The Washington times. [volume] (Washington [D.C.]) 1902-1939, 1907-11-06
BACH'S SUITE NO. 2
PLEASES AUDIENCE
Excellent Rendition of Men
delSsohn's Symphony by
Boston Orchestra.

The first Of the series of i've concerts
for theseason 1907-S by theBoston Sym
phony Orchestra, which was given yes
terday afternoon in the New National
Theater at 4.50 p. M, was evidently ap-
preciated by the musical people Of
Washington, judging by the crowded
house and enthusiastic audience The
remembrance Of DR.. Karl Muck's eX-
cellent work as conductor last year was
shown by the burst OF enthusiasm which
greeted his entrance on the stage.
The first number on the program was
Robert Sehumann's Overture TO "Geno-
veVa," a work that IS seldom heard and
not familiar to many people. This was
the first time it has been heard in
Washington. II was performed for the
first time in Boston at a concert Of the
Harvard Musical Association. March 1,
1866.
The rendition by the Boston Orchestra
was faultless-although the music is not
ver.- interesting.
The second number was Bach's Suite
No. ., in b minor. for flute and strings,
arranged by Hans Won BuloW. The first
movement in this suite. the overture.
written in 3 minor, begins with
large and is followed by an allegro
four-part tonaI fugue. The second
movement is the "ROudO" allegretto
expressive The chief characteristics in
this rOndO is a recurring refrain as IL
Is in all rOndos Next is the Sarabande.
an andante. In this the flute and cello
are in. canon, and the first vioIins and
ViOlas are muted- SaTabande means
dance and also noise.
Then the Bourree J. allegro motto. and
BSurree H. IN the first Bourree the
flute is silent Then the polonaise, with
double Cor triO) A polonaise is more Of
stately procession than a dance. In
The trio Of this poIonaise the flute has
horld Obligato 10 the violas and then the
'cellos. In the miuuet the flute is again
silent.
The last movement, the 'Badincrie,"
Cor Badinage) preso, takes the place OF
the customary final giEue. The flute
solos In this number We're played by An
Dire Maquarre, with extreme deiicacy
ana dalnuness, and perfection of tone
COlOTing.
The orchestra gave a beautifully fin
lshed performance of this suite being
perfect In almost every detail of inter
rotation. The different parts were well
blended together. although there have
been many changes in the orchestra
since last year.
The last number on the program was
MgndelssOhn. $ symphony, No. 3, in a
minor, better known as the Scotch
symphony 1T was decidedly the fav-
orite work. il was written I'm 1872, and
consists Of four movements. The first
movement opens with slow Introduc-
uon, andante con motto, in A minor The
theme - given out In fun har. Iouy by
wind instruments and ViOlas. 'ceIIos and
double-Ddsses were soon added Rectal
uve-like Phrases In all the violins IN
unison follow.
The main body of the first movement.
the allegro con POGO agitatO. in 4
minor. begins at once with the first
theme IN the strings but the melody
OF the first vlOiinS Is doubled by the
nrst clarinet This melCdiOus motive
IS developed, and leads to q 81 bOrdinate
theme. assai animate for full orches- i
ira, which is developed brilliantly 4
climax Tor tull orchestra is followed by
second theme In = minor. The move
menl ends with a short return OF the
theme of the Introductory audaute IN
the wind instruments and Violas. The
second movement. Vlvare non UrOpDO.
In minor. I'm This the clarinet plays
a lively Scottish dance uEle. In which
the familiar bagpipeS are heard.
IL is developed with great brilliance
by the full orchestra. The second theme
IS a delicate staccato for the strings
Ihe third movement is the adagi0 in A
major
The fourth movement. allegro vivacis-
stmo in A minor, begins with a lively
theme or scottish character on the
violins, against repeated staCcatO chords
Tor the violas, bassoOnS. and horns.
Ihis theme, develored, leads gradu-
a -lE up 10 subordinate passage for the
fu4l orchestra. A second theme is given
10 wood instruments and first viOlins
This is worked up alternately with a
second subordinate motive. 1t ends with
the allegro maestosO assai in A major
This last movement of the symphony
mas been called THE Gathering of the
Clans It is maTch-lllze theme and
IS developed by the full orchestra
This symphony has been pIayed here
many times before, but being such a
favorite it cannot be heard TOO often
/ 90 not know Of anything more appro-
pirate that can be said about # than
what AmbrOs wrote about il: "a beautf-
ful enigma requiring a solution"
It's fuI Interpretation yesterday bv
me Boston Orchestra was carried out
in every minute detail-incIuding the
chromnnc storm at the end ~ the first
allegro, the solemn march movement in
the adagtO etc, etc
MIS- RFlRENTn TTTVEFRTAZv