Programme . but there areanalogous progressions in Palestrinas masses. The Grail motive isrepeated twice. Then, and again without transition, but with a change of tempo to6-4, comes the third motive, that of Belief. Here, too, is a well-defined and developed melody of six measures. The initial figureis repeated every two measures with ever-changing harmonies and aconclusion in the last measure. The brass first proclaims it, andthere are two different repetitions, as a categorical affirmation. Themelody is then developed. The strings take up the Grail theme. The Belief motive reappears ELIZABET
Programme . but there areanalogous progressions in Palestrinas masses. The Grail motive isrepeated twice. Then, and again without transition, but with a change of tempo to6-4, comes the third motive, that of Belief. Here, too, is a well-defined and developed melody of six measures. The initial figureis repeated every two measures with ever-changing harmonies and aconclusion in the last measure. The brass first proclaims it, andthere are two different repetitions, as a categorical affirmation. Themelody is then developed. The strings take up the Grail theme. The Belief motive reappears ELIZABETH GRAMT 12 WEST STREET (Over Bigelow Kennards) HATS! HATS!! HATS!!! Hats to ride in, to run in, to walk in; Hats of braids, of ribbons, of laces, Hats to sing in, to dance in, to talk in; Hats to suit all kinds of faces, Hats to sit in, to stand in, to call in; All of them different in color and shape, And some to do nothing at all in. Of flowers, of foliage, of velvet and crepe. (Prices, six dollars and up). LISZT TWO LECTURE RECITALS I. With Liszt iim Welnnair Piano Compositions by Liszt With personal reminiscences » A Program of Piano Compositions by Mozart,- ° Schumann, Chopin, and Liszt, with interpretative analyses JOHN ORTH Concert Pianist and Teacher of PianoSTEINERT HALL 1474 four times in succession, in different tonalities: at first it is heardfrom flutes and horns; then from the strings; then from the brass(fortissimo and in 9-4), with a prolongation of certain notes, to theaccompaniment of tremulous strings; the fourth time, and softly,from wood-wind instruments. An orchestral hearing is necessaryfor the full appreciation of the variety of expression which the nuancesand the diversity of the instrumentation give to this phrase, nowenergetic and even savage, now caressing or mysterious, mystic, asit is in turn proclaimed by the brass, spoken by strings and wood-wind instruments, or sung by childrens voices as in the finale of thefirst act, where it has an importan
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Keywords: ., bookauthorbostonsy, bookcentury1800, bookdecade1880, bookyear1881
