CARNEGIE HALL, NEW YORK. Boston Sympnony Orchestra Mr. WILHELM GERICKEt Conductor. Eighteenth Season in New York. PROGRAMMES OF THE SECOND CONCERT THURSDAY EVENING, DECEMBER 10, AT 8.15 PRECISELY, AND THE SECOND MATINEE SATURDAY AFTERNOON, DECEMBER J2, AT 2.30 PRECISELY. With Historical and Descriptive Notes by Philip Hale. Published by C. A. ELLIS, Manager. Established Established 1823 1823 <&t) (during PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever REPRESENTED BY JOHN WANAMAKER, New York, N.Y. BOStOn CARNEGIE HALL, Symphony* r $X Twenty-third Season, 1903-1904. Eighteenth Season in York. §\ *• sv \\ *y £^"f" f*<l New Mr. WILHELM GERICKE, Conductor. SECOND CONCERT, THURSDAY EVENING, DECEMBER 10, AT 8.J5 PRECISELY. PROGRAMME. Dohnanyi ........ Symphony in D minor I. Allegro ma non troppo. II.. Molto adagio. III. Scherzo: Presto. IV. Intermezzo : Andante poco moto. V. Finale: Introduzione, molto sostenuto ; Temacon variazione e Fuga. (First time in New York.) " " " Mozart . Aria, Parto, parto," from La Clemenza di Tito (Clarinet obbligato by Mr. V. Lebailly.) " Liszt . The Ideal," Symphonic Poem No. 12 " Handel . Scena, Sweet bird that shun'st the noise of folly," from " " L' Allegro, il Penseroso, ed il Moderato (Flute obbligato by Mr. A. Maquarre.) Brahms , . Academic Overture, Op. 80 SOLOIST: Mme. MELBA. There will be an intermission of ten minutes before the Lis2t number. 3 armonic Analysis A COURSE IN THE ANALYSIS OF THE CHORDS AND OF THE NON- HARMONIC TONES TO BE FOUND IN MUSIC, CLASSIC AND MODERN By BENJAMIN CUTTER. PRICE, POST-PAID, $1.25 npHIS book is designed for those who have studied Harmony and would apply it in their every-day musical life, in their playing and in their teaching. It is believed that by a careful study of this book one ma5T learn not only to analyze and to understand anything in the way of harmony that he may chance to meet in musical literature, classical or modern, but — what is far more important — through his heightened powers of comprehension he may be enabled to hear with greater understanding, to read at sight with more facility, and to play and sing with more intelligence. How to Study Kreutzer By BENJAMIN CUTTER. A HANDBOOK FOR THE USE OF VIOLIN TEACHERS AND VIOLIN STUDENTS HPHIS work presents, in the clearest manner, the principles - which should govern the student in his efforts to master the Kreutzer studies — those principles which the teacher ex- presses orally in the lesson-room and which are here collected in convenient form for reference and confirmation. Each study is taken up separately, and in its order ; its technical uses explained, and the method of overcoming its difficulties indicated. PRICE, POST-PAID, (CLOTH-GILT), 75 CENTS OLIVER DITSON COMPANY v v BOSTON CHAS. H. DITSON &. CO., New York J. E. DITSON &. CO., Philadelphia Symphony in D minor ..;.::: Ernst von Dohnanyi; (Born at Pressburg, Hungary, on July 27, 1877; now living at Vienna.) This symphony was performed for the first time at Budapest on Jan. 7, 1903. It was performed soon after at a concert of the Vienna Con- cert Society, and in October, 1903, by the Royal Orchestra, Berlin, under Weingartner. It is in five movements, and it is scored for these instruments: piccolo, 3 flutes (one interchangeable with a second pic- colo), 2 oboes, English horn, 3 clarinets (one interchangeable with bass clarinet), 3 bassoons, double-bassoon, 6 horns, 3 trumpets, 3 trom- bones, bass tuba (in the second movement a double-bass tuba), a set of 4 kettledrums, cymbals, big drum, triangle, glockenspiel, harp (two when possible), strings "(in plenty, —about 16 first violins, 16 second violins, 12 violas, to 'cellos, to double basses)." The symphony opens Allegro ma non troppo, D minor, 2-2. After two measures of introduction a theme is announced by horn and trum- pet with answer in violins. Theme and answer are repeated. After development the expressive song theme, B major, 3-2, is given to violas, accompanied by bassoons, 'cellos, and double-basses. It is then sung by clarinet. Fresh thematic material is then introduced in a section which opens with bassoons in octaves. After a crescendo and climax there is a return to the song theme, which is now given in another tonality to the oboe, and is then sung more passionately by violins and wood-wind instruments. There is much use of the subordinate themes. There is most elaborate development, and after a long pedal -point on A the chief theme, in D minor, is thundered out (///). There is a return to the song theme (strings), now forte and in combination with other thematic material. The coda begins poco meno allegro ; the pace is gradually quickened to the original tempo; and after the momen- tary appearance of the chief theme the movement ends pianissimo, A NEW SERIES OF NEW AND ORIGINAL CHAMBER MUSIC BY WELL-KNOWN COMPOSERS Arranged for various combinations of instruments. Used in all the leading Colleges and Academies in England Each Number, Price 50 Cents. Fifty-four Numbers in All. Send for Lists. Boosey & Company, 9 East \ 7th St., New York with strings (pizz.), harp, and at last drums, in a descending figure, against sustaining horns. The second movement, Molto adagio, A minor, 3-4, is of a rhapsodi- cal character after the Hungarian fashion. A melody is sung first by the English horn against strings (pizz.) and with constant rhythmical changes between 3-4 and 2-4. The violins have a more sustained and flowing theme in A major. Wind instruments introduce fresh and strongly rhythmed material, which is elaborated in minor and major. The music becomes more and more rhapsodic, with brilliant passages for solo instruments. There is a recapitulation of themes, and at last the English horn sings a phrase, now embroidered, of its first melody. The third movement is a scherzo, F major, Presto, 3-4, which is built on a short, heavy, ascending figure, announced at first by bas- soons, double-bassoon, 'cellos, double-basses. A short episode follows tranquillo, 5-4, with a flowing melody for first violins. The trio is in D-flat, 6-4, based on a long pedal. It is at first for wind instruments and drums. The coda is a poco piu presto, 2-4 and then 3-4. The fourth movement is an Intermezzo in B major for viola sola, accompanied by oboes, English horn, bassoons, double-bassoon, and strings. The chief theme is reminiscent of a melody in the preced- ing adagio, and there are hints at themes in the first movement. Finale. The movement begins in D minor, molto sostenuto, 4-4. There are reminiscences of what has gone before. The theme which is to be varied is in D minor, 2-2, allegro non troppo (strings). The variations are at first in strict style. The theme then appears in 'cellos and double-basses, with figuration in wind instruments. Brilliant variations for wind instruments with contrasting strings lead to a tranquillo, D major, 2-4, with a flowing variation for violas accom- THE FOUNDATION OF THE PIANO is a solid iron frame to support the twenty tons of strain from the strings, where other pianos have wood, which is affected by STECK weather. That foundation gives, and preserves, its wonderful tone. It makes it stay in tune. It makes the superior workmanship and materials worth while. It makes permanent the benefits of our forty-seven years of expe- rience. It makes it materially better than any other piano, and has won its title- "THE OLD RELIABLE" A catalogue for the asking. GEORGE STECK & CO., 136 FIFTH AVENUE, NEW YORK- PIANOS The largest and finest collection in America. A Request E Respectfully re- m quest all lovers of the violin to send for a copy of our beautifully print- ed brochure "The Lyon & Healy Collection of Fine Violins." It contains a list of solo instruments now offered to the public at a surprisingly low range of prices. Several violins will be sent on selection. Monthly payments may be arranged. A formal guarantee of genuine- ness with each instrument. 20 ADAMS ST., CHICAGO panied by strings and a few wind instruments. In this section the theme is given alternately to other instruments. Other variations follow. The fugue subject, D minor, 4-4, is announced by horns. The fugue is worked out elaborately and at great length, with a free use of preceding material* The triumphant ending is in the major. * * Dohnanyi's father is a professor of mathematics and physics at the Pressburg Gymnasium, and he is said to be an excellent 'cellist. The boy, before he was three years old, showed unmistakable musical instincts, but his father waited until he was six, and then began to teach him the piano. The boy also studied the violin, and at a later period played the viola in quartets and in the orchestra. "His earliest attempts at composition date from his seventh year. He chose for his Christmas present a sheet of manuscript music paper, and in the early morning the child began to write down notes indiscriminately on the paper. The mere writing of music gave him the greatest pleasure. Tater on little compositions were evolved. The first that he remembers were seven pieces for violin and piano- forte, quite original. When his father laughingly played them with him, the little composer was quite indignant at such levity. Several smaller pianoforte pieces followed in the Lied form. All these com- positions were strictly correct in both harmony and form, although he had not received any theoretical instruction whatever." But let us leave the passionate biographer.