. Programme . t not to appear in the pianoforte arrange-ment otherwise than it does in the score. The pianoforte here rep-resents the orchestra; the viola should remain apart and be confinedto its sentimental ravings; everything else is foreign to it; it is pres-ent, but it does not mingle in the action. The symphony is dedicated to Humbert Ferrand, the faithful friendof BerHoz from the youth to the death of the latter. The autographscore with Berliozs changes was given by Berlioz to Auguste Morel,director of the Marseilles Conservatory. Leon Morel, the nephew anduniversal legatee of Auguste,
. Programme . t not to appear in the pianoforte arrange-ment otherwise than it does in the score. The pianoforte here rep-resents the orchestra; the viola should remain apart and be confinedto its sentimental ravings; everything else is foreign to it; it is pres-ent, but it does not mingle in the action. The symphony is dedicated to Humbert Ferrand, the faithful friendof BerHoz from the youth to the death of the latter. The autographscore with Berliozs changes was given by Berlioz to Auguste Morel,director of the Marseilles Conservatory. Leon Morel, the nephew anduniversal legatee of Auguste, gave the score to Alexis Rostand, inmemory of the profound affection which united the master and thepupil, for Rostand was the pupil of Auguste Morel. The symphonyis scored for two flutes (the first interchangeable with piccolo), twooboes (the first interchangeable with the English horn), two clarinets, The Boston Music Go. [] 26 West Street ^lephone Beach 1561 Ihe most convenientmusic store in town^. complete stock of ALL THE latest MUSIC 304 four bassoons, four horns, two trumpets, two cornets-a-pistons, oneophicleide, cymbals, two tambourines, kettledrums, harp, solo viola,and strings. The story of the first performance is told by Berlioz in his Memoirs:The first movement was the only one that was little applauded, andthis was the fault of Girard, the conductor, who could never put enoughdash into the coda, where the pace ought gradually to quicken todouble the speed. I suffered martyrdom in hearing it drag. TheMarch of Pilgrims was encored. At the repetition and toward themiddle of the second part of the piece, when after a short interruptionthe chiming of convent bells is again heard, represented by two notesof the harp, doubled by flutes, oboes, and horns, the harpist made amistake in count and was lost. Girard then, instead of setting himstraight, as it has happened to me a dozen times in like instance (three-fourths of the players make the same mistake at this
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