonic Poem, The Wild Huntsman Mozart ....... Aria, " Non piu Andrai Berlioz . " Harold in Italy," Symphony in Four Movements with Viola Solo, Op. 1 (Viola Solo by Mr. A. Ferir.) I. Harold in the Mountains : Scenes of Melancholy, Happiness, and Joy : Adagio. Allegro. II. March of Pilgrims singing their Evening Hymn: Allegretto. III. Serenade of a Mountaineer of the Abruzzi to his Mistress: Allegro assai. Allegretto. IV. Orgy of Brigands : Recollections of the preceding scenes : Allegro frenetico. SOLOIST Mr. G. CAMPANARL There will be an intermission of ten minutes before the symphony. 8 The Musician A monthly publication devoted to the educational interests of music Edited by Thomas Tapper 15c. per copy $1.50 per year WE HAVE PURCHASED the above named publication and the December number was the first issue under our ownership. We intend to make this well-known publication more than ever desirable and complete. We have set a very high standard for ourselves in this venture and shall not be satisfied unless we produce the finest musical journal published anywhere. The Musical Record and Review is discontinued. We shall earnestly endeavor to deserve the cooperation and interest of all music lovers, and already have reason to be much gratified from the evidences of a disposition on the part of the music- loving public to assist us in carrying out our plans. Choir and Choral Magazine Edited by Thomas Tapper A monthly magazine for choirmasters Each number contains 16 pages of new music. $ 1 .00 per year 1 Oc. a number Sample copy free OLIVE-R DITSON COMPANY, Boston C. H. Ditson & Co., New York J. E. Ditsou & Co., Philadelphia Overture to the Opera, "The Sold Bride." FriEdrich Smetana. (Born at Leitomischl, Bohemia, March 2, 1824; died in the mad-house at Prague, May 12, 1884.) "Prodana nevesta" ("Die verkaufte Braut"), a comic opera in three acts, the book by Karl Sabina, the music by Smetana, was performed for the. first time at Prague, May 30, 1866. The overture was played in Boston for the first time at a Symphony Concert, Dec. 31, 1887. It has also been played at these concerts, March 23, 1889, Jan. 15, 1898, March 10, 1900. The overture, which, according to Hanslick, might well serve as prelude to any comedy of Shakespeare, —and indeed the overture has been entitled in some concert -halls "Comedy Overture,"—is scored for 1 piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, kettledrums, strings. The chief theme of the operatic score as well as of the dramatic ac- tion is the sale of the betrothed, and this furnishes the chief thematic material of the overture. The overture begins vivacissimo, F major, 2-2, with the chief theme at once announced by strings and wood-wind in unison and octaves against heavy chords in brass and kettledrums. This theme is soon treated in fugal manner; the second violins lead, and are followed in turn by the first violins, violas and first 'cellos, and second 'cellos and double-basses. The exposition is succeeded by a vigorous "di- version," or "subsidiary," for full orchestra. The fugal work is resumed ; the wind instruments as well as the strings take part in it, and the subsidiary theme is used as a counter-subject. There is development fortissimo by full orchestra, and the chief theme is again announced as at the beginning. The second theme enters, a melody for oboe, accom- panied by clarinets, bassoon, horn, second violins. This theme is as a fleeting episode; it is hardly developed at all, and is followed by a tuneful theme for violins and first 'cellos. The chief motive returns in the wood-wind, then in the strings, and the fugal work is resumed. The leading motive is reiterated as at the beginning of the overture (without the double-basses). The tonality is changed to D-flat major, afest Novelties in Piano Music for teaching purposes BUNNING, HERBERT ERNEST, GUSTAV Novellette . $0.60 Caprice Valse . $0.75 A Capriccio . .60 Nocturne ... .75 Tendresse > Valse Impromptu . .60 ' 75 Marionette j ' * FRANCKE, GUSTAV Pastourelle (Air de Ballet), .75 CLUTSAn, GEORGE LONGO, A. Papillons Bleus . .75 Suite' Romantica Sous les Etoiles •75 i. Preludio . .50 L'Enjoleuse •75 2. Intermezzo . .50 Chant du Berger •75 3. Presto Agitato . .50 Dans les Bois . •75 riOSZKOWSKI, M. Menuet-Caprice . •75 Improvisation, Op. 70, No. 2, .60 BOOSEY & COMPANY, 9 East 17th Su New York and flutes and oboes'take up the first subsidiary theme, which keeps coming in over harmonies in lower strings and wind, while the music sinks to pianissimo. Fragments of the first theme reappear in the strings, and there is a brilliant coda. * * * The story of the opera is a simple one. The peasant Micha has two sons. Hans, the son by Micha's first wife, has been- compelled by the intrigues of his step-mother to leave the village, while her son, Wenzel, a foolish, stuttering fellow, stays at home and is coddled. The mar- riage-broker, Kecal, wishes to make a match between Wenzel and Marenka, the daughter of a peasant, Kruschina, who had already agreed with Micha that their children should wed. But Marenka is in love with a stranger who is said to have come from afar. This stranger is Hans, who is able to remain incognito until the end. The broker wishes to get rid of this rival, and he offers him money. Hans outwits him, for he introduces in the agreement the sale of the maiden Marenka, betrothed to "the son of Micha," and all, even Marenka herself, under- stand this son to be Wenzel, until at the very end Hans reveals himself to his parents and sweetheart. * * * There is a story that vSmetana was excited to the composition of "strictly national" music by a remark made at Weimar by Herbeck, when they were guests of Liszt, —that the Czechs were simply repro- ductive artists. The opening of the Czechic Interims Theatre at Prague, Nov. 1 8, 1862, was the first step toward the establishment of a native operatic art. Smetana finished in April, 1863, his first opera, "Brani- bori Cechach," or "Die Brandenburger in Bohmen,"—but it was not performed until Jan. 5, 1866. Karl Sebor was more fortunate: his opera, "Templari na Morave," was performed in the Czechic Theatre in 1865. The libretto of Smetana's first opera was improbable, undramatic ridiculous. The Bohemian operas before Smetana were in the old forms of the Italian, French, and German schools, and the public ac- cused Smetana of "Wagnerism," the charge brought in Paris against Bizet even before "Carmen" saw the footlights. Smetana was a fol- lower of Wagner in opera and of Liszt in the symphonic poem. He believed in the ever-flowing melody in the operatic orchestra; this melody should never interrupt, never disturb, the dramatic sense ; the music should have a consistent physiognomy ; it should characterize the dramatic; the Leit-motive should individualize; but Smetana knew the folly of imitation, nor was he the kind of man to play the sedulous ape. He once said, "We cannot compose as Wagner com- poses," and therefore he sought to place in the frame of Wagnerian reform his own national style, his musical individuality, which had Phillips ¥ P DIGESTIBLE £o^2^^^Coa The largest and finest collection in America. A Request E Respectfully re- quest all lovers of the violin to send for a copy of our beautifully print- ed brochure "The Lyon & Healy Collection of Fine Violins." It contains a list of solo instruments now offered to the public at a surprisingly low range of prices. Several violins will be sent on selection. Monthly payments may be arranged. A formal guarantee of genuine- ness with each instrument. 20 ADAMS ST., CHICAGO grown up in closest intimacy with his love of the soil, with the life- songs, legends, of his countrymen. When they celebrated the one hundredth performance of "The Sold Bride" at Prague, May 5, 1882, Smetana said: "I did not compose it from any ambitious desire, but rather as a scornful defiance, for they accused me after my first opera of being a Wagnerite, one that could do nothing in a light and popular style." The opera was composed, ac- cording to him, between January 5 and May 30, 1866; but Ottokar Hostinsky recalls the fact that in 1865 Smetana had performed frag- ments from a comic operetta, and Teige goes further and says the work was begun as far back as May, 1863.