NEW SPRING COTTONS Novelty Bordered Voiles-Bordered French Crepes - Shirtings-Parkhill Ginghams. NEW WHITE GOODS Special attention is called to our line of David & John Anderson Ginghams. We carry a complete stock of staple styles at all times. The new fancy patterns are very attrac tive. Price, per yard 45c R. H. STEARNS & CO. a new composition after the manner of the 'Fantastic Symphony.' This work will be entitled: 'Les Derniers Instans de Marie Stuart,' a dramatic fantasie for orchestra, chorus and solo viola. Paganini will play the viola for the first time in public." This announcement was made in other journals friendly to Berlioz. There was no contract. The statement was that Paganini had "demandée" not commandée." There is not a trace of any order. Was there perhaps a verbal demand? But, if Paganini wished to play a viola solo, why did he not write his own composition? Why did he wish one from Berlioz, who had never written expressly for any stringed instrument, and played the guitar, not the violin, 'cello, double-bass? Berlioz was busy as a music critic early in 1834, so busy that he had little time to compose. About February 20 Paganini left Paris on a concert tour. Did he see the sketch of the new work before he left? Mr. Boschot goes into minute details to prove that the statements made in the Memoirs about Paganini and the sketch are contradictory and undoubtedly imaginative, that is, false. Toward the middle of March, 1834, Berlioz changed his mind about the form of the composition. He then proposed to himself four movements, and Byron's hero, or rather Berlioz himself, took the place of Mary Stuart. And Berlioz thought of his wanderings in Italy. He and his wife in April moved to a house on Montmartre, in a street then THE REMARKABLE SALE OF PRIVATE LIBRARIES just placed on sale in the front part of our store will Standard Sets in elegant bindings at a fraction of the original cost - besides a Lauriat Co. 385 WASHINGTON STREET OPPOSITE FRANKLIN STREET Boston's OLDEST AND MOST RELIABLE Carpet and Rug House ESTABL. 1817 In two more years we shall have rounded In our Interior Decoration Department WALL PAPERS LACE CURTAINS and DRAPERIES JOHN H. PRAY & SONS COMPANY 646-650 WASHINGTON STREET, BOSTON OPPOSITE BOYLSTON STREET called Saint-Denis, now Mont-Cenis. The house still stands, No. 22, and a memorial tablet has been placed, I believe, on the "cottage." Here the two, who afterward quarrelled so bitterly, were happy. Berlioz in the spring could think himself again at Tivoli. His wife was to bear him a child. It was in this paradise on Montmartre that "Harold in Italy" was completed. Berlioz was still Byronic. His Harold was himself, a brother of the insurgents of 1830 against the bourgeoisie. "C'est le rêveur, le maudit, le fatal, le ténébreux dont la mode raffole; c'est le sosie sentimental de Berlioz." And Harold-Berlioz must have a voice,—always recognizable: hence the solo viola. * * * Boschot gives a graphic description of the audience at the first performance: "A fashionable audience was all of a quiver in the little hall of the Conservatory. There was the Duc d'Orléans, the king's son. There was the decorative tragedian, the wife of the young master: he, the composer, slender, impeccably Parisian, in his tightly fitting frock coat, a little man, but proudly raising his reddish shock of hair and his pale face; his mouth disdainful and stubborn; his lively piercing eye, restlessly detecting some friendly Jeune France or an infamous bourgeois. And there, squat on his legs, with round and childlike face, a big babydoll stuffed with talent and even witty words, is Jules Janin. Observe the vehement southerner, d'Ortigue, and the counsellors of love Eugène Sue and Legouvé, and the librettists of 'Benvenuto Cellini'; if some comrade is not at the first performance, the first battle, he will come to the second; observe without any doubt the Bertins, their daughter,* ill-favored but glowing for the arts, and followed by her *Louise Angélique Bertin (1805-77), daughter of the proprietor of the Journal des Débats, which Berlioz served as music critic, composed these operas: "Guy Mannering" (not performed), "Le loup garou (1827), "Faust" (1831), "Esmeralda" (1836), chamber music, choruses, songs, etc, Berlioz was accused of helping her in "Esmeralda." OUR NEW ISSUE OF SELECTED PART SONGS FOR WOMEN'S VOICES "LONG AGO" "O LADY LEAVE THY SILKEN THREAD" G. MARSCHAL-LOEPKE 12c. Arr. by VICTOR HARRIS 12c. ARTHUR SOMERVELL 10c. BRAHMS 10c. LUZZI 100. "THE SMITH"-Der Schmied-(Uhland) ARTHUR SOMERVELL 12c. G. RICORDI & CO., 14 East 43rd St., NEW YORK |