Programme . ration of the first chief themeof the allegro. The Introduction theme appears pianissimo in thebasses, and the second chief theme is introduced in D-flat major. Therepetition is developed in orthodox fashion until the reappearance ofthe first measures of the introductory Adagio. The first notes of thisintroductory theme with changed rhythm begin the short coda, Al-legro con spirito. The second movement, Andante, 2-4, opens in C minor with a themethat is afterward varied in major and in minor. This theme is asimple song sung by the violins. The third variation is a violin f
Programme . ration of the first chief themeof the allegro. The Introduction theme appears pianissimo in thebasses, and the second chief theme is introduced in D-flat major. Therepetition is developed in orthodox fashion until the reappearance ofthe first measures of the introductory Adagio. The first notes of thisintroductory theme with changed rhythm begin the short coda, Al-legro con spirito. The second movement, Andante, 2-4, opens in C minor with a themethat is afterward varied in major and in minor. This theme is asimple song sung by the violins. The third variation is a violin fifth and last variation is in C major. The menuetto is in E-flat, 3-4. In the slight development of thechief theme a measure of this theme is used with emphasis. The triois also in E-flat. JUST ACROSS THE STREET Back Bays Busiest Drug Store Everything that is fore-most in drug store merchan-dise at prices that meetthe lowest competition. Copies of History of SymphonyOrchestra on sale at our newsstand, $ 480 Boyiston StreetBoston Block of Brunswick Hotel MILLINERY SALE Many of her Models have been placed in her$ Department $ 483 Finale, E-flat, Allegro con spirito, 2-2. Horns play the harmonicsupport of the first theme, which enters in the fifth measure, givenout by violins. A secondary motive is taken from this theme. Thefirst section is not repeated. The thematic material used in the work-ing-out section is taken solely from the chief theme. The coda is short. ** * Haydns name began to be mentioned in England in 1765. Sym-phonies by him were played in concerts given by J. C. Bach, Abel,and others in the seventies. Lord Abingdon tried in 1783 to persuadeHaydn to take the direction of the Professional Concerts which hadjust been founded. Gallini asked him his terms for an opera. Salo-mon, violinist, conductor, manager, sent a music publisher, one Bland—an auspicious name—to coax him to London, but Haydn was loathto leave Prince Esterhazy. Prince Nicolaus died i
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