INFANTRY HALL, PROVIDENCE. Boston Symphony Orchestra. Mr. WILHELM GERICKE, Conductor. Seventeenth Season in Providence. PROGRAMME OF THE FOURTH CONCERT WEDNESDAY EVENING, JANUARY 11, AT 8 SHARP. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C. A. ELLIS, MANAGER. (1) Steinway & Sons, flanufacturers \ 1 A fV^T m \ ^Z Grand and of PIANOSK 1 /\ I ^ \^J^ Upright Beg to announce that they have been officially appointed by patents and diplomas, which are displayed for public inspection at their warerooms, manufacturers to His Majesty, NICOLAS II., THE CZAR OF RUSSIA. His Majesty, WILLIAM II., EMPEROR OF GERMANY and THE ROYAL COURT OF PRUSSIA. His Majesty, FRANZ JOSEPH, EMPEROR OF AUSTRIA and KINO OF HUNGARY. Her Majesty, VICTORIA, QUEEN OF GREAT BRITAIN. Their Royal Highnesses, THE PRINCE AND PRINCESS OF WALES, and THE DUKE OF EDINBURGH. His Majesty, OSCAR II., KING OF SWEDEN AND NORWAY. His Majesty, UMBERTO I., THE KING OF ITALY. Her Majesty, THE QUEEN OF SPAIN. His flajesty, Emperor William II. of Germany, on June 13, 1893, also bestowed on our Mr. William Steinway the order of The Red Eagle, III. Class, an honor never before granted to a manufacturer. The Royal Academy of St. Caecilia at Rome, Italy, founded by the celebrated composer Pales- trina in 1584, has elected Mr. "William Steinway an honorary member of that institution. The following is the translation of his diploma : — The Royal Academy of St. Concilia have, on account of his eminent merit in the domain of music, and in conformity to their Statutes, Article 12, solemnly decreed to receive William Steinway into the number of their honorary members. Given at Rome, April 15, 1894, and in the three hundred and tenth year from the founding of the society. Alex. Pansotti, Secretary. E. Di San Martino, President. ILLUSTRATED CATALOGUES HAILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms, Steinway Hall, - - 107-111 East 14th Street, New York.< M. STEINERT & SONS CO„ Sole Representatives, 327 and 329 Westminster Street, J> J> J> Providence, RJ. (2) BoStOn INFANTRY HALL, Symphony m providence. ^•^ g '^ Eighteenth Season, 1898-99. I 1 fCnG^T ITU Seventeenth Season in Providence. Mr. WILHELM GERICKE, Conductor. FOURTH CONCERT, WEDNESDAY EVENING, JANUARY 11, AT 8 SHARP. PROGRAMME. Johannes Brahms - Symphony No. 3, in F major, Op. 90 I. Allegro con brio (F major) - 6-4 II. Andante (C major) - 4-4 III. Poco Allegretto (C minor) - 3-8 IV. Allegro (F minor) ------ 2-2 "' Jules Massenet - - Air, "Vision Fugitive," from " Herodiade Antonin Dvorak Symphonic Variations on an Original Theme, Op. 78 Songs with Pianoforte. a. Robert Franz ______ "Marie" " b. Peter Cornelius ------ " Ein Ton c. Gabriel Faure' ----- "Rencontre" " d. Hatton --,-'.--- " To Anthea " . j a. Minuet of Will-o'-the-Wisps ) from The Damnation of uectorn n ,, bernozp a „i in„ j b Waltz of gylphs | Faust," Op. 24 " Richard Wagner - Prelude to " The Master Singers of Nuremberg SOLOIST, Mr. THEODORE BYARD. The Pianoforte is a Steinway. (3) JPIANO. GRAND AND UPRIGHT. Highest Possible Grade. Unlimited Time Warranty. EVERETT PIANO CO., Boston NEW YORK, 141-143 Fifth Avenue, near 21st Street. CHICAGO, 200-204 Wabash Avenue. CINCINNATI, Fourth and Elm Streets. (4) . Symphony No 3, in F major, Opus 90 ... Johannes Brahms. (Born in Hamburg on May 7, 1833; died in Vienna on April 3, 1897.) This symphony appeared in 1884. The first movement, Allegro con brio in F major (6-4 time), has, like the whole of Schumann's symphony No. 2, in C major, opus 61, the peculiarity of a frequently recurring phrase of evi- dent thematic significance, although it is not one of the regular themes of the movement. Yet with this difference, that the theme in Schumann's symphony is to be regarded as a sort of musical motto to the whole work, whereas this one of Brahms's is plainly the counter-theme of the first theme of the movement. The main body of the movement begins immediately, and without introduction, with the announcement of this phrase in the wind instruments in full harmony, followed by the announcement of the real first theme by the violins in octaves, over harmony in the violas, 'celli, and trombones, with the counter-theme as a bass in the double-basses and double-bassoon. Now the striking peculiarity of this juxtaposition of theme and counter-theme, which would otherwise have little to attract the attention, is that the one is in F minor, while the other is in F major. The first figure of the theme runs on the notes of the chord of F major (F, C, A, F, C, in descending, with a short passing G) ; the phrase which con- stitutes the counter-theme is F, A-flat, F, in ascending. Thus the A-natural in the first measure of the upper voice makes a rank cross-relation with * the A-flat in the second measure of the bass ! This cross-relation, right * It is trDe that this cross-relation also occurs in the initial announcement of the counter-theme itself. The flutes, oboes, and third horn have the melodic progression F, A-flat; but the first chord is that of F major, with an A-natural in a middle voice, after which the A-flat in the upper voice comes in as undeniably " qtierstiindig." But the rankness of this cross-relation is here sufficiently toned down by the second chord (the one containing the A-flat) being an inversion of the diminished 7th. In the first two measures of the com- bined appearance of theme and counter-theme, however, no such harmonic palliation is to be found, and the cross-relation stands out as frankly as possible. HORSFORD'S . Acid Phosphate. 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The first theme starts in passionately and joyously, in the exuberance of musical life ; the counter-theme comes in darkly and for biddingly, like Iago's . O, you are well-tun'd now But I'll set down the pegs that make this music, As honest as I am, the idea being still further carried out by the second phrase of the theme suddenly shifting to the chord of D-flat major where the A-flat of the counter-theme is quite at home. The first theme is briefly developed, without our hearing anything more from the dread counter-theme ; but in the ensuing subsidiary passage it returns again (A, C, A, in the bass ; F, A-flat, F in the violins ; and the same later on in the bass), and gives the dominant coloring of the situation ; the counter-theme seems to be getting the upper hand ! But soon a truce is cried to the conflict : a modulation to A major brings in the melodious second theme sung by the clarinet against an accompanying phrase in the bassoon, over a double drone-bass in the lower strings. Then the violas and oboe (later the violas and flute) take up the melody, the strings coming in at the close with a brief antithet- ical phrase. All this second theme has been in 9-4 time ; its character is wholly cheerful and sunny. But immediately with the beginning of the Goff & Darling, Chickering & Sons, Emerson, Bush & Gerts, Newby & Evans, Spies, PIANOS ORGANS, Story & Clark. SHEET MUSIC, VIOLINS, BANJOS, AND MUSICAL MERCHANDISE. Moving, Tuning, and Repairing a Specialty. 276 WESTMINSTER STREET, PROVIDENCE, R.I. ••A PERFECT FOOD, as Wholesome as it is Delicious." BAKER'S COCOA A/ND CHOCOLATE The STANDARD for purity and excellence. 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The middle part, or free fantasia, is not very long, but is'quite elaborate, both first and second themes coming in for their share of the working-out, and the grim counter-theme being made the subject of some new melodic developments in the horn and oboe. The third part of the movement begins with a twice repeated rean- nouncement of the counter-theme in full harmony (F, A-flat, F, in the wood- wind, horns, trumpets, and strings ; and the same repeated in the trumpets, horns, trombones, and bassoons), making way for the announcement of both theme and counter-theme together, as at the beginning of the move- ment.