" Boston Infantry HH Ha.ll, if Providence HH Orchestra EMIL PAUR, Conductor. First Concert, Wednesday Evening, October 24, At Eight. PROGRAMME. Beethoven ------- Overture, " Egmont Aria. Sgambati _-____-_ Symphony No. 1 I. Allegro vivace, non troppo (D major) - - 3-4 II. Andante mesto (G minor) ----- 6-4 III. Scherzo : Presto (B-flat major) - 3-4 Trio: Un poco meno (G-flat major) - - 3-4 IV. Serenata : Andante (D minor) - 2-4 V. Finale: Allegro con fuoco (D major) - 4-4 Schumann ----- Song, " The Two Grenadiers Rubinstein - - Ballet Music, "Daemon" Soloist, Mr. POL PLANCON THE PIANO IS A STEINWAY. (3) MANUFACTURERS OF GRAND, SQUARE, AND UPRIGHT 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 " Egmont," in F minor, Op. 84. Ludwig van Beethoven. Beethoven wrote the overture, entr'actes, and incidental music to Goethe's tragedy of Egmont in 1809-10; the work was first performed on May 24, 1810. The overture begins with a slow introduction (Sostenuto, ma non troppo, in F minor, 3-2 time). A strong hold on F by the whole orchestra in unison and octaves is followed by the announcement of a stern, tragic motive in the strings, somewhat in the rhythm of a stately saraband ; this is re- sponded to by a pathetic, sighing figure, developed in imitation by the oboe, clarinet, bassoon, first violins, and second violins, the harmony grow- ing fuller with the entrance of each successive voice, until the whole orchestra unites once more in unison and octaves on another fortissimo F. The whole orchestra then repeats the stern saraband motive, to which the wood-wind again respond with imitations on the sighing figure. Then, over tremulous harmonies in the second violins and violas and plain chords in the bassoons, horns, trumpets, and drums, the first violins, doubled by various wooden wind instruments, outline a new figure, while the 'celli and double-basses keep up the stern saraband rhythm in the bass. The main body of the overture {Allegro, in F minor, 3-4 time) begins with a hurried reiteration of the last figure of the introduction by the first violins and 'celli, and then all the strings precipitate themselves upon the first theme, a descending arpeggio-passage in the 'celli, each phrase of which the first violins end off with a sort of sigh ; the second member of this theme soon develops into passage-work, in steadily growing crescendo, which FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Horsford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion ; and, where the system has become debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. Cornell Easten, Philadelphia, Pa., says, " I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility and exhaustion." • Descriptive pamphlet free. 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The second theme now enters in A-flat major ; it is but a new version of the saraband theme with which the introduction opened, played, as then, by the strings, and responded to each time by a similar phrase in imitation in the wood-wind, although now in another rhythm. A second subsidiary in B major (wood-wind) leads almost immediately to some more passage-work, ending with a hint at the first subsidiary (in A-flat major), and making way for the entrance of the conclusion-theme in the same key. This theme consists of repetitions by various wooden wind instruments of a figure that recalls both the last figure of the violins in the introduction and the beginning of the first theme ; at every eighth meas- ure the whole orchestra interrupts its even flow with two crashing chords. This first part of the Allegro of the overture is followed by a short tran- sitional passage,— one cannot call it working-out,— which leads directly to the third part. This is almost a note-for-note repetition of the first part, up to where the conclusion-theme entered, save that the second theme now comes in D-flat major. Just where the conclusion-theme might be expected come some developments of the saraband-rhythm in the wind instruments, alternating with the first subsidiary in the strings, and some soft, long-sus- tained harmonies in the wood-wind lead to the coda. The coda {Allegro con brio, in F major, 4-4 time) is what might be called " " a dramatic," in contradistinction to the ordinary symphonic," coda ; it is built up of entirely new thematic material. It begins pianissimo with a short figure in the first violins, repeated over and over again in gradual crescendo over a close tremolo in the strings and a dominant organ-point in New England DonserYato (FOUNDED IN 1853 BY DR. BBBN TOURJEE.) RICHARD H. DANA, President. CARL FAELTEN, Director. The Leading Conservatory of America. Complete in all its departments. 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Especially noteworthy are the little shrill shrieks of the piccolo-flute, over the fanfare of the horns and trumpets, between the grand, crashing closing chords of the rest of the orchestra at the end. The overture is scored for 2 flutes (the second changing to piccolo in the coda), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 1 pair of ket- tle-drums, and strings.