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We have consolidated these two departments and removed them to the spacious connecting store, 214 and 216 Bovlston Street, which has been fitted up with every regard to the convenience of customers by the addition of private fittihg rooms and a most complete system for the display of the stock. The opera was first given in London at Covent Garden on June 29, 1833. It is car- ried through with incomparable brilliancy, the strings soon coming in with some energetic passage-work on figures taken from it and from the initial onslaught of the full orchestra ; the rhymes are of the liveliest and most vigorous character — rapid triplets and nervous dotted eighths and six- teenths ; but now comes one of those sharp contrasts of which Weber's wonderful dramatic sense made him the consummate master. We show an almost unlimited assortment of designs and patterns for all needs. But, to enable the listener better to discriminate between the solo part and the accompaniment, Mr. Gericke's advice) has filled out the gaps in the orchestra with parts written for orchestral instruments, following, however, the musical structure of Guilmant's additions. A terribly garbled version, arranged by the notorious Castil-Blaze, with interpolations from the music of Oberoti, was brought out at the Academie de Musique in Paris on April 6, 1831. After this startling exordium the united wind instruments expose a commanding theme in full harmony, a theme taken from a passage of Adolar's in the first finale of the opera. We sell it at the price of the ordinary furniture of to-day. The gaps in the score have been filled out (all but the missing third movement) by Alexandre Guilmant, of Paris, this filling-out being done on the organ, as was the custom in Handel's day. It takes a good deal of study at times to tell whether Mozart wished a grace-note to be played as an appoggiatura or an acciaccatura ; he used the two signs indifferently, with complete nonchalance ; he was also careless in distinguishing between the sign for common time and that for alia breve time. (14) THE CELEBRATED eoty Corset Is manufactured in Paris^ France, and can be obtained in the United States only of Jordan, Marsh & Co. We invite comparison as to quality, style, and price, and, if not found satis- factory, we will refund the full amount paid if returned in good condition within three days of the date of pur- chase. He hands her another letter, tells her of the plot against her, and she feigns sickness. , about 1785), Bernardino Ottani (Turin, 1789), and Giuseppe Niccolini (Leghorn, 1797). Gluck would often merely write '''■col basso" against his viola part, — meaning it to double the 'celli and double-basses in the upper octave, — without considering that an implicit following-out of this direction would at times carry the violas higher than the first violins, not to mention changing consecutive 4ths into consecutive 5ths. We sell our furs by their correct names, and guarantee them to be strictly as rep- resented. RELIABLE GOODS AT REASONABLE PRICES Our Principle (20) I who is really in love with her, and has entered Fulgentius's service in disguise, so as to be near her. (47) Adolf Hasse (Dresden, 1737), Georg Christoph Wagenseil (Vienna, 1746), Antonio Gaetano Pampani (Italy, 17 48)* Davide Perez (Naples, 1749), Christoph Willibald von Gluck (Naples, 175 1), Andrea Adolf ati (Vienna, 1753), Niccola Jommelli (Stuttgart, about 1758), Gioacchino Cocchi (London, 1760), Johann Gottlieb Naumann (Dresden, 1768), Andrea Bernasconi (Mannheim, 1768), Pasquale Anfossi (Rome, 1769), Giuseppe Sarti (Padua, 177 1), Ignaz Holzbauer (Munich, about 1780), Pietro Guglielmi (Turin, 1785), Johann David von Apell (? Euryaiithe has been called at once Weber's greatest masterpiece and his greatest fiasco. The poignant dramatic effect does not reside merely in the ordinary contrast between a martial tune and a love-melody, h&t\Nee.n fortissifno piano, but far more in that between the nervously energetic rhythms of the first theme and the serene absence of any rhythmic device whatever in the accompaniment of the second. To take the place of the missing third movement, Mr. — of Russian and Hudson Bay Sables, Chinchilla, Fox, Marten, and Mink — at reasonable prices. £3 '^^^^ (12) indicated in the sto're or not, it \vas generally taken for granted that it would be used in conjunction with thie other instruments set down in the score. To inaugurate the opening of the new store we have imported this season a most superb collection of the choicest creations of the LEADING PARIS MILLINERS AND LONDON HATTERS ^ ^ together with many original designs. Fresh Chocolates and Caramels ARE SERVED TO YOU BEFORE THEY ARE Twenty-four Hours Oldt Containing Original Ingredients of the Purest and Most Expensive Made. A correct ver- sion of the music, but with a new French text, prepared by de Saint-Georges and de Leuven, was brought out at the Theatre-Lyrique in Paris on Sep- tember I, 1857 ; this should count as the first real perform.. Euryanthe was first given in New York at the Metropolitan Opera House on December 23, 1887. OUR ART DEPARTMENT CON- TAINS A GALAXY OF BEAUTI- • FUL ARTICLES FROM THE WORLD'S MARKET, America to Japan. A mighty fortissimo B-flat of the entire orchestra, a rousing tattoo of the kettle-drums, and a quieter transitional phrase of the 'celli lead over to a gracefully buoyant and tender second theme, softly sung by the first violins over the simplest of sustained harmony in the other strings. It is perhaps unnecessary to add that Colonial furniture is now in the height of fashion. PAINE FURNITURE CO., Rugs, Draperies, and Furniture. (8) See and Hear THE Everett Piano of To-day GRAND AND UPRIGHT. Of Guilmant's work, only the necessary additions to the solo part itself have been retained for the organ. Our direct importation of Skins enables us to offer Alaska Seal and Persian Coats —also a superb collection of Small Furs — Collar- ettes, Neck-Pieces, Muffs, etc. A musical puz- zle, with a story of interest for children. There will be an intermission of ten niinutes before the symphony. The work was nowhere well received by the public, Weber's free dramatic treatment of the recitative and the scena being considerably in advance of the age ; and the libretto was too miserably poor to be acceptable even after the music had come to be better understood. OUR MODEL GARMENTS (ORIGINAL AND IMPORTED), ARE MORE ATTRACTIVE, AND OUR VARIETY OF CLOTHS, SILKS, ETC., IS LARGER AND HANDSOMER, THAN ANY WE HAVE SHOWN IN PREVIOUS SEASONS. After the opening phrases of the second theme the accompaniment grows more rhythmically animated, with flowing arpeggj in the second violins and 'cel H. The Nightingale has a Lyre of Gold, .40 Herman, Reinhold L. This unwritten part for organ or harpsichord was technically known as the " accompaniment " ; this term had a very specific meaning in Handel's day. In it he departed from the traditional form of German opera, in which the musical numbers were connected by spoken dialogue, substituting musical recitative for the latter, according to Italian tradition and that of the French grand opera. ^ ^ ^ ^ ^ V* Ballard and Sons* THE BALLARD SAFETY RIDING HABITS, DRIVING COATS, CLOTH GOWNS, RAINY-DAY SUITS, EMPIRE COATS, GOLF COSTUMES, and SHIRT WAISTS. This second theme seems to float calmly past us as on the un- ruffled waters of some mountain lake. Goodrich has transcribed for organ the third movement & *«f tm. To be sure, its use was usually indicated, by terms such as Organo, Cembalo, or Contitiuo, written opposite the bass staff of the score ; but ;such indications were by no means invariable, and, even in their absence, one can find other signs of the use of such instruments being contemplated by the composer.* Frequent thorough-bass figuring under the bass part is the plainest indication, for the full harmony corresponding to this figuring could only be played on a keyboard instrument ; and the idea that com- posers jotted down thorough-bass figuring for nothing — when they omitted so much more — is not to be entertained.
Concerning the manner in which the " accompaniment " is to be filled out there is a considerable diversity of opinion among experts. The other party, sometimes known as the " artistic " party, lays little stress upon the particular instru- ment, or instruments, on which the filling out is done, — in fact, they, for the most part, advocate giving the organ or harpsichord the go-by, and em- ploying various combinations of orchestral instruments for the filling-out (but not as a matter of life-and-death importance),— but throw nearly the whole weight of their arguments upon the musical style in which the addi- tions are to be written, a matter to which the historical party pay compara- tively little attention. The original melody is repeated between, and after, the two Trios, according to the usual scheme of the scherzo form. The first performance of the C minor symphony was at a concert given by Beethoven at the Theater an der. The con- cert was a memorable one ; every number on the program was then given for the first time in Vienna, and the program included, beside the sym- phony mentioned, the Pastoral sym^horxy \ the pianoforte concerto No. The first movement of the symphony, Allegro con brio in C minor (2-4 time) opens grandly with three G's followed by a long-held Y.-'Az X fortissimo in all the strings and clarinets. The ear is in doubt ; is it C minor, or E-flat major, or possibly G minor? Thou hast ever seen him accomplish what thou cruelly askedst for; he w^ll keep faith with thee in death.
No other instrumsnt is mentioned, but the harpsichord was clearly taken for granted. Why composers should have been willing to leave their scores in so problematical a condition seems strange to us now. Upon the whole, composers before Beethoven were generally very careless in writing their scores. He throws her into prison, and sends her a poisoned letter through the Prince of Candia, OLD VIOLINS. Oliver offers his "^j^^^^^^^yy annual collection of ^^^^^^^^ rare old violins and ^^"'""^ 'cellos, by the old Italian and other makers; also a fine collection of old and new artists' bows, Italian strings, silver G's, leather cases etc. AVe manufacture our own goods and hold ourselves responsible for any de- fects in their manufacture. OLIVER, 25 Winter Street, Violin Maker and Repairer, and Dealer in High-grade Old Instruments. 34=36 Bedford Street BOSTON Ylolina used in the Symphony Orchestra.
'*Vj » "i ^ S PIANOFORTE MAKERS RECIPIENTS OF One Hundred and Twenty-Nine FIRST MEDALS AND AWARDS These Celebrated Instruments are To-day better than ever Retail Warerooms^ 791 Tremont Street (2) TWENTIETH SEASON, I900-J90J. Concert* FRIDAY AFTERNOON, OCTOBER t% at 2.30 o'clock. And, as has been said, this elaborate thorough-bass figuring indicates the co- * One curious instance of this is a set of chamber compositions (I now forget by what composer, but dating from Handel's day) called "Trios" on the title-page, but containing parts for only violin and 'cello. It is as if the composer said to the organist or cembalist : " Go on playing, no matter how little there seems to be for you to do." Again, in other places, where the co-operation of the organ or harpsichord is absolutely indispensable, there is no thorough-bass figuring at all. Fulgentius, who has been reigning over Cyprus meanwhile, offers her his hand ; but she disdains his advances, refuses to marry him, and his love turns to bitter hatred. The pieces contain true musical feeling, and are warmly recommended to all persons in search of good music for children.
Now the headquarters of the " historical " ideas are Leip- zig and London, to a certain extent also Paris and New York. There is a considerable difference of opinion among conductors as to the manner of playing these four opening measures. What of countless other modern compositions that are universally voted to be perfectly "respectable" and "dignified".'' It strikes me that this once-reputable sonata-form criterion is very much of an i-'!
Well-nigh everywhere else in the musical world the ideas of the other, " artistic " party have found acceptance. Some take them in strict allegro tempo, like the rest of the movement ; others take the liberty of playing them in a much slo\ver and more stately tempo ; others again take the three G's and the F's molto ritardando, arguing that, although taking the four measures in a stately Largo is not permissible, — there being no indication in the score to authorize it, — the " holds " over the E-flat and the D do (at least tacitl)') authorize ? idos on the three Eflats and the three F's, according to the old rule : " You may always make a ritardando before a hold." And, if this retarding of the tempo is cleverly managed, it comes to very much the same thing, in point of effect, as the stately Largo, for which there is no authority in the score ; it is beating the devil round the bush.