Programme . theme itself returns, so that the rondo character ispreserved. There is a return to the first theme in A major. The thirdpart of the movement is practically a repetition of the first, but thesecond theme is now in A minor. There is a long coda with a develop-ment of the figure from the first theme over a bass which changes fromE to D-sharp and back again. The concluding passage of the themeis used fortissimo, and the movement ends with a return of the con-spicuous figure from the main theme. Tragic Overture, Op. 8i Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, Apri
Programme . theme itself returns, so that the rondo character ispreserved. There is a return to the first theme in A major. The thirdpart of the movement is practically a repetition of the first, but thesecond theme is now in A minor. There is a long coda with a develop-ment of the figure from the first theme over a bass which changes fromE to D-sharp and back again. The concluding passage of the themeis used fortissimo, and the movement ends with a return of the con-spicuous figure from the main theme. Tragic Overture, Op. 8i Johannes Brahms (Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.) Although the Tragic Overture is Op. 81, and the AcademicOp. 80, the Tragic was composed and performed before the Aca-demic; it was performed for the first time at the fourth Philhar-monic concert at Vienna in 1880; * it was published in 1881. The * Yet some German commentators give January 4, 1881, and Breslau, as the date and the place of the firstperformance of both the Tragic and the A Cycle ©I Foiar Arabian S©eg§ By WILLIAM DICHMONT HIGH VOICE MEDIUM VOICE Price, each, $ postpaid D Era In this cycle of four songs the composer has aimed primarily toproduce music that is melodious and singable; and he has attained hisobject without sacrificing the opportunities for color that the Orientalpoems suggested. Piquant rhythms and pungent harmonies evokethe Eastern background, against which are displayed the vivid moodsof firery exultation or languorous passion. D 1 BOSTON cSIOikN EW YORK M first performance in Boston was by the Symphony Orchestra, October29, 1881. The overture has been characterized as a tragedy not of actualhappenings, but of soul life. No hero, no event, suggested programmemusic or any specific musical portrayal, although Hanslick, swornpartisan of Brahms, says that, if it be necessary to associate the over-ture with any particular tragedy, that tragedy is Hamlet. Thesecondary theme in F is associated by some with Ophelia, and the ep
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