Los Angeles herald. [microfilm reel] (Los Angeles [Calif.]) 1900-1911, 1908-05-10


midst of the tumult, brilliant fete. Then
he dreams that he has killed her; that no ls
condemned to death and led to execution.
The procession advances to the tones OF
march, now somber and wild, brilliant
and solemn, in which the dull sound OF
heavy feet follows without transition upon
the most resoundng outbursts At the end
the fixed idea appears for an instant. like
last love thought, interrupted by the tatai
stroke"
PART II
Dance of the Hours" from "coppelia'
(Delibes).
Dance of the Automaton.' from Cope
iia," (Delibes).
Excerpts from la Boheme," (PuccinD.
Serenade for string orchestra, (Burgemein-
RicordD.
Intermezzo from I'll Pagliacci," Leonea-
vallo).
Intermezzo from "cavalleria Rusticana,"
Overture. civilian Tell" RossinD.
Rossini's William Tell" based on the ia
we'll as inspiring of operas. 1t enjoys Wide
spread popularity. The overture is frequently
played. but only by large orchestras as Its
real beauty and strength portrayed.
The Friday matinee will present what
would be considered by some as
and popular program. 1t is
the special program selected by the
teachers of music In Berkeley, and con-
stitutes the numbers for the grand con-
cert at the Greek theater Berkeley. A
has never been offered in Los Angeles.
The complete program follows:
PART
Overture. Fantasy, Romeo and Juliet"
(TschaikowskD
Romeo and Juliet" Overture fantasia from
Shakespeare), composed In 1S69-10. the Sec
ond of the Tschaikowski programatic works
for orchestras. There Is no note OF any kind
attached TO the score, but according to tho
responsible interpreters, the music is con-
nf res
tragedy. At the start Is presented the figure
of Friar Laurence (churchly harmouies in
the ciarinets and bassoons) later the con-
flict of the opposing houses. expressed in a
tnmultuous passage of strife and fury. Then
follows the love scene, introducing two
themes of rich and emotional suggestion.
Following the love scene is resumption OF
the stress and conflict of the first part.
against which the solemn warning of Friar
Laurence. protests in vain. The lovers are
again evoked with more passionate insistence
than before. Here is culminative moment
of arresting intensity; then after brief
and portentious silence, dolorous reminis-
cence of Romeos ecstatie song now dirge-
like and woeful, brings the music to a close.
Prize song from Die Meistersinger," ONag-
ner).
Two selections from THE Roland Songs"
lMcDowelD.
THE Beautiful Aida" 1.-THE saracens.'
while living in Wiesbaden. Ger
many, projected a symphony on the subject
of the Song of Roland.' and a portion of 1t
was composed. but the plan was afterward
abandoned. and the music was published.
THE Saracens." tempestuous allegretto
feroce. is sombre portrayal of the scene in
which Ganelon swears to commit treason
against Roland. while the Saracens feast
amid the fiaring of pagan fires and the wall
ing of sinister music. The second fragment,
1.-THE Beautiful Aida" an andantino tenn
eramento of grave tenderness. depicts the
loveliness and the grieving Aida, Roland's
wife.
Air from I'll re Pastore," (Mozart). violin
Mr.. Saslavsky.
from Ctyntt
Eat the Break of Day." "Asa's Death
''Anitra's Dance" In the Halls of the
King"
his suite contains excerpts from the Incl
dental music Grieg wrote for Ibsens famous
play Peer Gynt." The first movement por-
trays the break of day the awakening of the
birds and the freshness of all nature. The
second is played as Peer Gynt returns homo
to find his old mother. Asa, dying. The
third movement accompanies the dance of
Anitra, an Arabian girl, who has captivated
Peer Gynt; and in the fourth movement he
is taken from the cayernous palace of tho
mountain king of the dwarfs; she teasing
him with their uncouth dances.
symphonic poem, The Wheel of Omphale."
saint Saens).
lie Route domphale.' composed In 1871.
was first piano piece. 1t was afterwards
made over for orchestra and performed in
Paris The following note In French pre-
faces the score: THE subject of this SYM |
phonic poem is feminine seductveness. tho |
triumph contest of weakness against
strength. The spinning wheel is merely
pretext; 1t Is chosen simply for the sake Of
rhythmatical suggestion and from the view
point of the general form of the piece The
music has been interpreted as falling mo
the three following selections; The power u
feminine alurement Triumphant struggle I'd
weakness against strength; in fact. omphalds
fascination of Hercules Hercules in bond
age; or as the author has it, Hercules groan-
ing under the bonds which he cannot bred<
Omphale deriding the vain efforts of he
hero"
Polonaise for strings (Beethoven).
Waltz Wine, Women and Song tStraus).
Solo for violincello Evening Star" (Scm-
nann), Mr.. Bramsen.
March Slav," CTschakiowskD
rschawokski's March Slav'' Is one of his
most characteristic and stirring compositims
Like most of his works. 1t is based on dix
songs Of the Russian people. 1t begins fifth
weird funeral dirge, like the lament ofthe
heroes lost in battle, but gradually the Urge
changes Into a furious war song. andlke
great army we seem to the vicious
races comprising the great Russian expire
passing in battle array before U.s. all being
finally united under the strains of a hhuti
full II iss'an national anthem.
Friday evening the Russian Savic
light, devoted to Russian, Polish and
Bohemian composers, many nuHbers
lot yet heard in this city.
The complete program followss
PART 1
Prelude.
"Malaguena' from "Boabil.' Cdosk& skp
Elegie,' from suite No. (TschaikoyskD
Theme and variations from suite 10.
THE Young Prince and Princess, from
or THE Arabian Nkhts'
Rimsky Korsakow)
he sultan Schahriar, convinced of the faith
lessness of women had sworn to put toheath
each one of his wives but the S1tana
Scheherazace saved her life by divertint him
with stories which she told him during a
thousand and one nights. The sultan. lcon-
quered by his curiosity put off from day to
day the execution of his wife, and atIlast
renounce entirely his bloodthirsty vow
Many wonders were narrated to Schafriar
by the sutana, who for her stories borrowed
the verses of the poets and the words Of
folksongs, and she fitted together tales and
adventures: one of these tales is that of THE
Young Prince and Princess" 1t is easy for
the listener who has reveled In the famous
old Arabian tales of love and mystery, yalor
and intrigue, natural and SUPERNATURAL to
follow the composer In the gorgeously
painted musical picture from his suite
'scheharazade' of tender love themes and
oriental dance rythms.
Cavalry Ride" (Rubnstein).
Melody in II (Rubinstein).
Nocturne Chopin.
Vaise, arranged for hute solo Chopin Mr..
arrere,
Three Russian folksongs-"c radle Song
MOSQUITO Song" Dance Song. .,.,
Mr.. Bramsen.
1.-Two Slavic Dances" Dvorak).
The program for the children's matt
ee Thursday afternoon will consist
[ the following numbers:
Overture TO ''Tannhauser," (Wagner)
Suite from Peer Gynt," tGrieg), two move
ents.
'Spinning Song" Spring Song"
Aliegretto from symphony No s (Beethoven)
''Serenade,' (Iiaydn. 's
'sr Vaumeri." (Schumann).
RusSlan Dssss ehipesS Dance from
Valse 1.-The Beautiful Blue nan,,ha