The age-herald., 1902-04-06

llng-Whe6l accompaniment to the love 'ong. Indeed. the spinning is treated as characteristic motif for the No seman's ,ridc, somewhat as it is Senta's motif in The Flying Dutchman."
 Morceau Symphonique, From. =.
 Redemption"
 Ceasar Franck.
 Born December 10, 1922. at Liege. Died November g. 1890, at Paris.
 "Redemption''- "Poeme- Symphonic by Edouard Blau, the music by Cesar Franck. The work consists of two parts. the selection now played having its prop CT place as the introduction of the sec ond part. At the top of the first page of the score of this number the composer has placed the following words: The centuries pass-Joy of the world which is being transformed and which blooms through the word of Christ"
 The form of this movement is not to be explained according to symphonic pre- cedent, as 1t consists chiefly of a free, but elaborate. development of several themes which may be pointed out verb ally with sufficient distinctnoss to re- move the necessity for their quotation. First some soft tones from the horn. fol- lowing which the basses and violoncellos give out an undulating theme, to which the clarinet immediately responds with a more nimble one. The foregoing Is then repeated. thus forming an Introduction to the main body of the movement-in D major Maestoso Poco Lento and A time which begins with q prolonged work ing-out Gin combination of the themes al- ready mentioned. This passage of devel- opment finally leads to the appearance of athird theme in the brasses fortis- yvtt h little flourish at the end. This theme holds the foreground for awhile and then gradually disappears as the opeD- ing themes are taken up again. Present. ly we come to another section in which the clarinet gives out new motive dol cissimo, overflowing arpeggios. This part begins PIP with the tempo somewhat slackened (Un Peu Plus LenD; but it moves quickly to EFF climax, at the apex of which the original tempo is re- stunned as the theme mentioned as No. 3 Introduction and Rondo capriccoso
 ... .. =. ...... ...Opus 2o.
 Camille Salnt-Saens. Born October g, 1885, at Paris.
 Of all the composers living at present few or none have distinguished them selves more, or more amiably. in many directions than the brilliant French mas ter Saint Saens, Not to mention his of ten played symphonic poems and his operas his instrumental compositions for orchestra always display rare sagacity in contrasting sonorities, and in assign ing to every instrument something to do which it can do pleasurably and credit ably. The Rondo herewith for violin and orchestra is an eminently pleasing num- Der and thoroughly original.
 SIavonIc Rhapsody, No 3........
 .,.. Antonin Dvorak Born September S. 1S41, at Muehlhausen
 Bohemia.
 Dvorak is, beyond doubt one of the most prolific of living composers. Highly and sensitive to his en- he commands the means of musical expression with such consum- mate mastery as to be able to enlist them in the service of any style at will His an American school of com posers who should profit by negro and Indian melodies is well known His bril- liant practical illustration of this theory is testimonial of his versatility. Yet Dvorak Is at heart a Bohemian composer and Is most at home in the peculiar rhythms and melodic elements of the music of his native country. His Slavonic Dances concentrated the attention of the musical world on him and paved the way for his subsequent works. He has em- phatically asserted that in writing these as well as the Slavonic Rhapsody he did not have in mind particular folk-songs or dances, but simply adopted their charac- teristics just as Schubert and Brahms did in their Hungarian compositions. The present rhapsody Is constructed with great free1om on the melody which tho harp announces at once. frequent changes in tempt, the introduction of contrasting counter themes. and rich, sonorous instrumentation lend continual variety to the work.
 "Ruses D'Armour," Opus 61.....
 .... ..Alexandre GIazounoW. Born August 10, 1865. at St. Petersburg.
 This suite is made up of selections from the one-act ballet "Russe dArmour' by Marius Petipa, the music by Alexandre Glazounow. It is dated "St. Petersburg, 1S9s" and was published last year. l., Introduction, Premiere Scene, Gavotte -Musette, Sarabande ct Farandole.
 The introduction-in major Allegro
 
 two simple melodic phrases working up to fortissimo climax; at which point the curtain rises on the Premiere scene "A park. On the left a grand staircase which leads to the chateau of tho Duch- css Lucinde. The centre of the scene lawn The rising of the cur tain discloses several groups and games n the Watteau <tyle, a company invited oy the Grand Duchess Lucinde to meet he fiance of her daughter, who is to ar i've this very daN and whom the daugh- CT does not know except by reputation. young, elegant, and of a noble family, ut without fortune. All are occupied in ipping chocolate and in the diversions Ipon the lawn.
 II. Gcande Valse.
 This number-in E fiat major, Allegro md 3-4 time is taken from the seventh cenc of the ballet: They bring on the and then leave the Marquis hating with the sham Duchess But he inds her more and more ridiculous and darinette charming. The gentlemen and adies propose a waltz: They accept" III. Ballable des Paysans ct des Pay annes.
 ". Grand Pas des Fiance.
 This number assumes the form of a omanza for the solo violin and violon- clio. A few introductory measures (And- ntino) precede the main body of the rovement, which opens-in A major, Andante and 3-4 time-with an expressive melody for the violoncello, quickly an- wered by another for the violin, over lowing arpeegios in the harp After this art comes a contrasting intermediary ection in quickened tempo-Allegro and A time: following which the violin and resume their dialogue in short third part ("Variation') in 2-4 ime. Allegretto Grazioso.