Evening star., 1918-02-03
MELODY TO MARK
MARINE CONCERT
Orchestra Plays at Barracks
Tomorrow Afternoon With
Attractive Program.
RURAL WEDDING,' FEATURE

RURAL WEDDlMG,' FEAIUkE
The Marine Band Orchestra will give
its second program of the season tomor-
row afternoon at 2:30 o'clock at the
United States Marine Barracks. The
feature of the program will be the sym
phony "The Rural Wedding" by Carl
Goldmark, although a suite characteris-
tique by Arthur Tregina, a member of
the Marine Band. is expected to divide
the interest.
Details of Program.
conduct the orchestra. The complete
program and notes concerning the two
leading numbers follow:
ding" carl Goldmark
a. Wedding March, moderate motto.
b. Bridal Chorus. allegretto.
T. Serenade, allegro moderate scher-
zando.
d. In the Garden. andante
e. The Dance, allegro motto.
Violin solo. Second Con-
certo' ....-.-..... Henri WieniawskI
Musician. Herman Hoffman.
Suite Characteristique Arthur Tresina
a. Rhapsody Hongroise. largo.
b. Polonaise, tempo di Polacca.
c. Lament Persane. adagio.
d. Dance Cosaque. moderate assai-
Overture. The Spirit of the
Wojewoden'' Louis Grossman
The Star Spangled Banner
Carl Goldmark, composer of the SYM
phony The Rural Wedding" was born
at keszthely, Hungary. May IS, 1890. He
died January 2, 1915. at Vienna
Born of Jewish parents, Goldmark re-
ceived his first musical education at the
school of the Oedenburger Musik-verein
He studied the violin with Leopold Jansa
II lS44-45 Entering the Boehm Con-
ssrvatory in 1S47. he studied the violin
under Boehm and harmony with Preyer.
Descriptive Movements.
The Rural Wedding is a symphony
IN name rather than in fact. 1t is a
series of five descriptive movements Its
frst movement, called Wedding March
is q series OF twelve variations begin
ming and ending with a theme played by
the cello and string basses.
The second movement Bridal Song"
is OF a Schubert-like lyricism and sim
plicity.
The third movement, "Serenade.' is of
graceful charm and color like a dainty
madr1gal in several verses. The themes
have with all lightness serious grace
and feeling, but between them are
flashes of fine humor in lesser phase and
In the interplay of motive.
The fourth movement I'm the Garden"
fds the most intimate shade or beauty,
where the clarinet tenderly and dreamily
begins its appealing song in the rarest
harmonies of wood and lower strings
Two distinct melodic elements are in
this romance. Against the rare delicacy
of first is the ardent tone of the second
in the cello echoed by violins AS the
andante may be called the epitome of
symphony. so this idyl is clearly the
heart of the work.
!, The fifth movement The Dance" allie.
} gro motto, is all on a big scale. In poly
!, phonic design II is profoundest of all the
movements.
!. or great beauty is the epilosue where
the tune broadens into true moving song
. like festival hymn rising to height Of
fervent appeal that is too intimate for
mere trip OF foot
Orchestral Effects.
Mr. Tregina's Suite Characteris-
tiaue" has oeen played by the principal
symphony orchestras throughout the
country. and is an admirable produc-
ton Of originalities and orchestral
The first number. described by the
author as Natures Heart Balm" is in
tense1y Hungarian in character, being
weirdiy plaintive. tragic. somber and
OF tempo and mood. Astounding with
horid cadences for flute, clarinet and
violin its harmonic richness is
toward the end the principal theme be-
comes consolatory in character, ending
planissimo in the major key with high
harmony in the wood-wind and strings
Nlrile youth. with it's eagerness and
Zest. IS depicted at the beginning of the
second number as seeking glory fame
and adventure. while in the trio, love
nrst softens and refines. then ennobles
the soul through more and more exalt-
ing climaSes till it enters at last the
!; realm of pure spirit, where lowering
for brief space amid a shower of
crystalline harmonies in the highest
register OF the solo violin it hears once
more the call of earth in the plain
tive chords of the horns punctuated by
the heart beats of the tympani which
1ntrudlng as dissonance gradually
draw the modulating horn-harmonics
back to the original key. and the num-
Der ends as it began. in the eagerness
of the glory quest.
Quaint Oriental Style.