CARNEGIE HALL, NEW YORK, Boston Symphony Orchestra. Mr. WILHELM GERICKE, Conductor. Fifteenth Season in New York. PROGRAMMES OF THE Fourth Concert THURSDAY EVENING, FEBRUARY 21, AT 8.15 PRECISELY, AND THE Fourth Matinee SATURDAY AFTERNOON, FEBRUARY 23, AT 2.30 PRECISELY. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. (i) Established Established 1823 1823 <£f) tettertitg PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever R 1: PRESENTED B Y JOHN WANAMAKER, New York, N.Y. (2) BOStOn . CARNEGIE HALL, Symphony i <. 7 Twentieth Season, 1900-1901. Fifteenth Season in New York. fir. WILHELH GERICKE, Conductor. FOURTH CONCERT, THURSDAY EVENING, FEBRUARY 21, AT 8.15. PROGRAMME. u Ludwig van Beethoven Overture to Fidelio," in E major, Op* 72 Franz Liszt - - Concerto for Pianoforte, No* I, in E-flat major u Charles Martin Loeffler The Death of Tintagiles " (suggested by the Drama by Maurice Maeterlinck), Symphonic Poem for Orchestra and two Violes d'Amour obbligate* (The Violes d* Amour by Mr. FRANZ KNEISBL and Mr. C. M. LOEFFLER.) Hector Berlioz Fantastic Symphony, No* J, in C major, Op* \6 A I. DREAMS-PASSIONS: Largo (O minor) ------ 4-4 Allegro agitato e appassionato assai (C major) 4-4 (2-2) II. A BALL: Waltz : Allegro non troppo (A major) - - 3-8 III. SCENE IN THE FIELDS: Adagio (F major) - - 6-8 IV. MARCH TO THE SCAFFOLD: Allegretto non troppo (G minor and B-flat major) 4-4(2-2) V. WALPURGISNIGHT'S DREAM: Larghetto (C major) - 4-4 Allegro (E-flat major, C minor, and C major) 6-8 The Pianoforte is a Steinway. SOLOIST: Miss ADELE AUS DER OHE. There will be an intermission of ten minutes before the symphony. For the Programme of the Fourth Matinee, Saturday afternoon, February 23, see page 21. (3) EVERETT PIANOS GRAND AND UPRIGHT DISTINCT ART CREATIONS IMITATING NONE, BUT POSSESSING INDIVIDUAL QUALITIES WHICH MAKE THEM THE BEST NOW MANUFACTURED Everett Warerooms 141-143 Fifth Avenue, near 21st. Street NEW YORK BOSTON CINCINNATI CHICAGO Overture to "Fidelio," in E major, Opus 72. Ludwig van Beethoven. (Born in Bonn on Dec. i6(?), 1770; died in Vienna on March 26, 1827.) Fidelio, oder die eheliche Liebe, opera in three acts, the text by Joseph Sonnleithner, the music by Beethoven, was first brought out at the Theater an der Wien in Vienna on November 20, 1805. The libretto was adapted from Jean-Nicolas Bouilly's Lfonore, ou I } amour-conjugal, which had already been twice set to music : first by Pierre Gaveaux, under the above title, given at the Opera-Comique in Paris on February 19, 1798; then by Fer- dinando Paer, as Leonora, ossia V amove conjugale, given in Dresden on October 3, 1804. Beethoven wished his opera to be called Leonore ; but it was never given otherwise than as Fidelio. At its first performances it was preceded by the overture in C major now generally known as the overture to Leonore No. 2. The opera was withdrawn after the third performance. As it had been considered too long, Beethoven dropped three numbers from the score and gave the libretto to Stephen Breuning, who reduced it to two acts. In this remodelled version the opera was revived at the Imperial Privat-Theater in Vienna on March 29, 1806, with the overture in C major now generally known as the Leonore No. 3. It was again withdrawn, after the second performance. It was to have been given in Prag in 1807, for which performance Beethoven wrote a new overture, probably the one in C major now generally known as the Leonore No. 1, opus 138 ; but the per- formance never came off, and the overture did not see the light until years after Beethoven's death. In 18 14 the libretto was again revised by Fried- rich Treitschke and the score remodelled by the composer. In this last form the opera was again revived at the Karnthnerthor Theater in Vienna on May 23, 18 14, with the overture in E major, now generally known as the overture to Fidelio. This is the overture played at this concert. cA Tonic and Nerve Food Horsford's Acid Phosphate. Half a teaspoon in half a glass of water affords quick relief when depressed, or weary from overwork, worry, insom- nia or other nerve-destroying conditions. Imparts new life and vigor to brain and body. Sold by Druggists in original package only. (5) WISSNER* SKSh"? pianos USED BY EMINENT ARTISTS Main Offices and Warerooms, Wissner Hall, Fulton Street and Flatbush Avenue. Factories, 1078-1088 Atlantic Avenue, Brooklyn, N.Y. ».*».* %v %*%* •.<* Branch Warerooms : New York, Newark, Jersey City, New Haven, and Bridgeport. m It begins with four measures of Allegro, based on the initial figure of the first theme of the principal movement. This brisk little prelude is followed by a slow introduction, Adagio in E major (2-2 time), based on a sighing figure in the wind instruments, interrupted after the eighth measure by a return of the opening Allegro. The main body of the over- ture, Allegro in E major (2-2 time), opens with the first theme, given out by the second horn and answered by the clarinet and bassoon; the develop- ment is exceedingly brief and soon makes way for a more violent first subsidiary in the full orchestra. The second theme soon appears in the dominant, B major ; a little sigh in the horns, answered by nervous figures in the strings. This is followed in turn by some fortissimo subsidiary passage-work in the full orchestra which serves as a conclusion-theme. The free fantasia is short, and runs wholly on the first theme, which soon comes in its entirety in the tonic at the beginning of the third part. This is quite regular, the second theme coming in the subdominant, A major The development of the conclusion-theme is, however, considerably ex- tended and leads to a brief return of the introductory Adagio, which is followed by a long and brilliant coda, Presto (2-2 time), based on a work- ing-up of the first theme in resounding climax. None of the thematic material of this overture appears in the opera. The overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 1 pair of kettle-drums, 2 trombones, and the usual strings. The score bears no dedication. Concerto for Pianoforte, No. 1, in E-flat major . Franz Liszt. (Born at Raiding, near Oedenburg, Hungary, on Oct. 22, 181 1 ; died at Bayreuth on July 31, 1886.) The first performance in Boston of this concerto was by Alide Topp, at an afternoon concert in the first Triennial Festival of the Handel & Haydn Society, on May 9, 1868. Since then, it has been played by nearly all the great pianists who have visited our city. The form of this concerto is so wholly free that a technical analysis of it is exceedingly difficult. Like most of Liszt's symphonic poems, the composition presents the exposition and development of a few pregnant themes which undergo many modifications of tempo and rhythm. It was one of the most prominent characteristics of Liszt's style to take three or four themes, and work them out — either together or in alternation — so changing the rhythm, harmony, and modality of each and all of them that their whole expressive character was constantly altered. In this concerto we find four leading themes. The first is given out by the strings — interrupted by resounding chords in the wind instruments — at the very outset. The second is first given out somewhat later (Quasi Adagio in B major) by the muted 'celli and double-basses, and then elaborately worked up by the pianoforte. (It had already been hinted at (7) in some free developments on a melodic phrase by the solo instrument ; but only appears in its true shape when given out by the muted strings as an Adagio!) The third comes — Allegretto vivace — as a sort of scherzo in the strings, each phrase being followed by little rhythmic strokes on the triangle. The fourth, which is rather a response to the principal phrase of the second than a separate theme by itself, keeps cropping up in many parts of the concerto : at first only in various orchestral instruments, but later in the pianoforte. Still a fifth theme appears in the strenuously worked-up coda ; but not until all but the first have been exhausted. It is little more than exuberant passage-work. These four themes, with other subsidiaries derived from them, are announced and worked up without any regard to traditional musical forms. The development, now in the solo instrument, now in the orchestra, is constantly interrupted by cadenzas. Still one cannot say that the con- struction of the work is really incoherent; one can even detect a certain division of the composition into separate movements — though not at all on traditional lines. To indicate the principal themes themselves, and their various transformations, would be impossible without the aid of musical notation. The orchestral part of the concerto is scored for i piccolo-flute, 2 flutes, 2 oboes, 2 clarinets, 2 horns, 2 trumpets, 2 bassoons, 3 trombones, 1 pair of kettle-drums, triangle, cymbals, and the usual strings. The score is dedicated to Henri Litolff. " The Death of Tintagiles," Symphonic Poem after the Drama of Maurice Maeterlinck . Charles Martin Loeffler. (Born at Muhlhausen-on-the-Rhine on Jan. 30, 1861 ; still living in Boston, Mass.) La Mort de lintagiles was written originally as a symphonic poem with Firm established in the year STECK 1857.