Programme . two movements of his own inven-tion. He entitled the third Philosophen-Scherzo, in which aring was put through the nose of the bear Learning, , counterpoint,that he might dance, to the amusement of all. The second andtender theme conjures from the fairyland of poetry (Invention) a faywhich tames and frees the bear, who pines in constraint. TheFinale is a March of Fate, and it is described by the composer atlength and in fearsome words. The motto is Brazen stalks Fate,yet is she crowned with roses and love! Truly, says Ludwig,Fate has stalked with brazen steps over our ancient m
Programme . two movements of his own inven-tion. He entitled the third Philosophen-Scherzo, in which aring was put through the nose of the bear Learning, , counterpoint,that he might dance, to the amusement of all. The second andtender theme conjures from the fairyland of poetry (Invention) a faywhich tames and frees the bear, who pines in constraint. TheFinale is a March of Fate, and it is described by the composer atlength and in fearsome words. The motto is Brazen stalks Fate,yet is she crowned with roses and love! Truly, says Ludwig,Fate has stalked with brazen steps over our ancient masters. Anew age has awakened a new music-era. There is much more of incredible work, the Unfinished Symphony of Schubert, finishedby August Ludwig, was performed at the Philharmonic, Berlin,December 8, 1892. THE MAN WHO DOESNTKNOW, MAY WEAR FOWNES GLOVES. THE MAN WHO DOESKNOW IS SURE TO. 267 HARDMAN PIANO A tone that is rich, full, sweet, musically beau-tiful, and a strength and order of construc-. tion that resist the strain of climatic changes,— this is the kernel of Hardman merit. Mod-erate prices and easy terms. Booklets ofinformation upon request. HARDMAN, PECK & CO., Makers Established 1842Fifth Avenue and 19th Street .... New York Represented in Boston by theCOLONIAL PIANO COMPANY 104 Boylston Street 268 The symphony is scored for two flutes, two oboes, two clarinets, twobassoons, two horns, two trumpets, three trombones, kettledrums,strings. The first movement, Allegro moderato, B minor, 3-4, opens witha solemn phrase in cellos and double-basses in low octaves. The firstand second violins enter in the ninth measure with restless passage-work in thirds and sixths, an accompaniment to a lamenting themeof oboe and clarinet. There has been dispute concerning the classi-fication of these motives. Let us quote Mr. W. F. Apthorp: I havelong been in doubt exactly how to classify these three phrases; indeed,I think I have classified them differently each time I have
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