MUSIC HALL, BOSTON. BOSTON SYMPHONY ORCHESTRA, ARTHUR NIKISCH, Conductor. Tenth Season, 1890-91. PROGRAMME OF THE Twentv-iirst Rehearsal and Concert J FRIDAY AFTERNOON, APRIL 3, AT 2.30. SATURDAY EVENING, APRIL 4, AT 8.00. WITH HISTORICAL AND DESCRIPTIVE NOTES PREPARED BY G. H. WILSON. PUBLISHED BY C. A. ELLIS, Manager. (641) MASON & HAMLIN HALL. -THIRD- Chamber Concert, Wednesday Evening, April 8, At 8 o'clock. ARTISTS . Mrs. ARTHUR NIKISCH, Mr. T. ADAMOWSKI, Mr. ARTHUR FOOTE, AND OTHERS. PROGRAMME INCLUDES " < Andsinte from ?uintett," • • Chadwick Violin Sonata, • • • Foote Trio No. 2, • • • Mendelssohn " Trio from The Deluge," • • . Saint-Saens Tickets on sale at Mason & Hamlin Warerooms, 155 Tremont Street. (642) TWENTY-FIRST REHEARSAL AND CONCERT. Friday Afternoon, April 3, at 2.30. Saturday Evening, April 4, at 8.00. PROGRAMME. Rubinstein - Overture, "Antony and Cleopatra" (FIRST TIME IN BOSTON.) - - Liszt . Concerto for Pianoforte, No. 2, in A major Lalo - - Rhapsody for Orchestra, in A Svendsen - - - - - Symphony No. 2, in B-flat, Op. 15 Allegro. Andante sostenuto. Intermezzo (Allegro guisto). Finale (Andante ; Allegro con fuoco). Soloist, Mr. ARTHUR FRIEDHEIM. THE PIANO USED IS A STEINWAY. The Programme for the next Public Rehearsal and Concert will be found on page 667. (643) : SHORE LINE BOSTON TO NEW YORK NEW YORK TOI U BOSTON Trains leave either city, week-days, as follows, except as noted DAY EXPRESS at 10.00 a.m. Arrive at 4.30 p.m. AFTERNOON SERVICE at 1.00 p.m. Arrive at 7.30 p.m. Dining Car beween Boston and New London. "GILT EDGE" LIMITED at 5.00 p.m. Daily, Sundays included, and arrive 1 1 p.m. Dining Car between Boston and New London. The last trains between the two cities to leave and arrive at termini the same day. MIDNIGHT EXPRESS at 12.00 o'clock. Daily, Sundays included, and arrive at 7.00 a.m. The LAST TRAIN from either City. Wagner Drawing-room Cars on Day Trains. Compartment Sleeping Cars on Night Trains^ Trains]leave Boston from Park Square Station ; New York, from Grand Central Station. J. R. KENDRICK, Gen'l Manager. GEO. L. CONNOR, Gen'l Pass'r Agent. OLID OOLOITY RAILROAD. Royal Blue Line for Washington. BALTIMORE & OHIO R.R. FOR BALTIMORE, CHICAGO, WASHINGTON, ST. LOUIS, CINCINNATI, INDIANAPOLIS, COLUMBUS, PITTSBURG. Only Line Yia Washington to the West. Two Through Trains Daily to Chicago, Cincinnati, and St. Louis Without Change. Six Fast Trains Daily to Washington. Magnificent Pullman Palace, Drawing-room and Sleeping Cars ON ALL TRAINS. NEW YORK TO WASHINGTON IN FIVE HOURS. CHAS. O. SCULL, Gen 1 Pass'r Agt., A.J. SIMMONS, New Eng. Pass'r Agt. Baltimore, Md. 211 Washington St., Boston, Mass. C. P. CRAIG, Gen'l Eastern Pass'r Agent, New York. (644) Overture, "Antony and Cleopatra," Op. 116. Rubinstein. This new overture Rubinstein wrote last summer at Badenweiler, Ger- many. It is scored for full modern orchestra, including harp, great drum, cymbals, triangle, and tambourine. Written in extended overture form, it is a notable example of Rubinstein's fluent instrumentation, and, so far as relates to the melody which the hearer will doubtless associate with Cleo- patra, his lavish and sensuous coloring with its tinge of Orientalism. Three prominent themes are used : a bold, noble phrase typical of Antony in his best estate, a languorous melody which pictures Egypt's Queen, and a broad fanfare, which, it may be, stands for the symbol of Octavius. Rubin- stein writes on the title of the work, " Overture to the Tragedy of Antony and Cleopatra." It is left for the hearer of the music to say how the master has presented his Shakespeare. "The overture opens with an animated yet at the same time stately theme for clarinet, accompanied by bassoons and full brass. The foregoing is repeated (full strings and wind) in a true heroic vein, and followed by an agitated episode, first growing up to a climax and then falling away from it. This episode is three times given. At its close we have an abrupt transi- tion to the key of E major, and the appearance of a broadly phrased theme, supported by sustained chords (wind and string) and accompanied by the harp. The new subject goes on to a close in its proper key, yielding place to another (un poco animato), in which strong feeling prevails. A lead now begins to a return of the first subject, played by first violins, violas, and 'celli, and given in association with the second subject allotted to remain- ing violins and wind. The agitated episode follows as before, the broad second theme continuing. A full close in E major is 'interrupted' by the sudden entrance of four trumpets in C. Upon love's dalliance, we may LP. HOLLANDER & CO. 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(646) ; suppose, breaks the blast of war. This is taken up as a subject for devel- opment in a lengthened episode, perhaps a suggestion of the battle of Actium, as the rushing scale passages for strings at its close may refer to Cleopatra's flight, with Marc Antony in her train. " Once more we hear the broad second theme, now in F major (oboe), with accompaniment for harp, triangle, and tambourine. It is followed by a broken and melancholy passage, which one instinctively connects with Antony's self-reproach and humiliation. Soon the passionate third theme is heard again, but now in fragments only — a wreck of its former self — till, after a short violin cadence, it comes complete from the 'celli (in G-flat), once more combined with the broad second subject, while tremulous har- monies pervade the orchestra. " It may be permitted to suppose here that the Egyptian siren has again cast her spell over the doomed ' master of half the world.' Once more the warlike trumpets (now in D-flat) break in, and for some time the passage they play — a fragment of the leading theme — and the agitated episode follow each other round and round, through various keys, till again rushing scale passages bring the turmoil to a close. The story, as told in the over- ture, has now, presumably, reached its ultimate crisis of defeat and dis- honor ; but the composer does not go on to the denouement of self-inflicted death. On the contrary, he prefers an apotheosis of passion ; and, yet again, the two themes, so often associated, mingle together, the 'celli having that of Antony, the violins and violas that of Cleopatra. This ended, the trumpet passage marks the beginning of a short coda, which is a blaze of triumph." Old violins, VIOLAS and 'CELLOS, Artist Italian Strings, Imported Silver G's. ARTIST BOWS By Knopf, Gand, Tubbs, Lamy, &c. Sole Agent for the BARZONI VIOLINS AND VIOLONCELLOS. All styles of Plush Lined Leather Boxes, Paris Rosin, Sarasate G Strings, Weichold Tested Strings, etc. instruments taken in exchange and sold on instalments. Artistic repairs by my own workmen. Spe- cialty of bridges and bass-bars. Bows rehaired. Received from Europe a Domenicus Montagnana, 1730; Andreas Guarnenus, Pranciscus Ruggeri, Tommaso Carcassi, 1773 ; Amati freres, G. B. Gabrielli, 1777 ranonno, 1780; Lupot, etc., etc. "' * FREEMAN A. OLIVER, Winter Street, Rooms 8 and 9, Chandler's Building, near Music Hall. (647) Concerto for Pianoforte and Orchestra, No. 2, in A major. Liszt. Adagio sostenuto assai.— A major, 3-4. V istesso tempo.— D minor. Allegro agitato assai.— B-flat minor, 6-8. Allegro moderato.— E major and D-jlat major, C. Allegro deciso. — D-jlat major ; i.e., C-sharp major. Marziale.— A major, 4-4. Strctto.— A major, C. This concerto, in A major, is a product of Liszt's best period. In it, the composer deliberately breaks away from the established concerto form, even to a greater extent than in his first concerto. Whatever might be said by followers of the more conservative school, this composition will always remain a masterpiece, and an interesting type of Liszt's individuality as a musical genius, and of that school of pianoforte music of which he was the creator. It also affords a thorough insight into his rare and brilliant skill as a master of orchestral resources. Its themes are fine and poetical in character on the one hand, and im- j pressively rhythmical and dignified on the other. These are developed with logical clearness and with refined spirituality of sentiment, and, though treated in free form, in which thematical development becomes of primary importance, are linked together with masterly power into a homogeneous whole of the profoundest interest and without a trace of conventionality. The concerto progresses uninterruptedly. The tempi change frequently, but the original themes constantly reappear under different aspects and ever in some new shape,— now peaceful, now heroic, now with passionate fire, now with soulful tenderness, and intermingled with that brilliant and graceful ftoritura and cadenza work which so distinctly and characteristi- cally mark the compositions of Liszt.