Evening star. [volume] (Washington, D.C.) 1854-1972, 1918-03-03
fine PROGRAM FOR
MARINE BARRACKS
MendeIssohn's Symphony No.
4, in A Major, Principal
Feature Tomorrow.
DESCRIPTION OF WORK

at the Marine barracks. William ii.
Santelmann, leader.
The program and descriptive notes of
the music follow:
Symphony No. 4. in A major Utalien).
MendeIssohn BarthoIdy. ta) Allegro
vivace. OBJ Andante con motto. fc)
Con motto moderate. I'D Saltarello.
presto.
Piano solo, Hungarian PhAntasia,
List; musician. Norman Scala
Ballet suite. Prince Ador." Ruebner.
"a Dance of the demons. CD Dance
OF the gypsies, mazurka- CD Pas de
x-grazioso. polka 90 Ballabile.
waltz
Overture, William Teal.'' Rissini.
'.The Star Spangled Banner"
Origin of Symphony.
On November 5. 1882. the Philhar-
monic Society of London passed a res
oiution asking Mendelssohn to compose
for them a symphony. an overture and
. vocal piece for the society ana of
fering him q hundred guineas for the
exclusive right of performance during
two years OF these the Italian SYM
phony was to be one which was per-
May IL, 1898, at the Philharmonic con-
cert Mendelssohn conducting.
The first movement. allegro v1vace
(s-s time), begins with sharp forte
pizzicato chord in all the strings and
quivering eighth-note repetition of the
tonic chard in the wood winds and
horns; against this shimmering back
ground. the first and second violins in
octaves outline the first theme. After
the theme has been played through,
various wind Instruments proceed with
some further developments on its
initial figure and a brief climax leads
to the fortissirno return of the theme
with still more brilliant orchestration
than before Then follow some further
developments leading to the entrance
of the second theme in the clarinets
and bassoons, then 1t passes into the
strings, dying away gradually to pi-
anissimo, and the clarinet softly brings
back some hints of the first theme.
which are Immediately taken up by
the strings and the rest of the orchestra
in joyous forte and fortissimo with the
graceful conclusion-theme which leads
to the repetition of the first part
After the repeat comes the free fan
diminishing lead to the entrance of
an entirely new theme (of rather
Scotch than Italian character) in D
minor. which is at first treated in free
fugato in the strings against running
eounteT-fgures; then fragments of the
FIRST theme come back. and this and the
new theme are deliberately worked out
together: Then comes a gradual
climax Of crescendo. in which the wind
Instruments keep insisting more and
more strongly on the initial figure of
the first theme against a waving ac-
compartment in the strings. until the
re-entrance of the first theme itself is
reached At the beginning of the third
part OF the movement. The theme of
the third part is given to the violas and
cellos and is further developed by the
violins; as it at last dies away the
little episode theme that made its
nrst appearance near the beginning of
the free fantasia suddenly returns in
A minor in the wood wind and horns,
leading over to the coda of the move
ment. in which this episode theme and
the nrst theme are worked out in con-
junction much as in the free fantasia,
the tempo growing more and more
rapid as the working out progresses
Second Movement Described.
The second movement. Andante con
moto in d minor GA time) has been
called the Pilgrims March," and begins
with a loud call. or rather wall, on the
dominant and the sixth degree of the
scale by the flutes, oboes. bassoons, vio-
Inns and violas in octaves. Then follows
= running contrapuntal staccato bass in
the cellos and double BASES against the
principal theme of the movement sung in
octaves on the oboes, bassoons and violas:
otter the first verse of the theme has been
thus played through. 1t Is repeated in the
y1olins over the same persistent bass, the
two flutes adding flowing counter point
70 MI out the four-part harmony. Then
comes the second verse of the theme
which is followed by a short conclusion
passage in four-part counterpart by the
4rings. The first part of the movement
~ followed by the announcement of a
more sensuous and idyllic second theme.
xhostly in the clarinets. against which the
strings play an elaborate free contrapun-
OF the wood-wind and strings returns on
and natural and the third part be-
GINS. This is devoted to a more or less
eeaborate working out Of both themes
from the first theme.
The third movement, con motot mod
srato in A major GA time) is In
FORM of minuet and trio. The min
. graceful flowing theme. principally in
the strings, the wind Instruments be-
ing used mainly for the coloring The
second part or trio is especially note
worthy Tor charming effect of color
obtained from its themes being played
by a quartet of two horns and two bas-
soons, the crossing of the parts result
ing in the most exquisite effect. After
the repetition of the minuet snatebes
OF the'trio return again in a short coda.
fouftn movement, Saltarello.
The fourth movement, Saltarello:
presto in A minor GA time) is a bril-,
liant and deliberately worked out
movement on a saltarello theme.
me saltarello is the typical Roman
dance as the tarantella is the NeanoI.
1tan They are both in tripIet rhythm.
with the difference that the taranteus
moves more in even triplets whereas in
the saltarello the fifth note of ever
regular group of six falls out and its
place Is taken by a rest. producing a
peculiar hitch in the rhythm,
musician Norman Scala. the so,o;s,
al this concert. is a son of a formsr al.
rector of the Marine Band. unSer 49,.
.eadersnlp the famous open-air concerts
.. me Capitoi and the White House
Also curing his time that the Marine
IA uanc va. ~ an act Of Congress. made
sne nrst military band in the irn;1eS
states service. Chieeo
OYSTER SHORTAGE RELIEVED.