DOSiOll Music Hall, Boston. Symphony — | TH1RTE SEASON. Orchestra 189S94 EMIL PAUR, Conductor. PROGRAMME OF THE Fifteenth Rehearsal and Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Friday Afternoon, February 16, At 2.30 o'clock. Saturday Evening, February 17, At 8 o'clock. PUBLISHED BY C. A. ELLIS, MANAGER. (505) V (506) Fifteenth Rehearsal and Concert Friday Afternoon, February 16, at 2.30. Saturday Evening, February 1 7, at 8.00, PROGRAMME. Johannes Brahms - Symphony No. 2, in D major, Op. 73 I. Allegro non troppo (D major) - 3-4 II. Adagio non troppo (B major) __•_- 4-4 III. Allegretto grazioso (Quasi Andantino) (G major) 3-4 IV. Allegro con spirito (D major) - 2-2 Max Bruch - Romanza for Violin with Orchestra, in A minor, Op. 42 (First Time.) Camille Saint-Saens Concert Piece for Violin with Orchestra, in E minor, Op. 62 (First Time.) Emil Hartmann "A Northern Campaign, " Overture to a Tragedy, in F minor, Op. 25 (First Time.) Anton Rubinstein " Don Quixote," Musical Character-Picture (Humor- esque), Op. 87 (First Time.) Soloist, Mr. C. M. LOEFFLER. The programme for the next Public Rehearsal and Concert will be found on page 535. (507.) : MANUFACTURERS OF GRAND, T"^ QUARE AND V* UPRIGHT i 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. TSGHAIKOVSKY : Combines with great volume of tone rare sympathetic and noble tone color and perfect action. _ WAPFP nnMS« BALTIMORE, WASHINGTON, %% and 24 E. Baltimore Street. 817 Pennsylvania Avenue. NEW YORK, 148 Fifth Avenue. OLIVER DITSON COMPANY, Sole Ag'ts, 453-463 Washington St., Boston. E. W. TYLER, Manager. (509) Symphony No. 2, in D major, Op. 73 . Johannes Brahms. The first movement {Allegro non troppo, in DJimajor, 3-4 time) begins idyllically, the first theme being softly announced by the horns and wood- wind, the horns playing the first and third phrases, the wood-wind the second and fourth. The structure of this theme is regular enough, save that it does not come to any distinct closing cadence, but is enchained with what follows; yet the harmony and the shifting tonality give it a peculiarly vague, dreamy character. The first phrase, in the horns, is in D major over a dominant organ-point in the bass, but closing on a chord of the 6th instead of on the full triad of D ; the second phrase, in the wood-wind, is also in D major over a tonic organ-point in the bass, but closing on the chord of B minor ; the third phrase, again in the horns, is in E minor over an organ-point on E; and the fourth phrase, in the wood- wind, enters suddenly in D major again, without modulation of transition, BRAIN-WORKERS. 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A short crescendo leads to the entrance of the true first sub- sidiary, a staccato phrase in the oboes and horns, beginning in F-sharp minor, but continually modulating as it goes on. The cantabile second theme, a flowing melody in 3rds and 6ths, soon comes in in the violas and 'celli in F-sharp minor, and is developed at some length by the strings and wood-wind, leading at last to a strong second subsidiary in a livelier rhythm, in A major. This is followed by some cantabile passage-work, in which the first and second violins in octaves imitate the 'celli and double- basses, against a strongly marked syncopated rhythm in the violas, clari- nets, and horns, which might be accepted as a conclusion-theme, were it not that the real concluding period of this first part of the movement is represented by a return of the second theme, first in the violas and second violins against a florid counter-figure in triplets in the flute, then in the flutes, oboes, and clarinets against the same flowing figure in the violins. This first part of the movement is regularly repeated. With the exception of the strong second subsidiary and the ensuing imitative passage-work, this whole first part has been idyllic, almost pastoral, in character. With the free fantasia, which is quite long and very elaborate, the music soon assumes a more strenuous character, albeit idyllic moments are not wanting. After a well worked-up climax a descending scale-passage in the flute and clarinet, over sustained harmonies in the trombones and an New England Conservatory or music (FOUNDED BY DR. BBHN TOURJBH.) RICHARD H. DANA, President. CARL FAELTEN, Director. THE LEADING CONSERVATORY OF AMERICA. The Courses of Study insure a musical education of a broad and comprehensive nature. Thorough instruction for pupils of any prade in Pianoforte, Organ, and all Orchestral Instruments; in Solfeggio, Voice Building, Art of Singing, and in teaching music in Public Schools ; in Theory, Harmony, Counterpoint, ana Composition. The Orchestral Department affords unequalled opportunities for both Ensemble and Orchestral Practice under most efficient leadership. The Faculty have been chosen with reference not only to their standing as artists,* bat also with regard to their ability as teachers of the highest excellence. Teachers or Wihd Instruments are selected from among the members of the Boston Symphony Orchestra. Bond, for calendar or call at the institution. F. W. HALE, General Manager. Franklin Square, Boston, Matt. • During last season the following members of the Faculty appeared as soloists in these concerts MiM Louise A. Leimer, Messrs. Heinrich Meyn, George M. Nowell, Carl Stasny, and Leo Schuli. (5H) organ-point on E in the 'celli and basses, leads to the beginning of the third part. The first theme now enters in D major in the oboes and horns, with the same harmony and shifting of key as at first, but now accompanied by a florid counter-theme, taken from the figural variation that immediately followed the announcement of the first theme in the first part of the move- ment. Then comes the same passage-work as at first, now in , the wood- wind and somewhat extended, leading as before to mysterious harmonies in the horns, trombones, and tuba, after which the second theme appears in B minor in the violas and 'celli, but now accompanied by a new counter- figure in 3rds, played alternately by the violins and the flutes and clarinets. This second theme is followed, much as before, by the second subsidiary and the ensuing imitative passage-work, after which it returns once more with its florid counter-figure in triplets, and brings the third part of the movement to a close almost exactly like that of the first part. Except that the first subsidiary does not make its reappearance, this third part is a quite regular reproduction of the first, due allowance being made for occa- sionally more extended treatment. There is a longish coda, in which the hitherto neglected first subsidiary appears once more, and is developed at considerably greater length than in the first part of the movement. The second movement {Adagio non troppo, in B major, 4-4 time) opens thoughtfully, expressively, and solemnly with a phrase in the 'celli, accom- panied by solemn harmonies in the wind instruments, the melody at last passing into the violins. Some serious contrapuntal passage-work on a subsidiary figure leads to a well- contrasted second theme in 12-8 time (T Istesso tempo, ma grazioso), which enters in F-sharp minor in the wood- FINE SELECTED DIAMONDS. ALSO Diamond Jewelry. MORSE & FOSS, i 120 TREMONT STREET. 3 HAMILTON PLACE. ROOMS 233 AND 234. (512) wind and is taken up later by the strings. This theme, which is full of syncopations and chromatic harmony, soon makes way for a more flowingly melodious subsidiary (which, from its more extended development, might perhaps be called the true second theme of the movement) ; this is an- nounced by the strings, soon enriched by the addition of the wood-wind, and then worked up with considerable elaboration against flowing counter- point in sixteenth-notes.