Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1898-01-16

tuesday evening occurs the concert
that has been anticipated with intense
interest. The Pittsburg Symphony Or
chestra was heard here December
1896, and ever since then the desire ia
again hear symphony music has been
uppermost of everything pertaining
TO the coming of musical celebrities
The chance was never available how.
ever, until now, and without Doubt
that the wish to again hear was not
idle talk will be proven by full turn.
out of the artistic and social circles
OF Wheeling. The appended pro
gramme upon reading shows it's worth
and Its claim for an appreciative hear
ing:
Symphony No. in A. Beethoven
o1 nreb IN e Minor, OPP. 100, for Violin and
Preludio- Minuetto- Motto Perpetuo.
CT, NioEnist, Mr.. Voelker.
symphonic Poem. "Danse Macabre".
March, aTannba 'Saln9 " sa
INTERMIsSION.
Suite. Peer Gynt" ................Gr ieg
song l He Was Prince" from III
any Mrs. Williams. Gomez
Polonaise Miltaire. ...............Ch Chopin
Romance, for Harp and Orchestra. ~.
Harp, Nine. Wunderie. 0''e' ~ u
overture, Carnival ................D vorak
Each number is worthy of a verbal
description this morning, but realiz-
ing that the suite in G.
minor, op. 100, by Raft, to be
played as violin solo, accompanied
by full orchestra, the vocal solo, He
Was a Prince" to be sung by Mrs
Flora Williams, the ''Tannhauser'
march and the Chopin "Polonaise,"
all will clearly speak for themselves,
it is decided to only present with pen
the following tone pictures:
Symphony No. in A........ Beethoven
POGO sostenuto (vivace).
Allegretto
Presto presto memo assaD.
Finale (aliegro con bro).
Beethoven's seventh symphony follow
ed the sixth C'PaStoral'D after an inter
val of four years. Beethoven has left no
record of his purpose when composing it.
We know he valued it highly, tor in his
correspondence he refers 10 tan excep-
Jlonal happening IN. In r, letter 70 saio-
in A, one of my very best" TO Neate
he says, Among my best works which
! can boldly say Of the symphony in A, =
Commentators, who by reason of their
intimate study of Beethoven, are author
tiles, disagree in interpreting the seventh
symphony, whose composer has given
them no key. BerloiZ would have us be-
HeVe that the first movement is rustic
wedding. and. we are therefore to sup
pose, drawn from the same scene of VII
lage mirth that suggested the dance in
! the pastoral symphony Lenz looks on
the symphony and its companion, the
tnuSIasm which produced the Battle Of
Nittoria" symphony, and, as Grove says,
bends and Warps every passage to give
1t a Warlke intention Marx sees in the
work Moorish knighthood; Oubibicheff a
masked ball: Bischon a sequel to the
PASTORAL; Ambrose sides with BerloiZ
while Wagner declares it is the apotheosis
of the dance, the ideal embodiment in
tones of the bodily movement. So the
doctors disagree.
Here is the version of humorist which
appeared in 1925 in a German musical pa
per called the Caecilia: When the SYM
pnOny WAS first performed, most diverse
speculations We're rife respecting the
meaning of the work. Some said Bee
thoven had sought to Illustrate no partic-
uiar programme others that he had en-
deavored TO unsteady portray the spirit
nf the age, while others said it was the
oppression resulting from visit to Il
Tnatic asylum. For my part, it seems
to imply the following ideas: The open
ing bars announce a marriage to be cell
ebrated with much pomp. The POGO sos
tenuto represents the opening Of the
doors Of the grand reception room after
the ceremony, the ascending and descend
ing passages of the strings the finishing
touches of the servants to the banquet,
the double baSses are evidently the aged
parents, who make a final tour of inSpec-
ton around the rooms. With the vivace