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MUSIC OF THE CONCERT SYMPHONY IN B MINOR (Op. 74) Tschaikowski P ETER IETISCH TSCHAIKOWSKI, whose death occurred some years ago, was born April 25, 1840. Rubinstein was his master in composition. He was a disciple of Mozart, Beethoven and Brahms—in a word, of the classic school as differentiated from the romantic or dramatic cult of Wagner and Richard Strauss. His symphonies are therefore devoid of that sensationalism which only too fre- quently these days is utilized to conceal dearth of ideas. They are constructed upon the strict laws of Symphonie composition enunciated by Haydn and Emmanuel Bach, and developed in full perfection by Mozart and Beethoven. The “ Pathetic ” is considered one of the great Russian’s grandest productions. The funeral march with which it ends is a singularly original piece of composition, deep in its pathos, inspiring in its Suggestion of hope. ARIA FROM “ SAMSON AND DELILAH ” Saint-Saens My heart at thy sweet voice, swift unfolds like a flower When the dawn first is showing, But Oh! to stop my tears, thou ha? it in thy power, One word more, love bestowing! To thy Delila say; thou returnest for always! Repeat thy wooing tender, all thy vows once more teil; Those sweet vows loved so well! Ah! come, come list to my fond wooing, ’Tis with ardor my heart imbuing, Listen unto my wocing. As when across a field zephyrs softly are blowing While the wheat is gently swaying, ’Tis thus my heart is moved; And thus while love ’tis showing, To thy voice its tribute paying. An arrow is less fleet, that brings death in its flight Than thy love, who would fain rush to my arms at thy sight. Rush to thee at thy sight. Ah! come to list to my fond wooing, etc., etc. CONCERTO IN B MINOR (Op. 61) Saint-Saens HE concerto has been well named by the composer as a concerto for violin with accompaniment of orchestra. Some modern concertos rather partake of the character of a concerto for orchestra with violin obligato, but this work does not belong to that dass. The first movement is scored for the usual Strings and wood-winds, two horns, trumpets, trombones and cymbals. It begins with a quiet tremolo by the strings and tympani, establishing the key of the movement—B minor. The first theme is then given out by the solo instrument, appassionato. This theme is very clear and decided and terse, and is immediately repeated almost verbatim, being accompanied by the strings, tremolo, and wood-wind. An elaboration of the theme in the solo instru ment now follows, while the accompaniment becomes stronger by the addition of the
