Ivers & Pond - PIANOS ~ Are made by the most skilful work- Ivers & Pond Piano Co. 114 Boylston Street. singers, players, and actors today as the world ever knew? Only, we look at them through no magnifying-glass. Who shall say that the great singing which drew tears from every eye a century ago would not make us smile sardonically now? SCHERZO IN A MAJOR, OPUS 45 KARL GOLDMARK. (Born at Kesthely on the Platten-See, Hungary, on May 18, 1830; still living in Vienna.) The term Scherzo, in the title of this composition, is evidently used in its literal sense, as "A Joke," not in its technical one. The form has little, if anything, in common with that of the Scherzo. The composition begins with a short slow introduction, Andante sostenuto in E major (3-4 time), in which a simple chromatic figure is worked up polyphonically by the strings, wood-wind, and horns. The main body of the movement, Allegro vivace in A major (6-8 time), is based on three themes, each one of which has its regular thesis and antithesis, the antitheses of the second and third being, however, identical. The movement opens forte with repeated triplet 3rds in the violins and violas, against which the horns and 'celli announce the strong thesis of the first theme in the tonic, A major; the light, flickering antithesis is alternately in the wood-wind and the strings. The theme is then repeated entire, closing this time in the dominant. Then the 'celli give out the cantabile thesis of the second theme in the tonic, to a simple chord accompaniment in the double-basses pizzicati, horns, and bassoons; this thesis is forthwith repeated in A-flat minor by the strings, wood-wind, and horns, with a more elaborate accompaniment, the light, dancing antithesis coming 5c. Packages. ASK FOR SA-YO Mint Jujubes. A Throat Comfort for Relieve Coughs and Throat Irritations. ON SALE EVERYWHERE. in the flute. This second theme is then developed at some length, the development ending on the chord of the dominant of E major. Now the born gives out the thesis of the third theme in the dominant of the principal key, E major, the antithesis coming again in the flute. Both thesis and antithesis are then repeated, the former an octave higher than before. Now the working-out, or free fantasia, begins: in the shape of a fugato ("fugue of imitation," subject and response being identical) on the third theme, interrupted at moments by the dancing antithesis in its original shape, and ending with some free passage-work. The third part begins regularly with the return of the first theme in the tonic, the thesis being subjected to some extended developments before the antithesis comes in. The second theme follows regularly, and debouches into a Poco sostenuto episode in the tonic, A major, in which a flickering staccato figure is worked out with some elaborateness, a resounding accelerando for the full orchestra leading over to the Coda, which is based almost wholly on the first theme. This Scherzo is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, 1 pair of kettle-drums, and the usual strings. The score bears no dedication. SYMPHONY NO. 2, IN C MAJOR, OPUS 61 . ROBERT SCHUMANN. (Born at Zwickau, Saxony, on June 8, 1810; died at Endenich, near Bonn, on July 29, 1856.) This symphony was written in 1845-46; it was really the third that Schumann wrote, for the one first written (in D minor) was withdrawn after the first performance, remodelled later, and finally published as No. 4. The first movement begins with an introduction, Sostenuto assai in C major (6-4 time), which begins pianissimo with a solemn call of the horns, trumpets, and alto-trombone on the tonic and dominant of the key, against flowing counterpoint in the strings. This phrase of the brass instruments has been called the "motto" of the symphony, for it appears more or less prominently in three of the four movements. It can hardly be called a theme, as it is not developed in any way in the course of the composition but merely puts in an occasional episodic appearance. After twenty-four measures, in which the strings seem as if groping in the dark, led on by the light of the brass, the tempo quickens to Un poco più vivace and the wood-wind begins to bring in figures from the principal theme of the ensuing Allegro over a close tremolo in the middle strings. The tempo and rhythm grow more and more agitated, until a descending passage in the first violins alone, più e più stringendo, leads over to the main body of the movement. This, Allegro ma non troppo in C major (3-4) time, begins immediately with the exposition of the first theme by the full orchestra (without trombones), beginning piano and swelling by a gradual crescendo to forte. This theme is peculiarly Schumannesque in its nervous, uneasy rhythm, the almost invariable accent upon the second beat of the measure having something of the effect of a persistent syncopation. When the forte is reached, a transitional passage in C minor, but almost immediately modulating to E-flat major, leads to the entrance of the first subsidiary: a wild, 34-36 KAKAS BROS. FURS BEDFORD ST. Goods Guaranteed. Prices Reasonable. Exclusive Designs BREITKOPF & HÄRTEL, MUSIC DEALERS and IMPORTERS. NEW YORK BRANCH, 11 EAST 16th STREET. frenetic chromatic phrase, energetically, almost frantically worked up in contrapuntal passage-work, upon the fierce turmoil of which the joyous conclusion-theme suddenly bursts forth like a ray of sunshine. A brief return of characteristic figures from the first theme ends the first part of the movement on the dominant, G major. This first part is repeated. It will be noted that there has been no real "second theme." —a The free fantasia begins fiercely on the first theme and first subsidiary. After a while, the wood-wind comes in with a new sighing phrase rhythmic modification of a figure from the first theme - which is so developed, in alternation with a figure from the conclusion-theme, that it assumes the character of an actual second theme. This development in the wind instruments is contrapuntally accompanied by figures from the first theme in the strings. After a good deal of this, the working-out returns to the first theme, and a crescendo climax on the first subsidiary and the conclusion-theme leads to the triumphant fortissimo return of the first theme at the beginning of the third part of the movement. The third part is regular in its reproduction of the first, save that the scoring is at times somewhat more elaborate. An episodic phrase in 3rds in the wood-wind leads to the coda, which is worked up con fuoco on the first theme to a grand closing climax, about the middle of which the trumpets ring out with the "motto" of the symphony. The second movement, Scherzo: Allegro vivace in C major (2-4 time), although not in the quickened Minuet time and rhythm of the traditional scherzi, well deserves its title. It is in the form of the scherzo with two trios. The scherzo proper is one continuous rush of the first violins in sixteenth-notes, rather simply accompanied by the other strings and various groupings of wind instruments. It is long and elaborately developed. The first trio, in G major, brings in a new theme in lively triplet rhythm, which alternates with a quieter phrase in even time. The triplet theme is |