CARNEGIE HALL, NEW YORK* Boston Symphony Orchestra. Mr. WILHELM GERICKE, Conductor. Thirteenth Season in New York. PROGRAMMES OF THE SECOND MATINEE WEDNESDAY AFTERNOON, DEC. 14, AT 2 PRECISELY, AND THE SECOND CONCERT THURSDAY EVENING, DEC. 15, AT 8.15 PRECISELY. With Historical and Descriptive Notes by William F. Apthorp. PUBLISHED BY C A. ELLIS, MANAGER, Steinway & Sons, I manufacturers M A [V | t \ ^1 Grand and of PIANOS\r rW^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 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. Mis 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. Crecilia 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 tiie translation qf his diploma: — The Iioyal 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 AVilliam 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 Mabtino, President. ILLUSTRATED CATALOGUES HAILED FREE ON APPLICATION. STEINWAY & SONS, Warerooms, Steinway Hall, - = 107=111 East 14th Street, New York, (2) " CARNEGIE HALL, BOStOn 2 NEW Y0RK - Symphony i C%rrY%(±C+*i* ^ Eighteenth Season, .898-99. \_/l ^llW^Ll CL Thirteenth Season in New York. Mr. WILHELM GERICKE, Conductor. Owing to the recent illness of Mr. Gericke, the performance will be given under the direction of Mr. Franz Kneisel. SECOND MATINEE, WEDNESDAY AFTERNOON, DEC. 14, AT 2. PROGRAMME. Franz Schubert ----- Symphony No. 9, in C major I. Andante (C major) ------ 2-2 Allegro, ma non troppo (C major) - - - 2-2 II. Andante con moto (A minor) - - - - 2-4 III. Scherzo: Allegro vivace (C major) - - 3-4 Trio (A major) 3.4 ______ IV. Finale : Allegro vivace (C major) - 2-4 Paganini - Concerto (in one Movement) for Violin, in D major Edward A. MacDowell Symphonic Poem, " Lanncelot and Elaine," Op. 25 (First time in New York.) Richard Wagner - - - Overture to " Tannhauser SOLOIST, Mr. WILLY BURMESTER. For the Programme of the Second Concert, to-morrow (Thursday) evening, December 15, see page 15* (3) Piano. GRAND and UPRIGHT. Highest Possible Grade. Unlimited Time Warranty. 141-143 FIFTH AVENUE, N.Y MANUFACTORY, BOSTON. CHICAGO, CINCINNATI, 200-204&Wabash Avenue. Fourth andlElm Streets, (4) . Symphony No. 9, in C major Fra-nz Schubert. (Born at Lichtenthal, near Vienna, on Jan. 31, 1797; died in Vienna on Nov. 19, 1828.) This symphony was written in March, 1828, and was never performed in Schubert's lifetime. Even the MS. score was wholly unknown until Robert Schumann discovered it in Vienna, some ten years after Schubert's death. The MS. bears signs of having been written at a single sitting; the only correction in it is the insertion of a few measures in the scherzo. The first public performance of the symphony was under Felix Mendelssohn at the Gewandhaus in Leipzig on March 22, 1839. The first movement opens with a long introduction, Andante in C major (2-2 time), the theme of which is announced at once by two horns in unison without any accompaniment. This theme is then very extendedly de- veloped by various orchestral combinations, the development sometimes assuming the character of actual working-out. So elaborate is this treat- ment of a single theme that one might well mistake it for the slow move- ment of the symphony, rather than the introduction to the first Allegro. At times during- this development, horn-calls are heard, in the rhythm of the dotted quarter and eighth — afterwards contracted to the dotted eighth and sixteenth, as other parts of the orchestra take up the figure — which give one at least a rhythmic hint at the first theme of the main body of the movement which is soon to follow. A resounding crescendo climax, full of impressive dissonances, leads up to the change of tempo. The main body of the movement, Allegro, ma non troppo in C major (2-2 time), begins immediately with the exposition of the first theme. This theme presents a persistent alternation of a strongly rhythmic phrase, 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 Druggists. (5) given out by, the strings, trumpets, and kettle-drums in octaves, with a 1 series of shimmering repeated triplets in the higher wood-wind against triplet arpeggjjin the bassoons and horns.^The theme is briefly exposed, not developed. It is followed by a far longer first subsidiary; extended imita- tive contrapuntal passage-work on a rising and falling scale-passage in the rhythm of the first figure of the first theme, in the strings, against an har- monic background of shimmering triplets in the wind. After some excur- sive modulations to related keys, this subsidiary closes with a fortissimo perfect cadence in the tonic. Two transitional measures, modulating to E minor, lead to the second theme, a jovial melody in 3rds and 6ths in the wood-wind against waving arpeggj in the strings. The development of this second theme, and of a subsidiary derived from it, is exceedingly long and elaborate ; it virtually amounts to working-out. Before it is over, a figure from the theme of the introductory Andante appears in the trom- bones as a sort of counter-theme. A short concluding passage, fortissimo in the full orchestra, brings the first part of the movement to an end. There is a repeat. Notwithstanding the unusual length and elaboration of the first part, the free fantasia is almost as long. In it all the thematic material is exhaustively worked-out, scraps of two or three different themes being at times treated in conjunction. The third part of the movement is a regular reproduction of the first, the second theme now coming in the tonic, C minor. There is a long and tumultuous coda, Piu moto, taken in great part from the composer's earlier overture in the Italian style in D major, and closing with a last reference to the theme of the Andante introduction. The second movement, Andante con moto in A minor (2-4 time), is in a form which approximates to that of the sonata and of the rondo. Seven introductory measures in the strings lead to the announcement of the quaint, march-like first theme by the oboe, and repeated by oboe and clarinet in unison. This is followed by a brief subsidiary in A major, and a stronger one in A minor. Perhaps it would be better to consider these subsidiaries as the second and third members of the first theme itself. The whole is then repeated with richer effects of harmonization, contra- puntal ornament, and instrumentation. Even a third repetition is begun, but is soon interrupted by a modulation to F major and the entrance of the second theme, which is developed at considerable length. A transitional passage of soft chords in the strings, answered by notes on the horns, leads to a repetition of all that preceded the second theme in the movement, this time with even greater elaboration of contrapuntal ornament than ,(6) before. The last repetition ot the third member of the first theme is extended somewhat after the manner of a free fantasia. An 1 episodic phrase in the 'celli, answered by the oboe, leads to a richly embroidered return of the second theme in the tonic, A major, leading to an extended coda on the first theme in A minor. The third movement, Scherzo : Allegro vivace in C major (3-4 time), is as exuberantly developed as all the others in the symphony. It is based upon the elaborate development and working-out of a brilliant principal theme with two more cantabile subsidiaries. The principal theme is treated throughout contrapuntally ; the first subsidiary appears in canon between the first violins and the 'celli ; the second, as a melodious episode, first in the wood-wind, then in. the violins (the one case in the whole symphony of a melodic cantilena being given to the violins ). There is a Trio in A ! major on a new theme ; most elaborately and extendedly developed. After the trio, the scherzo is repeated. The fourth movement, Finale : Allegro vivace in C major (2-4 time), is in the sonata-form usually applied to first movements. It opens with the brilliant first theme, two figures of which — the initial spring in the rhythm of the dotted eighth and sixteenth, and the softer triplet that follows it — are of persistent thematic importance in the movement. This theme, a sort of ideal heroic quick-step, is briefly developed ; a subsidiary of flowing, melodious passage-work follows — 3rds and 6ths in the wood-wind, with figural embroidery in triplets in the violins — and is developed in climax till a brief return of the first theme leads to the nervously energetic second subsidiary, which here has rather the character of a concluding member of the first theme itself.