L. P. HOLLANDER & CO. BOYLSTON STREET and PARK SQUARE, BOSTON TOYS ENTIRE IMPORTATIONS RECEIVED NOW ON EXHIBITION ON FIRST FLOOR OWING TO THE LIMITED NUMBER OF NOVELTIES EARLY INSPECTION IS ADVISED SYMPHONY IN E MINOR FOR FULL ORCHESTRA, No. 2, Op. 27. (Born at Onega in the Government of Novgorod, April 1, 1873; now living at Moscow.) This symphony, composed at Dresden, was played at Moscow at a concert of the Imperial Russian Music Society in the course of the season of 1908-09. The composer conducted. It was performed in Berlin by the Philharmonic Orchestra, Mr. Nikisch conductor, November 29, 1909. The first performance in the United States was by the Russian Symphony Society in New York, January 14, 1909. The first performances in Boston were by the Boston Symphony Orchestra, October 14-15, 1910. The symphony was played again by this orchestra, November 4-5, 1910, March 29-30, 1912, and December 19-20, 1913. The symphony, dedicated to S. Tanéïeff, is scored for three flutes (one interchangeable with piccolo), three oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, bass tuba, a set of three kettledrums, snare-drum, bass drum, cymbals, Glockenspiel, and the usual strings. There is an Introduction, Largo, 4-4, to the first movement. Violon THE ARTHUR P. SCHMIDT CO. 120 BOYLSTON STREET, BOSTON, MASS. For Sale by all Music Dealers cellos and double-basses give an indication of the chief motive. Sustained chords of wind instruments follow, and over them appears the leading thought of the symphony (violins). The solo for the basses is repeated a third lower, and again chords for wind instruments follow. (These passages for wind instruments are used reminiscently in the second movement.) The violin theme is now more broadly developed, and after a short crescendo a phrase for the English horn leads to the main portion of the first movement, Allegro moderato, E minor, 2-2. The first theme, Molto espressivo, of the first movement, enters after four measures of prelude, and is given to the violins. A motive in triplets for basses, poco a poco più vivo, is added. This leads to a section, Moderato, in which, after preluding, a theme in G major is sung by violins. This becomes more passionate, and leads to a close in G major with a melody for 'cellos. The chief theme of the symphony is developed in the working-out, by solo violin, by the rest of the strings, and by wood-wind instruments. There is a noticeable rhythmic figure for violas, and this slackening of the pace brings the return of the chief theme of the movement with an elaborate crescendo. There are fanfares for the brass, and a horn-call is freely used. There is an agitated coda. Second movement, Allegro molto, A minor, 2-2. The theme begins with horns and is carried out by violins, while there are characteristic · Make Every Gift-Dollar Count HIS house is located in rather an obscure place, THE However, we are constantly active. Through the Hodgson, Kennard & Co. JEWELERS 25 STATE STREET, BOSTON Beautiful New Gowns for Holiday Festivities soush aynq282ounds ac of OVELY MODELS for every occasion from shopping or luncheon to the last "good night." Distinctive reproductions and adaptations of the newest models by the best designers of Paris and America AT MODERATE PRICES figures for wood-wind instruments. The first section is constructed simply and clearly from portions of this theme. There is a melodious section, Moderato (violins in octaves, violas and 'cellos cantabile), and then the energetic rhythmic figure brings in the repetition of the first portion of the movement. The Trio, Meno mosso, begins with a design for second violins, and its development includes march-like harmonies for the brass. There is a free repetition of the scherzo portion, and at the end a reminiscence of the theme for brass in the Introduction. Philip H. Goepp, the editor of the Philadelphia Orchestra's Programme Books, characterizes this movement as "a complete change from introspection and passion to an abandon as of primitive dance. Strings stir the feet; the horns blow the first motive of the savage tune, the upper wood fall in with a dashing jingle, like a stroke of cymbals in itself. But right in the answer comes the former short, nervous phrase that gets a new touch of bizarre by leaping a seventh from the tonic note. In this figure that moves throughout the symphony we seem to see an outward symbol of the inner connection. The Glocken spiel soon lends a festive ring to the main tune. There is a brief episode in the major, of tuneful song, a duet of rising and descending strains in lessened pace (moderato) that seem again to belong to the text of the first movement. When the dance returns, there is instead of discussion a mere extension of the main motive in full chorus. But here in the midst the balance is more than restored. From the dance that ceases abruptly we go straight to school or rather cloister. On our recurring (nervous) phrase a fugue is rung with all pomp and ceremony (meno mosso); and of the dance there are mere faint echoing memories, when the fugal text seems for a moment to weave itself into the notesooo 1979 101 213CO owen et lo ancitatqsha bre Women's and Misses' Blouses, Neckwear, og Petticoats, HosieryMOMI F.P. O'Connor Co. 157 Tremont St., Boston |