NEW STYLE A A. A prophet may be without honor in his own country, but the litem&l)smlm PIANOS, on the contrary, are held in the highest esteem by all who know them. Mr. George W. Chadwick, Director of the New England Conserva- tory of Music, says of these pianos: " I wish to express my great satisfac- tion with the Grand Pianos of your manufacture, which I am now using. The tone is very musical, and seems to improve with use. The action is particularly even and firm, and I have never had a piano which stood so well in tune. The piano seems to combine power and beauty of tone to a remarkable extent, and I congratulate you on the production of so fine an instrument." This is praise, indeed ; but that it is fully merited will be at once dis- covered by every who gives his attention to the subject. Illustrated Catalogue mailed on application. 146 Boylston Street. Boston Symphony Orchestra* MUSIC HALL, BOSTON. EIGHTEENTH SEASON, J> & & 1898-99. J> J> J> WILHELM GERICKE, Conductor. PROGRAMME OF THE TWENTY-FOURTH REHEARSAL and CONCERT WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP.^^e FRIDAY AFTERNOON, APRIL 28, AT 2.30 O'CLOCK. SATURDAY EVENING, APRIL 29, AT 8.00 O'CLOCK. PUBLISHED BY C. A. ELLIS, MANAGER. (889) Steinway & Sons, rianufacturers I | A l^k m V ^Z Grand and J of PIANOS/\1^W^ 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 Hajesty, 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 KING 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 riajesty, 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. Ccecilia 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 Maktino, President. ILLUSTRATED CATALOGUES HAILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms, Steinway Hall, - - 107-111 East 14th Street, New York. M. STEINERT & SONS CO., New England Representatives, 162 Boylston Street, Boston. (890) EIGHTEENTH SEASON, J 898-99. Twenty-fourth Rehearsal and Concert* FRIDAY AFTERNOON, APRIL 28, at 230 o'clock. SATURDAY EVENING, APRIL 29, at 8,00 o'clock. PROGRAMME. Ludwig van Beethoven - Overture to "Fidelio," Op. 72 Ludwig van Beethoven Recitative, "Abschbulicher ! " and Aria, " Komm', Hoffnung," from "Fidelio" Ludwig van Beethoven Symphony No. 9, in D minor (Choral), Op. 125 ORCHESTRAL Px\RT. I. Allegro, ma non troppo, un poco maestoso (D minor) 2-4 II. Molto vivace (D minor) ----- 3-4 Presto (D major) ------ 2-2 III. Adagio molto e cantabile (B-iiat major) - - 4-4 CHORAL PART (the text from Schiller's "Ode to Joy."). IV. Presto <D minor) ------ 3-4 Allegro assai (D major) ----- 4-4 Presto (D minor) ------ 3-4 - Recitative : Baritone (D minor) 3-4 Quartet and Chorus : Allegro assai 'D major) - 4-4 Tenor Solo and Chorus : Allegro assai vivace, alia Marcia (B-flat major) - 6-8 Chorus : Allegro assai (D major) - 6-8 - Chorus : Andante maestoso (G major) - 3-2 Adagio, ma non troppo, ma divoto (G minor) ------ 3-2 Allegro energico, sempre ben marcato (D major) - 6-4 Quartet and Chorus : Allegro, ma non tanto (D major) - 2-2 Prestissimo (D major) - 2-2 SOLOISTS: Mme. CLEMENTINE DE VERE. Miss GERTRUDE MAY STEIN. Mr. EVAN WILLIAMS. Mr. ERICCSON BUSHNELL. Chorus of members of the Cecilia. Patrons unable to remain until the close of the concert are politely requested to leave the hall during a pause in the programme. (891) L. P. HOLLANDER & CO. PARASOLS. Guaranteed exclusive styles. Most popular lines from $4.50 to $10.00. Parasols made to order from our choice assortment of silks without extra charge. Imported novelties from London and Paris in Coaching and Carriage Parasols At very reasonable prices. 202 to 212 Boylston Street and Park Square. Fresh as the Chicken from the Egg- St. Clair's Chocolates and Caramels. Only 'Wui Fresh Goods Served at Corner Temple Place and Washing- ton Streets* 89-'; 1 " Overture to Ftdelio," Opus 72 ... Ludwig van Beethoven. (Born at Bonn on Dec. 16, probably 1770; died in Vienna on March 26, 1827.) Fidelia, 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 Leonore, ou Vamour conjugal, which had already been twice set 10 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 I'amore conjugate, 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 oveiture 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. 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 HORSFORD'S • • • Acid Phosphate. Recommended and prescribed by physicians of all schools, for Dyspepsia, Nervousness, Exhaustion, and all diseases arising from imperfect digestion and derangement of the nervous system. Taken before retiring, induces refreshing sleep. Pleasant to the taste. For sale by all Druggist*. 893 V. Ballard & Sons. Riding Habits IN ALL GRADES FOR LADIES AND HISSES. Skirts cut for either side saddle or astride. 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Perfect satisfaction guaranteed Repairer for the Boston Symphony Orchestra- (894) 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 sub-dominant, 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.