D major theme with all possible sonority. The chief theme of the second movement returns, also with great sonority. The volume of tone subsides, and the third theme of the first movement reappears. This leads to a coda, constructed from the chief themes of the first movement in conjunction with the opening theme of the Finale. Vincent d'Indy in his Life of Franck, which has been published by John Lane in an English translation by Mrs. Rosa Newmarch, says little about the structure of this symphony, although he devotes a chapter to Franck's string quartet. Speaking of Franck's sonata for violin and piano, he calls attention to the fact that the first of its organic germs is used as the theme of the four movements of the work. "From this moment cyclical form, the basis of modern symphonic art, was created and consecrated." He then adds: "The majestic, plastic, and perfectly beautiful symphony in D minor is constructed on the same method. I purposely use the word method for this reason: after having long described Franck as an empiricist and an improvisor-which is radically wrong-his enemies (of whom, in spite of his incomparable goodness, he made many) and his ignorant detractors suddenly changed their views and called him Christmas Displays Now Ready In All R. H. STEARNS & COMPANY AMRINGE MONUMENTS QUALITY ORIGINALITY MODERATE PRICE VAN AMRINGE GRANITE CO., 172 TREMONT ST., BOSTON. ୨୧ a musical mathematician, who subordinated inspiration and impulse to a conscientious manipulation of form. This, we may observe in passing, is a common reproach brought by the ignorant Philistine against the dreamer and the genius. Yet where can we point to a composer in the second half of the nineteenth century who couldand did think as loftily as Franck, or who could have found in his fervent and enthusiastic heart such vast ideas as those which lie at the musical basis of the Symphony, the Quartet, and "The Beatitudes'? "It frequently happens in the history of art that a breath passing through the creative spirits of the day incites them, without any previous mutual understanding, to create works which are identical in form, if not in significance. It is easy to find examples of this kind of artistic telepathy between painters and writers, but the most striking instances are furnished by the musical art. "Without going back upon the period we are now considering, the years between 1884 and 1889 are remarkable for a curious return to pure symphonic form. Apart from the younger composers, and one or two unimportant representatives of the old school, three composers who had already made their mark-Lalo, Saint-Saëns, and Franckproduced true symphonies at this time, but widely different as regards external aspect and ideas. "Lalo's Symphony in G minor,* which is on very classical lines, is remarkable for the fascination of its themes, and still more for charm and elegance of rhythm and harmony, distinctive qualities of the imaginative composer of 'Le Roi d'Ys.' "The C minor Symphony of Saint-Saëns, † displaying undoubted talent, seems like a challenge to the traditional laws of tonal structure; and although the composer sustains the combat with cleverness and elo 'Lalo's Symphony in G minor was performed for the first time, February 13, 1887, at Paris. The introduction to the first allegro, passages in the scherzo, and the theme of the slow movement were taken by Lalo from his opera "Fiesque," composed in 1867-68.-P. H. † Saint-Saëns wrote his symphony in C minor for the London Philharmonic Society.. The symphony was first performed at a concert of the society in London, May 19, 1886, when the composer conducted. It has been performed at concerts of the Boston Symphony Orchestra in Boston, February 16, 1901, and March 29, 1902, and it was performed in Boston at a concert given by the Boston Symphony Orchestra and SaintSaëns, November 26, 1906, when Dr. Muck conducted it.-P. H. ELIZABETH GRANT FASHIONABLE MILLINERY HATS for Dress and Formal Occasions 169 TREMONT STREET WHY WE HAVE THE BEST ORIENTAL RUG 95 W VALUES IN BOSTON Years' continuous experience in E were a part of "the beginnings" of Oriental Rug distribution in America, and as a result, at a very early period we formed Eastern connections of great value, from which we frequently receive small parcels, forwarded at the discretion of our Agents, and direct from the Interior. Many of these connections have not been There is in business life more "compensation for age" than with the individual; this is one that is a real asset. We invite your inspection of some remark- John H.Pray & Sons & 646-650 Washington St., Opposite Boylston St. |