The daily morning journal and courier., 1895-05-14
THE SYMPHONY coNcERr

There is a lively sale of seats for the
 grand concert to be given by the New
 Haven Symphony orchestra, Professor
 Parker, conductor, at Alumni hall on
 Thursday afternoon next at 4 o'clock.
 That the concert will be 0 delightful
 musical treat Is a foregone conclusion. New Haven is specially favored in hav- ing an orchestra capable of brilliantly rendering music of the highest charac- ter. Following is a synopsis of the first number on the program:
 Two Movements of the Unfinished
 Symphony in B minor.
 .... e. .. e. .......... Franz Schubert
 Of this symphony of Schubert's the two movements given at this concert, discovered some time after the compos- CTS death and published posthumously, are all that exist.
 The first movement, Allegro moderate in B minor (S-4 tirne), opens pianissimo with a, phrase given out in low octaves by the 'celli and double-basses; on the ninth measure the first and second Vlo- lins come in with a tremulous, nervous theme in thirds and sixths, against which the oboe and clarinet soon play a melodious, mournful counter-theme. One is a little in doubt how to fit the usual symphonic nomenclature to these three themes; the tremulous violin pas o1er11 h6 h.. opening phrase of the bass es counting as the first theme-were it not that the former Is developed so as to assume a far greater degree of i'm portance in the movement than sub sidtary theme normally would. It were perhaps best to call the opening phrase of the basses an introductory theme, and the phrase of the violins that fol- lows it the real first theme; the phrase of the oboe and clarinet is plainly the counter-theme to the last mentioned. The development of the first theme and it's counter-theme is carried on for some eighteen measures or so, when 1t is cut short by some loud, stertorous synco- pated chords in the full orchestra; a long D in the bassoons and horns, followed by a simple modulation to c major, leads to the entrance of the second theme, an idyllis melody, given out by the 'celli against syncopated chords in the violas and clarinets, and taken up by the first and second violins in octaves. Some strong of the full orchestra lead to an initiative working-out of figure from this second theme in two-part by the strings against sus- -ained harmonies in the wind. The place of a conclusion theme is taken by some closer limitations on the second theme tself in the strings and wood-wind. Here ends the first part of the move nent, which is regularly repeated.
 The free fantasia is devoted to Q long and elaborate working out of the in- theme. The third part of he movement begins immediately with he first theme in the tonic, and pro- ,eeds almost exactly as the first part lid, save that the second theme now comes in in D major. A short free Coda ,n the Introductory theme closes the 
 The second movement, Andante con noto in E major C3-S time), may be said o be in the sonata form, without a free antasia. The scheme of it's form is as blows:
 First theme in E major Strings, inter upted at times by wind).
 First subsidiary in E major Gall the vood-wind and brass forte over a run ing contrapuntal bass in all the strings n octaves); it reminds one forcibly of he theme of the Trio of the Scherzo n the composers great c major sym ,hony.
 First theme returns in wood-wind in D major.
 Second theme in C-sharp minor at l rst, but modulating considerably in he course of its development Clarinet olo over syncopated harmonles in the | trings).
 Second subsidiary in C-sharp minor | full orchestra fortissinlo, the melody in | he violins).
 Conclusion-theme in D major (melody | T the first violins piano, initiating the ,elli and double -basses against a syn opated accompaniment in the second iolins and violas)
 A free closing passage, decrescendo, n a figure from the conclusion-theme various wood-wind and horns).
 This is the first part of the movement; he second part, which follows 1t imme- lately, follows precisely the same eheme, with the following differences f key:
 First theme in E major.
 First subsidiary in E major.
 First theme in A major.
 Second theme in A minor.
 Second subsidiary in A minor.
 ConcIusion-theme in E major.
 A short coda on the conclusion-theme nd the first theme closes the move lent
 The symphony is scored for 2 flutes, oboes, 9 clarinets, 2 bassoons, ? horns,
 trumpets, trombones, 1 pair of ket- e-drums, and the usual strings.