Norwich bulletin. [volume] (Norwich, Conn.) 1895-2011, 1915-03-31
MISS JAMESON,
49, CONCERT. SOLoIST
She Will Play St. Saens's Concerto in
& Minor-Anaiysis of Difficult Work.

Interest in the concert to be given
by the New York Symphony orches
ira in Slater Memorial hall on Mon
day evening, April 5, becomes more
manifest as the time for holding 1t
draws near. BESIDES the large num-
Der of local music lovers who have
subscribed for tickets there are sew
eral parties coming from New Lon
don, Westerly, .Willimanttc and Plain
field, So that the number Of Out-Of-
town people that will attend will
PROBABLY lie the largest that has ever
attendd a Slater hall concert.
But the enthusiasm that should be
manifest in the coming Of great
musical organization like the New
York SynpaIhony orchestra, seems to
be accentuated upon this occasion on
account of the fact that the soloist of
the evening, Miss Margaret Jameson
is SO we'll known in Norwich The
piece which she is to play, accom-
panied by the full orchestra. is one
of the most beautiful and at the same
time, enc of the most difficult COM
positions that could be selected, as the
following detailed analysis will show:
Concerto In Minor, op. q.
Camille St Saens CBorn at Paris,
Oct. ., 1880.
This concerto was composed in
1863. It was played for the first time
Will. 81. odS1lS dS SOAO4SL at O. N0AASSA
Populaire, Paris, Dec. 10, 1868. It Is
scored for solo piano, two flutes, two
Cboes, two clarinets two baSsoons,
two horns, two trumpets, kettleorum,
string and a pair of cymbals ad- lib.
for the third movement. It Is ded1-
Gated to Nine A. de Villers. The first
movement opens with a free contra
puntal candenza for piano alone. An
dante sostenuto, G minor, "A time,
but no bars are marked in the score
until the orchestra enters. The ca
denza grows more and more brilliant
until tie orchestra enters with two
mighty chords which are followed by
sturdy phrase in strongly marked
rhythm. The oboe has g. recitative-
like phrase which Is accompanied first
by the piano, then by the strings piz-
zicati. The first theme is announced
in with an accompaniment during the
development. limitations between the
piano and strings and woodward in
struments lead to a subsidiary theme
(B-fiat major given out by the piano
with certain phrases, reinforced by
the wood wind. The clarinet has an
episode phrase with accompaniment
of chords for flutes and horns and with
running passages for the piano. There
is a change of tempo, piu animate.
The piano begins the measure of brill
liant passage work. There are sus-
tanning harmonieS for the strings and
the wood-wind and later for the full
orchestra. There is a steady increase
in pace and force until the tempo be-
comes twice as fast as before Sud
denly there is a return to the original
shower tempo and the first theme is
given out &C minor fortissinro) by
.5iolins, Violas and 'cellos against furl-
Gus octaves and double arpeggios for
the piano, which continues the theme
with the melody in octaves. This
1a n hn
clarinet. while the piano keeps UP the
arpeggio accompaniment. The piano
has an unaccompanied cadenZa, with
a development Of figures from the first
theme. Toward the end the orches-
ira enters and it leads to a coda, in
which the contrapunta1 passage with
which the movement opened is now
accompanied by the orchestra. The
end is repetition of the sturdy or
chestra passage which first intro
duced the chief theme. This move
ment is not in the symphonic form
1t might be called the ''sloW move
ment" Of the composition.
The second movement allegretto
scherzando, E-f1at major, 6-s, CORE
spends to a scherzo in character, but
its form is that of a first movement
After a pizzicati chord in the strings
and quick rhythmic beats of kettle
drums, a nimble these is announced
by the piano alone. It is developed
by the piano and the orchestra either
in alienation or together. The Sec
ond theme appears in B-f1at major;
the melody is sung by various wind
and stringed instruments against a.
sort Of guitar accompaniment with a
peculiar rhythm in the piano. There
is a light little conclusion theme for
piano, accompanied by tremolo in
the strings with occasional soft chords
in the wood wind. There is short
free fantasia The third part bears
the conventional relations to the first.
The scherzo ends pianissimo with a
short coda.
The third movement; Presto, G.
minor, A practically 1879 is not
unlike a dashing saltarello. Two
measures Of rapid triplets in the basF
Of the piano are followed by repiti-
zion Of this figure by the strings
against a chord for wind instruments
and kettledrums. The piano has the