File:Programme (1921) (14598520347).jpg

Identifier: programme2122bost (find matches)
Title: Programme
Year: 1881 (1880s)
Authors: Boston Symphony Orchestra
Subjects: Boston Symphony Orchestra Concert programs
Publisher: Boston, Mass. : Boston Symphony Orchestra
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Symphony Orchestra

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gures,—the serious man, the frivo-lous youth, the mocking sceptic, the praying monk, the tendermaiden. Possibly the idea of this inspiration was derived fromthe jest of Liszt quoted above. Georges Kastner, in his Dansedes Morts,* a monument of varied learning, insists that only inFrance, Germany, Switzerland, and England is found the paintedor sculptured dance. Other nations, as Italy and Spain, have noneto show. Nevertheless, I believe that some such representationsexist in these two countries. When the interior of the sombre mon-asteries will be opened, for they are still i)eopled with monks, whosesevere rules keep away strangers, or at least prevent the exposure tothem of the marvels so jealously guarded, then certain Dances of * Danse Macahre, grand rondo with orchestral accompaniment, text by fidouardThierry, music by Kastner, an appendix to his Danse des Morts, was published atParis in 1852. Bonds of the highest grade Harris, Forbes & Co Incorporated 35 Federal St., Boston
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Death hitherto unknown will surely be discovered. Spain especiallyshould furnish some: she loves sinister pages which bare thehideous side of humanity; she delights in fierce, terrible subjects.Then he mentions incidentally Orcagnas fresco at Pisa, and com-pares a detail of it with one in a marble allegorical group at St.Peter the martyrs in Naples. Liszts variations are founded on the cantus firmus, Dies Irae,which has fascinated musicians of orchestral imagination fromBerlioz to Loeffler. The piano with drums begins a bizarre motiveostinato, and the chant is proclaimed by clarinets, bassoons, trom-bones, tuba, violas, violoncellos, and double-basses. A short cadenzafor the piano is followed by a repetition of this theme. The intro-duction is regarded by Reimann as an illustration of the verse thatfrequently occurs in the old Dances of Death, and may be found inpart on old New England tombstones. The lines may thus beEnglished:— So here lie all our bones; and to us both great and s

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