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Show ANALYSIS OF PROGRAM. Having been ieiiested to give a biief descriptive anal) sis of the piogrum or Wednesday evening's piano tecital, I have concluded to play only sucln numbers as teprc-sent teprc-sent n distinct style of compositon known as piogrntu music. Piogram music, by which is meant puicly instrumental music of a disoriptive character, is a form of composition attracting more than passing notice todny, and piobably at no time in the history of tho art has this partieu lar form lcceivod so wide an ap prcciation. Among modern composers com-posers its exponanLs aro countless, tho style universal. Limited space will not perudt a lengthy discussion of its merits or too clearly dellne its characteristics, more than this it tells a story not in detail, but merely calling forth tho emotions consistent with each situation. For the fiist number I have chosen the famous moonlight sonata, a woik almost universally known and while to the unnuisical theic may be little suggestion of moonlight in iLs effect still, with '.lie following story in mind the imagination can readily picture as I'i. 11. Perry writes moonlight uusii! in which no ray of light is tellected, only its somber shadows, lying heavenly and depnssingly upon the stream of his emotions. Tho story goes that when wan .leriug in tho outskii ts of Vienna, Heethoven chanced to pass a. Miburban villa in which a social gathering was in piogiess, somo no was playing, and ho stopped to listen, was recognized from within with-in and fairly compelled to enter md play for the guests. The isually reticent, morosu master consented, having lecogni.ed the fair fcatuio of a former pupil with vliom ho had fnllen deeply in Jove. Under tho spell of her presence and ho soft Hood of .moonlight silting n, he played as only a master can. Thus was created this famous ouata. The lfrst movement is one of mi-uingled mi-uingled madness but with no weakness weak-ness of vain complaint a calm, 'lopcless lecognition of the inevit-ddc. inevit-ddc. Tho 2nd is of a lighter more hqcrful vein, followed by the last novement, one of uttor abandon, nil of indignant protest and pas-ionate pas-ionate rebellion agninst tho in-le.vible in-le.vible fato that placed their des-inies des-inies so widely apart. To -give a detailed account of ach number would requiie more pace than is possible under the-iicuinstancus, the-iicuinstancus, I shall therefore all your attention to but two itheis. Hark I Hark I Tho Lark Schu urt-Lis.t. This work, bright, nioyant, joyous, breathing hope-nid hope-nid happiness' in every ineasuio bund its origin after a morning valk in early spring among burst ng buds and the songs of birds. To tho listener tho clear, o.xuber lit song of the lark is disticlly icard accompanying a melody so fiesh, so beautiful, embodying the very essence of spring hope and (unshine. Interesting fioin a his oi leal t as well as musical stand point is the origin of the polonaNe. In the year JfiT.'l, when the Polish throne became tar-ant. an avpin bly of electors convened to dcolde' upon a now ruler. Ifonry of A njou was appointed. A formal pioBontntion of all tho dignitaries was iicci-wary. This ceremonj iw conducted in the loyal castle at Cnicow, wheie each ofllclal with his lady filed by the Mojiurcli in soloinn iirocession and was ie-onted ie-onted in turn. SuiUiblo musie was nccewmry for such a state occasion and thus was written- the ilit Polonaise. Tho one chosen for this piogram is an example of its class and is osscntinlly a tonal picture of this ceremony. It begins with a Miort, intioduction, a fanfare of drums and trumpets. Then follc-wa the swinging, pompous, measure of the polish march, suggesting by its martial harmonies the stately bearings, the brilliant armour, the solemn dignity of those militnry heroes. Those gifted with a fertile Imagination Ima-gination will find no difficulty in appreciating this work and I trust from the suggestions offered the meaning and beauty of each number num-ber may unfold itself moie readily, instilling a truer uud deeper Intel In-tel est in the unlimited lealm of piano literaluie, contributing some towaid the cause of a musical community. com-munity. Fiti:i) II a it wood. |