PRoGRHAAE WW Chosen by the Government The War Department proposes to test the bicycle thoroughly for army, use, and recently advertised for proposals for fur- nishing five bicycles for the purpose. Result: Bids from $50 to $85 each for other machines; our bid of $100 each for Columbias, their invariable price. And the Government selected STANDARD OF THE WORLD The experts who made the choice decided that Columbias were worth every dollar of the $100 asked for them. If YOU are willing to pay $100 for a bicycle, why be content with anything but a Columbia? The handsome Art Catalogue that tells of Columbia and Hartford Bicycles is free from any Columbia agent ; by mail from us for two 2-cent stamps* POPE MANUFACTURING CO., 200 Boylston St., Boston, Mass. Branch Houses and Agencies in almost every city and town. If Columbias are not properly represented in your vicinity, let us know. , Boston ^ Music Hall, Boston. Symphony i ^ nrFIFTEENTHi cc SEASON, Orchestra 1895-96. EMIL PAUR, Conductor. PROGRAMME OF THE Twenty-fourth Rehearsal and Concert WITH HISTORICAL AND DESCRIPTIVE NOTES BY WILLIAM F. APTHORP. Friday Afternoon, May 1 At 2.30 o'clock. Saturday Evening, May 2, At 8 o'clock. PUBLISHED BY C. A. ELLIS, MANAGER. (837) : MANUFACTURERS OF GRAND, . SQUARE, AND UPRIGHT PIANOS EUGEN D'ALBERT: From fullest conviction, I declare them to be the best Instru- ments of America. ......... Dr. HANS VON BULOW: Their sound and touch are more sympathetic to my ears and hands than all others of the country. I declare them the absolutely best in America. ALFRED GRUNFELD: I consider them the best instruments oj our times. P. TSCHAIKOWSKY: Combines with great volume of tone rare sympathetic and noble tone color and perfect action. ....... WAREROOMS = BALTIMORE, WASHINGTON, 22 and 24 E. Baltimore Street. 1422 Pennsylvania Avenue. NEW YORK, 148 Fifth Avenue. OLIVER DITSON COMPANY, Sole Agents, 453-463 Washington St., BOSTON, E. W. TYLER, Manager. v 833, I4°3d and I4°4 ' h Pe"°raan«s Fifteenth Season, 1895-96-* „ 75 x st and, 752a Performances in Boston. Twenty-fourth Rehearsal and Concert Friday Afternoon, May i, at 2.30 o'clock. Saturday Evening, May 2, at 8.00 o'clock. WAGNER PROGRAMME. Overture to "Rienzi." A "Siegfried" Idyl. A "Faust" Overture. 1 Prelude to Act III. of "Lohengrin.' "Forest Sounds," from "Siegfried," Act II. Prelude and "Isolde's Love-Death," from "Tristan and Isolde.'' Prelude to "The Master Singers of Nuremberg." (.839; L. P. HOLLANDER & DO. PARASOLS. Guaranteed Exclusive Styles, Most Attractive Lines, $3.50 TO $7.50. High Novelties in Batistes, $5.50. Original Styles in Ladies' Fancy Neckwear MADE FROM OUR OWN MATERIALS. GLOVES FOR BICYCLING and DRIVING NEW SHADES IN LADIES' PIQUE AND PRIX SEAM GLOVES, For Wedding Gifts and Personal Adornment. Diamond Jewelry, Ladies' Belts, 50c. to $20.00. Sterling Table Silver, Waist Sets and Sleeve Links, 50c. to $25.00. Rich Cut Glass, Umbrellas and Sunshades, Ornamental China, $1.00 to $12.00. Crystal and China Fans, Clocks. 50c. to $10.00. A. STOWELL & CO., 24 Winter 5t. (840) Overture to " Rienzi, the Last of the Tribunes," in D major. Rienzi, der Letzte der Tribunen, grand opera in five acts, the text and music by Richard Wagner, was first brought out under the composer's direction at the Court Opera in Dresden on October 20, 1842. It was sug- gested to Wagner by reading Bulwer's novel in Dresden in 1837. He began his sketch of the text in Riga in the autumn of that year, and fin- ished it in the summer of 1838 ; he almost immediately began the music, and finished the first two acts at Riga and Mittau in the spring of 1839. The remainder of the music was written in Paris. When completed, the opera was offered to the Academie de Musique, and then to the Theatre de la Renaissance,* but was refused by both. In 1841 Wagner sent the score to Dresden, where it was accepted by the Court Opera ; it was owing to this acceptance that he returned to Germany. The music of the opera was written on the general lines of French grand opera, in emulation of the style of Spontini, Meyerbeer, and Halevy ; there are but few essentially Wagnerish traits to be discovered in it, although the characteristically Wagnerish energy shows itself on almost every page. All the themes of the overture are taken from the body of the work. It begins with a slow introduction, Molto sostenuto e maestoso in D major (4-4 time), opening with a long-sustained, swelled and diminished A on the trumpet — in the opera, the agreed signal for the uprising of the people to throw off the tyrannical yoke of the nobles. Soon comes a majestic canti- lena of the violins and 'celli — the theme of Rienzi's prayer in the fifth act — the development of which is cut short by some stormy passage-work, leading in crescendo to a fortissimo return of the theme in all the brass, against ascending series of turns in the first violins. f Again is the devel- opment of the majestic melody interrupted, and some recitative-like phrases lead to a return of the trumpet call, interspersed with shuddering tremolos in the strings, the last long-drawn A leading over to the main body of the overture. * Not the present house of that name, on the corner of the boulevard Saint-Martin and the rue de Bondy (now managed by Mme Sarah Bernhardt), but the older theatre (now changed into a bank), once better known as the Theatre-Italien, or Salle-Ventadour. t These series of turns in the violins may be regarded as the first symptom in Wagner of that whirling violin accompaniment to a melody in the brass which we find in Tannhduser. Wagner himself said that the Tann- hduser violin figure was suggested to him by a violin passage in Bellini's Norma. Curiously enough, however, a very similar violin effect is to be found in the choral finale of Berlioz's Romeo et Juliette; it is more like the figure in Tannhduser than the one in Rienzi, being descending instead of ascending. Berlioz's symphony was written in 1838-39, about the same time that Wagner was at work on the music of Rienzi. ATonie 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. Cornell Easten, Philadelphia, Pa., says, "I have met with the greatest and most satisfactory results in dyspepsia and general derangement of the cerebral and nervous systems, causing debility and exhaustion." Descriptive pamphlet free. Rumford Chemical "Works, Providence, R.I. Beware of Substitutes and Imitations. (841) specialties, Riding Habits, Street Gowns, Jackets and Wraps, ZSGJ^OxBOSTOnT^55^ Golf Costumes, Cycle Habits. OYSTERS AND SALADS WEBER'S A SPECIALTY 25 Temple PI. and 33 West St. GENUINE VIENNA ICES. JACOB THOMA, Notman Photo Co, VIOLIN MAKER, (Awarded a Prize Medal at the Vienna 3 Pa STUDIOS, 0S™ Exposition.) | 480 Boylston'St> Old Violins, Violas, 'Cellos, All the Newest Styles of Artist Italian Strings, Silver PHOTOGRAPHS: G's, Artist Bows, Paris Rosin, Violin Cases of all kinds, etc. MEZZO-TINTS, Antonius and Hieronymus Amati, IVORY FINISH, Etc. Anno 1625; PRICE, SI, OOO. Flash-light Pictures made at Residences. ARTISTIC REPAIRS A SPECIALTY. BOWS REHAIRED. WEDDING PARTIES. Music Hall Building, Room 7, - - BOSTON. FANCY DRESS PARTIES. DINNER PARTIES. Repairer for the Boston Symphony Orchestra. (842) This Allegro energico in D major (2-2 time) begins fortissimo in th: full orchestra on the first theme — that of the chorus " Gegrusst set, hoher Tag!" at the beginning of the first finale of the opera — leading to the entrance of the first subsidiary in the brass — the theme of the battle- hymn, " Santo spirito cavaliere" of the revolutionary Rienzi faction in the third act. A transitional passage in the 'celli leads to the entrance of the second theme — that of Rienzi's prayer, already heard in the intro- duction of the overture — which is now given out in Allegro in the domi- nant, A major, by the violins. The "Santo spirito cavaliere" theme re- turns again in the brass, leading to the conclusion-theme — that of the stretto of the second finale, " Rienzi, dir sei Preis " ; — this joyful theme is developed by fuller and fuller orchestra, ending the first part of the movement. The free fantasia is short, and almost wholly devoted to a tempestuous working-out of the " Santo spirito cavaliere." The third part of the move- ment is an abbreviated repetition of the first, the battle-hymn and second theme being omitted, and the first theme being followed immediately by the conclusion-theme, against which the trumpets and trombones now play a resounding counter-theme — very like the phrase of the disappointed nobles, " J7a, dieser Gnade Schmach erdruckt das stolze Herz!" in the second finale, — leading over to the coda, Molto piu stretto, in which the "Santo spirito cavaliere" undergoes some exceedingly stormy develop- ments in crescendo. This overture is scored for 1 piccolo-flute, 2 flutes, 2 oboes, 2 clari- nets, 2 valve-horns, 2 plain horns, 2 bassoons, 1 serpent, 2 valve-trumpets, 2 plain trumpets, 3 trombones, 1 ophicleide, 1 pair of kettle-drums, 2 snare- drums, * triangle, bass-drum and cymbals, and the usual strings. A Siegfried Idyl, in E major. This little piece was written as a birthday gift to Wagner's wife, and was first performed on her birthday morning on the staircase of the villa at *The indications in the score are for "/ kleine Trommel" and.