Evening star., 1918-04-14
DVORAk SYMPHONY
ISCONCERT FEATURE
Marine Band Is to Give Recital
at Marine Barracks To-
morrow Afternoon.
SANTELMANN TO LEAD

Dvorak's Symphony No. >. in Z minor
From the New World" will be thu
feature of concert to be given by. the
Marine Band Orchestra. William II
Eantelmann leader, tomorrow Afternoon
at 80 o'clock at the United States
marine barracks. Sth and G streets
southeast.
The program follows:
Symphony No. 5, in minor. 'F'rom
the New World op 90. -Dvorak
ta) Adagio ct allegro motto;
(bl Largo. (cp Scherzo: motto
vivace: (d) Allegro con fuoco
Solo for violin. Concerto IN
Minor. OPP. Ga
Mendelssohn-B Ba rtholdy
Musician Henry c. stephan.
ta) Allegretto appasionato;
OBJ Andante: (cp Aliegretto
non troppo. allegro motto
Overture, "Leonore. No 81. Beethoven
The Star Spangled Banner.
Short, Slow Introduction.
The first movement of the Dvora k
symphony opens with short, slow m
PRODUCTION, adagio in (. minor t4-S
tfme). based on figures from themes
used later in the symphony. 1t begins
pianissimo in the lower strings. an
swered by the wood wind: then comes
n sudden fortissimo. in which throb-
bins, figure in all the strings in unison
and octayes is answered by the Kettle
drums and short chords in the WOOD
wind and horns; after this some piano
developments for fuller and fulier or or
chestra lead in brief climax TO the
main body of the movement
The main body of the movement, al
legro motto in + minor Ca tlme). be
gins with strong assertion or the IrsL
1aHi,, II
out by two horns in unison, the second
by the wood-wind in thirds This theme
is developed at considerable length,
some figures being subjected to
rhythmic and fgural notifications
which at times give it the air of a new
subsidiary melody. After a while the
second theme appears in the relative
G major, given out first by the flute.
then taken up by the violins in octaves.
The development is far less extended
than that of the first theme. and soon
leads to the traditional repeat at the
end of the first part of the movement
Both the first and second themes have
a marked negro accent.
The second movement, largo in D fiat
major GA timel, opens with some
mysterious pianissimo harmonies in the
brass and lower wood-wind after
which the melodious principal theme is
sung by the English horn over a har-
monte accompaniment in the muted
strings. The development is quite ex-
tended. the theme appearing at last in
two muted horns. Then comes change
to c sharp minor {enharmonic of the
tonic in the minor model un POGO piu
mosso.. and short transitional passage
on a subsidiary theme in the flute and
oboe leads to the entrance OF the long
drawn cantilena of the second theme
IN the wood-wind over pizzicato con-
trapuntal bass. The development of this
theme. alternating with its Introductory
subsidiary, takes up the whole middle
part of the movement A return to the
original key and tempo brings back the
hrst theme in the English horn, the
brief development having this time
much the character of a reminiscent
coda The movement closes pianissfmo
with four-part chord in the double
basSes alone
In Regular Form.
The third movement, scherzo, motto
SiHace IN e minor GA time), is in the
regular form of scherzo and trio with
the novelty. however. of each of tbese
two divisions being based upon two
separate themes. The first theme of
scherzo Tin E mino) generally appears
In canonical imitation; the second
theme (poco sostenuto in E najor) is
amore cantabile melody The first
theme of the trio Gin major) and the
second Tin the same key are both of
a lively dancelike character. Just he
fore the trio. and also in the coda that
follows the repetition of the scherzo,
the first theme of the first movement
makes its temperance.
The fourth movement, allegro con
fuoco In E minor (4-4 time), is some
what unconventional in form, although
conventional formal traits are not un-
discoverable in 1t. After seven meas
ures fortissimo preluding in the strings,
followed by two measures of full or
chestra. two horns and two trumpets
IN unison give out the first theme for
tlssimo against crashing staccato
chords in the rest of the orchestra.
The development follows, at first in the
strings. then in the full orchestra. with
the melody In the first violins and
wood-wind. Next comes a subsidiary
in rushing passage-work for the full
orchestra, still in fortissimo, which
soon leads to the entrance of the sec
ond theme. a more cantabile melody.
given out by the clarinet and further
developed by the first violins, in G
major. This. in turn. is followed by a
strong second subsidiary, fortissimo in
G major, for the full orchestra. A
quaint conclusion-theme in E minor
IN the strings. with little counter calls
IN the clarinets and bassoons in octaves.
and loud notes on all the horns-closes
the division diminuendo