HALF-PRICE SALE. Model Cloth Gowns, Coats, etc. About twenty-two remain. It is our determination to dispose of them at once. Paris Cloth Gown, $150, now $75. Paris Cloth Gown, $145, now $65. Driving Coats, Jackets, Riding Habits, and English Tweed Suits at less than one-half regular prices. V. Ballard and Sons, 256 BOYLSTON STREET, BOSTON, MASS. JANUARY SALE. ODDS AND ENDS. GOOD THINGS AT LOW PRICES. A. STOWELL & CO. (Incorporated), 24 WINTER STREET. This concerto was written about 1888-89. The first movement, Allegro non troppo in D major (3-4 time), begins with the announcement of the first theme by the violas, 'celli, bassoons, and horns in octaves, the development being carried on by the entire orchestra in full harmony. In the development of this theme we find a characteristic instance of Brahms's fondness for modulation at the very beginning of a composition in which matter he had a good example in Beethoven. The opening phrase in octaves is in D major, ending on the full chord of the dominant; the second phrase, in the oboes, accompanied by the strings and horns, begins abruptly in C major, and then works its way back to A; the third phrase, in the strings and wood-wind in octaves, begins in D minor, then breaks out into full harmony in D major, in which key the development continues. A more tranquil second theme follows in the tonic, D major, to be followed in turn by a conclusion-theme in F major, in a new and more vivacious rhythm. It will be seen that this orchestral ritornello is in the form of the first part of a sonata-movement. Usually the solo instrument comes in on the "repeat" of this first part. But in this concerto, Brahms ARTHUR P. SCHMIDT, CHAS. W. HOMEYER & CO., NEW YORK: BOSTON: 146 Boylston Street. 136 Fifth Avenue. 165 TREMONT ST., BOSTON. has given the solo violin forty-six measures of introductory cadenza, accompanied by the orchestra,- covering twelve pages of the full score,- before it takes up the first theme, and the regular development of the "repeat" begins. After this the development of the "repeat" goes on regularly, if somewhat more concisely than in the ritornello, the solo violin now playing the themes, now embroidering them with elaborate figuration. The free fantasia begins with a strong orchestral tutti in A minor, and is carried on for some time by the orchestra alone. Then the solo instrument enters, and the working-out is continued between it and the orchestra. The third part of the movement begins regularly with the return of the first theme in the tonic as an orchestral tutti; the solo violin soon enters, however, and the development adheres closely enough to the general scheme of the first part. There is a brilliant coda, beginning with a fiery orchestral tutti, after the first thirteen measures of which Brahms has left room for the introduction of an unaccompanied cadenza for the solo violin according to the old-time fashion. ART NOUVEAU. This is the name of a new school of decorative art which is exciting Paris, and has already found a host of devotees in London and New York, of which this Music Cabinet is an example. Not since the days of Oscar Wilde and the æsthetic craze has anything taken such hold upon the artistic world. But, unlike the aesthetic idea, the school of Art Nouveau is probably destined to endure, for it is founded upon truer and deeper inspiration. It is really an adaptation of the art of Japan. There is no perspective. The forms of nature are mainly employed. There is much of serpentine lines and weird, fanciful figures, with little or no constructive adornment. We are now showing a line of Art Nouveau furniture, including many pieces suitable for Christmas gifts. Remember that this is the first original school of art France has produced in a hundred years. It is attracting wide attention. PAINE FURNITURE COMPANY, Rugs, Draperies, and Furniture, 48 CANAL STREET. GRAND AND UPRIGHT. Everett Piano Co., Boston ., CINCINNATI. Chandler W. Smith Of Representative, 120 Boylston Street, Boston. The second movement, Adagio in F major (2-4 time), is a romanza, the principal cantilena of which is first played through by the oboe, accompanied by other wind instruments, then taken up in a varied shape by the solo violin. After this double presentation of the principal theme, the solo violin takes up a more passionate second theme and develops it at some length with many brilliant flourishes; the development passes through several different keys, the modulations being frequent. At last the tonic, F major, is returned to; the principal theme comes back, now sung by the solo violin, now by the orchestra against elaborate figural embroidery in the solo instrument. A short coda closes the movement. .This movement is in the aria form in its simplest estate: first theme, second theme in another key, and return of first theme. The third movement, Allegro giocoso, ma non troppo vivace in D major (2-4 time), is in the form of a rondo on three themes. It is worked up with Brahms's habitual and characteristic energy and elaboration, and contains brilliant work for the solo instrument - double-stopping on the first theme, florid running scale-passages and arpeggj, etc. The orchestral part of this concerto is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 1 pair of kettle-drums, and the usual strings. The score is dedicated to Joseph Joachim. IMPORTANT NEW PUBLICATIONS. C. V. Stanford's CHORAL SONG, "THE LAST POST." Liza Lehmann's NEW CYCLE FOR SOLO VOICES, 2 "THE DAISY CHAIN." A work which promises to be as popular as "The Persian Garden," Charles Willeby's CYCLE OF SONG, "HAWTHORN AND LAVENDER." Frances Korbay's TWELVE MAGYAR SONGS. BOOSEY & COMPANY, 9 East 17th Street, New York City. |