three long-held fortissimo C's in the strings, each one of which is followed by a crashing chord in the full orchestra. Then follows a concise exposition and development of the nervous, restless, passionate first theme in the tonic C minor, which soon makes way for the appearance of the more lyrical, but still passionate, second theme in the relative E-flat major. The development of this theme also is short; some stormy passage-work leads to the conclusion-theme in the minor of the dominant (G minor), a restless staccato phrase of the violins, over billowing arpeggj in the violas and 'celli. The development of this conclusion-theme is really nothing more than passage-work; it closes the first part of the overture in the dominant. What stands for a free fantasia is nothing but the continuation of this passage-work on the conclusion-theme. The third part is somewhat irregular. It begins with a return of the introductory sustained notes and crashing chords, and of the first theme; not, however, in the tonic, but in the sub-dominant, F minor. The development of the first theme, too, is considerably stunted, and soon makes way for the cantilena of the second theme, in the tonic, C major, as it should be. From this point on, the third part is a pretty exact reproduction of the first, the conclusion-theme coming in the tonic, C minor. The coda begins softly with the second theme in C major. This is followed by some stormy passage-work on a figure from the conclusion-theme, leading to a repetition of the loud C's and chords of the beginning. What follows is purely dramatic and suggestive of Coriolanus's death. The overture sighs itself out in C minor. This overture is scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 1 pair of kettle-drums, and the usual strings. Hotel Nottingham, 3 THE COPLEY SQUARE, Will make a specialty of Symphony Concerts ON SATURDAY EVENINGS. A. H. Whipple. Massachusetts Institute of Osteopathy, No. 68 Huntington Avenue, Boston, Massachusetts. Frederic W. Sherburne, D.O. George D. Wheeler, D.O. Graduates under Dr. A. T. Still, founder of the science. Special attention given to the care of the throat and voice of singers and speakers. Telephone, 1229-2 Back Bay. Hours, 9 A.M. to 4 P.M. REGISTERED PHYSICIANS. The Empress Name given to a superb approximate Seal Jacket Made expressly for us, and sold only by us. Lined with a new patented interlining, the peculiarities of which are that it gives "The Empress" a richness of appearance heretofore found only in Alaska Seal. Ask for "The Empress." $33.50 Unapproached for the price Shepard, Norwell & Co. Winter Street and Temple Place, Boston, Mass. SYMPHONY NO. 40, IN G MINOR (KOECHEL, No. 550). WOLFGANG AMADEUS MOZART. (Born at Salzburg on Jan. 27, 1756; died there on Dec. 5, 1791.) This symphony was written in 1788. The first movement, Allegro molto in G minor (4-4 time), opens immediately with the exposition of the first theme in the strings; the melody is sung by the first and second violins in octaves over a simple, but strongly rhythmic, accompaniment in the violas and basses.* This theme is the regulation sixteen measures long, and ends by half-cadence on the dominant. Four measures of conclusion, also ending on the dominant, are added in the full orchestra. Then the first eight measures of the theme are repeated by the strings, with sustained harmonies in the oboes and bassoons, with the difference, however, that, whereas it remained steadily in G minor in its first exposition, it now makes a wondrously beautiful modulation to B-flat major. It is immediately followed by the first subsidiary in this key: sixteen measures of passage-work for the full orchestra, also ending by half-cadence on the dominant (F major chord). Next follows the second theme, in the relative B-flat major, An anecdote is told of one of Liszt's concerts in Munich, in the days when he still appeared in public as a pianist. He had just played his own matchless transcription of Beethoven's Pastoral symphony, as only he could play it. It should be remembered that the Pastoral, though homely enough in its thematic material, and generally simple in its development and working-out, is, as a piece of orchestration, one of Beethoven's most complicated scores; it thus presents quite peculiar difficulties to the pianoforte transcriber, difficulties which Liszt has conquered in a way that can only be called marvellous. After Liszt had played it at the concert in question, Franz Lachner stepped up to him in the greenroom and said: "You are a perfect magician! Think of playing literally everything in that second movement and with only ten fingers! But I can tell you one thing even you can't play with all your magicianship." "What's that?" asked Liszt. "The first sixteen measures of Mozart's little G minor symphony, simple as they are." Liszt thought a moment, and then said with a laugh: "I think you are right; I should need a third hand. I should need both my hands for the accompaniment alone, with that viola-figure in it!" Ivers & Pond Pianos. A small grand for a small room and a small price. It doesn't hurt for large rooms, that the piano is also adapted to city apartments where space is limited; and it doesn't hurt the quality that we rather undercharge for it. The quality is first-class, the very highest, the best that can be made. Although requiring little more room than an upright, nevertheless, owing to its unique and scientifically developed scale-plan, it renders as much volume as is commonly found in the large parlor grand, with a rarer purity of tone. And then it stands in tune and will wear. People familiar with some of the best grands know that their failings have been that they have not stood in tune nor worn any too well. This piano has jumped into favor so fast that we've never been able to supply the demand since we brought it out. We keep increasing the output, to find that orders have increased still faster. Ivers and Pond pianos are used in more than two hundred leading educational institutions. We are one of the largest manufacturers of highest grade pianos in America, and that means in the world. You are invited to come and see, whether you want to buy now or not. Catalogues mailed free. IVERS & POND PIANO CO., 114-116 Boylston Street, Boston. a chromatic, sighing motive, given out by the strings and developed for twenty-three measures, closing with a c cadence in B-flat major. A short second subsidiary lea contrapuntal work on the initial figure of the first them counter-figure, which here comes in as a conclusion-theme the movement closing in B-flat major with the characteris winding-up passage for full orchestra, something like the t This first part is then repeated. The free fantasia begins with the first theme, now in Fdeveloped on a new plan, with frequent modulations. soon begins in earnest, and is carried forward with gr elaboration, and at greater length than is usual with Moza The third part of the movement is quite regular. The variations from the form of the first part being that, wher modulates from G minor to the relative B-flat major repetition) in the first part, it now modulates to E-flat maj of the principal key), and that the first subsidiary, enterin far more extendedly developed than in the first part, even imitative contrapuntal working-out, the development ending on the dominant of the principal key (G minor). From tl movement keeps steadily in the tonic key, the presentatic ment of second theme, second subsidiary, and conclusio 5c. Packages at s S Grea |