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Peter Ilyitch Tschaikowsky Symphony No. 6, in B minor, " Pathetic," Op. 74 (Repeated by request.) I. Adagio (B minor) ______ 4-4 Allegro non troppo (B minor) - 4-4 II. Allegro con grazia (D major) - 5-4 III. Allegro molto vivace (G major) - - - 4-4 (12-8) IV. Finale: Adagio lamentoso (B minor) - - - 3-4 Camille Saint-Saens Air: "Mon ccenr s'onvre a ta voix," from "Samson et Dalila" Henri Vieuxtemps - - Concerto for Violin, No. 4, in D minor, Op. 31 _ I. Introduzione : Andante (D minor) _ _ 4-4 Moderato (D minor) - 4-4 II. Adagio religioso (E flat major) - 12-8 III. Scherzo: Vivace (D minor) - 3-4 Trio : Meno mosso (D major) - 3-4 - IV. Finale marziale : Andante (D minor) - - 4-4 Allegro (D major) - 2-2 Benjamin Godard - Orchestral Snite from " Jocelyn," No. 1 (First time at these concerts.) I. Prelude : Adagio (G minor) - 3-4 " " II. Entr'acte, In the Mountains : Moderato quasi Allegretto (B-flat major) - 4-4 III. Entr'acte Gavotte : Andante (A minor) - - 2-4 IV. Carillon : Moderato (A major) - 4-4 SOLOISTS: Mme. KATE ROLLA and Mr. M. MARSICK. (515) L. P. Hollander & Co. GLOVES Ladies' Evening Gloves GLACE AND SUEDE, IN ALL LENGTHS Men's Evening Gloves Children's Gloves a Specialty OPENING MONDAY OF OUR New Cotton Dress Goods For the Opera Season. GEM DEPARTMENT. IAMOND SUNS, IAMOND STARS, IAMOND RINGS, D IAMOND BROOCHES. Our assortment of Choice Diamonds and Colored Gems can- not be surpassed in this city. Resetting of Gems in artistic mountings by experienced work- men. French and Vienna Fans. ENTIRELY NEW DESIGNS. Opera Glasses. Fancy Hair Ornaments. A. STOWELL & CO., 24 Winter Street. (516) Symphony No. 6, in B minor, " Pathetique," Opus 74. Peter Ilyitch Tschaikowsky. This symphony was published and performed very shortly before his death. It is supposed that he meant the last movement, Adagio lamentoso, to be his own Requiem. The first movement opens with a brief introduction, Adagio in B minor (4-4 time), based upon a slow version of a figure taken from the first theme of the ensuing Allegro. This is given out in the lower register of the bas- soon, against dark, sombre harmonies in the violas, 'celli, and double- basses. The main body of the movement, Allegro non troppo in B minor (4-4 time), opens with the exposition of the strenuous, sighing first theme in four-part harmony, at first in the divided violas and 'celli, then in the flutes and clarinets. This theme is then concisely developed by the strings, and followed by a first subsidiary, first given out pianissimo by the strings, and then developed in double counterpoint by them and the wood-wind. Here we have a good example of Tschaikowsky's love for sharp contrasts : at first the contrast is one of color, between the warm brown, so to speak, of the violas and 'celli, and the brighter tints of the flutes and clarinets, in the exposition of the first theme ; then comes the contrast in rhythmic and melodic character, between the lightly skipping upper and middle voices, and the smoothly flowing bass of the subsidiary — a contrast which well fits this latter for being developed in double counterpoint. The con- trapuntal development of the subsidiary is followed by a long crescendo climax of passage-work for fuller and fuller orchestra on figures from the ATonk FOR BRAIN-WORKERS, THE WEAK AND DEBILITATED. Horsford's Acid Phosphate Is, without exception, the Best Remedy for relieving Mental and Nervous Exhaustion ; and, where the system has become debilitated by disease, it acts as a general tonic and vitalizer, affording sustenance to both brain and body. Dr. E. 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When this long climax, which has almost the char- acter of actual working-out, has reached its apex, a decrescendo sets in, with solemn harmonies in the trombones and tuba, over a restless, nervous bass in the 'celli ; a cantabile phrase in the latter now leads over to the second theme almost exactly in the way we find in some of Weber's overtures. The tempo now changes to Andante ; the key is D major (relative major of the tonic). The muted first violins and 'celli sing the cantilena of the sec- ond theme " teneramente, molto cantabile, con espansione " in octaves, against gently swelled and diminished harmonies in the lower wood-wind and horns. The second subsidiary, Moderato mosso in D major, follows hard upon it, a gracefully rising and falling phrase given out alternately by the flute and the bassoon, over a string accompaniment in a strongly marked rhythm. The development of this second subsidiary is very extended, and leads at last to a strong return of the second theme, sung in double octaves by the violins and violas, now unmuted, against a homophonic accompani- ment in repeated triplets (so-called " Gounod triplets ") in the other strings, wood-wind, and horns. This melody is now furiher developed than at first, an augmentation of one of the figures from the first theme assuming more and more importance as a counter-theme, and at last almost the character of a conclusion-theme. Recitative-like repetitions of parts of the second theme by the clarinet, over soft chords in the strings and a subdued roll in the kettle-drums, bring the first part of the movement to a close. So far, the general principles of the sonata-form have been well adhered to, although the development has been somewhat excessive and over-elabo- rate for the first part of a symphonic movement. But, from this point on, nearly all traces of sonata-form are lost, and the rest of the movement might be called a long free fantasia ; in this respect the movement resem- bles the first in Schumann's D minor symphony, which also is wanting in New England Conservator!] of music FOUNDED IN 1853 BY DR. EBBN TOURJEE. RICHARD H. DANA, President. CARL FAELTEN, Director. The Leading Conservatory of America. The Most Perfect in Its The Most Complete in all EQUIPMENTS. DEPARTMENTS. In addition to its unequalled musical advantages, the Conservatory contains excellent schools of Elocution and Modern Languages. Send or call for Prospectus. F. W. HALE, General Manager, . Franklin Square, BOSTON, MASS. (519) a third part. To be sure, this movement of Tschaikowsky's is not wholly wanting in, at least rudimentary, indications of a third part : after the long and elaborate 'free fantasia proper, in which nearly all the thematic material of the movement is thoroughly worked out, the first theme does at last re- turn ; but by no means in its original shape, and not in the tonic.