# A Dictionary of Music and Musicians/Programme

From volume 3 of the work.
​PROGRAMME (from πρό, 'before,' and γράμμα 'a writing'). A list of the pieces to be performed at a concert, usually accompanied by the names of the performers. The term seems to have come into use in this connexion in the present century, and is now often further applied to the books containing the words, and the remarks on the pieces, which are becoming so usual. It is not however used for the book of words of an oratorio or opera.
Programmes are now commonly restricted in length to 2 hours or 2½. The concerts of the Philharmonic Societies of London and Vienna, the Gewandhaus at Leipsic, and the Conservatoire at Paris, are of that length, usually containing a symphony and a smaller orchestral piece, a solo concerto, two or three vocal pieces for solo or chorus, and one or two overtures. This is sometimes divided into two parts, sometimes goes on without break.
Formerly concerts were of greater length. In the old days of the Philharmonic two symphonies were de rigueur, and even such colossi as Beethoven's Eroica, No. 7, and No. 9, were accompanied by a symphony of Haydn, Mozart, or Spohr, besides 4 vocal pieces, 2 overtures (the concluding one often styled a 'Finale'), a concerto, and some such trifle as Beethoven's Septet. This was a survival from an older order of things. The Haydn-Salomon Concerts of 1792–6 contained each 2 (once at least 3) Symphonies, and a final orchestral piece, 2 concertos, and 4 vocal pieces; and these again were modelled on the programmes of the petty German Concerts. Jahn in his Life of Mozart (i. 294) mentions that at Vienna about 1778, Count Firmian's soirees lasted for 6 hours; at one of them 'several symphonies' by Christian Bach, and four by Martini, were performed; at another 'twelve new Violin Concertos' by Benda. At a private concert at Dresden, Sept. 21, 1772, given for the benefit of Dr. Burney (Tour, ii. 44), the programme was in two parts, each containing a symphony, a violin solo, a flute concerto, and an oboe concerto; and, in addition, 'by way of a bonne bouche, Fischer's well-known rondeau minuet.' It must be remembered that these pieces were probably not nearly so long as those which now go by the same names. Our next instance, however, contains pieces of which we can all judge. It is the programme of a concert given by Mozart at Vienna, on March 22, 1783. All the pieces are by him.
* The Hafner Symphony (Allegro and Andante).
* Air from Idomeneo 'Se il padre.' Mad. Lange.
* PF. Concerto in C.
* Scena and Aria, 'Misera dove son.' Herr Adamberger.
* Andante grazioso and Rondo allegro, from Serenade in D; for orchestra.
* The favourite PF. Concerto in D.
* Scena, 'Parto' (Lucio Silla). Mad. Teyber.
* Extempore Fantasia on the PF. on an air by Paisiello; encored, when Mozart again extemporised on an air by Gluck (10 variations).
* Scena and Aria, 'Mia speranza adorata.' Mad. Lange.
* The Hafner Symphony (Minuet and Finale).
Beethoven indulged in long programmes when his own compositions were concerned. At the concert, in March 1807, at which his B♭ Symphony was first performed, the new work was preceded by all the three foregoing ones! Later, on Nov. 29, 1813, he gave the Symphony in A, the 'Glorreiche Augenblick' (7 nos.), and the 'Battle of Vittoria,' in the same programme. But then, these were his own music, and orchestral concerts were rare. That his judgment on this subject, when unbiassed, was as sound as it was elsewhere, is evident from the note prefixed to the score of the Eroica Symphony, in which he requests that it may be played near the beginning of the programme, and be accompanied only by an Overture, an Air and a Concerto, that it may not fail to produce its 'own intended effect.' If this was his sober judgment we may doubt whether he would have approved such a programme as that in which a great artist lately played the whole of the five last Sonatas (op. 101, 106, 109, 110, 111) consecutively, without any relief—magnificent interpretations, but surely an undue strain on both player and hearer. A recent performance of the Choral Symphony twice in one programme, with an interval of half an hour, is more excusable, for who ever heard that magnificent work without wishing to hear it all over again? The arrangement of a programme is not without its difficulties, as the effect of the pieces may be much improved by judicious contrast of the keys, the style, and the nature of the composition. We have elsewhere mentioned Mendelssohn's fastidious care on these points, and all are agreed that his Programmes when he conducted at the Gewandhaus were models. [See vol. ii. 297b.] He is said to have proposed to write the music for an entire Programme, in which he would no doubt have completely satisfied his canons of taste.
Of Benefit Concerts we say nothing. They have been known in this country (1840–50) to contain 40 pieces, played or sung by nearly as many solo artists, and to last more than 5 hours!
It was once the custom in France, and even in Germany, occasionally to divide the pièce de résistance of the programme into two, and play half a symphony at the beginning of the concert and half at the end. Mozart himself gives an example in the programme quoted above. But now-a-days such an attempt would be treated by any good audience with merited displeasure.
When Beethoven's Violin Concerto was first played (Dec. 23, 1806) by Clement, to whom it is dedicated, the selection was as follows:—
| Overture | Clement |
| Violin Concerto | Beethoven |
| Extempore piece | Clement |
| Sonata on one string, with the Violin reversed. ||
[ G. ]