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PuM»<;  Library 
Boston.  MA  02116 


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Given  By 

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Among  the  artists  who  will  be  heard  in  public 

on  the 

Pianoforte 


In  America  during  the  Musical  Season  of  \  902- J  903 
are  the  following : 


Frederic  Lamond      ..... 

Madame  Antoinette  Szumowska-Adamowska 

Ernest  Hutcheson 

Arthur  Whiting 

Carl  Stasny 

Miss  Jessie  Davis 

August  Spanuth 

Paolo  Gallico    . 

Madame  Elsa  von  Grave-Jonas 

Ernst  Kroeger 

Mrs.  Minnie  Little  Longley 

Miss  Anna  Jansen 

Felix  Fox  .... 

John  C.  Manning 

Alfred  de  Voto 

Mrs.  Laura  Mehrtens 

Arthur  Beaupre 

Edouard  Clark 

Mrs.  Ella  Backus\Bo'br  /\ 

Thomas  Whitney  Surette 

John  Orth  .   *"  * 

Walter  Carl  Simoo/'. :  ":  \    .•" : 


.    the  Scotch  Pianist 
.    the  Polish  Pianiste 
.    the  Australian  Pianist 
.    the  American  Pianist 
.    the  German  Pianist 
.    the  American  Pianiste 
.    the  German  Pianist 
.    the  Italian  Pianist 
.    the  German  Pianiste 
.    the  American  Pianist 
.    the  American  Pianiste 
.    the  Danish  Pianiste 
.    the  American  Pianist 
.    the  American  Pianist 
.    the  Italian  Pianist 
.    the  Southern  Pianiste 
.    the  French  Pianist 
.    the  Blind  Pianist 
".:  this' American  Pianiste 
.    the  American  Pianist 
.    the  American  Pi. mist 
.  ttLte.  Southei  n  Boy  Pianist 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
1902-1903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 


FIRST 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     ji    J*    &    J* 

FRIDAY  AFTERNOON,  OCTOBER   17, 

AT  2.30  O'CLOCK. 

SATURDAY  EVENING,  OCTOBER  18, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 
0) 


MESSRS. 


CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The    Smallest    Grand    Embodying 
Modern  Principles  Ever  Made 


RETAIL     W A R E R O O M S 

791    TREMONT    STREET,    BOSTON 


(?) 


TWENTY-SECOND  SEASON,  1902-1903. 


First  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  OCTOBER  17,  at  2.30  o'clock. 

SATURDAY  EVENING,  OCTOBER  18,  at  8.00  o'clock. 


PROGRAMME. 

Beethoven      .  Overture  to  **  Leonore  "  No.  2,  in  C  major,  Op.  72 

Bach       ♦         .         Overture    (Suite)    No.  2,  in  B  minor,  for   Strings, 
Flute,  and  Pianoforte  Accompaniment. 

I.  Overture:  Largo  ;  Allegro  ;  Lentement. 

II.  Rondeau  :  Allegro. 

III.  Sarabande  :  Andante. 

IV.  Bourree  I.  and  Bourree  II. :  Allegro. 
V.     Polonaise  with  Double  :  Moderato. 

VII.     Badinerie :  Allegro. 

Schubert  .  Grand  Fantasia  in  C  major  ("Wanderer"),  Op.  15 

(Symphonically  rearranged  for  Pianoforte  and  Orchestra  by  Franz  Liszt.) 

I.     Allegro  con  fuoco,  ma  non  troppo. 

II.  Adagio. 

III.  Presto. 

IV.  Allegro. 

Tschaikowsky         .         .         .      Symphony  No.  5,  in  E  minor,  Op.  64 

I.     Andante  ;  Allegro  con  anima. 
II.     Andante  cantabile,  con  alcuna  licenza. 

III.  Valse  :  Allegro  moderato. 

IV.  Finale  :  Andante  maestoso ;  Allegro  vivace 


SOLOIST: 
Mr.  RAOUL  PUGNO. 


The  Pianoforte  is  a  Baldwin. 


There  will  be  an  intermission  of  ten  minutes  before  the  Symphony. 


The  doors  of  the  hall  will  he  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.  

City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  tlie  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

J         Attest:   J.  M.  GALVIN,  City  Clerk. 

(3) 


L.  P.  HOLLANDER  &  CO. 

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Overture,  "  Leonore  "  No.  2,  Op.  72  .  .  Ludwig  van  Beethoven. 
(Born  at  Bonn,  Dec.  i6(?),  1770;  died  at  Vienna,  March  26,  1827.) 

Beethoven's  opera,  "  Fidelio,  oder  die  eheliche  Liebe,"  with  text  adapted 
freely  by  Joseph  Sonnleithner  from  the  French  of  Bouilly,  was  first  per- 
formed at  Vienna,  Nov.  20,  1805,  with  Anna  Pauline  Milder,  afterward 
Mrs.  Hauptmann,  as  the  heroine.  The  first  performance  in  Boston  was 
on  April  1,  1857,  with  Mrs.  Johannsen,  Miss  Berkiel,  Beutler,  Neumann, 
Oehlein,  and  Weinlich  as  the  chief  singers. 

"  Leonore  "  No.  2  was  the  overture  played  at  the  first  performance  in 
Vienna.  The  opera  was  withdrawn,  revised,  and  produced  again  on 
March  29,  1806,  when  "Leonore"  No.  3,  a  remodelled  form  of  No.  2, 
was  played  as  the  overture.  The  opera  was  performed  twice,  and  then 
withdrawn.  There  was  talk  of  a  performance  at  Prague  in  1807,  and 
Beethoven  wrote  for  it  a  new  overture,  in  which  he  retained  the  theme 
drawn  from  Florestan's  air,  "  In  des  Lebens  Friihlingstagen,"  but  none  of 
the  other  material  used  in  Nos.  2  and  3.  The  opera  was  not  performed, 
and  the  autograph  of  the  overture  disappeared.  "  Fidelio  "  was  revived 
at  Vienna  in  18 14,  and  for  this  performance  Beethoven  wrote  the 
"  Fidelio  "  overture.  We  know  from  his  diary  that  he  "  rewrote  and  bet- 
tered "  the  opera  by  work  from  March  to  May  15  of  that  year. 

The  dress  rehearsal  was  on  May  22,  but  the  promised  overture  was  not 
ready.  On  the  20th  or  21st  Beethoven  was  dining  at  a  tavern  with  his 
friend  Bartolini.  After  the  meal  was  over,  Beethoven  took  a  bill-of-fare, 
drew  lines  on  the  back  of  it,  and  began  to  write.  "  Come,  let  us  go,"  said 
Bartolini.  "  No,  wait  a  while  :  I  have  the  scheme  of  my  overture," 
answered  Beethoven,  and  he  sat  until  he  had  finished  his  sketches.  Nor 
was  he  at  the  dress  rehearsal.  They  waited  for  him  a  long  time,  then 
went  to  his  lodgings.  He  was  fast  asleep  in  bed.  A  cup  and  wine  and 
biscuits  were  near  him,  and  sheets  of  the  overture  were  on  the  bed  and  the 

THE  MANAGEHENT  OF  THE 

NEW    E/NIGLA/MD    CO/NSE  R  V  ATO  R  Y    OF    MUSIC 

ANNOUNCES    THE 


RETURN    OF 

AND   THE    OPENING 
OF    THE 


SIC.  ORESTE   BIMBONI 
SCHOOL  OF  OPERA, 


Which  will  give,  in  addition  to  the  performances  in  JORDAN   HALL, 

ONE    IN    FEBRUARY    AND 
ONE  IN   MAY,  AT  THE 


TWO  PERFORMANCES, 

BOSTON   THEATRE. 

CflllR     QPUni    ADQLHDQ      Will  be  awarded  at  a  competition  to  take  place  at  the  Conservatory, 
njUn     OMHULHl»Onir  O      OCT.  31.     Names  of  competitors   must    be    sent   (by  letter)   to   the 
/cneA    ...u)  director  on  or  before  OCT.  27.     A  preliminary  examination  will  be 

K3U    eaCr"  held  in  NEW  YORK,  OCT.  29. 

Not  more  than  two  of  these  scholarships  will  be  awarded  to  students  of  the  Conservatory. 

The  engagement  is  also 

announced  of 

who  will  teach   EXCLUSIVELY  in  the  Conservatory.      Particulars  and  terms  (for  one  or  any  number  of 
lessons)  may  be  had  of  the  Registrar  or  from  Mr.  Henschel  personally. 


Mr.  GEORG  HENSCHEL, 


(5) 


AUTUMN  and  WINTER,  1902. 

We  announce  the  arrival  of  our 

PARIS   MODELS,    CLOTH  GOWNS,   COATS, 
AND   SILK   WAISTS, 

In  a  greater  variety  of  the  most   beautiful  designs  we  have  ever 
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and   Pedestals,    $0    to  $300 


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Inspection   solicited 

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Makers    :ni«l    Bnden   Of   tli©    unusual 


floor.  The  candle  was  burnt  out.  It  was  impossible  to  use  the  new  over- 
ture, which  was  not  even  finished.  Schindler  said  a  Leonore  overture  was 
played.  According  to  Seyfried  the  overture  used  was  that  to  "  The  Ruins 
of  Athens,"  and  his  view  is  now  accepted,  although  Treitsche  asserted  that 
the  "  Prometheus "  overture  was  the  one  chosen.  After  Beethoven's 
death  a  score  of  an  overture  in  C  was  found  among  his  manuscripts.  It 
was  not  dated,  but  a  first  violin  part  bore  the  words  in  the  composer's 
handwriting:  "  Overtura  in  C,  charakteristische  Ouverture.  Violino  I." 
This  work  was  played  at  Vienna  in  1828,  at  a  concert,  as  a  "grand  char- 
acteristic overture  "  by  Beethoven.  It  was  identified  later,  and  circum- 
stances point  to  1807  as  the  date  of  composition. 

The  order,  then,  of  these  overtures,  according  to  the  time  of  composi- 
tion, is  now  supposed  to  be  "  Leonore  "  No.  2,  "  Leonore  "  No.  3,  "  Leo- 
nore "  No.  1,  "  Fidelio."  It  may  here  be  added  that  Beethoven  wished, 
and  for  a  long  time  insisted,  that  the  title  of  his  opera  should  be  "  Leo- 
nore "  ;  and  he  ascribed  the  early  failures  to  the  substitution  of  the  title 
"  Fidelio."  But  the  manager  of  the  theatre  and  friends  of  Beethoven  in- 
sisted with  equal  force  on  "  Fidelio,"  because  the  same  story  had  been 
used  by  Gaveaux  ("Leonore,"  Opera-Comique,  Paris,  1798)  and  Paer 
("  Leonora,"  Dresden,  1805). 

It  is  said  that  "  Leonore  "  No.  2  was  rewritten  because  certain  pas- 
sages given  to  the  wood-wind  troubled  the  players.  Others  say  it  was  too 
difficult  for  the  strings  and  too  long.  In  No.  2,  as  well  as  in  No.  3,  the 
chief  dramatic  stroke  is  the  trumpet  signal,  which  announces  the  arrival 
of  the  Minister  of  Justice,  confounds  Pizarro,  and  saves  Florestan  and 
Leonore. 

The  "  Fidelio  "  overture  is  the  one  generally  played  before  performances 
of  the  opera  in  Germany,  although  Weingartner  has  tried  earnestly  to  re- 
store "  Leonore  "  No.  2  to  that  position.     "  Leonore  "  No.  3  is  sometimes 


Mrs.  H.  H.  A.  BEACH. 

Four  New  Songs. 


No.  1. 
No.  2. 

No.  3. 
No.  4. 


Op.    48. 

Come,  ah,  come ! 
Good  Morning. 
Good  Night. 
Canzonetta. 


D  (c-f),      #0.50 
A  (b-e),  .50 

C  (a-c  or  e),  .50 
A  (f-a),  .50 


Sent  Free :  Catalogue  of  Compositions  by  Mrs. 
Beach,  containing  Portrait  and  Biography. 


ARTHUR   P.  SCHMIDT, 


BOSTON, 

146  Boylston 


LEIPZIG. 


NEW  YORK, 

130  Fifth  Ave. 


JUST   ISSUED. 

Tschaikowsky's 

Pathetique 
Symphony. 

Orchestral  Score. 


$1.50 


All  music  performed  at  these  concerts 
constantly  on  hand. 


CHARLES  W.  HOHEYER&CO., 

165  TREIIONT  STREET, 

BOSTON. 


played  between  the  acts.  "  Leonore  "  No.  i  is  not  often  heard,  either  in 
theatre  or  in  concert-room.  Marx  wrote  much  in  favor  of  it,  and  asserted 
that  it  was  a  "  musical  delineation  of  the  heroine  of  the  story,  as  she  ap- 
pears before  the  clouds  of  misfortune  have  settled  down  upon  her." 

The  "  Leonore "  No.  2  was  Beethoven's  first  grand  overture  ;  and  in 
general  scope  and  richness  of  development  it  was  far  in  advance  of  its 
time.  There  is  still  more  pronounced  dramatic  development  in  the  No.  3. 
The  exceedingly  long  free  fantasia  of  No.  2  is  shortened,  and  its  charac- 
ter is  changed.  In  No.  2,  between  the  trumpet-calls,  there  is  a  return  to 
certain  developments  of  the  chief  theme.  This  does  not  appear  in  No.  3, 
but  there  are  some  measures  from  the  "  Song  of  Thanksgiving  "  in  the 
scene  in  the  opera  where  these  trumpet-calls  are  heard,  and  the  return  to 
the  first  theme  occurs  only  after  the  episode  is  over.  The  thematic  mate- 
rial of  Nos.  2  and  3  is  practically  the  same,  but  the  differences  in  treat- 
ment are  great  and  many.  No.  2  begins  with  a  slow  introduction,  adagio, 
in  C  major  (3-4).  There  are  daring  changes  of  tonality.  Clarinets,  bas- 
soons, and  horns  enter  with  a  slow  cantilena  from  Florestan's  air  in  the 
prison  scene.  The  main  portion  of  the  overture,  allegro,  in  C  major  (2-2), 
begins  pianissimo,  with  an  announcement  of  the  first  theme  which  is  not 
taken  from  the  opera  itself.  The  second  theme,  in  oboe  and  'cellos 
against  arpeggios  in  violins  and  violas,  is  borrowed,  though  altered,  from 
the  Florestan  melody  heard  in  the  introduction.     In  the  free  fantasia  there 


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(9) 


is  first  a  working-out  of  the  first  theme  in  imitative  counterpoint.  Then 
the  second  theme  enters  in  F  major,  then  in  C  minor;  and  the  work  on 
the  first  theme  is  pursued  at  length,  until  the  climax  rushes  to  the  cele- 
brated trumpet-call,  which  is  different  in  tonality  and  in  other  respects 
from  the  one  in  No.  3.  The  second  call  is  followed  by  strange  harmonies 
in  the  strings.  There  are  a  few  measures,  adagio,  in  which  the  Florestan 
melody  returns.  This  melody  is  not  finished,  but  the  violins  take  up  the 
last  figure  of  wood-wind  instruments,  and  develop  it  into  the  hurry  of 
strings  that  precedes  the  coda.  This  well-known  passage  is  one-half  as 
long  as  the  like  passage  in  No.  3.  The  coda,  presto,  in  C  major  (2-2), 
begins  in  double  fortissimo  on  a  diminution  of  the  first  theme ;  and  that 
which  follows  is  about  the  same  as  in  No.  3,  although  there  is  no  ascend- 
ing chromatic  crescendo  with  the  new  and  brilliant  appearance  of  the  first 
theme,  nor  is  there  the  concluding  roll  of  kettledrums. 

The  overture  is  scored  for  2   flutes,  2   oboes,  2   clarinets,  2  bassoons,  4 
horns,  2  trumpets,  3  trombones,  kettle-drums,  strings. 


Overture  (Suite)  No.  2,  in  B  minor,  for  Strings   and  Flute,  with 

Piano  Accompaniment Johann  Sebastian  Bach. 

(Born  at  Eisenach,  March  21,  1685  ;  died  at  Leipsic,  July  28,  1750.) 
This  suite  is  one  of  four  which  were  probably  composed  during  Bach's 
stay  at   Cothen  (1717-23),  whither  he   was    called    as   chapel  master  to 
Prince  Leopold,  of  Anhalt-Cothen.     The  prince  was  then  nearly  twenty- 
four  years  old,  an  amiable,  well-educated  young  man,  who  had  travelled 


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(ii) 


and  was  fond  of  books  and  pictures.  He  played  the  violin,  the  viol  da 
gamba,  and  the  harpsichord.  Furthermore,  he  had  an  agreeable  bass 
voice,  and  was  more  than  an  ordinary  singer.  Bach  said  of  him,  "  He 
loved  music,  he  was  well  acquainted  with  it,  he  understood  it."  The 
music  at  the  court  was  chiefly  chamber  music,  and  here  Bach  passed 
happy  years.  Unfortunately,  we  know  nothing  of  the  character  of  the 
choir  or  the  orchestra  at  this  court ;  nor  was  the  indefatigable  Spitta  able 
to  find  even  a  mention  of  Bach  in  the  town  records,  except  in  a  few  no- 
tices scattered  through  the  parish  registers. 

The  term  "  suite  "  was  not  given  by  Bach  to  the  four  compositions  that 
now  are  so  named, —  the  suites  in  C  major,  B  minor,  and  two  in  D  major. 
The  original  parts  were  handed  over  in  1854  by  the  Singakademie  of 
Berlin  to  the  Royal  Library  of  that  city,  and  Bach's  own  title  on  the 
cover  of  this  present  suite  is  as  follows  :  H  moll  Ouverture  a  1  flauto,  2  vio- 
lini,  viola  e  basso,  di  J.  S.  Bach.  The  flute  part  is  marked  "  traversiere," 
the  bass  "  continue"  * 

The  suite  was  first  published  in  score  by  Peters  in  Leipsic,  and  it  was 
edited  by  S.  W.  Dehn,  who  collated  the  original  parts,  copied  them  off  in 
score,  and  published  them  without  the  amplification  indicated  by  the 
thorough-bass  figuring  of  the  continuo. 

The  Grave,  Sarabande,  Polonaise  and  Double,  and  Badinerie  were  first 
played  in  Boston  at  a  Thomas  Concert,  Nov.  11,  1874,  when  Mr.  Carl 
Wehner  was  the  flutist.  The  whole  suite,  revised  thoroughly  by  Mr. 
Thomas,  was  produced  by  him  at  Chicago,  March  23,  1901. 

The  edition  used  at  this  concert  was  edited  by  Robert  Franz  and  pub- 
lished by  him  in  1885.  It  is  dedicated  to  Julius  Schaffer,  who  took 
delight  in  savage  criticism  of  Chrysander  as  an  editor.     Franz  made  the 

"  Continuo  "  or  "  basso  continuo  "  or  "  basso  continuato  "  was  a  name  given  to  the  figured  instrumental 
bass  voice,  which  was  introduced  in  Italy  shortly  before  1600.  From  this  figured  bass  the  modern  accom- 
paniment was  gradually  developed. —  Hugo  Riematin. 

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piano  part  from  the  figured  thorough-bass,  the  continuo,  and  added  the 
indications  of  tempo,  as  largo,  allegro,  etc.  ;  for  Bach's  sole  indication 
was  "  lentement  "  in  the  course  of  the  overture.  This  version  was  played 
at  a  Symphony  Concert  in  Boston,  Feb.  13,  1886,  and  again  Jan.  30, 
1894. 

The  separate  dances  of  these  German  suites  were  called  "  Parties," 
"  Partheyen."  They  were  brought  together  into  a  musical  whole  and  in 
the  same  tonality,  and  they  were  prefixed  by  an  overture  in  the  French 
style.  The  whole  set  was  sometimes  known  as  "  Orchester  Partien." 
The  form  of  the  overture  fixed  by  Lully  in  France  served  as  a  model  for 
pieces  of  the  same  class  composed  in  Germany  and  in  Italy,  as  well  as  in 
France.  This  overture  was  composed  of  a  first  part,  which  was  a  slow 
movement,  characterized  as  "grave,"  connected  with  a  second  part,  which 
was  longer  and  of  a  livelier  movement.  The  overture  was  generally  com- 
pleted by  a  repetition  of  the  first  movement.  The  first  suites  which  ap- 
peared between  1670  and  1680  were  written  for  a  solo  instrument, 
especially  for  the  harpsichord ;  but  the  title  soon  served  to  designate 
pieces  written  for  a  considerable  number  of  instruments.  The  overture 
was  followed  by  airs  of  dances  which  were  then  popular  or  fashionable. 
No  wonder  that  Bach,  whose  father,  grandfather,  and  uncles  had  all  been 
town-pipers  and  given  up  to  this  species  of  music,  was  drawn  toward  this 
form  of  composition. 

I.  The  first  movement  of  this  suite,  in  B  minor,  the  Overture,  begins  with 
a  largo  in  4-4,  which  is  followed  by  a  four-part  tonal  fugue,  allegro,  2-2. 
The  fugue  leads  to  a  slow  movement  in  3-4,  which,  as  has  been  said,  was 
marked  "lentement"  by  Bach. 

II.  Rondeau,  allegro,  2-2.  The  rondeau  is  in  music  what  the  rondeau  or 
rondel  was  in  French  poetry  of  the  twelfth  and  thirteenth  centuries.  The 
chief  characteristic  is  the  return  of  some  pregnant  thought,  a  recurring  re- 


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frain.  The  musical  form  was  in  3-4  or  in  2-2  or  4-4.  The  first  section  was 
so  contrived  that  it  could  furnish  the  end.  The  reprises  were  usually  three 
or  four  in  number.  J.  G.  Walther  said  in  his  "  Musicalisches  Lexicon  " 
(1732)  that  the  exact  number  of  measures  in  a  rondeau  was  not  deter- 
mined, "  but  the  first  clause  must  not  be  either  too  long  or  too  short ;  for 
when  it  is  too  long,  it  annoys  the  ear  by  frequent  repetition  ;  and  when  it 
is  too  short  the  chute  or  fall  is  not  clearly  noticed.  Eight  measures  may 
well  be  chosen  ;  but  they  must  be  very  pretty,  so  that  one  will  be  glad  to 
hear  them  five  or  six  times.  And  this  first  section  is  called  Rondeau  be- 
cause it  goes  about  in  a  circle ;  the  remaining  repetitions  or  other  sections 
are  not  repeated."  According  to  Johannes  Mattheson  (1737)  the  ron- 
deau awakens  cheerfulness.  "  The  136th  Psalm  is  nothing  but  a  Ron- 
deau. Luther  names  it  a  Litany.  I  do  not  know  whetheV  this  kind  of  mel- 
ody is  often  used  for  dancing ;  but  it  is  used  for  singing  and  still  more  in 
concerts  of  instruments.  In  a  good  Rondeau  the  prevailing  characteristic  is 
steadiness,  or  better  a  constant  confidence  ;  at  least  the  Rondeau  portrays 
admirably  this  disposition  of  the  soul."  Rousseau  thought  it  ridiculous  to 
put  into  a  rondeau  "  a  general  thought  limited  by  an  exception  particular 
to  the  state  of  him  that  speaks."  Marcel  once  exclaimed,  "  How  many 
things  there  are  in  a  menuet !  "  Others  found  many  things  in  a  Rondeau. 
III.  Sarabande,  andante,  3-4.  The  Sarabande,  Sarabanda,  Zara- 
banda,  was  a  dance  that  appeared  for  the  first  time,  it  is  said,  about  1588, 
at  Seville.  According  to  some  the  name  was  taken  from  Sara  Candar,  a 
Spanish  woman  who  was  the  first  to  dance  it  in  France.  Others  say  it 
was  derived  from  the  Spanish  word  sarao,  a  ball ;  others,  that  it  came 
from  the  Saracens.  If  it  be  true  that  the  dance  was  introduced  into  Port- 
ugal in  1586,  the  date  of  its  appearance  at  Seville  is  undoubtedly  erro- 
neous. Indeed,  there  is  much  confusion  concerning  the  origin.  The  dance 
itself  has  been  traced  to  the  twelfth  century,  and  some  see  in  it  a  survival 

TO    THE    PRO  FESSIO/N 

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of  that  naughty  dance,  the  Greek  cordax ;  but  Father  Mariana,  who  looked 
at  it  skew-eyed,  and  characterized  it  as  "  pestiferous,"  insisted  that  it 
received  its  name  at  Seville  from  "  a  devil  in  the  form  of  a  woman." 
Some  remind  us  that  " Zarabanda  "  also  means  "noise."  The  dance  was 
for  a  long  time  exceedingly  popular  in  Spain  and  beyond  the  Pyrenees. 
At  first  it  was  usually  danced  by  women  to  the  guitar.  "  Sometimes  flutes 
and  harps  sustained  the  notes  of  the  guitar  and  accompanied  the  song  and 
dance.  Dancers  sometimes  performed  the  Saraband  accompanying  them- 
selves with  guitar  and  voice."  The  dance  was  in  favor  at  the  courts  of 
France  and  England.     Kings,  dukes,  and  princesses  delighted  in  it. 

An  Italian  named  Francisco  composed  the  air  of  one  of  the  most  cele- 
brated sarabandes,  and  the  Chevalier  de  Grammont  wrote  of  it :  "  It 
either  charmed  or  annoyed  every  one,  for  all  the  guitarists  of  the  Court 
began  to  learn  it,  and  God  only  knows  the  universal  twanging  that  fol- 
lowed." Ninon  de  l'Enclos  was  famous  for  her  performance  of  the  dance, 
and  the  malicious  Tallemant  des  Reaux  said  in  explanation  :  "  For  she 
never  had  much  beauty;  but  she  was  always  exceedingly  graceful."  Vau- 
quelin  des  Yveteaux,  a  fine  old  gentleman  of  eighty  years,  wished  to  die 
to  the  tune  of  a  sarabande,  "so  that  his  soul  might  pass  away  sweetly." 
There  is  a  story  in  Hawkins's  "  History  of  Music  "  that  shows  the  popular- 
ity of  the  dance  in  England  :  "  '  I  remember,'  said  an  old  beau  of  the  last 
age,  speaking  of  his  mother  as  one  of  the  most  accomplished  women  of 
her  time,  '  that  when  Hamet  ben  Hadji,  the  Morocco  Ambassador,  was  in 
England,  my  mother  danced  a  sarabande  before  him  with  a  pair  of  casta- 
nets in  each  hand,  and  that  his  Excellency  was  so  delighted  with  her  per- 
formance that  as  soon  as  she  had  done,  he  ran  to  her,  took  her  in  his 
arms,  and  kissed  her,  protesting  that  she  had  half  persuaded  him  that  he 
was  in  his  own  country.'  " 

The  popularity  died  out  after  the  seventeenth  century,  but  the  sarabande 

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was  still  danced  in  certain  old  French  operas,  and  in  1881  Miss  Laura 
Fonta  revived  it  at  a  private  ball  in  Paris  with  great  success  for  the  mo- 
ment. The  word  itself  has  passed  into  popular  allusion  and  slang.  The 
Spaniards  liken  things  of  little  importance  to  the  couplets  of  the  sarabande  : 
"  No  importer  las  copias  de  la  Zarabanda  "  ;  and  with  Regnard  "to  dance 
the  sarabande  of  five  steps  "  is  like  "  to  play  the  oboe,"  a  euphemism  for 
"to  be  hanged."  The  dance  was  generally  in  3-4,  but  it  is  often  found 
in  3-2  in  instrumental  music.  It  was  generally  a  slow  and  stately  dance, 
although  Thomas  Mace  wrote  in  1676:  "The  Serabands  of  the  shortest 
triple  time,  and  more  toyish  and  light  than  the  Corantoes."  Mattheson 
found  it  awakened  awe  in  the  soul.  He  admitted  that  in  the  dance  itself 
there  was  a  certain  cheerfulness,  yet  there  were  no  running  notes,  because 
"  die  grandezza  "  could  not  brook  them,  but  stiffly  preferred  seriousness 
to  be  maintained.  The  tune  usually  began  on  the  third  beat  and  ended  on 
the  first. 

In  this  sarabande  of  Bach  there  is  a  canon  for  the  flute  and  the  bass. 

IV.  Bourre'e  I.,  allegro,  2-2  ;  Bourre'e  II.,  allegro,  2-2.  These  were 
intended  to  be  played  like  a  menuet  and  trio.  The  dance  itself  probably 
originated  in  Auvergne,  but  some  give  Biscay  as  its  home. 

Walther  describes  it  as  composed  of  two  equal  sections,  each  of  eight 
beats  :  "  The  first  has  indeed  only  four,  but  it  is  played  twice  ;  the  second 
has    eight  and  is   repeated."     Mattheson    found    it    created  contentment 


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and  affability,  and  incited  "  a  nonchalance  and  a  recklessness  that  were  not 
disagreeable."  The  dance  was  introduced  at  the  French  court  under 
Catherine  de  Medici  in  1565,  but  it  was  inherently  a  dance  of  the  people, 
accompanied  by  song.  It  may  still  be  seen  in  Auvergne.  At  the  court  the 
dancers  stood  opposite  each  other,  and  there  were  various  steps,  the  pas 
de  bourree,  the  pas  de  fleurets,  the  pas  de  bourree  ouvert,  the  pas  de 
bourree  emboite.  It  was  danced  in  short  skirts,  and  Marguerite  of  Valois 
liked  it,  for  her  feet  and  ankles  were  of  marvellous  beauty.  It  was  danced 
at  the  court  until  the  end  of  Louis  XIII. 's  reign.  There  it  was  a 
mimetic  dance.  "  The  woman  hovers  round  the  man  as  if  to  approach 
him  ;  he,  retreating  and  returning  to  flee  again,  snaps  his  fingers,  stamps 
his  foot,  and   utters  a  sonorous  cry,  to  express  his  strength  and  joy." 

The  dance  was  revived  at  balls  under  the  regency,  and  it  may  now  be 
seen  in  Paris  at  bals  musettes.  When  the  peasants  of  Auvergne  dance,  they 
stamp  the  third  beat  with  their  hob-nailed  shoes  ;  and  in  Paris,  as  coal  men, 
porters,  water  carriers,  they  preserve  the  character  of  the  dance.  Among 
modern  musicians  who  have  used  the  bourre'e  form  are  Saint-Saens  in  his 
"  Rhapsodie  d' Auvergne,"  Raoul  Pugno  in  an  entr'acte  of  "  La  Petite 
Poucrtte,"  Lazzari  in  an  orchestral  suite,  Sullivan  in  his  music  to  "The 
Merchant  of  Venice,"  and  Chabrier  in  his  "  Bourree  Fantasque,''  scored  by 
Mottl  and  played  here  at  a  Symphony  Concert,  March  4,  1899. 

V.  Polonaise,  with  double  (or  trio),  moderato,  3-4.  Walther  does  not 
mention  this  dance  in  his  "  Musicalisches  Lexicon  "  (1732),  but  Mattheson 
(1737)  recognizes  it,  and  says  that  one  should  judge  of  its  usefulness  by 
seeing  it  danced,  not  by  hearing  it  sung.  The  polonaise  is  more  of  a 
stately  procession  than  a  dance.  "  It  is  characteristic  of  the  country  where 
we  find  united  oriental  splendor  and  gravity  with  the  proud  spirit  of  an 


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45.00,  00.00,  75.00,  80.00 

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40.00 

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.      25.00,  45.00 

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25.00 

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.00,  22.50,  2S.0I),  30.00,  33.00 

55.00 

12.00,  15.00 

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13.50,  10,00,  18.00,22.50 

15.00 

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85.00 
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dancer  in  possession,  who  is  obliged  to  give  up  the  lady  with  apparent 
politeness  ;  but  he  retires  to  a  corner  and  meditates  reprisals." 

The  custom  of  opening  a  ball  with  a  polonaise  has  been  introduced  in 
many  European  courts,  but  not  in  France.  There  was  an  attempt  at 
Paris  in  May,  1890,  to  introduce  the  dance  at  private  parties.  (The  name 
polonaise  is  sometimes  given  to  a  sort  of  Russian  mazurka  danced  in  the 
form  of  a  cotillion.)  Theophile  Gautier  described  in  1866  a  polonaise  at 
the  Winter  Palace,  St.  Petersburg:  "The  cortege  of  brilliant  uniforms 
goes  on  increasing  —  a  nobleman  leaves  the  hedge  and  takes  a  lady  by 
the  hand,  and  this  new  couple  take  their  place  in  the  procession  and  keep 
step  with  the  leader.  It  must  be  difficult  to  walk  thus  under  the  fire  of  a 
thousand  and  possibly  ironical  eyes.  Military  dress  does  much  for  the 
men,  but  how  different  for  the  women  !  Most  of  them  walk  to  perfection, 
and  it  is  an  exceedingly  rare  art,  that  of  walking  gracefully  and  simply 
while  being  watched ;  more  than  one  great  playactress  has  never  under- 


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St£phane  Raoul  Pugno,  pianist,  organist,  composer,  and  teacher,  was 
born  at  Montrouge,  He  de  France,  June  23,  1852.  His  father  was  an 
Italian  ;  his  mother  was  from  Lorraine.  The  father  kept  a  small  music 
shop  in  the  Latin  Quarter  of  Paris,  and  there  the  boy  began  to  play  the 
piano.  His  first  teachers  were  his  father  and  Miss  Josephine  Martin. 
When  Raoul  was  six  years  old  he  played  at  a  charity  concert  at  the  Hotel 
de  Ville  before  an  audience  of  two  thousand.  He  attended  the  ficole  Nieder- 
meyer  for  a  short  time,  and  in  1866  he  entered  the  Paris  Conservatory,  where 
he  studied  the  piano  under  Mathias  and  Durand,  harmony  under  Bazin,  the 
organ  under  Benoit,  and  composition  under  Ambroise  Thomas.  He  took 
these  first  prizes:  harmony,  1867  ;  organ,  1869;  and  the  second  prize  for 
counterpoint  and  fugue  in  1869.  Born  of  an  Italian  father,  he  could  not 
compete  for  the  pi  ix  de  Rome  ;  for  at  that  time  he  was  not  naturalized. 
After  he  left  the  Conservatory,  he  taught ;  and  during  the  Commune  he  was 
obliged  to  serve  gratuitously  as  a  member  of  the  committee  whose  duty  it 

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was  to  watch  over  the  interests  of  artists.  From  1872  to  1892  he  was  or- 
ganist of  Saint- Eugene,  Paris,  and  in  1874  he  was  chef  de  chant  at  the 
The'atre-Italien  (Ventadour).  In  1892  he  was  appointed  teacher  of  har- 
mony at  the  Conservatory,  and  in  1896  he  was  appointed  piano  teacher  on 
the  death  of  Henri  Tissot.  His  reputation  as  a  pianist  dates  from  his 
performance  of  Grieg's  concerto  at  a  Conservatory  concert,  Dec.  24,  1893. 
Since  then  he  has  appeared  as  a  virtuoso  in  many  lands.  His  first  ap- 
pearance in  London  was  on  May  28,  1894.  His  first  appearance  in  the 
United  States  was  at  New  York,  Nov.  18,  1897,  when  he  played  'The 
Wanderer"  Fantasia,  Schubert- Liszt.  For  some  years  he  has  given 
chamber  concerts  with  Ysaye,  the  violinist,  Marteau,  the  violinist,  and 
others. 

His  first  appearance  in  Boston  was  with  Mr.  Ysaye  at  Music  Hall  on  the 
evening  of  Feb.  17,  1898.  He  played  on  the  afternoon  of  the  following 
day  with  Messrs.  Ysaye  and  Gerardy. 

Among  his  compositions  are  :  "  La  Resurrection  de  Lazare,"  oratorio 
(Pasdeloup  Concert,  April  n,  1879);  "La  Fee  Cocotte,"  fairy  piece  in 
three  acts  (Palace  Theatre,  Jan.  26,  1881) ;  "  Les  Papillons,"  ballet,  in  col- 
laboration with  Lippacher  (Palace  The'atre,  November,  1881);  "  Ninetta," 
ope'ra-comique  in  three  acts  (Renaissance,  Dec.  26,  1882)  ;  "  Viviane,"  ballet 
in  five  acts,  in  collaboration  with  Lippacher  (Eden,  Oct.  28,  1886);  •«  Le 
Sosie,"  opera-bouffe  in  three  acts  (Bouffes-Parisiens,  Oct.  8,  1887);  "  Le 
Vallet  de  Cceur,"  opera-comique  in  three  acts  (Bouffes-Parisiens,  April  19, 
1888)  ;  "  Le  Retour  d'Ulysse,"  opera-bouffe  in  three  acts  (Bouffes-Parisiens, 
Feb.  1,  1889)  ;  "  La  Vocation  de  Marius,"  piece  in  three  acts  (Nouveautes, 
March  29,  1890)  ;  "  La  Petite  Poucette,"  vaudeville-operette  (Renaissance, 
March  5,  1891);  "La  Danseuse  de  Corde,"  pantomime  in  three  acts 
(Nouveau,  Feb.  5,  1892);  "Pour  le  Drapeau,"  mimodrame  in  three  acts 
(Ambigu,  Feb.    18,    1895);    "  Le  Chevalier  aux  Fleurs,"  ballet  in  twelve 


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STYLISH  FUR  NECKWEAR 

Cluster  Scarfs Boas Long  Scarfs 


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ified  to   meet   all  requirements.     Greatest 
display  of  Small  Furs  ever  seen  in  oA£e%>  England. 


Sable  Fox  Boa,  $65  Fancy  Sable  Fox  Scarfs,  $71.50 

Fancy  Mink  Scarfs,  $215 
Long  Squirrel  Stole,  $32.50,  $45,  $57       Baum  Marten  Sets,  $105,  $125,  $165 

Blended  Sable  Sets,  $195,  $300 
Natural  H.  B.  Sable  Sets,  $225,  $395  Russian  Sable  Sets,  $450,  $575 

inPORTED    NOVELTIES 

Long  Chinchilla  Stoles,  Tails  to  match,  $210 

Long  Chinchilla  Stoles,  Combined  with  Chiffon,  Lace,  and  Velvet,  $695 
Long  Russian  Sable  Stole  Tails  and  Lace,  $495 

Imported  Black  Marten  Sets  with  Velvet  and  Lace,  $170 
Sable  Fox  Set,  $135 
Squirrel  Victorine  with  Chinchilla  Fringe,  $115 
Squirrel  Victorine,  $57,  $100 

Ermine  Victorine  with  Velvet  and  L  ace,  $170 

Baum  Marten  with  Ribbon  and  Chiffon,  $215 


Mink  Clusters,  6  tails,  $16,  $20,  $22 
Mink  Scarfs,  8  tails,  $35,  $45,  $67.50 
H.  B.  Sable  Scarfs,  8  tails, 

$97,  $115,  $135 
Black  Lynx  Clusters,  6  tails,  $37-50 
Black  Lynx  Scarfs,  6  tails, 

$31,  $45,  $5750,  $82.50,  $105 
Gray  Lynx  Scarfs,  brush  tails 

and  claws    .     .    $22  50,  $27.75,  $45 
Persian  Lynx  Scarfs,  S  stone 

marten  tails $33  25 

Brown  Bear  Boas  .  .  $42.50,  $50 
Cinnamon  Bear  Boas,  .  $3750,  $50 
Chinchilla  Scarfs,  4  tails, 

$27,  $31.50,  $6750 
Chinchilla  Scarfs,  sable  tails 

and  claws $98 

Electric  Seal  Clusters,  6  tails     .       $4 


Electric  Seal  Scarfs,  8  tails. 
River  Sable  Clusters,  6  tails      .  $3. 75 
River  Sable  Scarfs,  6  tails     .     .  $7.25 
Sable  for  Boa,  2  brush  tails, 

$7.50,  $9.75,  $12,  $15,  $18 
Brown  Opossum  Clusters,  6  tails,  $7.50 
Brown  Opossum  Scarfs,  8  tails, 

$12,  $19 
Black  Raccoon  Scarfs,  8  tails,  $10.50 
Black  Raccoon  Clusters,  6  tails,  $6 
Marten  Clusters,  6  tails  .  .  .  $13 
Marten  Scarfs,  8  tails  .  .  .  $22  50 
Brown  Raccoon  Clusters,  6  tails,  $7.50 
Brown  Raccoon  Boa,  2  brush  tails, 

$15.  $19 
Baum  Marten  Scarfs  with  tails 

and  claws    .     .     .  $35,  $45-  $67-5° 


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scenes,  in  collaboration  with  Messager  (Marigny,  May  15,  1897);  songs,  a 
sonata  for  piano,  Concertstiick  for  piano  and  orchestra,  and  many  piano 
pieces.  Still  in  manuscript,  it  seems,  are  :  "  Promethee,"  lyric  ode  for  solo 
voices,  chorus,  and  orchestra  ;  "  Les  Pauvres  Gens,"  lyric  drama  in  three 
acts;  "  Les  fitoiles,"  opera-ballet  founded  on  Daudet's  "  Conte  du  Lundi." 

Grand  Fantasia  in  C  major,  Op.  15 Franz  Schubert. 

Symphonically  rearranged  for  pianoforte  and  orchestra  by  Franz  Liszt. 
(Schubert:  bora  at  Lichtenthal,  near  Vienna,  Jan.  31,   1797;  died  at  Vienna,  Nov.  19, 

1828.     Liszt:    born  at  Raiding,  near  Oedenburg,  Hungary,  Oct.  22,   181 1;   died  at 

Bayreuth,  July  31,  1886.) 

A  clergyman  of  Vienna,  named  Horni,  drew  Schubert's  attention  to  a 
poem  by  Georg  Philipp  Schmidt,  of  Lubeck  (1 766-1849).  Horni  saw  it 
probably  in  a  volume  entitled  "  Dichtungen  fiir  Kunstredner,"  which  was 
published  in  181 5  ;  and  in  this  volume  the  poem  bore  the  title  "  Der  Un- 
glikkliche,"  and  was  attributed  to  Werner,  so  that  Schubert,  in  the  manu- 
script of  his  song,  "  Der  Wanderer,"  stated  that  the  verses  were  by  Zach- 
arias  Werner. 

The  music  of  th;s  song  was  composed  in  October,  181 6.  The  day  of 
the  month  was  erased  in  the  manuscript,  and  passages  in  the  piano  accom- 
paniment are  illegible  on  account  of  alterations.  "  Schafers  Klagelied  " 
was  the  first  of  his  songs  sung  in  public  (by  Jager,  a  tenor,  Feb.  28,  18 19). 
In  182 1  other  songs  were  sung,  and  in  that  year  "  Der  Wanderer"  was 
advertised  in  the  Vienna  Zeitung  (May  29).  A  firm  of  publishers  had  offered 
Schubert  800  florins  for  the  first  twelve  sheets  of  songs.  Among  them 
were  "  Erlkonig,"  "  Gretchen  am  Spinnrad,"  "Der  Wanderer";  and 
Schubert  gladly  accepted  the  offer.  It  is  said  that  "  Der  Wanderer  "  alone 
had  brought  to  the  publishers  from  the  date  of  publication  to  1861  the 
sum  of  27,000  florins. 

The  Fantasia  in  C, —  the  "  Wanderer  "  fantasia, —  for  pianoforte  solo,  was 
composed  probably  in  1820.  It  was  published  in  1823  and  dedicated  to 
Liebenberg  de  Zittin,  a  pianist.  "  Schubert  never  could  play  it ;  he  always 
stuck  fast  in  the  last  movement ;  and  on  one  occasion  he  jumped  up  and 
cried,  '  Let  the  Devil  himself  play  it.'  " 

Liszt  made  his  arrangement  in  1856,  and  it  was  published  in  the  follow- 
ing year.  In  a  letter  to  Dionys  Pruckner,  dated  March  17,  1856,  he  asked 
his  pupil  to  find  out  how  far  the  engraving  of  the  Schubert  Fantasia  had 

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progressed,  and  he  said  that  Bronsart  had  lately  played  it  with  orchestral 
accompaniment  at  Jena.  Von  Biilow  was  playing  it  in  1858:  see  his 
letter  to  Liszt  (Oct.  21,  1858),  in  which  he  spoke  of  an  approaching  per- 
formance, and  added,  "  I  shall  be  curious  about  the  effect  of  the  ensemble, 
for  I  have  never  heard  it." 

The  fantasia  is  in  four  movements,  which  are  not  separated  by  waits. 
The  first  movement  is  free  rather  than  in  sonata  form.  The  bold  opening 
theme  in  Liszt's  version  is  proclaimed  by  the  full  orchestra ;  it  is  largely 
developed  and  then  given  pianissimo  to  the  pianoforte  alone.  After  a 
development  in  which  both  piano  and  orchestra  take  part,  the  piano  enters 
alone  with  the  second  theme,  which  is  singularly  like  and  unlike  the  first, — 
"like  it  in  rhyihm,  but  of  truly  different  character,  and  yet  in  the  working- 
out  the  two  might  be  confounded."  There  is  a  third  theme,  which  is 
given  to  the  piano. 

The  Adagio  is  a  set  of  free  variations  on  a  theme  that  occurs  in  Schu- 
bert's song, —  the  music  to  the  lines  that  have  thus  been  lamely  Englished: 

And  here  the  sun  appears  so  cold, 
All  faded  flow'rs,  all  life  grown  old, 
Their  speech  I  cannot  understand, 
A  stranger  still  in  every  land. 

The  chief  th-  me  of  the  third  movement,  which  resembles  a  scherzo,  is  a 
free  variation  in  rhythm  of  the   first  theme   of  the   first  movement.     The 


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RAOUL      PUCNO, 

THE  GREAT  FRENCH  PIANIST, 

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fourth  movement  begins  with  a  fugato  on  a  subject  takt-n  from  the  chief 
theme  of  the  first  movement.  After  the  exposition  the  orchestra  takes  up 
the  subject  and  develops  it. 

.  The  fantasia  was  played  at  these  concerts  by  Mr.  William  H.  Sher- 
wood, Nov.  i,  1884,  and  by  Mrs.  Emil  Paur,  Nov.  25,  1893.  The  first 
performance  in  Boston  was  by  Mr.  William  Mason  at  a  Philharmonic  Con- 
cert, March  8,  1862. 

Symphony  No.  5,  in  E  minor,  Op.  64      .     .     .     Peter  Tschaikowsky. 

(Born  at   Votkinsk,  in  the    government   of   Viatka,   Russia,  May  7,   1840;  died  at    St. 
Petersburg,  Nov.  5-6,  1893.) 

Ivan  Knorr  says  that  Tschaikowsky  wrote  his  Fifth  Symphony  in  1888, 
after  his  return  from  a  concert  journey  in  which  he  visited  Leipsic,  Ham- 
burg, Berlin,  Prague,  Paris,  and  London.  In  these  cities  he  conducted 
some  of  his  orchestral  works. 

Rosa  Newmarch  says  (pp.  97,  98,  of  her  "Tschaikowsky")  that  this 
symphony  is  one  of  the  works  written  in  1886-87.  0°  PaSe  io3  sne 
speaks  of  the  Fifth  Symphony  as  "written  in  1888  and  published  the  fol- 
lowing year."  As  a  matter  of  fact,  it  was  published  in  the  late  fall  or  the 
early  winter  of  1888. 

Modeste  Tschaikowksy's  Life  of  his  brother,  which  is  now  publishing  in 
parts,  comes  down  at  present,  so  far  as  the  translation  into  German  is 
concerned,  only  to  the  year  1878. 

We  know,  however,  that  the  symphony  was  written  at  Tschaikowsky's 
house  in  the  village  of  Maidanovo,  not  far  from  the  town  of  Klin.  Here 
he  would  spend  months  at  a  time  without  going  to  the  city.  Only  a  few 
friends  occasionally  visited  him.  The  life  there  was  simple.  When 
Kaschkin  stayed  with  Tschaikowsky,  they  breakfasted  at  eight,  and 
at    nine    they   separated    for    the    morning,   which    was    spent  in    work. 

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"  At  one  o'clock  came  a  simple  dinner  of  two  courses  (Tschaikowsky  kept 
a  good  man  cook,  and  could  entertain  his  guests  lavishly  when  he  thought 
it  necessary),  .  .  .  and  then  followed  a  long  walk  in  the  country,  which  the 
composer  never  missed  in  any  weather.  Sometimes  he  would  announce 
at  dinner  his  intention  of  going  out  alone,  and  then  his  friend  understood 
that  he  was  meditating  some  new  creation,  for  many  of  his  works  were 
planned  and  his  themes  invented  during  these  long  solitary  rambles  across 
country.  After  tea  he  went  back  to  his  work  until  supper  was  served  at 
eight  o'clock.  After  supper  the  servant  put  a  bottle  of  wine  on  the  table, 
and  he  was  told  that  he  was  free  until  the  next  morning.  '  Left  to  our- 
selves,' says  Kaschkin,  '  we  immediately  went  to  the  piano  and  began  to 
play  arrangements  for  four  hands,  of  which  Tschaikowsky  had  a  large 
store.  We  often  played  Brahms,  whom  he  esteemed  very  highly  for  his 
seriousness  and  sincerity,  and  his  contempt  for  superficial  success  ;  but  at 
the  same  time  he  had  not  much  sympathy  with  his  music,  which  he  found 
cold  and  dry.  Even  after  repeatedly  playing  Brahms'  works  his  first 
impression  was  not  greatly  modified.'  Occasionally  Kaschkin  read  aloud 
from  some  of  Tschaikowsky's  favorite  authors ;  or  the  composer  would 
write  in  his  diary,  which  was  in  many  volumes ;  but  the  contents  were 
never  shown  even  to  his  closest  friends.  Once,  he  told  Kaschkin,  he  was 
alone  at  night  in  this  country  house.  As  his  eyes  fell  on  the  diary  he  was 
assailed  by  a  sudden  terror  lest  he  might  die  with  no  friend  at  hand,  and 
some  one  might  pry  into  the  secrets.  He  ordered  a  fire  and  burned  every 
volume  before  he  went  to  bed.  There  was  much  in  the  diary  he  was  sorry 
to  destroy,  but  on  the  whole  he  believed  he  had  acted  wisely." 

The  Fifth  Symphony,  which  comes  in  order  between  the  "  Manfred  " 
Symphony  and  "Hamlet,"  an  overture  fantasia,  was  first  performed  at  St. 
Petersburg,  Nov.  17,  1888,  at  a  Philharmonic  Concert.  The  composer  led. 
The  concert  lasted  over  three  hours,  and  the  programme  consisted  chiefly 


The  Boston  Symphony  Orchestra  Programme 

For  the  twenty-four  Boston  Concerts, 
with  Historical  and  Descriptive  Notes 
by  Philip  Hale.  <£  J*  <£  &   J*   J*   <2* 

Bound  copies  of  the   Programme  for  the   entire    season  can    be    had    at 
$1.50  by  applying  before  the  last  concert.     Address  all  communications  to 


F.   R.  COMEE,  Symphony  Hall,  Boston 


(31) 


fr 


of  works  by  Tschaikowsky :  the  Italian  Caprice,  the  Second  Piano  Concerto 
(played  by  Wassily  Sapellnikoff,  who  then  made  his  debut),  the  now 
familiar  air  from  "Jeanne  d'Arc  "  and  three  songs  (sung  by  Mrs.  Kamen- 
sky),  an  overture  by  Laroche  orchestrated  by  Tschaikowsky,  were  among 
them. 

The  symphony  was  also  played  under  his  direction  at  a  Symphony  con- 
cert in  St.  Petersburg,  Nov.  24,  1888,  when  "  Hamlet"  was  performed  for 
the  first  time. 

The  first  performance  in  the  United  States  was  at  a  Thomas  Concert  in 
Chickering  Hall,  New  York,  March  5,  1889.  At  this  concert  MacDowell's 
Piano  Concerto  No.  2,  in  D  minor,  was  played  by  the  composer  and  for 
the  first  time. 

The  first  performance  in  Boston  was  at  a  Symphony  Concert,  Oct.  22, 
1892.  The  symphony  was  also  played  at  these  concerts  on  Jan.  1,  1898, 
Dec.  10,  1898,  Dec.  22,  1900. 

Some  find  pleasure  in  characterizing  Tschaikowsky's  symphonies  as 
suites ;  Dvorak  is  said  to  have  made  this  criticism ;  but  the  Fifth 
Symphony  escapes  this  charge,  for  objectors  admit  that  in  this  work  the 
composer  made  his  nearest  approach  to  true  symphonic  form  in  spite  of 
the  fact  that  there  is  no  repetition  of  the  first  part  of  the  first  allegro,  and 
that  a  waltz  movement  takes  the  place  of  the  scherzo.  (They  that  dismiss 
the  :'  Pathetic  "  because  an  adagio  serves  as  finale  should  remember  that 
the  finale  of  Spohr's  "  The  Consecration  of  Tones "  is  composed  of  a 
larghetto,  "Funeral  Music"  and  an  allegretto,  "  Consolation  in  Tears.'') 
Revolt  against  the  traditions  of  inexorable  sonata  form  is  not  a  symptom 
of  modern  musical  anarchy.  Gretry  in  his  "  Memoires,  ou  Essais  sur  la 
Musique  "  (Paris,  1797)  wrote:  "A  sonata  is  a  discourse.  What  should 
we  think  of  a  man  who  cuts  his  speech  in  half  and  repeats  twice  each  of 
these  halves  ?     '  I  was  at  your  house  this  morning  ;  yes,   I  was  at  your 


Rubber  Necessities 

FOR  THE 

SICK-ROOM  and  TOILET 


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AT  THE 

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IN  BOSTON 


Hubbell  &  McGowan 


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Fall    Goods 

Take  elevator 


(32) 


IVERS  &  POND 


*i«  %f  * v  ve  v  »s?  » J?  v  »;?  »j?  v  »V  » v<  >v  »JJ  »sJ 


0 


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Pianos 


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O; 


UR  new  Small  Grand  here 
pictured  is  designed  especially 
for  apartments  where,  because  of 
limited  space,  a  Grand  has  been 
hitherto  impossible.  Although 
perhaps  the  smallest  true  Grand 
built,  it  possesses,  by  a  unique 
and  highly  developed  scale  plan, 
as  great  volume  and  a  rarer  purity 
of  tone  than  most  larger  Grands. 
No  part  of  its  construction  was  too  small  to  receive  the  conscientious 
attention  to  detail  which  makes  this  instrument  in  its  ensemble  an 
art  product  of  the  highest  aesthetic  merit.  The  price  is  an  agreeable 
surprise.  Convenient  systems  of  payment  if  desired.  Catalogues 
mailed  (free)  upon  request. 


IVERS  6t  POND  PIANO  CO. 


114=116  Boy  Is  ton  Street,  Boston 


(33) 


house  this  morning  to  consult  you  about  a  business  matter,  to  consult  you 
about  a  business  matter.'  Repetitions  in  music  affect  me  in  alike  manner. 
Let  us  discriminate,  however,  between  useless  repetitions  and  a  charming 
phrase  that  occurs  three  or  four  times,  and  the  repetitions  of  a  delightful  air. 
Just  as  one  may  say  to  his  sweetheart,  '  I  love  you,'  ten  times  in  the  same 
visit,  so  one  may  repeat  a  phrase  that  is  full  of  emotion.  I  am 
speaking  of  the  long  repetition  that  forms  the  half  of  a  musical 
discourse." 

No  one  has  written  so  shrewdly  or  more  sympathetically  concerning 
Tschaikowsky's  work  than  Mr.  Ernest  Newman,  whose  articles  in  the  Con- 
temporary Review  (London,  1901)  and  the  Monthly  Musical  Record  (Lon- 
don, 1902)  deserve  the  attention  of  all  students  of  music.  Mr.  Newman 
views  him  as  our  contemporary,  "  much  more  the  man  of  our  own  day  than 
the  belated  followers  of  the  classical  tradition.  He  made  one  desperate 
attempt  —  in  his  first  symphony  —  to  look  at  music  and  life  through  the  eyes 
of  the  formalist ;  but  ever  after  that  he  wisely  allowed  his  imagination  to 
carry  him  whither  it  would.  We  must  not  forget,  in  estimating  his  total 
achievement,  that  he  died  in  the  very  prime  of  his  powers,  just  when  he 
was  beginning  to  have  a  vision  of  what  the  future  may  do  in  music." 

Nor  need  there  be  apology  for  liberal  quotations  from  Mr.  Newman's 
articles. 

"  Students  of  Tschaikowsky's  instrumental  work  will   readily  agree  that 


A-: 

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W        ™ 

Wm      i 

Dominion  Line 

EXPRESS    SERVICE 
BOSTON    TO 

Mediterranean, 
Gibraltar,    Naples, 

Genoa,  and 
Alexandria,  Egypt. 


Resumption    of    trips    by  the     mammoth    popular    twin-screw  steamers,    **  COM- 
MONWEALTH "   and    "NEW    ENGLAND." 

S.S.  New  England  (ii,-)oo  tons)  sails  Dec.  6,  Jan.  17,  Feb.  2S. 
S.s.  Commonwealth  (13.000  tons)  sails  Jan.  3,  Feb.  14,  Mar.  28. 
Send  for  rates  and  illustrated  booklet. 

Direct    Service   to       AZORES        PONTA*    1>EI.,GADA, 

\,,.l   through   to  GIBRALTAR,  NAPLES,  and  GENOA. 
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RICHARDS,  MILLS  &  CO.,  77-81  STATE  STREET,  BOSTON, 

Or  any  local  steamship  agent. 

(34) 


as  his  mind,  in  the  course  of  years,  became  clearer  as  to  its  real  nature  and 
potentialities,  he  showed  a  marked  preference  for  the  programme  form, 
and  a  desire  to  abandon  the  mood  and  the  manner  of  the  symphony  pure 
and  simple.  This  was  owing  to  the  fact  that,  although  he  grew  enor- 
mously in  sheer  musical  power,  he  grew  still  more  rapidly  in  the  poetic 
and  dramatic  sense  of  things,  finding  actual  life  so  important,  so  pressing, 
so  clamant,  that  it  interpenetrated  almost  all  his  thoughts  of  music.  .  .  . 
In  these  first  three  symphonies,  then,  we  find  Tschaikowsky  fluctuating 
with  the  utmost  insoiccia?ice  between  the  absolute  and  the  programme 
form  and  between  the  absolute  and  the  prograrhme  spirit.  I  can 
find  no  trace  of  a  programme  in  the  fourth  symphony;  but  with  the 
fifth  and  sixth  we  step  upon  quite  unmistakable  ground.  Afte  the  first 
symphony  had  come  the  '  Romeo  and  Juliet,'  after  the  second  '  The 
Tempest,'  after  the  third  the  '  Francesca  da  Rimini,'  after  the  fourth  the 
'  1812  '  overture  and  the  'Manfred,'  while  between  the  fifth  and  sixth 
symphonies  came  the  '  Hamlet.'  Tschaikowsky  could  not  but  feel  after 
the  various  experiments  he  had  made  in  both  forms,  that  there  was  some- 
thing more  congenial  to  his  peculiar  imagination  in  the  symphonic  poem 
or  the  symphony  with  a  human  interest,  than  in  the  symphony  pure  and 
simple.  Consequently  we  find  him  in  his  last  two  symphonies,  ostensibly 
working  in  the  classical  form  but  really  in  the  romantic,  writing  the  cus- 
tomary four  movements  as  if  he  had  only  in  view  the  kind  of  arbitrarily 
connected  suite  which  generally  does  duty  for  a  symphony,  but  at  the 
same  time  giving  the  different  movements  an  emotional  and  even 
thematic  enchainment  the  one  with  the  other.  Yet,  characteristically 
enough,  he  has  not  reached  this  position  by  dint  of  reasoning,  and  so 
does  not  hold  it  rationally.  We  might  expect  that  his  last  symphony 
would  exhibit  a  grip  of  his  own  theories  —  or,  let  us  say,  his  intuitions  — 
superior  to  that  shown  in  the  fifth.     But  it  is  the  fifth,  in  reality,  that  the 


146  Tremont  Street. 
FRESH,    PURE,    DELICIOUS 

BONBONS  and 
CHOCOLATES 

Hot   Chocolate   and    Ice=cream 
Soda. 


Miss  GAFF/MEY, 

Manicuring,  Shampooing,  Heir 
Dressing,  and  Chiropody. 
Hygienic  Treatment  of  Head,  Face., 

and  Neck. 

AMIRAL  SOAP 

Made  in  France,  for  reducing  corpulency  by 
external  application.  Recommended  and  pre- 
scribed by  the  medical  profession. 

Removing  and  preventing  wrinkles  and  im- 
proving the  complexion  by  restoring  muscular 
tone  and  tissue  building,  without  the  use  of 
cosmetics  or  steaming.  Head  treated  for  con- 
gestion, falling  hair,  and  to  promote  growth. 
Will  visit  ladies  at  their  homes. 

Address,  384  BOYLSTON  STREET. 

Testimonials  from  distinguished  men  and 
women  of  Boston. 


(35) 


subtlest  and  most  consistent  workings  of  his  new  principle  of  structure  are 
revealed." 

There  is  a  wide  difference  of  opinion  concerning  the  place  that  this  Fifth 
Symphony  should  occupy  in  the  list  of  Tschaikowsky's  works.  Berezovsky 
declares  it  to  be  the  weakest  of  the  six  symphonies,  although  he  admits  it 
is  a  striking  composition,  which  "  seems  to  set  forth  some  dark  spiritual 
experience."     Let  us  see  what  Mr.  Newman  has  to  say  about  it :  — 

"  It  is  a  curious  fact  that  whereas  the  sixth  symphony,  admittedly 
based  on  a  programme,  leaves  us  here  and  thene  with  a  sense  that  we  are 
missing  the  connecting  thread,  the  fifth  symphony,  though  to  the  casual 
eye  not  at  all  programmistic,  bears  the  strongest  internal  evidences  of 
having  been  written  to  a  programme.  The  feeling  that  this  is  so  is  mainly 
due  to  the  recurrence,  in  each  movement,  of  the  theme  with  which  the 
symphony  begins.  This  produces  a  feeling  of  unity  that  irresistibly 
suggests  one  central  controlling  purpose.  The  theme  in  question  is 
peculiarly  sombre  and  fateful.  It  recurs  twice  in  the  following  andante, 
and  again  at  the  end  of  the  waltz  that  constitutes  the  third  movement. 
In  the  finale  the  treatment  of  it  is  especially  remarkable.  It  serves, 
transposed  into  the  major,  to  commence  this  movement ;  it  makes  more 
than  one  reappearance  afterwards.  But  this  is  not  all  the  thematic  filia- 
tion this  symphony  reveals.  One  of  the  themes  of  the  seconJ  movement  — 
the  andante  —  also  recurs  in  the  finale,  while  the  opening  subject  proper 
of  the  finale  (following  the  introduction)  is  plainly  based  on  the  opening 
subject  of  the  whole  symphony.  Lastly,  the  first  subject  of  the  allegro 
of  the  first  movement  reappears  in  the  major,  on  the  last  page  but  two  of 
the  score,  to  the  same  accompaniment  as  in  the  allegro.  So  that  —  to  sum 
the  matter  up  concisely  —  the  fourth  movement  contains  two  themes  from 
the  first,  and  one  from  the  second ;  the  third  and  second  movements  each 
contain  one  theme  from  the  first — a  scheme  that  is  certainly  without  a 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(.56) 


parallel  in  the  history  of  the  symphony.*  No  one,  I  think,  will  venture  to 
assert  that  so  elaborate  a  system  of  thematic  repetition  as  this  is  due 
to  mere  caprice  ;  nor  is  it  easy  to  see  why  Tschaikowsky  should  have 
indulged  in  it  at  all  if  his  object  had  been  merely  to  write  a  '  symphony  in 
four  movements.'  Nothing  can  be  clearer  than  that  the  work  embodies 
an  emotional  sequence  of  some  kind.  It  is  a  great  pity  that  we  have  no 
definite  clew  to  this ;  but  even  on  the  face  of  the  matter  as  it  now  stands 
the  general  purport  of  the  symphony  is  quite  plain. 

"  The  gloomy,  mysterious  opening  theme  suggests  the  leaden,  deliberate 
tread  of  fate.  The  allegro,  after  experimenting  in  many  moods,  ends 
mournfully  and  almost  wearily.  The  beauty  of  the  andante  is  twice  broken 
in  upon  by  the  first  sombre  theme.  The  third  movement  —  the  waltz  —  is 
never  really  gay ;  there  is  always  the  suggestion  of  impending  fate  in  it ; 
while  at  times  the  scale  passages  for  the  strings  give  it  an  eerie,  ghostly 
character.  At  the  end  of  this  also  there  comes  the  heavy,  muffled  tread  of 
the  veiled  figure  that  is  suggested  by  the  opening  theme.  Finally,  the 
last  movement  shows  us,  as  it  were,  the  emotional  transformation  of  this 
theme,  evidently  in  harmony  with  a  change  in  the  part  it  now  plays  in  the 
curious  drama.  It  is  in  the  major  instead  of  in  the  minor  ;  it  is  no  longer 
a  symbol  of  weariness  and  foreboding,  but  bold,  vigorous,  emphatic,  self- 
confident.  What  may  be  the  precise  significance  of  the  beautiful  theme 
from  the  second  movement  that  reappears  in  the  finale  it  is  impossible  to 
say;  but  it  is  quite  clear  th.it  the  transmutation  which  the  first  subject  of 
the  allegro  undergoes,  just  before  the  close  of  the  symphony,  is  of  the 
same  psychological  order  as  that  of  the  '  fate  '  motive  —  a  change  from 
clouds  to  sunshine,  from  defeat  to  triumph." 

The  chief  theme  of  the  symphony  is  given  at  the  very  beginning  to  the 
clarinets,  and  the  development  serves  as  an  approach  to  the  allegro.  The 
principal  theme  is  announced  by  clarinet  and  bassoon,  and  it  is  developed 

*  For  the  singularly  persistent  use  of  fixed  thematic  material  throughout  the  movements  the  symphony  of 
Cesar  Franck  is  still  more  remarkable. —  Ed. 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,  GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COHPANY,    -    BOSTON 

(37) 


elaborately  and  at  great  length.  The  second  theme  in  B  minor  is  given 
to  the  strings.  The  free  fantasia  is  comparatively  short  and  exceedingly 
dramatic.  The  recapitulation  begins  with  the  restatement  of  the  principal 
theme  by  the  bassoon,  and  there  is  a  long  coda,  which  finally  sinks  to  a 
pianissimo  and  passes  to  the  original  key. 

The  second  movement  has  been  characterized  as  a  romance,  firmly 
knit  together  in  form,  and  admitting  great  freedom  of  interpretation,  as  the 
qualification,  "  con  alcuna  licenza,"  of  the  andante  cantabile  indicates. 
After  a  short  introduction  in  the  deeper  strings  the  horn  sings  the  prin- 
cipal melody.  The  oboe  gives  out  a  new  theme,  which  is  answered  by  the 
horn,  and  this  theme  is  taken  up  by  violins  and  violas.  The  principal 
theme  is  heard  from  the  'cellos,  after  which  the  clarinet  sings  still  another 
melody,  which  is  developed  to  a  climax,  in  which  the  full  orchestra  thunders 
out  the  chief  theme  of  the  symphony,  the  theme  of  bodement.  The 
second  part  of  the  movement  follows  in  a  general  way  along  the  lines 
already  established.  There  is  another  climax,  and  again  is  heard  the 
impressive  theme  of  the  symphony. 

The  third  movement  is  a  waltz.  The  structure  is  simple,  and  the 
development  of  the  first  theme,  given  to  violins  against  horns,  bassoons,  and 
string  instruments,  is  natural.  Toward  the  very  end  clarinets  and  bassoons 
sound  as  afar  off  the  theme  of  the  symphony  :  the  gayety  is  over. 

There  is  a  long  introduction  to  the  finale,  a  development  of  the  sombre 
and  dominating  theme.  This  andante  is  followed  by  an  allegro,  with  a  first 
theme  given  to  the  strings,  and  a  more  tuneful  theme  assigned  first  to  the 


\I  7E   beg   to   announce  that    we    are    now    New    England 
Agents   for   the   well-known    .%     .\     .•.     .-.     .*.     •••     .". 


A.  B.  CHASE  PIANO 


The  A.  B.  Chase  Piano  Co.  for  many  years  have  maintained 
the  highest  standard  in  workmanship  on  their  piano,  and  to- 
day it  is  universally  recognized  as  the  most  artistic  and  purest 
toned  instrument  manufactured  in  this  country.  Perfection 
has  been  their  motto,  and  it  is  with  great  pleasure  we  make 
this  brief  announcement,  realizing  that  there  is  always  room 
for  the  hest. 

We  cordially  invite  the  public  to  call  and  inspect  the 
A.   B.  Chase  Grand  and  Upright  Pianos  at  our  Warerooms. 


^^2^^e/^^^^^t\ 


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Boylston  St. 


(38) 


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PURE 

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In  honest  bottles. 


-  < 


PRICE   LIST  SENT   ON    APPLICATION. 

S.  PIERCE  CO. 


Established  183 


-  IMPORTERS  and  GROCERS, 


Incorporated  1894. 


Tremont  and  Beacon  Sts. 

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185  nilk  St.  (Wholesale) 


BOSTON 


Coolidge's  Corner,  BROOKLINE 


(39) 


We  are  now  displaying  our  Complete  Line  of 

AUTUMN    GLOVES. 

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NEW    PIANOFORTE    HUSIC 

by 
ALVAH  GLOVER  SAL/ION. 


"  Invariably  melodious  and  effective,  admirably 
adapted  to  the  instrument,  and  must  prove  valuable 
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modern  in  character."—  Revue  Eoliemie,  Paris. 

"  Charming  by  reason  or  their  unique  style  and  fine 
musical  invention." — Der  Klavier-Lehrer,  Berlin. 

"  Distinctly  original  and  should  have  a  wide  cir- 
culation."—  Daily  News,  St.  Petersburg. 


Descriptive  catalogue  of  Mr.   Salmon's  com- 
positions sent  on  application. 

C.  W.  THOflPSON  &  CO., 

Music    Publishers,    13   West  St. 


Foreign  Books, 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES   &   SCHOENHOF, 

128  Tremont  St..  2d  door  north  of  Winter  St., 
over  Wood's  Jewelry  Store.     (Tel.,  Oxford  lO'.'.i  -J.  | 

nile.  CAROLINE 

Invites  you  to  inspect  her  foreign  selection 
of 

Hats  and   Bonnets, 

Together  with  her  own  designs.    The  prices 
are  very  reasonable. 

486  Boylston  Street,  Boston. 

In  block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN   FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296-298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(40; 


wood-wind  and  afterward  to  the  violins.  The  development  of  the  second 
theme  contains  allusions  to  the  chief  theme  of  the  symphony.  Storm 
and  fury ;  the  movement  comes  to  a  halt ;  the  coda  begins  in  E  major,  the 
allegro  vivace  increases  to  a  presto.  The  second  theme  of  the  finale  is 
heard,  and  the  final  climax  contains  a  reminiscence  of  the  first  theme  of  the 
first  movement. 

The  symphony  is  scored  for  3  flutes  (1   interchangeable  with  piccolo), 

2  oboes,  2  clarinets,  2  bassoons,  4  horns,   2  trumpets,  3  trombones,  tuba, 

3  kettle-drums,  and  strings. 

The  score  is  dedicated  to  Theodor  Ave-Lallement,  of  Hamburg. 
Tschaikowsky  met  this  head  of  the  committee  of  the  Philharmonic  Society 
at  Hamburg  in  1888,  and  described  him  in  the  "Diary  of  my  Tour": 
"  This  venerable  old  man  of  over  eighty  showed  me  almost  fatherly  atten- 
tions. In  spite  of  his  age,  in  spite  of  the  fact  that  his  dwelling  was  dis- 
tant, he  attended  two  rehearsals,  the  concert,  and  the  party  afterward  at 
Mr.  Bernuth's.  His  interest  in  me  went  so  far  that  he  wished  to  have  my 
photograph,  taken  by  the  best  photographer  in  the  city,  and  he  himself 
arranged  the  hour  of  sitting  and  the  size  and  style  of  the  picture.  I  vis- 
ited this  kindly  old  gentleman,  who  is  passionately  fond  of  music  and  free 
from  the  prejudices  so  common  among  the  old  against  all  that  is  modern, 
and  we  had  a  long  and  interesting  talk.  He  told  me  frankly  that  many 
things  in  my  works  which  he  had  heard  were  not  at  all  to  his  liking ;  that 
he  could  not  endure  the  mighty  din  of  my  orchestration  ;  that  he  disliked 
especially  the  frequent  use  of  pulsatile  instruments.  But  in  spite  of 
everything  he  thought  I  had  in  me  the  making  of  a  true  German  com- 
poser of  the  first  rank.  With  tears  in  his  eyes  he  besought  me  to  leave 
Russia  and  settle  in  Germany,  where  the  traditions  and  the  conditions  of 
an  old  and  highly  developed  culture  would  free  me  from  my  faults,  which 
he  charged  to  the  fact  that  I  was  born  and  brought  up  in  a  civilization 
that  was  far  behind  that  of  Germany.  He  was  evidently  strongly  preju- 
diced against  Russia,  and  I  tried  my  best  to  lessen  his  antipathy  against 
my  father-land,  which  he  did  not  openly  express,  but  it  was  to  be  detected 
in  some  of  his  talk.  In  spite  of  differences  in  opinion  we  parted  warm 
friends." 


(41) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas      All  materials  of  wear  or  household  use  properly 
Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Ha i  ford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(42) 

Newport 

Second  Rehearsal  and  Concert* 


FRIDAY   AFTERNOON,  OCTOBER  24,  at  2.30  o'clock. 


SATURDAY  EVENING,  OCTOBER  25,  at  8.00  o'clock. 


PROGRAMME. 

Berlioz Overture,  "  Carnaval  Romain  " 

Rubinstein Concerto  for  Violoncello 

Saint-Saens         .        .  Symphonic  Poem,  M  Le  Rouet  d'Omphale  n 

n 
Hans  Huber ♦  Symphony  in  E  minor 

(First  time.) 


SOLOIST : 

Miss  ELSA  RUEGGER. 


C43) 


Benjamin  Wooi.f,  in  Boston  Herald. — .  .  .  "/«  other  words,  this  dainty,  exquisite 
temple  of  music  is  faultless  in  every  respect.'''' 

Philip  1 1  alp:,  in  Boston  Journal. — .  .  .  "At  last  Boston  has  a  meet  and  fitting  house 
for  chamber  music,  .  .  .  an  ideal  hall ;  and  ideal  is  here  no  vain  and  empty  word." 

William  F.  Apthorp,  in  Boston  Transcript. — .  .  .  "The  ideal  condition  of  a  music 
hall,  'the  maximum  of  resonance  with  a  minimum  of  echo,'  is  here  fulfilled.  .  .  .  It  is 
beautiful  in  its  simplicity,  and  acoustically  a  solace  and  a  delight  to  auricularly  sensitive 
lovers  of  music." 

Louis  C.  Elson,  in  Boston  Advertiser. — .  .  .  "A  better  hall  acoustically  does  not 
exist.     Every  nuance,  every  delicate  touch  of  shading,  stood  out  with  eloquent  clearness." 

Howard  M.  Ticknor,  in  Boston  Courier. —  .  .  .  "There  can  surely  be  no  truer  or 
finer  hall  in  the  world,  and  I  think  it  can  hardly  have  an  equal." 

Musical  Courier,  Arew  York. — "  The  hall  is  found  to  have  perfect  acoustic  properties, 
to  be  handsomely  decorated  and  brilliantly  lighted, —  in  fact,  an  ideal  place  for  music." 


STEINERT    HALL 

Has  been  completely  renovated  during  the  summer  months,  its 
color  scheme  changed,  and  is  again  in  perfect  condition  for 

Recitals,  Lectures,  Society  and  Business 
Meetings,  Conventions,  etc. 


All  artists  who  have  used  this  hall  agree  that  it  stands  un- 
equalled in  its  PERFECTION  of  ACOUSTICS. 


Central  Location.  Perfect  Ventilation, 

Absolutely  Fireproof. 


The  rates  for  renting  the  hall  are  very  reasonable. 
For  dates,  etc.,  apply  to 

M.   STEINERT   &   SONS   CO., 

Steinert  Hall,    162  Boylston  Street,  Boston. 

(44) 


STE>IPUE>ieT    HAr^ 


PIA/NIST 

Management,  HENRY  WOLFSOHN,  New  York 
For  INSTRUCTION  address  Studio    17,   STEINERT  HALL,  Boston 

Mr.  George  Devoll,  Tenor, 

Air.  Edwin  Isham,  Baritone, 

Assisted  by  Mrs.  J.  EMORY  TIPPETT,  announce  TWO  VOCAL 
RECITALS  at  STEINERT  HALL,  on  Monday  afternoon,  November 
10,  and  Tuesday  afternoon,  November  18,  at  three  o'clock. 

Tickets,  with  reserved  seats,  for  both  recitals,  $2.50.     Single  tickets,  $1.50,  $1.00,  and 
50  cents,  for  sale  at  the  hall. 

The  Dannreuther  String  Quartet 

Of  New  York  will  give  a 

RECITA  L, 

At  STEINERT  HALL  on  Tuesday  afternoon,  November  4,  at  3 

Mr.  HEINRICH   GEBHARD,  Pianist 

Tickets  are  on  sale  at  the  hall  The  Steinertone  will  be  used 

Mr.  Frank  E.  Morse 

AND   ASSISTING   TEACHERS 

VOCAL  TRAINING 

FOR     SOLOISTS     AND     TEACHERS 

Studios,  STEINERT  HALL,  162  Boylston  Street 

Special  Normal  Classes  for  those  preparing  to  teach 

(45) 


CHICRERING      HALL 

Miss     HELEN 

HENSCHEL 

Will  give  a  VOCAL  RECITAL  on  Tuesday  afternoon,  Novem- 
ber II,  at  three,  assisted  by  Miss  WINIFRED  SMITH,  Solo 
Violin.    Accompanist,  Miss  LAURA  HAWKINS. 

Tickets,  Si. 50  and  ?i.oo,  on  sale  at  Symphony  Hall  on  and  after  Friday,  October  31. 


PROGRAfirib. 


a.  Recitative  and  Aria  from  Jephthah       Handel 

b.  Song,  "  Kennst  du  das  Land  "         Beethoven 

c.  Song,  "  Rastlose  Liebe  "  Schubert 

Miss  Helen  Hbnschbl 

Violin   Solo.     Adagio   from   Concerto   No.  2, 


Adagio  and   Finale  from   Concerto  for  Two 

Violins  J.  S.  Bach 

Miss  Hbnschbl  and  Miss  Smith 

Five  Traditional   Songs  of  England,  Scotland, 
Italy,  and  France 
Miss  Helen  Hbnschf.l 


Songs: 
a 
b 
c. 

d 


in  D  minor 
Miss  Winifred  Smith 

"  Das  Veilchen  " 

"  Volksliedchen  " 

"  Der  Liebsten  Schwur  " 

"  Donald  Blair  "  (new) 

"  Tausendschon  " 

Miss  Helen  Henschel 


Max  Bruch 


Mozart 

Schumann 

Brahms 

Henschel 

Henschel 


Violin  Solos,    a.  "  Berceuse  " 


Faure 
Centola 


b.  "  Valse  Espagnole  " 
Miss  Winifred  Smith 

Songs,     a.   "  Les  Roses  d*Ispahan  " 
b.   "  Ouvre  tes  Yeux  Bleus  " 

Aria        c.   "  Non,  je  ne  Veux  pas  Chanter  !  " 

(from  Le  Billet  de  Loterie)    Isouard 
Miss  Helen  Henschel 


Faure 
Massenet 


CHICKERING  HALL. 


TUGNO. 


Saturday  afternoon,  November  \f  at  2.30. 
R  A  O  U  U 

PUGNO 


PIANO  RECITAL. 

MANAGEMENT,  HENRY  WOLFSOHN. 


Seats,  $1  and  $1.50. 
Ticket  sale  begins  at  Chickering  Hall,  Friday,   October  24. 


THE  BALDWIN   PIANO  USED. 

(46) 


»ltfs     Carl    Faeutein's 


W 


[Xx  SECOND    PIANOFORTE    RECITAL, 


Wednesday  Evening,  November    12,    1902,   at  8  o'clock. 

PROGRAMME. 

THIRTY-TWO   VARIATIONS,    C   MINOR    )  Beethoven 

SONATA,    F   MAJOR,   OP.    54  I   '        *        '.      "        '        Beetnoven 

Huntington       PRELUDE  AND   FUGUE,  C-SHARP  MAJOR Bach 

Chambers  RONDO,   A   MINOR Mozart 

H   «|     '  NOCTURNE,   A   MAJOR Field 

GIGUE,   D   MINOR Haesler 

SONATA,   G   MINOR,   OP.   22 Schumann 

TICKETS,  $1.00.    J*    <£    <*    J*    For  sale  at  the  School,  30  Huntington  Avenue. 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

or  246  Huntington  Ave.,  opposite  Symphony  Hall, 

BOSTON    -    MASS. 
Untrained  Voices  a  Specialty. 

A  teacher  of  voice  culture  will  take  a  few  more  voices  to  place,  also 
to  prepare  for  church  and  concert. 

Pupils  wishing  to  study  opera  will  be  transferred  to  one  of  the 
finest  schools  of  grand  opera  in  the  United  States,  after  their  voices  are 
thoroughly  placed.     Method,  the  old  Italian. 

FEE  riODERATE.       VOICES  TRIED   FREE. 
For  interview  call  at  76  Huntington  Avenue,  Suite  4,  Boston,  flass. 

HANS   SCHNEIDER 

TEACHER  OF  PIANOFORTE. 

Particular  attention  paid  to  TONE   AND   INTERPRETATION 
and  to  the  NORMAL  TRAINING  of  prospective  piano  teachers. 

Huntington  Chambers,  503. 

Tuesday  Afternoons,  2  to  6. 

(47) 


NEW  ENGLAND 


CONSERVATORY   OF  MUSIC, 

GEORGE   W.   CHADWICK,   Director. 
HUNTINGTON  AVE.,  BOSTON,  one  block  from  Symphony  Hall. 

The  Magnificent  New  Building  contains: 

Seventy  Recitation  Rooms,  Thirteen  Pipe  Organs,  Library,  Music 
Store,  Reception  Halls,  Gymnasium,  Students'  Club  Room, 
Concert  Hall  (Jordan  Hall)  seating  nearly  1,200,  Recital  Hall 
seating  over  400.    &     <£     J*     «£     &    J*     <£ 


. . .  SCHOOL  YEAB  FftOM  SEPTEMBER  18  TO  JUNE  24  . . . 

FACULTY 

Consisting  of  eighty  members,  including  the  following : 

PIANO. 

Mr.  BAERMANN.       Mr.  STASNY. 

Mr.  PROCTOR.         Madam  SZUMOWSKA.  ■      Mr.  DENNEE. 

Mr.  JEFFERY.  Mr.  KLAHRE. 

VIOLIN,  'CELLO,  Etc. 

Mr.  WINTERNITZ.         Mr.  MAHR. 

Mr.  SCHUECKER.         Mr.  ADAMOWSKI. 

Mr.  KUNZE.         Mr.  GRUENBERG. 

COMPOSITION,  THEORY,  and  ORGAN. 

Mr.  CHADWICK.  Mr.  ELSON.  Mr.  DUNHAM. 

Mr.  GOODRICH.  Mr.  CUTTER. 

VOICE. 

Mr.  HENSCHEL.         Mr.  ROTOLI.         Mr.  BIMBONI.         Mr.   DUNHAM. 

Mr.  WHITE.         Mr.  WHITNEY.         Mrs.  ROGERS. 

ORCHESTRA.  CHORUS. 

GEORGE    W.   CHADWICK.  GEORGE    W.    CHADWICK. 

SCHOOL  OF  OPERA. 
Sic.  ORESTE    BIMBONI,  Conductor. 

School  of  Languages.  School  of   Oratory  and  Expression. 

CAMILLE   THURWANGER.  E.  CHARLTON    BLACK,  LL.D. 

For  full  information  concerning  registration  ami  tains  apply  at  the 
office  or  semi  for  year-book. 
(48) 


Hyperion  Theatre,  New  Haven 

FRIDAY  EVENING,  NOVEMBER 

TWENTY-FIRST,  NINETEEN 

HUNDRED  and  TWO,  at  EIGHT 

O'CLOCK 

THE   NIGHT   BEFORE   THE   FOOT-BALL  GAME 

AT  NEW  HAVEN 

THIRD   JOINT    CONCERT 

by  the  Glee,  Mandolin,  and  Banjo 

Clubs  of 

Yale  and  Harvard 
Universities 


Orders  by  mail,  accompanied  by  cheque  made  payable  to 
F.  R.  COMEE,  and  addressed  to  Symphony  Hall,  Boston, 
will  be  filled  in  the  order  of  their  reception,  and  seats 
will    be    assigned    as    near  the  desired  location  as  possible. 

TicKets,  $1  and  $1.50. 

(49) 


Boston  Symphony  Orchestra  ^^ 

SEATS  FOR  THE  REHEARSALS: 

$25.00  and  upward  for  Season, 
$1.50  and  $2.00  for  single  Rehearsal. 

SEATS  FOR  THE  CONCERTS: 

$17 .00  and  upward  for  Season. 
$i.00  and  $1.50  for  single  Concert. 

CONNELLY'S  TICKET  OFFICE     -     Adams  House. 

'PHONE,   OXFORD  942.  

Picture  Postal  of  Symphony  Hall 

With  fine  half-tone  portraits  of  the  four  conductors 
of  the  Boston  Symphony  Orchestra, 

FOR  SALE  AT  ALL  LEADING  STATIONERS  OR 

AMERICAN  SOUVENIR  COMPANY,  "Publishers 

7  State   Street,  Boston 

THE    QUESTS 

A  posthumous  work  by  ETHELBERT  NEVIN,  for  chorus  and 
soloists.     Text  by  Randolph  Hartley.     To  be  performed  by 

THE  BOSTON  SINGING  CLUB,  H-  gjggp* 

At   its   first   concert,    CHICKERINQ    HALL,    DECEMBER    17. 

John  Church  Co.,  Publishers.      On  sale  at  the  music  store  of 

C.  W.  THOMPSON  &  CO.      .      .      13  West  Street. 

In    every   way   a   brilliant    and   most    attractive   composition. 

Mrs.    ^W.    L.    STOV^LL, 
TEACHER,   OE  MUSIC 

IMPORTANT  FEATURES:  The  study  of  MUSIC  as  LITERATURE.  The 
Synthetic  and  Analytic  study  of  MUSICAL  FORM.  APPLIED  HARMONY.  EAR 
TRAINING,  including  Musical  Dictation  and  Sight  Singing,  looking  toward  the  ideal, 
—  the  ability  to  hear  mentally  the  printed  page  of  music. 

Pianoforte    Instruction 

The  plan  .and  scope  of  the  work  will  be  explained  at  the  studio  or  by  descriptive 
matter  sent  on  application. 

STUDIO,     HUNTINGTON     CHAMBERS 

(60] 


The  Choral  Art  Society  of  Boston 

Hr.  WALLACE  GOODRICH,  Conductor 


Directors 

Dr.  WILLIAM  STURGIS  BIGELOW  Mr.  HENRY  L.  HIGGINSON 

Mr.  SAMUEL  CARR  Mr.  EBEN  D.  JORDAN 

Mr.  CHARLES   P.  GARDINER  Mr.  S.  LOTHROP   THORNDIKE 

The  Rt.  Rev.  WILLIAM  LAWRENCE,  D.D. 
Secretary,  Mr.  CHARLES  G.  SAUNDERS     Treasurer,  Mr.  HERBERT  LYMAN 


SECOND   SEASON 


The  first  program,  of  ecclesiastical  music,  will  be  rendered  in  Trinity 
Church  the  middle  of  December. 

Details  of  program  and  subscription  will  be  announced  shortly. 


The  KneLsel  Quartet 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALWIN    SCHROEDER,  Violoncello 

Eighteenth  Season,  1902=1903 

EIGHT  CONCERTS 

In  Chickering  Hall,  Huntington  Avenue,  flonday 
evenings,  at  eight  o'clock 

October  27,  November  17,  December  1,  December  29,  January  26, 
February  9,  March  9,  April  6 


ASSISTING    ARTISTS 

Hiss  Helen  Menschel,  firs.  Szumowska-Adamowski,  ilrs.  Thomas  Tapper, 
Hr.  Ossip  Qabrilowitsch,  fir.  flare  Hambourg,  fir.  Frederic  Lamond, 
fir.  August  Spanuth,  and  members  of  the  Boston  Symphony  Orchestra 

SUBSCRIPTION  TICKETS,  with  Reserved  Seats  for  the  Series,  TEN  and  EIGHT 
DOLLARS,  according  to  location,  on  sale  at  the  Box  Office,  Symphony  Hall,  Hunt- 
ington and  Massachusetts  Avenues,  MONDAY,  October  20,  at  9  a.m. 

*  J.  SAUERQUELL,  Secretary. 

(51) 


D  U  S  S  Symphony 

. . .  Hall, 


MANAGE. 
MENT  OF 

R.  E. 
JOHNSTON 


Noted 
Artists 


DIRECT    FROM    A 
TRIUMPH  OF 

128 

CONSECUTIVE 

NIGHTS  IN 
NEW  YORK  CITY 


"AMERICA'S 

GREATEST 
BANDMASTER" 


MONDAY  and  TUESDAY 
EVENINGS, 

OCT.  27  and  28, 

and  TUESDAY  AFTERNOON. 


TICKETS 50c,  75c,  and  $1.00 

On  sale  Monday,  October  20. 

THE  LONGY  CLUB. 

G.  Loncy,  Oboe] 
A.  Maouarre,  Flute 
V.  Lebailly,  Clarinet 
A.  Debuchy,  Bassoon 
A.  Hackebarth,  Horn 
H.  Gebhardt,  Piano 

Begs  to  announce  that  its  regular  Chamber  Music  Concerts  will  be 
given  at  CHICKERING  HALL,  Huntington  Avenue,  on  the  fol- 
lowing Monday  evenings,  at  8: 

November  24*  January  5. 

March  30. 

Prices  of  subscription  for  the  three  evening  concerts  .  $4.00 
Tickets  for  single  concerts    .  .         .         .         .         .          .         1.50 

Last  season's  subscribers  will  have  the  privilege  of  securing  the 
same  seats  as  last  season,  if  they  will  apply  to  Mr.  J.  Sauerquell, 
Symphony  Hall,  before  November  \  5. 

General    subscription    sale   opens   at   Symphony   Hall   box  office 

November   17  at  8.30  a.m. 

J.  SAUERQUELL,  Manager. 

62) 


SANDERS  THEATRE,  CAMBRIDGE 

The  Boston  Symphony  Orchestra 

70  PERFORMERS.     §Mr.    WILHELM  GERICKE,  Conductor 

Ten  Concerts  Thursday  Evenings 


OCTOBER  30 

NOVEMBER  20 
DECEMBER  4 

DECEMBER  18 
JANUARY  8 


JANUARY  29 

FEBRUARY  12 
MARCH  12 

APRIL  2 

APRIL  23 


at  7.45 

SOLO  ARTISTS 
MISS  HELEN  HENSCHEL  MR.  KAOUL  PIGNO 

THE  MISSES  CARBONI  MR.  CARL  STASN1 

MISS  WINIFRED  SMITH  MR.  GEORGE  W.  PROCTOR 

MR.  ANTON  VON  R00Y  MISS  MAUD  MacCARTHY 

MME.  BLOOMFIELD  ZEISLER  MR.  ADOLF  BACK 

AND   OTHERS    TO    BE   ANNOUNCED. 


SEASON  TICKETS  for  the  ten  concerts,  $7.50,  on  sale  at  the  Univer- 
sity Bookstore,  Harvard  Square,  Saturday  morning,  October  25,  at  8 
o'clock.  A  limited  number  of  seats  have  been  reserved  for  college  officers 
and  invited  guests. 

Subscribers  of  last  season  may  secure  the  same  seats  by  mailing  check  to  C.  W.  Sever 
&  Co.,  on  or  before  October  21,  1902. 

MUSICAL    INSTRUCTION. 


VOCAL   INSTRUCTION  and 
SOPRANO  SOLOIST. 


Miss  HARRIET  S.  WHITT1ER, 


Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 
MiSS  GERTRUDE  EDMAHDS,  Vocal  Instruction 

No.  160  Boylston  Street,  Room  7. 

Specialist  in  the  Science  of 

Mr.  CHARLES  B.  STEVENS,  Toile  fMwM  aM  [k  Art  of  mu 


Studio  20,  Steinert  Hall  Building. 

telephone,  1331  Oxford. 


Mrs.  ANNE  GILBRETH  CROSS, 

TEACHER  OF  THE  PIANOFORTE. 


PIERCE  BUILDING, 

COPLEY    SQUARE, 

BOSTON. 


(53) 


Hiss  ANNA  MILLER  WOOD, 

HEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and   Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 

AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  SIgnor  \  ianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

Studio  20,  STEINERT  HALL. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Miss  SUZA  DOANE, 

Prize  Pupil,  Leipsic  Conservatory. 


Piano  and  Harmony. 

196  DARTMOUTH    STREET. 

Soloist  with  Mr.  Gericke,  Mr.  Nikisch,  and  Mr 
Van  der  Stucken. 


Mr.  OTTO  ROTH, 


Miss  JESSIE  DAVIS 


VIOLIN    AND    ENSEMBLE 
LESSONS. 

10  ARLINGTON    STREET. 


Pupil  i>i   Harold  Bauer. 


CONCERTS   and    RECITALS. 
...LESSONS... 

Studio,    103    nassachusetts    Avenue. 


Mr.  CARLO  BUONAMICI, 


PIANIST  AND  TEACHER. 

Steinert  Hall   Building. 


CHARLES  N.  ALLEN. 


CLARENCE  B.  SHIRLEY, 


Violin,  Viola,  Ensemble. 

Studio  5 Thespian  Hall, 

168   Massachusetts    Avenue, 
Boston,   Mass. 


TE/NOR  SOLOIST  and 
TEACHER. 

Studio,  218  Tremont  St.,    Boston. 


Mr.  A.  E.  PRESCOTT 


153  TREMONT  STREET. 


"  Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe  l'ete  avecmoi.  Je  lui  ai  donne  des  lecons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lemons. 
Cela  l'a  mis  en  mesure  de  connaitre  a  fond  ma  mdthode. 
Je  peux  done  recommander  mon  eJeve,  Mr.A.E.  Prbs- 
cott.  C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  les 
differents  registres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  n  Aoiit,  iqoi. G.  SBRIGLIA, 


Sig.  AUGUSTO  VANNINI, 


Teacher  of  Singing. 


Steinert  Hall. 


J.  D.  BUCKINGHAM. 


PIANOFORTE.      Method  of  I.  Phllipp. 

The    most    advanced    technics    of  the 
present  day. 
"  A  teacher   of   the   first    magnitude." —  Huneker,   on 
Philipp,  in  Mezzo-tints  in  Modern  Music. 

32  STEINERT  HALL,  BOSTON. 


Mr.  60STAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Yiolin.Tlieory ,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS. 

Pierce  Building, 
Copley  Square,    Boston. 


HEINRICH  SCHUECKER, 

TEACHER  OF  THE  HARP. 

Erarrt  Harps  for  sale  and  to  let. 

32  Westland  Avenue       -       Boston. 


Miss  MARIE   L.  EVERETT, 

TEACHER   of  SINGING, 

Holds  a  recent  Diplome  Superieur 
from  Madame  Marchesi,  Paris. 

THE  COPLEY,         COPLEY  SQUARE. 


Miss  ANNA  JANSEN,  Pianiste, 

'     PUPIL   OF 

Mine.  Rapi'Oldi,  Dresden.  Sgambati,  Rome. 

Harold  Bauer,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

ADDRESS,  86  CHARLES  ST.,  BOSTON. 


'«  From   Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FROM     LONDON, 

Specially  authorized  by  the  inventor. 

Investigation  invited.         Studio,  278  Boylston  St. 


(55) 


Mr.  JACQUES    HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN   C.  MANNING, 
Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 

Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 
384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOW  ELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1   at  her  residence,  THE    OXFORD. 


LETTY    LAU/MDER, 
TEACHER  of  the  VIOLI/N, 

Trinity  Court,  175  Dartmouth  Street. 


FREDERICK  N.   SHACKLEY 

(Organist  and  Choirmaster,  Church  of  the  Ascension), 

Piano,  Organ,  Composition. 

Specialty:    Training  organists  for    practical 

(  hureh  work. 


Studios: 


j  igoo  Washington  St.,  BOSTON. 
i  129  Franklin  Street,   ALLSTON. 


Miss    EDITH   E.  TORREY, 

SOPRANO  SOLOIST   AND  TEACHER  OF 
SINGING. 

164  Huntington    Avenue,  Boston. 

Every  day  except  Tuesday  and  Friday. 
"Telephone,  Back  Kay  1089-5. 


Hr.  GEORGE   E.   WHITING, 

154  Tremont   Street, 

Boston. 


U.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


'    Mr,   CARL    BARTH, 
INSTRUCTION  on  YIOLOM  ELLO 

Concerts,  Recitals.  hikI 

Ensemble  Playing. 

77    WESTLAND    AVENUE. 


Mr.    F.  W.  YVODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Mr.  EMIL  MAHR 

Resumes  his  private  lessons,   Violin  and 
Viola,  and  his  Ensemble  Classes  tor 

Pianists.  Address  69  Crawford  Street, 

Roxbury. 
Tuesdays  and  Fridays      Steinert  Building. 


Miss    ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Hrs.  5.  B.  FIELD, 

TEACHER  OF  THE  PIANO  and  the 

ART  OF  ACCOMPANYING. 

Special  attention  to  Coaching  in  Songs. 

Hotel  Nottingham      -      Copley  Square. 


Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


TO   read   Music  like  Print. 
The  Vars'  New   Interval  System  of  Sight 
Singing. 

No  Sol-faing;  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
\i 1.,  Hamburger,  Pierce  Bldg.,  Coplej  Sq 


Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 

Studio,  21  Steinert  Building. 


Mrs.  flabel  Mann  Jordan, 

Pupil  of  Sihestn.  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


*) 


'MMs&Mi 


WEBER 
PIANOS! 


i 


i 


Admired  and  endorsed  by  great 
artists  and  the  musical  public  for 
half  a  century  *£  «g  *&  *g  «g  *£ 

EXCLUSIVELY  USED  BY  THE 

Maurice  Grau  Opera  Company 
The  Mascagni  Opera  Company 

AND  BY 

Kocian  and  Julie  Geyer 

3j  On  their  \  902-1 903  transcontinental 

tours 


WEBER  WAREROOMS 

CORNER  FIFTH  AVENUE  AND  SIX= 
TEEINTH  STREET,  NEW  YORK,  NY. 

BOSTON     REPRESENTATIVES 

GEORGE   H.  CHAHPLIN  &  CO. 
181  Tremont  Street 


ff^^^^J^^^ 


I 


5TEINWAY  &  SONS 

Grand  and  Upright  Pianos. 


MANUFACTURERS  BT  APPOINTMENT  TO 

His  Majesty. 

WILLIAM  II., 


His  Majesty. 

NICHOLAS  1 

CZAR  OF  RUSSIA 


EMPEROR  OF  GERMANY  and 
KING  OF  PRUSSIA. 


iHH 


His  Majesty. 

FRANCIS 
JOSEPH  I., 

EMPEROR  OF 
AUSTRIA 

AND 

KING  OF  HUNGARY 


*»Their  Royal  Highnesses, 

THE  PRINCE  AND 

PRINCESS  OF 

WALES. 


His  Majesty. 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty. 

ALEXANDRA, 

QUEEN  OF  GREAT  BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  majesty. 

VICTORIA, 

QUEEN  OF  GREAT  BRITAIN 
and  EMPRESS  OF  INDIA. 


— =g — 

GEKMANY. 


His  Royal  Highness. 

THE    DUKE   OF 
EDINBURGH.- 


His  Majesty. 

UMBERTO  I. 

KING  OF  ITALY. 


His  Majesty, 

ALBERT, 

KING    OF    SAXONY.* 


Her  Majesty.  his  Majesty. 

MARIACHRISTINA.)        OSCAR  II., 

QUEEN  REGENT  OF  SRAIN.     f    KING  OF  SWEDEN 


and  NORWAY. 


NORWAY  AND  SWEDEN. 


His  Majesty. 


MOUSAFFER-ED-DIN,J  ABDUL  HAMID  II., 

SHAH  OF  PERSIA.  SULTAN  OF  TURKEY. 

AND   THCIK    RESPECTIVE    COURTS. 


PERSIA.  ILLUSTRATED    CATALOOUE   MAILED    FREE    ON   APPLICATION.  Tl'HM  V. 

STEINWAY    PIANOS. 

H.  STEINERT   &    SONS   CO., 

162  to  168  Boylston  Street,  Boston,  Mass. 


BOSTON 
SYAPMONY 


ORCMCSTRS 


TWENTY-  SECOND 
SEASON 

1902- \ 903 


M'^ 


progrsaae 


£7   9    2* 


In  Europe  and  America  there  aret  all  told,  over 
eight  hundred  (800)  different  manufacturers 
of  pianofortes* 

HAROLD  BAUER, 

the  distinguished  pianist,  a  musician  qualified  by  natural 
endowments,  training,  and  experience  to  pass  ex-cathedra 
judgment  on  matters  musical,  selects  from  the  eight  hundred 
the 

Mason  &  Hamlin  Pianoforte 

for  his  public  and  private  use, 
and  declares  of  the 

Mason  &  Hamlin  Grand: 

44  As  an  instrument  for  bringing  into  prominence  the  individual 

qualities  of  tone  and  touch  of  the  player,  the 

Mason  &  Hamlin  Piano  stands  absolutely  pre-eminent  " ; 

and  of  the 

Mason  &  Hamlin  Upright : 

44 It  is  the  finest  upright  piano  I  have  ever  met  <with.  " 


New  England  Representatives, 

M.  STEINERT  &  SONS  CO. 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY -SECOND  SEASON, 
1902-1903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

SECOND 


REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      J*    j*    jt    & 

FRIDAY  AFTERNOON,  OCTOBER  24, 

AT  2.30  O'CLOCK. 

SATURDAY  EVENING,  OCTOBER  25, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(57) 


ME  SS  R  S 


CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 


RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(58 


TWENTY-SECOND  SEASON,  1902-J903. 


Second  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  OCTOBER  24,  at  2.30  o'clock. 

SATURDAY  EVENING,  OCTOBER  25,  at  8.00  o'clock. 


Berlioz 


PROGRAMME. 

.    Overture,  "  The  Roman  Carnival/'  Op.  9 


R.ubinstein  .  Concerto  No.  2,  in  D  minor,  for  Violoncello  and 

Orchestra,  Op.  96 

Allegro  moderate     Andante.     Moderate      Allegro  vivace. 


Saint-Saens 


Symphonic  Poem  No.  1,  "Omphale's  Spinning- 
wheel,"  Op.  31 


Hans  Huber       ....      Symphony  No.  2,  E  minor,  Op.  115 

I.     Allegro  con  fuoco. 

Allegro  con  fuoco  non  troppo. 
Adagio  ma  non  troppo. 

Finale  :  "  Metamorphoses,  suggested  by  Pictures  by  Bdcklin." 
(First  time.) 


II. 
III. 
IV. 


SOLOIST: 

Miss  ELSA  RUEGGER. 


There  will  be  an  intermission  of  ten  minutes  before  the  Symphony. 


The  door<*  of  the  hall  will  be  cloned  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 

City  of  Boston,  Revised  Regulation  of  August  5,  1898.—  Chapter  3,  relating  to 
the  covering  of  tie  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attestr  J.  M.  CALVIN,  City  Clerk 

-59) 


L.  P.  HOLLANDER  &  CO. 
Millinery  and  Trimmed  Hats. 

Our  fall  importations   include    all   the  latest  models   of   the 
most  celebrated  Paris  houses. 

LADIES'    and     MISSES' 

English  Walking  Hats. 


New  shapes  from  the  best  West  End  London  houses,  who 
confine  their  goods  exclusively  to  us. 


BOSTON:    Boylston  Street  and  Park  Square. 

NEW  YORK  :   290  Fifth  Avenue. 


>:.V 


Wedding  Gifts. 

Sterling  Silver, 
Art  Glass,  Bronzes, 
Kayserzinn,   Rich  Cut  Glass, 
Pearl  and  Diamond  Jewelry, 
Clocks,  Watches. 

ODD  THINGS  NOT  FOUND  KLsi:  \V  II  E  B  E. 


%S?$~'^     SMITH,  PATTERSON  %& 


Wmw:- . 


<*■'■' 


&     m       Wholesale 
tV     tU.         ana   Retail. 


52   SUMMER    ST. 


u« 


Overture,  "  The  Roman  Carnival,"  Op.  9    .     .     .     Hector  Berlioz. 

(Born  at  la  Cote  Saint-Andre,  Dec.  11,  1803;  died  at 
Paris,  March  9,  1869.) 

Berlioz's  overture,  "  Le  Carnaval  Romain,"  was  performed  for  the  first 
time,  and  under  the  direction  of  the  composer,  at  the  Salle  Herz,  Paris,  on 
Feb.  3,  1844.  The  first  performance  in  Boston  was  at  a  Philharmonic 
Concert,  led  by  Mr.  Carl  Zerrahn,  at  the  Melodeon  on  Jan.  24,  1857.  The 
overture  then  reminded  Mr.  J.  S.  Dwight  of  "  Mr.  Fry's  '  Christmas '  sym- 
phony." 

The  chief  thematic  material  of  the  overture  was  taken  by  Berlioz  from 
his  opera,  "  Benvenuto  Cellini,"  which  was  originally  in  two  acts,  and  was 
produced  at  the  Ope'ra,  Paris,  on  Sept.  10,  1838,  when  Duprez  took  the 
part  of  the  hero,  and  Julie  Aimee  Dorus-Gras  the  part  of  Teresa.  The 
text  was  written  by  Le'on  de  Wailly  and  Auguste  Barbier.  The  music  was 
then  thought  so  difficult  that  there  were  twenty-nine  full  rehearsals. 
The  opera  failed  dismally.  There  were  three  performances  in  1838,  four 
in  1839.  The  opera,  with  a  German  text,  was  produced  by  Lbzt  at 
Weimar  on  March  20,  1852,  with  Beck  as  Cellini  and  Mrs.  Milde  as 
the  heroine.  Berlioz  was  not  able  to  be  present.  He  wrote  on  Feb- 
ruary 10  to  Morel  before  the  performance:  "They  have  been  at  work 
on  it  for  four  months.  I  cleaned  it  well,  re-sewed  and  restored  it.  I 
had  not  looked  at  it  for  thirteen  years ;  it  is  devilishly  vivace."  The 
opera  failed  at  London  on  June  25,  1853.  Chorley  said:  "The  even- 
ing was  one  of  the  most  melancholy  evenings  which  I  ever  passed  in  any 
theatre.  '  Benvenuto  Cellini '  failed  more  decidedly  than  any  foreign 
opera  I  recollect  to  have  seen  performed  in  London.  At  an  early  period 
of  the  evening  the  humor  of  the  audience  began  to  show  itself,  and  the 
painful  spectacle  had  to  be  endured  of  seeing  the  composer  conducting  his 
own  work  through  every  stage  of    its  condemnation."     Some  say  there 

THE  MANAGEHENT  OF  THE 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

SIC.   ORESTE   BIMBONI 


RETURN    OF 

AND   THE    OPENING 
OF   THE 


SCHOOL  OF  OPERA, 


Which  will  give,  in  addition  to  the  performances  in  JORDAN   HALL, 

TWO  PERFORMANCES,  IllS'IJr 
BOSTON  THEATRE. 

trnilQ     QPUni   AQQUIDQ      Will  be  awarded  at  a  competition  to  take  place  at  the  Conservatory, 
rUUfl     OunULnnOnlrO      OCT.  31.     Names  of  competitors   must    be    sent   (by  letter)   hi   the 

ito^n    aa/.!,!  director  on  or  before  OCT.  27.     A  preliminary  examination  will  be 

(WOU    eaC"'  held  in  NEW  YORK,  OCT.  29. 

Not  more  than  two  of  these  scholarships  will  be  awarded  to  students  of  the  Conservatory. 
TheenEagementisa,so        ^  Mr        Q  £  Q  R  Q      HENSCHEL, 

who  will  teach  — until  March,  1903 — EXCLUSIVELY  in   the   Conservatory.     Particulars  and  terms  (for 
one  or  any  number  of  lessons)  may  be  had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(61) 


^T.  Stttiavd  Sc  Jlons 


In  addition  to  our  plain  styles 
we  have  a  large  line 


Rich    Paris    Models 


On  private  exhibition 


Sole  Makers 

of  the 

BALLARD 
Safety- 
Riding 
Habit 


VISITING  GOWNS  and  WAISTS 
and  EVENING  COATS 

Elaborately  designed  and  trimmed  with 
lace,  velvet,  and  braiding 


256     Boylston     Street 


(62) 


was  a  cabal  led  by  Costa  in  the  interest  of  Italian  art.  There  was  even 
an  attempt  to  prevent  the  performance  of  "The  Roman  Carnival,"  which 
was  played  before  the  second  act,  although  this  same  overture  had  been 
applauded  by  a  London  concert  audience  in  1848.  Chorley  criticised  the 
music  of  the  opera  apparently  without  prejudice  and  with  keen  discrim- 
ination. The  following  quotation  from  his  article  bears  on  the  overture ; 
"  The  ease  of  the  singers  is  disregarded  with  a  despotism  which  is  virtu, 
ally  another  confession  of  weakness.  As  music,  the  scene  in  the  second 
act,  known  in  another  form  as  its  composer's  happiest  overture,  '  The 
Roman  Carnival,'  has  the  true  Italian  spirit  of  the  joyous  time;  but  the 
chorus-singers  are  so  run  out  of  breath,  and  are  so  perpetually  called  on 
to  catch  or  snatch  at  some  passage,  which  ought  to  be  struck  off  with  the 
sharpest  decision, —  that  the  real  spirit  instinct  in  the  music  is  thoroughly 
driven  out  of  it."  At  this  performance  the  chief  singers  were  Mmes. 
Julienne-Dejean  and  Nantier-Didiee,  and  Tamberlik,  Formes,  and  Tag- 
liafico.  The  opera  was  revived  by  von  Biilow  at  Hannover  in  1879  and 
afterward  at  other  German  cities,  as  Leipsic  (1883),  Dresden  (1888), 
Carlsruhe.  The  original  translation  into  German  was  by  A.  F.  Riccius. 
The  one  used  later  was  made  by  Peter  Cornelius,  the  composer. 

The  story  has  been  condemned  as  weak  and  foolish.  It  is  also  purely 
fictitious.*  It  is  enough  to  say  in  explanation  of  this  overture  that  in 
1532  Cellini  is  in  Rome,  called  thither  by  the  Pope.  He  falls  in  love 
with  Teresa,  the  daughter  of  Balducci,  an  old  man,  who  favors  another 
suitor,  Fieramosca,  the  Pope's  sculptor.  Cellini  attempts  to  elope  with 
her,  and  neglects  work  on  his  Perseus,  which  he  at  last  finishes  in  an 
hour's  time,  fired  by  the  promise  of  Cardinal  Salviati  to  reward  him  with 
the  hand  of  Teresa. 

*  It  is  true  that  there  was  a  Giacopo  Balducci  at  Rome,  the  Master  of  the  Mint.  Cellini  describes  him, 
"  that  traitor  of  a  master,  being  in  fact  my  enemy";  but  he  had  no  daughter  loved  by  Cellini.  The  statue  of 
Perseus  was  modelled  and  cast  at  Florence  in  1545,  after  this  visit  to  Rome,  for  the  Duke  Cosimo  de' 
Medici.     Nor  does  Ascanio,  the  apprentice,  figure  in  the  scenes  at  Florence. 


JUST  ISSUED. 

NEW    ENGLAND   IDYLS 

For  the  Pianoforte, 
By  EDWARD  MacDOWELL. 


Op.  62. 

An  Old  Garden. 

Midsummer. 

Midwinter. 

With  Sweet  Lavender. 

In  Deep  Woods. 


Price,  $1.25. 

Indian  Idyl. 
To  an  Old  White  Pine. 
From  Puritan  Days. 
From  a  Log  Cabin. 
The  Joy  of  Autumn. 


Sent  Free :  Catalogue  of  Compositions  by  Mr. 

MacDowell,  containing  Portrait 

and  Biography. 


ARTHUR   P.  SCHMIDT, 


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BY 
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The  overture  begins  allegro  assai  con  fuoco  with  the  chief  theme, 
which  is  taken  from  the  saltarello,*  danced  on  the  Piazza  Colonna  in 
Rome  in  the  middle  of  the  second  act  of  the  opera.  This  theme  is  an- 
nounced in  forte  by  the  violins  and  violas,  answered  by  wood-wind  instru- 
ments in  free  imitation  ;  and  horns,  bassoons,  trumpets,  and  cornets  make 
a  second  response  in  the  third  measure.  Then  there  is  a  sudden  silence. 
Trills  that  constantly  swell  lead  to  an  Andante  sostenuto  in  3-4  time. 
The  cor  anglais  sings  against  a  pizzicato  accompaniment  the  melody  of 
Benvenuto  at  the  beginning  of  the  trio  in  the  first  act :  "  O  Teresa,  vous 
que  j'aime  plus  que  ma  vie,  je  viens  savoir,  si  loin  de  vous,  triste  et 
bannie,  mon  ame  doit  perdre  l'espoir."  The  violas  repeat  the  song 
against  a  counter-theme  of  flutes,  then  'cellos  and  violins,  the  last  named 
in  canon  of  the  octave.  Some  of  the  wood-wind  and  brass  instruments, 
with  pulsatile  instruments,  strike  up  a  dance  tune,  which  is  heard  at  first 
as  afar  off.  The  pace  grows  livelier,  and  chromatic  sixths  in  the  wood 
wind   lead   to  the   Allegro  vivace.     Here   begins  the    main   body  of    the 

*  Saltarello,  a  dance  in  6-8  or  6-4  time  of  the  fifteenth  and  sixteenth  centuries  at  Rome  and  in  the  neighbor- 
hood of  that  city.  It  is  a  duet  dance  "  of  a  skipping  nature,  as  its  name  implies."  The  man  played  a  guitar 
and  his  partner  struck  a  tambourine  during  the  dance,  although  some  say  she  held  her  apron  and  performed 
graceful  evolutions.  The  number  of  the  couples  was  not  limited.  Each  couple  moved  in  a  semi-circle,  and  the 
dance  became  faster  and  faster.  It  was  especially  popular  with  gardeners  and  vine-dressers,  though  it  was 
occasionally  introduced  at  courts.  The  name  was  also  given  to  a  shorter  dance  known  to  the  contemporaneous 
Germans  as  "  Nachtantz."  The  music  began  usually  with  a  triplet  at  the  beginning  of  each  phrase.  A  harpsi- 
chord jack  was  called  a  saltarello  because  it  jumped  when  the  note  was  struck.  Counterpoint  in  saltarello  is 
when  six  eighth  notes  of  the  accompaniment  are  opposed  to  each  half  note  of  the  Cantusfirmus.  The  saltarello 
form  has  been  frequently  used  by  composers,  as  by  Mendelssohn  in  his  "  Italian  "  symphony  and  by  Alkan 
and  Raff  in  piano  pieces. 


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overture;  and  the  theme  given  out  softly  by  the  strings  is  the  tune  sung 
in  the  opera  by  a  band  of  Cellini's  followers,  who  are  standing  on  a  little 
stage  erected  in  the  piazza  at  the  finale  of  the  second  act.  (I  here  refer 
to  the  edition  published  in  three  acts.)  A  pantomime  of  King  Midas  is 
playing,  and  Balducci  is  caricatured  by  one  of  the  amateur  actors.  Teresa 
cannot  distinguish  between  her  two  masked  lovers.  There  is  fighting  and 
general  confusion.  Cellini  is  arrested,  and  is  about  to  be  lynched,  when 
three  cannon  shots  announce  Ash  Wednesday.  The  lights  go  out,  and 
Cellini  escapes.  Now  the  song  sung  by  Cellini's  friends  begins  as  fol- 
lows:  "Venez,  venez,  peuple  de  Rome!  Venez  entendre  du  nouveau." 
The  theme  in  the  overture  is  built  up  out  of  fragments,  and  is  then  im- 
mediately developed.  There  are  constant  returns  to  the  theme  heard  at 
the  beginning  of  the  overture,  but  there  is  no  formal  second  theme.  The 
dance  music  grows  softer ;  and  the  love-song  of  Benvenuto  returns  as  a 
counter-theme  for  contrapuntal  use,  first  in  the  bassoons,  then  in  other 
wind  instruments,  while  the  strings  keep  up  the  saltarello  rhythm.  The 
saltarello  comes  back,  is  again  developed,  and  prevails,  with  a  theme 
which  has  been  already  developed  from  it,  until  the  end. 

The  overture  is  scored  for  2  flutes  (one  interchangeable  with  piccolo),  2 
oboes  (one  interchangeable  with  cor  anglais),  2  clarinets,  4  horns,  4  bas- 
soons, 2  trumpets,  2  cornets,  3  trombones,  cymbals,  2  tambourines,  tri- 
angle, kettle-drums,  and  strings. 


IN  THE   LIBRARY. 


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The  top  measures  36  by  60  inches.     There  are  two  drawers,  each  28  by 
34  inches,  operated  from  opposite  sides.     There  is  a  broad  lower  shelf. 
It  is  recessed  on  the  ends,  so  that  four  persons  can  sit  at  this  table  with 
perfect  ease,  drawing  in  their  chairs. 
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The  programme  of  the  concert  at  which  this  overture  was  first  per- 
formed was  composed  chiefly  of  works  by  Berlioz,  and  was  thus  announced  : 
"Invitation  a  la  Valse,"  Weber-Berlioz  ;  '  Hymne  "  for  six  of  Sax's  wind 
instruments  (this  "  Hymne  "  was  written  originally  for  a  chorus  and  sung 
some  time  before  this  at  Marseilles) ;  scene  from  "  Faust,"  Berlioz  (sung 
by  Mrs.  Nathan-Treillhet)  ;  "  He'lene,"  ballad  for  male  chorus,  Berlioz; 
overture,  "  Carnaval  de  Rome,"  Berlioz  ;  scene  from  Act  III.  of  Gluck's 
"  Alceste "  (sung  by  Mrs.  Nathan-Treillhet  and  Bouche)  ;  fragments  of 
"Romeo  et  Juliette,"  Berlioz.  The  prices  of  tickets  were  five  and  six 
francs.  But  the  programme  was  changed  on  account  of  the  sickness 
of  Mrs.  Nathan-Treillhet.  The  "  Marche  des  Pelerins,"  from  Berlioz's 
"  Harold,"  was  played.  Mrs.  Dorus-Gras  sang,  but  according  to  Maurice 
Bourges,  who  wrote  a  most  flattering  review  of  the  concert  for  the  leading 
music  journal  of  Paris,  and  pronounced  the  concert  "bon  et  beau,"  "all 
the  perfection  of  her  exquisite  method  could  not  console  music-lovers  who 
counted  on  hearing  the  little  known  work  of  Gluck."  And  Miss  Recio  * 
sang  Berlioz's  "Absence."  The  success  of  "The  Roman  Carnival" 
overture  was  immediate.  The  applause  was  so  long  continued  that  the 
work  was  repeated  then  and  there.  Berlioz  gives  an  account  of  the 
performance  in  the  forty-eighth  chapter  of    his  Memoirs.     He  first  says 

*  Marie  Recio  was  the  daughter  of  Sothera  Villas-Recio,  who  was  the  widow  of  a  French  army  officer 
named  Martin,  who  married  her  in  Spain.  Marie  was  well  educated.  She  plsyed  the  piano  fairly  well  and 
sang  "  a  little."  Berlioz  became  acquainted  with  her  when  he  was  miserable  with  his  wife,  the  once  famous 
Henrietta  Smithson.  Marie  accompanied  him  as  a  singer  on  his  concert  trips  in  Belgium  and  Germany.  She 
made  her  d^but  at  the  Ope'ra,  Paris,  on  Oct.  30,  1841,  as  Ines  in  "  La  Favorite,"  but  she  took  only  subordi- 
nate parts  and  soon  disappeared  from  the  stage  in  spite  of  Berlioz's  praise  of  her  face,  figure,  and  singing  in 
the  Journal  des  Dibats.  She  made  Henrietta  wretched  even  after  she  had  left  her  husband.  Henrietta  died 
on  March  3,  1854,  and  Berlioz  married  Marie  early  in  October  of  that  year.  He  told  his  friends  and  wrote  his 
son  that  this  marriage  was  a  duty.  Hiller  said  Marie  was  a  shrewd  person,  who  knew  how  to  manage  her 
husband,  and  Berlioz  admitted  that  she  taught  him  economy.  But  Henrietta  was  soon  avenged.  Even  when 
Marie  went  on  a  concert  tour  with  Berlioz  in  1842,  she  was  described  as  a  tall,  dried-up  woman,  very  dark, 
hard-eyed,  irritable.  Berlioz  did  not  attempt  to  conceal  his  discomfort,  and  his  life  grew  more  and  more 
wretched,  until  Marie  died  on  June  14,  1862.  She  was  forty-eight  years  old.  The  body  of  Henrietta  was 
moved  from  the  small  to  the  large  cemetery  of  Montmartre,  and  the  two  women  were  buried  in  one  tomb. 
Berlioz  in  his  Memoirs  gives  a  ghastly  account  of  the  burial.  For  an  entertaining  account  of  the  amours  of 
Berlioz  see  "  Sixty  Years  of  Recollections,"  by  Ernest  Legouve\ 


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that  Habeneck,  the  conductor  at  the  Ope'ra.  would  not  take  the  time  of 
the  saltarello  fast  enough  :  — 

"  Some  years  afterwards,  when  I  had  written  the  overture  of  'The  Roman 
Carnival,'  in  which  the  theme  of  the  allegro  is  this  same  saltarello  which 
he  never  could  make  go,  Habeneck  was  in  the  foyer  of  the  Salle  Herz  the 
evening  that  this  overture  was  to  be  played  for  the  first  time.  He  had 
heard  that  we  had  rehearsed  it  without  wind-instruments,  for  some  of  my 
players,  in  the  service  of  the  National  Guard,  had  been  called  away. 
'  Good  ! '  said  he.  '  There  will  surely  be  some  catastrophe  at  this  con- 
cert, and  I  must  be  there  to  see  it ! '  When  1  arrived,  all  the  wind  players 
surrounded  me ;  they  were  frightened  at  the  idea  of  playing  in  public  an 
overture  wholly  unknown  to  them. 

"'Don't  be  afraid,'  I  said;  'the  parts  are  all  right,  you  are  all  talented 
players ;  watch  my  stick  as  much  as  possible,  count  your  rests,  and  it 
will  go.' 

"  There  was  not  a  mistake.  I  started  the  allegro  in  the  whirlwind-time 
of  the  Transte've'rine  dancers  ;  the  audience  shouted, '  Bis!'  We  played 
the  overture  again,  and  it  went  even  better  the  second  time.  I  went  to 
the  foyer  and  found  Habeneck.  He  was  rather  disappointed.  As  I 
passed  him,  I  flung  at  him  these  few  words :  '  Now  you  see  what  it 
really  is  ! '     He  carefully  refrained  from  answering  me. 

"  Never  have  I  felt  more  keenly  than  on  this  occasion  the  pleasure  of 
conducting  my  own  music,  and  my  pleasure  was  doubled  by  thinking  on 
what  Habeneck  had  made  me  suffer. 

"  Poor  composers,  learn  to  conduct,  and  conduct  yourselves  well ! 
(Take  the  pun  if  you  please.)  For  the  most  dangerous  of  your  interpreters 
is  the  conductor.     Don't  forget  this." 


*   * 


The  overture  played  at  the  concerts  given  by  Berlioz  in  towns  outside  of 
France  was  loudly  applauded  except  at  St.  Petersburg,  where  at  the  first  of 
a  series  of  concerts  it  was  hardly  noticed  ;  and  as  the  Count  Wielhorski,  a 
celebrated  amateur,  told  Berlioz  that  he  did  not  understand  it  at  all,  it  was 


Keep  Your  Stomach  Well 

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stomach  weakness,  improves  the  appetite 
and   digestion,    and    removes  the  cause  of 

headache  and  wakefulness. 


Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


not  on  later  programmes  in  that  city.  According  to  Berlioz  himself  it  was 
for  a  long  time  the  most  popular  of  his  works  at  Vienna.  We  know  from 
von  Bulow("Die  Opposition  in  Suddeutschland,"  1853)  that,  when  Kiicken 
attempted  to  produce  it  at  Stuttgart,  the  adherents  of  Lindpaintner,  who 
was  then  the  court  conductor,  prevented  him  ;  but  at  that  time,  in  Stutt- 
gart, the  only  works  of  Beethoven  heard  in  concert  rooms  were  the 
"  Prometheus,"  the  "  Egmont,"  and  the  "  Coriolanus  "  overtures,  "  the  last 
named  with  three  violas  and  three  'cellos." 


Miss  Elsa  Ruegger,  violoncellist,  was  born  at  Lucerne,  Switzerland, 
Dec.  6,  188 1.  She  studied  with  Ed.  Jacobs,  of  the  Brussels  Conservatory, 
played  in  a  charity  concert  when  she  was  eleven  years  old,  and  made  a 
concert  tour  when  she  was  thirteen.  On  June  20,  1896,  she  took  in  com- 
petition the  first  violoncello  prize  of  the  Brussels  Conservatory  "  with  the 
highest  distinction."  Since  then  she  has  journeyed  extensively  in  Europe 
and  in  the  United  States  as  a  virtuoso.  Her  first  appearance  in  this 
country  was  at  a  Boston  Symphony  Orchestra  Concert  in  Music  Hall  on 
Oct.  21,  1899,  when  she  played,  under  Mr.  Gericke,  Lalo's  Concerto 
in  D  minor. 

Concerto  for  Violoncello,  No.  2,  in  D  minor,  Op.  96. 

Anton  Rubinstein. 

(Born  at  Wechwotynez,  near  Balta,  in  Podolia,  Nov.  28,  1829;  died  at 
Peterhof,  near  St.  Petersburg,  Nov.  20,  1894.) 

After  his  return  from  the  United  States  in  June,  1873,  to  Peterhof, 
Rubinstein  at  once  began  to  compose  ;  and  among  the  works  of  this  period 
of  his  life  are  the  "  Dramatic  "  Symphony  (No.  4),  the  opera  "  Die  Makka- 
baer,"  the  Concerto  in  D  minor  for  violoncello,  and  the  Sextet  in  D  major. 
The  year  1875  saw  the  production  at  St.  Petersburg  of   the  "Dramatic" 

TWO    NEW    CYCLES     For  9uarUffit(? voices 

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FLORA'S  HOLIDAY.     Cycle  of  Old  English  Melodies.     Composed  and 
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Sung  by  Madame  Melba 

ROSE  D'AUTOMNE.      Valse  Lente.     With  French  and  English  Words. 

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APRIL  MORN.     Brilliant  Vocal  Waltz.     Words  by  John  Dowers.     Music 

by  Robert  Batten.     Keys,  C,  D.     75  cents. 

BOOSEY  &  CO.,  9  East  J  7th  Street,  New  York 

(71) 


Symphony  (January  23)  and  his  opera  "  Der  Damon  "  (January  25)  and 
at  Berlin  the  production  of  "  Die  Makkabaer  "  (April  17).  The  Sextet  was 
produced  at  St.  Petersburg  on  November  7  of  the  following  year. 

The  European  music  journals  of  1875,  1876,  1877,  say  little  about  the  early 
performances  of  this  violoncello  concerto.  The  work  was  finished  in  1874, 
and  given  to  the  public  in  1875.  When  it  was  played  at  Moscow,  early  in 
1877,  it  was  much  relished  "  on  account  of  its  strongly  marked  Russian 
character "  ;  and  yet  the  inner  brotherhood  of  the  Russian  school  dis- 
missed Rubinstein  as  a  cosmopolite  who  was  inclined  to  look  toward 
Germany. 

Rubinstein's  works  for  the  violoncello  are :  Three  pieces  for  pianoforte 
and  violoncello,  Op.  n,  No.  2;  Sonata  in  D  major  for  pianoforte  and 
violoncello,  Op.  18  ;  Sonata  in  G  major  for  pianoforte  and  violoncello, 
Op-  39  ;  Concerto  in  A  minor  for  violoncello  and  orchestra,  Op.  65  ;  and 
this  Concerto  in  D  minor.  Of  these  the  most  frequently  played  are  the 
Sonata,  Op.  18,  and  the  Concerto,  Op.  65.  The  Concerto  in  A  minor  was 
played  by  Klengel  at  a  Gewandhaus  Concert,  Leipsic,  March  2,  1899  5  anc* 
one  of  the  most  recent  performances  of  the  Concerto  No.  2  was  by  Loven- 
sohn  at  Cologne  in  1897. 

The  movements  of  this  concerto  are  connected,  but  the  work  is  for  the 
most  part  of  conventional  form  and  of  virtuoso  character.  The  Allegro 
moderato,  4-4,  opens  with  four  measures  given  alternately  to  horns  and 
strings,  and  the  first  theme  is  exposed  frankly  and  forte  by  the  solo  violon- 
cello with  an  accompaniment  pizzicato.  The  theme  is  amplified,  and  the 
section  ends  with  a  cadenza.  After  the  traditional  "  tutti  of  refreshment " 
a  cadenza  introduces  the  second  theme  (solo  violoncello).  After  the  usual 
development  strings  and  horns  lead  to  an  expressive  Andante  in  6-8 
(F  major).  Clarinets  and  bassoons  sing  in  four-part  harmony.  The  song 
is  repeated  by  strings,  while  the  violoncello  has  a  counter-theme.    The  song 

Attractive  Novelties 

In  Lamps  and  Shades,  Gas  and  Electric 

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(Including   some  rare  Oriental  pieces). 


ANDIRONS.    FIRE  SETS.    FIRE  SCREENS 

A  large  number  of  new  patterns  in  Wrought  Iron  and  Brass. 

David  R*  Craig, 

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EXCLUSIVE  DESIGNS  IN  LIGHTING  FIXTURES. 

(72) 


BIGELOW 
KENNARD8CQ 


9 


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Very  fine 
Oriental 


PhbJmLS 


& 


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m 


Wammm 


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5U  WASHINGTON  ST., 
CORNER  OF  WEST  ST 


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returns  to  wind  instruments,  and  is  interrupted  by  a  cadenza,  which  leads 
to  the  repetition  of  the  second  section. 

Another  cadenza,  interrupted  by  full  chords,  is  followed  by  a  Moderate 
scherzando,  in  2-4  and  in  D  major,  in  which  the  violoncello  has  a  playful 
theme,  which  is  repeated  by  the  clarinet,  and  then  given  to  other  wind 
instruments  while  the  violoncello  indulges  in  florid  figuration.  There  are 
suggestions  of  the  treatment  of  the  wood-wind  in  the  scherzo  of  the  "  Dra- 
matic "  Symphony.  The  pace  grows  faster  and  faster.  A  cadenza  leads 
to  a  short  Allegro  vivace  in  3-4,  which  brings  the  end. 

This  concerto  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons, 
2  horns,  2  trumpets,  kettle-drums,  and  strings.  It  is  dedicated  to  Charles  J. 
Davidoff,  the  celebrated  violoncellist,  conductor,  and  composer,  who  was  a 
brilliant  figure  in  the  musical  life  of  St.  Petersburg  from  1862  to  1887. 
He  died  at  Moscow  in  1889  in  his  fifty-first  year. 


ENTR'ACTE. 

QUEEN    OMPHALE    IN    LEGEND    AND    ART. 

Omphale  was  one  of  the  noblest  dames  of  antiquity.  She  was  the 
daughter  of  the  Lydian  king,  Jardanus,  or  Jardanes ;  and  her  husband 
was  Tmolus,  the  god  of  a  mountain  and  the  father  of  Tantalus,  and  it 
was  he  that  decided  the  musical  contest  between  Pan  and  Apollo.  After 
the  death  of  her  husband  Omphale  undertook  the  government.  Now, 
after  Hercules  in  a  fit  of  madness  slew  his  friend  Iphitus,  he  fell  griev- 
ously sick,  and  the  oracle  announced  that  he  would  not  be  released  from 


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this  sickness  unless  he  served  some  one  for  wages  and  for  three  years, 
and  these  wages  were  paid  the  family  of  Iphitus.  Hermes,  therefore,  sold 
him  to  Omphale,  and  by  her  Hercules  had  a  son. 

Such  is  the  more  sober  version  of  the  story.  Let  us  consider  the  varia- 
tions. 

Jeremy  Collier  tells  the  tale  in  these  few  words  :  "  Omphale,  Queen  of 
Lydia  and  wife  of  Hercules,  by  whose  Charms,  they  tell  us,  he  was  so  much 
overcome,  as  that  quitting  his  Club,  he  learn'd  to  Spin  with  her.  Tis  said 
that  he  gain'd  her  favour  first  by  killing  of  a  serpent,  which  destroy'd  the 
country  near  the  River  Sangaris." 

Plutarch  :  "But  after  that  by  fortune  he  (Hercules)  had  slayne  Iphitus 
with  his  owne  handes,  and  that  he  was  passed  over  the  seas  into  the 
countrye  of  Lydia,  where  he  served  Queene  Omphale  a  long  time,  condemn- 
ing him  selfe  unto  that  voluntarie  payne,  for  the  murder  he  had  committed. 
All  the  Realme  of  Lydia  during  his  abode  there,  remained  in  great  peace 
and  securities? 

Diodorus  of  Sicily  tells  of  the  slaying  of  Iphitus  and  the  decree  of  the 
oracle:  "Hercules  still  sick,  and  forced  to  obey  the  oracle,  went  by  sea 
to  Asia  accompanied  by  some  friends,  and  there  he  resigned  himself  to  be 
sold  by  one  of  them,  and  he  became  the  slave  of  Omphale.  The  seller 
faithfully  handed  over  to  the  children  of  Iphitus  the  money  he  had  received.* 
Hercules  recovered  his  health  while  he  was  in  slavery  to  Omphale,  he 
chastised  the  robbers  that  ravaged  the  land,  and  particularly  the  Cercopes, 
celebrated  thieves,  guilty  of  many  crimes.  Some  he  killed ;  the  rest  he 
gave  to  Omphale.  He  also  slew  with  his  grubbing  ax  Syleus  who  used 
to  lay  hold  of  passers-by  and  force  them  to  work  in  his  vineyard.  He  took 
much  plunder  from  the  Itones  who  laid  waste  a  great  part  of  Omphale's 
country ;  and  after  he  had  made  himself  master  of  the  town  whence  they 
would  sally  forth,  he  razed  it  to  the  ground  after  he  had  enslaved  all  the 
dwellers  therein.      Filled  with  admiration  of  his  warlike  virtues  and   his 

*  Here  we  have  the  market  price  instead  of  the  wages  paid  to  the  children  of  Iphitus  and  not  to  his  father 
Eurytus,  as  was  reported  by  some. 


£\  1*        THE  t     ©«2S       | 

gy1\[JSICIANS|pGVRY| 


The  Initial  Volumes  Just  Issued  are 


FIFTY  MASTERSONGS 

Edited  by  HENRY  T.  FINCK 

IsBUed  in  Two  Editions.   For  High  Voice.   Tor  Low 

Voice.   Bound  in  paper,  each,  $1.50  ; 

cloth,  gilt  top,  each,  $2.60. 

The   fifty  best    songs    of    the    twenty 
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chr<  >n<  logical  ordei  I   1  «m  Mozarl  t<  1  Viae 
Dowell,  with  portraits  and  an  elabi 
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FREDERIC  CHOPIN 

FORTY  PIANO  COMPOSITIONS 

Edited  by  JAMES  HUNEKER 
Bound  in  paper,  $1.50  ;  cloth,  gilt  top,  $2.60. 

Contains  pi  irtrait  of  Chopin,  an  elaborate 
essay  by  the  editor,  ami  tlu-  composer's 
most  i"  autiful  numbers.  The  most 
artistic,  most  satisfying  collection  from 
everj    point  of  \  ii  w  >  \  er  issued. 


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OLIVER.  DITSON  COMPANY  :  :  BOSTON,  MASS. 


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REAL  LACES. 

Just  received  from  BELGIUM  one  case  of 

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Collars  of  Bruges,  Venetian  Point,   Duchesse. 

Berthes  of  Rose  Point,  Duchesse  Point,  and  Bruges. 
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LADIES'   TAILORING    DEPARTflENT. 

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(78, 


force,  Omphale  soon  learned  of  what  parents  he  was  born  ;  she  freed  and 
married  him.     By  her  he  had  a  son  named  Lamon." 

Poets  and  satirists  and  gossipers  of  antiquity  were  not  so  much  inter- 
ested in  the  brave  deeds  done  in  Omphale's  country  as  in  showing  the 
hero  subjugated  by  a  woman.  Thus  Propertius  (III.  1 1)  sings  of  Omphale, 
"  this  young  Lydian  woman,"  who  saw  "the  fame  of  her  charms,  bathed  so 
often  in  Lydian  streams,  reach  such  a  height  that  the  strong  hand  which 
planted  the  pillars  of  the  world  did  not  disdain  to  spin  his  task  at  the 
knees  of  the  fair  one." 

Ovid  makes  Deianeira,  in  her  epistle  to  her  husband,  Hercules,  complain 
that  she  had  become  the  step-mother  of  the  Lydian  Lamon.  "  The 
Meander,  which  loses  its  way  in  the  same  lands,  and  often  turns  back  upon 
itself  its  wearied  water,  has  seen  necklaces  hung  about  the  neck  of  Her- 
cules, about  that  neck  for  which  the  sky  were  a  light  burden.  Nor  has 
he  been  ashamed  to  band  his  sturdy  arms  with  golden  bracelets  and  to 
cover  his  nervous  fingers  with  precious  stones.  .  .  .  Your  strong  fingers, 
O  Hercules,  now  weave  a  coarse  woof,  and  you  apportion  tasks,  in  the 
name  of  a  fair  one  who  makes  it  your  duty  !  Ah,  how  often  your  untried 
fingers  twist  the  thread,  how  often  the  spindle  is  broken  by  your  clumsy 
hands  !  Then,  wretched  one,  they  say  that  you,  all  in  a  tremble,  fall  at 
the  feet  of  your  mistress." 

Lucian,  in  the  dialogue  between  ^Esculapius  and  Hercules,  who,  re- 
cently-made deities,  quarrel  in  the  presence  of  Jupiter  about  precedence, 
puts  into  the  mouth  of  the  famous  leech  this  bitter  taunt :  "  Besides,  if  I 
could  allege  nothing  else  in  my  behalf,  I  never  was  a  servant,  and  never 
carded  wool  in  Lydia,  and  never  wore  a  woman's  purple  gown,  and  never 
got  a  slap  on  the  face  by  Omphale's  golden  slipper." 


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Some  add  that  the  hero  for  the  sake  of  Omphale  descended  to  hell,  and 
Martial  alludes  to  this  story  in  his  epigram  "On  a  Statue  of  Hercules,"  in 
which  he  says,  "  If  you  had  had  this  bearing  and  these  features,  you  would 
not  in  Lydia  have  turned  the  spindle  of  a  haughty  mistress,  nor  seen  the 
Styx  and  the  dog  of  Tartarus." 

Nor  did  Omphale  escape  calumny ;  for  in  the  description  given  by 
Clearchus  of  the  effeminacy  of  the  Lydians,  who  made  paradises,  that 
they  might  always  live  in  the  shade,  "  for  they  thought  there  was  nothing 
so  delicious  as  never  to  be  struck  by  rays  of  the  sun,"  Omphale  is  repre- 
sented, not  only  as  despotic,  but  as  a  woman  of  incredible  viciousness  and 
cruelty,  a  forerunner  of  Marguerite  of  Burgundy  (Athenaeus'  "  The  Ban- 
quet," XII.  3),  and,  for  a  strange  pun  on  Hercules  and  Omphale,  see 
Athenaeus  VI.  c.  12. 

Whether  Hercules  gave  himself  up,  a  willing  victim  to  her  charms,  or  was 
sold  to  her  as  a  slave,  whether  he  was  a  subject  for  a  study  of  maso- 
chismus  and  gladly  put  on  woman's  attire  while  she  wore  the  lion's  skin 
and  took  up  the  club,  the  episode  in  his  life  has  fascinated  painters,  as 
Turchi,  del  Sola,  Giordano,  Spranger,  Romanelli,  Vouet,  Burthe,  Lagrenee, 
Lemoyne,  and  some  more  modern  ;  sculptors  of  antiquity,  and  Cranck, 
Vauthier-Galle,  Eudes,  John  Bell ;  and  musicians. 

Operas:  "Omphale,"  by  Telemann  (Hamburg,  1724);  "  Omphale,"  by 
Destouches  (Paris,  1701);  "Omphale,"  by  Cardonne  (Paris,  1769); 
"  Omphale,"  by  the  Conte  Laville  de  Lacdpede  (about  177 1).  The  "  Om- 
phale "  of  Destouches  was  twice  parodied, —  "  Hercule  filant  "  and  "  Fan- 
fale."  "  La  Nouvelle  Omphale,"  by  Floquet,  cited  by  Riemann,  has  no 
more  to  do  with  the  old  legend  than  has  the  charming  story  "  Omphale," 
by  Gautier,  indeed  not  so  much,  for  in  the  latter  the  Lydian  queen  is  in- 

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troduced  in  tapestry.     "  La  Veuve    Omphale,"  by  Barbier  (about  1875), 
was  not  performed. 

And  mention  may  be  made  of  "Hercules  and  Omphale,"  pantomime,  by 
W.  Reeve  (London,  1794):  "  Ercole  in  Lidia,"  by  Rovetta  (Venice,  1745) 
and  by  Mayr  (Vienna,  1803);  "  Alcide  et  Omphale,"  by  Aimon  (about 
1820,  but  not  performed);  "Hercule  aux  Pieds  d'Omphale,"  by  Roques 
(Paris,  1869).  "Ercole  Amante,"  probably  by  Cavalli,  was  performed  at 
the  Tuileries,  Paris,  in  1662  ;  but  was  Omphale  the  heroine? 

# 
#   # 

In  more  recent  years  Omphale  has  queened  it  both  in  opera  and  in 
ope'ra-bouffe. 

She  is  the  heroine  of  "  Astarte',"  an  opera  in  four  acts,  text  by  Louis  de 
Gramont,  music  by  Xavier  Leroux  (1863-),  produced  at  the  Opera, 
Paris.  Feb.  15,  1901,  when  she  was  impersonated  by  Meyriane  He'glon. 
Hercules  with  a  band  of  followers  invades  Lydia  to  convert  Omphale,  a 
worshipper  of  the  goddess  Astarte,  whose  altar  is  at  Lesbos.  He  and  his 
men  fall  madly  in  love  with  the  queen  and  her  attendants.  He  abjures  his 
own  faith,  grovels  at  her  fee%  and  —  of  all  things  in  the  world  —  would 
fain  many  her.  Omphale  is  flattered  by  Hercules'  devotion ;  but  the 
High  Priest  of  Astarte  tells  her  that  the  day  she  becomes  the  wife  of  the 
hero,  that  day  he  must  die.  A  stranger  is  announced:  'tis  young  Iole, 
who  brings  the  shirt  given  by  Nessus  to  Deianeira,  the  wife  of  Hercules : 
"  If  your  spouse  should  ever  be  faithless,"  said  the  dying  centaur,  "  give 
him  this  shirt  stained  by  my  blood."  Omphale  finds  here  a  means  of 
saving  the  hero  from  the  prophesied  death.  Hercules  dons  the  shirt,  and, 
as  in  the  old  legend,  is  destroyed,  and  the  flames  seize  the  palace.  Om- 
phale starts  immediately  for  Lesbos,  repentant  of  her  passing  treachery 
toward  the  goddess. 

Omphale,  that  san  e  year,  appeared  in  "  Les  Travaux  d'Hercule,"  an 
ope'ra-bouffe  in  three  acts,  text  by  G.  de  Caillavet  and  Robert  de  Flers, 
music  by  Claude  Terrasse,  which  was  produced  at  the  Bouffes-Parisiens, 
March  16,  with  Miss  Die'terle  as  her  impersonator.  Some  years  before 
Mr.  Edmond  Pottier,  an  archaeologist,  startled  the  Institute  by  a  paper  in 
which  he  asserted  that  several  of  the  labors  of  Hercules  were  performed 


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OLD  VIOLINS. 


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by  Theseus.  But,  centuries  before  him,  Meglacides  censured  the  poets 
who  had  attributed  to  Hercules  a  strenuous  life,  and  asserted  that  the  hero 
was  ch  efly  a  glutton,  who  ate  so  greedily  that  his  ears  wagged,  a  wine- 
bibber,  an  effeminate  voluptuary. 

The  librettists  of  this  ope'ra-bouffe  ascribe  the  glory  of  the  labors  to 
Augeas.  Hercules  is  a  stupid,  lazy,  gluttonous  fellow,  a  tosspot,  and  a 
braggart.  He  is  married  to  Omphale,  who  is  discontented,  for  she  knows 
too  well  that  he  is  not  heroic  in  mind  or  body.  He  swaggers  about,  wears 
the  skin  of  the  Nemean  lion,  which  he  did  not  kill,  brandishes  his  club  ; 
but  he  is  pigeon-galled,  frightened  nearly  to  death,  if  there  is  any  thought 
of  personal  risk.  Still  every  one  is  afraid  of  him,  even  the  women  ;  and 
this  makes  Omphale  smile  sardonically.  An  oracle  has  foretold  his  ex- 
traordinary labors,  and,  while  he  is  nerving  himself  to  begin  his  glorious 
career,  all  tremble  at  his  approach,  and  adore  him ;  but  his  worshippers 
finally  wonder  when  he  will  make  his  start. 

Omphale  tries  to  console  herself  at  first  with  Orpheus,  a  literary  gentle- 
man of  the  town;  but  he  is  shy, —  here  enters  improbability, —  and  he 
thinks  more  of  author's  readings  and  of  publishers  than  of  the  woman  who 
would  gladly  be  his  Muse.  Then  she  looks  toward  Augeas,  a  man  of 
wealth,  who  keeps  race  horses,  and  whose  stables  are  known  the  country 
round.  He  had  been  proposed  for  membership  in  the  Tyre  Jockey  Club, 
but  Hercules,  as  Chairman  of  the  Elections  Committee,  had  used  his  in- 
fluence against  him,  and  Augeas  had  been  blackballed.  The  offended 
Augeas,  "  un  sportsman  bien  connu,"  walks  up  to  Hercules  in  the  street, 
and  slaps  his  face.  The  hero  submits  to  the  insult,  which  was  wit- 
nessed by  many,  and  declines  to  take  any  notice  of  such  a  low  person. 

Omphale,  rejoiced  to  find  a  man  of  action,  elopes  with  Augeas,  who 
leaves  a  letter  addressed  to  Hercules :  "  I  am  taking  away  your  wife,  your 
club,  and  your  lion-skin;  if  you  are  bored,  clean  mv  stables."  And  Her- 
cules does  clean  them.  He  gets  rid  of  all  the  horses  that  are  unsound  in 
wind  or  limb. 

Augeas  leads  Omphale  through  her  husband's  gardens.  Frightful  roars 
as  of  wild  beasts  are  heard.  Orpheus,  regretful  of  his  shyness,  hearing  of 
the  presence  of  mind  of  Augeas,  prepared  to  kill  himself,  is  about  to 
be  devoured  by  the  animals  of  the  Tyrian  Zoo.  His  courage  fails  him, 
and.  after  he  has  opened  the  doors  of  the  cages,  he  runs  away.  Augeas 
and  Omphale  are  now  surrounded  by  all  sorts  of  monsters, —  the  Lernean 
hydra,  the  Erymanthian  boar,  etc. ;  but  Augeas,  with  one  arm  about  the 
sumptuous  woman's  waist,  bashes  each  beast  with  the  celebrated  club, 
while  the  Tyrians  on  the  battlements  hurrah  wildly  for  Hercules,  for  they 
see  the  lion-skin  and  the  club,  and  it  must  be  Hercules  :  did  not  the  oracle, 
foretell  these  deeds  ? 

The  lovers  wander,  and,  wherever  they  go,  it  is  the  same  story ;  Augeas 
performs    the    labor,    and    Hercules    gains    the    credit.     Omphale    is    not 

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pleased.  It  is  not  enough  that  she  knows  the  true  hero ;  she  prefers  to  be 
associated  with  the  popular  hero,  to  share  in  his  triumph.  Augeas,  in 
hope  to  retain  her  love,  bores  her  by  recounting  the  story  of  his  labors  ; 
but  she  asks :  "  What  good  to  me  or  to  you  are  these  your  deeds,  while 
HeTcules  keeps  gaining  the  honor?"  And  Omphale  goes  back  to  Her- 
cules, who  at  last  performs  a  surprising  feat  that  brings  reconciliation. 

Symphonic  Poem  No.  i,  "  Omphale's  Spinning-wheel,"  Op.  31. 

Camille  Saint-Saens. 

(Born  at  Paris  Oct.  9,  1S35  ;  still  living  there.) 
"Le  Rouet  d'Omphale,"  Saint-Saens's  first  symphonic  poem,  was  com- 
posed in  187 1.  It  was  originally  a  rondo  for  piano  and  then  orchestrated. 
The  first  performance  in  public  was  of  the  piano  piece  played  by  the 
composer  on  Jan.  9,  1872,  at  a  concert  of  his  works.  The  first  orchestral 
performance  was  at  a  "  Concert  Populaire,"  on  April  14  of  the  same  year. 
The  first  performance  in  Boston  was  by  Theodore  Thomas  on  Nov.   20, 

1875^ 
This  "  notice  "  is  printed  on  the  fly-leaf  of  the  orchestral  score  :  — 

The  subject  of  this  symphonic-poem  is  feminine  seductiveness,  the  triumphant  struggle 
of  weakness  against  strength.  The  spinning  wheel  is  only  a  pretext ;  it  is  chosen  merely 
from  the  view-point  of  rhythm  and  the  general  aspect  of  the  piece. 

Persons  who  are  interested  in  looking  up  details  will  see  on  page  19  (letter  J)  Hercules 
groaning  in  the  bonds  he  cannot  break,  and  on  page  32  (letter  L)  Omphale  mocking  the 
vain  efforts  of  the  hero. 


EVERY  LITTLE   DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUCNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS   CONCERT  TOUR  IN  THE 

UNITED  STATES. 


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(86) 


The  music  is  free  in  form ;  it  is  an  example  of  tone-painting ;  and  it 
does  not  easily  admit  of  rigid  analysis,  although  it  is  by  no  means  impos- 
sible to  find  a  scherzo  with  trio.  An  arpeggioed  figure  alternates  be- 
tween the  lower  register  of  the  flute  and  the  violins.  This  figure  is  more 
and  more  contracted  until  in  a  chain  of  trills  there  is  a  characterization 
of  the  spinning-wheel  at  work,  and  the  chief  theme,  conspicuous  by  its 
elegance,  is  exposed.  This  play  is  maintained  through  harmonic  changes. 
A  broad  phrase  in  C-sharp  minor  rises  heavily  from  the  'cellos  and 
double-basses.  It  is  repeated  several  times  in  melodic  progression,  each 
time  with  stronger  and  richer  instrumentation.  It  is  the  voice  of  Hercules, 
who  would  fain  rend  his  bonds  asunder.  Louder  and  louder  waxes  the 
complaint.  And  the  oboe,  the  coquettishly  ironical  voice  of  Omphale, 
answers  in  mockery.  The  hero  realizes  the  vanity  of  his  struggle.  The 
chief  theme  reappears  in  a  still  more  lightsome  form  ;  the  music  grows 
fainter ;  the  figure  of  the  spinning-wheel  dies  out  in  the  topmost  notes  of 
flutes  and  the  harmonics  of  violins. 

The  symphonic  poem  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets, 
2  bassoons,  4  horns,  2  trumpets,  3  trombones,  kettle-drums,  cymbal  (struck 
with  a  bass-drum  stick),  triangle,  bass-drum  (with  kettledrum  sticks),  harp, 
strings.     The  score  is  dedicated  to  Mile.  Augusta  Holmes. 

Symphony  No.  2,  E  minor,  Op.   115 Hans  Huber. 

(Born  at  Schonewerd,  near  Olten,  Switzerland,  June  28,  1852  ; 
now  living  at  Bale.) 

Hans  Huber  studied  at  the  Leipsic  Conservatory  from  1870  to  1874 
under  Richter,  Reinecke,  Wenzel.  He  for  two  years  afterward  gave 
private  music  lessons  at  Wesserling,  and  taught  at  the  music  school  at 
Thann  (Alsace).  He  was  called  to  the  music  school  at  Bale,  and  he  became 
the  director  of  it  after  the  death  of  Selmar  Bagge  (1896).  Among  his 
works  are  the  operas,  "  Weltfruhling "  (Bale,  1894),  "  Kundrun  "  (Bale, 
1896);    "Pandora,"    for    solo  voices,     chorus,     and    orchestra,    Op.    66; 


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TO    THE     BRITISH     COURT. 


MACKENZIE-JACKSON 

LADIES'  TAILOR 
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"  Nordseebilder,"  for  solo  voices,  male  chorus,  and  orchestra;  "Aussohnung," 
for  male  chorus  and  orchestra  ;  three  symphonies,  of  which  "  William  Tell," 
Op.  63,  is  No.  1  ;  overtures  ;  a  violin  concerto,  Op.  40  ;  two  piano  concertos  ; 
three  sonatas  for  violoncello  ;  violin  sonatas ;  piano  quartet  and  quintet ; 
"  Sommernachte,"  serenade,  Op.  87;  "  Karneval,"  for  orchestra;  suites, 
string  quartets,  trios,  piano  pieces,  organ  music,  choruses,  songs. 

The  Symphony  in  E  minor  was  produced  on  July  2,  1900,  at  the  Music 
Festival  of  the  Society  of  Swiss  Musicians  held  at  Zurich,  June  30  —  July  2. 

This  symphony  is  the  eulogy  of  the  painter,  Arnold  Bocklin,  and  it  is 
said  that  it  was  Huber's  original  plan  to  name  the  work  the  "Bocklin" 
Symphony  and  to  entitle  the  different  movements,  and  even  sections  of 
movements,  with  the  names  of  certain  celebrated  pictures  by  that  artist. 
He  abandoned  this  scheme,  and  only  in  the  finale  is  there  any  indication 
in  the  printed  score  of  a  deliberate  attempt  to  translate  painting  into 
music. 

Let  us  first  consider  the  music  itself  and  then  the  painter. 

The  first  movement,  Allegro  con  fuoco,  E  minor,  4-4,  opens  with  a  bold 
theme,  which,  in  the  course  of  the  work,  appears  in  various  transformations. 
Here  it  is  given  to  the  horns,  and  by  some  analysts  it  is  described  as 
the  Bocklin  theme.  With  the  fourth  measure  comes  a  long  hold.  This 
theme  is  repeated  in  the  dominant ;  and  then,  by  a  transition  in  pianis- 
simo, it  gives  way  to  the  sec  >nd  chief  theme,  announced  by  the  violas  to  a 
tremolo  of  violoncellos  and  double-basses.  It  is  said  that  this  second 
chief  theme  was  designed  by  Huber  to  establish  the  mood  suggested  by 
Bocklin's  picture,  "  Sieh,  es  lacht  die  Au'  "  ("  Ste,  the  meadow  laughs  "), 
which  was  painted  in  1887,  and  represents  two  maidens  plucking  flowers, 
while  three  others  stand  by  in  various  attitudes, —  one  plays  a  lute.  The 
picture  is  in  von  Heyl's  collection  at  Darmstadt.  This  theme  is  not 
developed,  but  it  opens  a  period  which  closes  stormily  with  the  introduc- 

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tory  theme  (full  orchestra),  while  the  "  Meadow"  theme  is  inverted  in  the 
basses.  The  introductory  theme  falls  into  fragments,  the  orchestra  sub- 
sides, and  the  horn  leads  to  the  second  theme,  "  yearning,"  which  is  sung 
by  the  oboe,  while  the  second  chief  theme  is  joined  to  it  by  the  violas  and 
as  counterpoint.  This  solo,  varied,  is  repeated  by  the  violins.  The  pace 
quickens.  The  development  begins.  The  "Meadow"  theme  —  some 
insist  that  this  is  really  the  Bocklin  theme  —  appears  with  sharply-defined 
rhythms  of  horns,  wood-wind,  and  .violins,  first  in  the  violas  and  second 
violins,  then  in  the  bassoon,  and  then  in  the  first  violins,  imitated  by  the 
second  violins.  These  last  change  the  theme  pizzicato  and  pianissimo, 
the  basses  follow  in  like  manner,  while  the  clarinets  go  back  to  an  earlier 
transformation  of  the  "  Meadow  "  theme,  and  the  bassoons  and  basses  re- 
turn to  the  introductory  theme,  now  in  C  minor.  Trumpets  and  trombones 
sound  forth  the  transformed  "  Meadow  "  theme,  at  first  with  all  their 
force  ;  but  there  is  a  diminution  of  strength  with  the  organ-point  in  G 
minor  and  the  modulation  to  C  minor.  The  violoncellos  sound  the  plain- 
tive theme  first  given  to  the  oboe.  This  theme  is  now  developed  in  dispute 
with  the  "  Meadow "  theme,  which  is  inverted.  The  former  triumphs, 
until  a  great  crescendo  leads  to  E  major,  when  the  first  chief  theme  ap- 
pears "  marcatissimo."  Thus  is  the  customary  repetition  of  the  beginning 
introduced,  and  there  is  the  corresponding  further  symphonic  develop- 
ment. An  abrupt  conclusion,  and  there  is  a  piii  tranquillo.  The  themes 
reappear  in  gentler  form,  and  violas  and  violins  bring  a  calm  and  serene 
close. 

The  Scherzo,allegro  con  fuoco  non  truppo,  B  minor,  1 2-8,  is  wild  and  fantas- 
tic and  in  the  spirit  of  a  Dionysiac  festival.  The  chief  themes  succeed  each 
other  rapidly  in  the  beginning  :  a  heavily  marked  theme  for  horns  and  strings; 
a  shrieking,  defiant  theme  for  oboes  and  clarinets  ;  a  theme  fortissimo  for 
strings,  that  is  less  used  than  the  others  ;  and  a  theme  for  wood-wind  and 
horns,  which  is  the  one  most  used  in  development,  and,   transformed,  may 


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as  great  volume  and  a  rarer  purity 
of  tone  than  most  larger  Grands. 
No  part  of  its  construction  was  too  small  to  receive  the  conscientious 
attention  to  detail  which  makes  this  instrument  in  its  ensemble  an 
art  product  of  the  highest  aesthetic  merit.  The  price  is  an  agreeable 
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be  called  the  theme  of  the  movement.  The  theme  of  the  trio,  un  poco 
moderato  and  "with  somewhat  heavy  expression,"  is  given  to  the  strings. 
Mr.  Segnitz  sees  in  this  section  fauns  and  satyrs  and  even  stranger 
creatures  of  the  woods  dear  to  Bocklin,  who  was  never  weary  of  painting 
them  ;  they  here  bow  and  scrape  and  wink  and  toddle  about,  but  the  thought 
of  a  Bacchic  revelry  is  enough.  The  movement  ends  in  B  major  with  the 
chief  theme  and  the  theme  of  the  trio. 

The  third  movement,  Adagio  ma  non  troppo,  3-4,  opens  in  B  major  with 
short  solo  passages  for  horn,  tenor  trombone,  and  oboe  to  gentle  accom- 
panying figures  in  the  violins  and  with  rich  instrumentation  (trombones, 
harp),  until  the  chief  theme  is  sung  by  the  clarinet  This  theme  closes  in 
the  key  of  the  dominant,  and  clarinets  and  violas  begin  a  second  theme, 
which  leads  to  the  return  of  the  chief  theme  proclaimed  by  the  full  or- 
chestra. The  middle  section  is  built  on  a  theme  for  flutes  and  clarinets 
(harp  glissdndo),  which  is  alternately  played  by  wind  instruments  and 
strings,  while  the  horn  introduces  a  smoothly  sustained  melody.  The 
first  section  is  repeated  in  a  somewhat  ornamented  form.  A  solo  violin 
varies  the  theme  of  the  middle  section,  four  horns  follow,  then  trom- 
bones and  bassoons ;  and  toward  the  end  there  is  a  reminiscence  of  a 
theme  in  the  first  movement.  Mr.  Segnitz  finds  in  this  movement  the 
moods  suggested  by  Bocklin's  pictures,  "  Sacred  Grove,"  "  Venus  Anady- 
omene,"  and  "  Hymn  of  Spring  '";  surely  an  impartial  choice. 

Finale  :  "  Metamorphoses,  suggested  by  Pictures  by  Bdcklin."  There 
is  a  short  introduction,  grave,  E  major,  4-4,  in  which  the  organ  takes 
part.  This  introduction  is  built  up  on  the  "  Meadow "  theme.  Then 
conies  the  theme  for  the  variations,  which  is  given  to  the  clarinet,  then  to 


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the  violins.     At  first  it  is  accompanied  by  strings,  then  by  the  wood-wind. 
The  theme  dies  away  in  the  deeper  strings. 

Each  of  the  following  variations  bears  the  title  of  one  of  Bocklin's 
pictures  :  — 

I.  "  The  Silence  of  the  Ocean  "  (in  the  museum  at  Bern).  Adagio  molto, 
E  major,  8  8.  A  dark  woman  —  woman  only  to  the  waist  —  of  unearthly 
beauty  lies  on  a  lonely  rock  far  out  at  sea.  Three  sea-birds  listen  with 
her.  A  strange  sea  creature  with  man's  face  is  stretched  beneath  the 
wave.  His  eyes  are  without  speculation.  His  tail  floats  above  the  sur- 
face, and  is  brushed  by  the  woman's  hair.  The  "  Meadow  "  theme  is  in 
the  double-basses,  ppp. 

II.  "  Prometheus  Chained  "  (1882,  owned  by  Arnhold  of  Berlin).  The 
god-defying  hero,  a  giant  in  form,  is  bound  on  the  summit  of  Caucasus, 
which  rises  abruptly  from  the  foaming  sea.  Allegro  molto,  E  minor,  4-4. 
The  theme  is  taken  from  the  first  movement.  It  is  a  form  of  the  intro- 
ductory theme.  The  wild  orchestra  surges  until  the  end  comes,  in  six 
syncopated  blows,  in  extreme  fortissimo.  The  horns  rest  in  the  dominant, 
and  lead  to  variation 

III.  "The  Fluting  Nymph"  (188 1  ;  owned  by  von  Heyl  of  Darmstadt). 
Allegretto  grazioso,  E  major,  3-4.  A  flute  solo  that,  in  alternation  wi  h 
the  clarinet,  leads  into  the  familiar  theme,  in  its  first  transformation,  of  the 
first  movement. 

IV.  "The  Night"  (painted  before  1888,  and  owned  by  Henneberg  of 
Zurich).  Adagio  ma  non  troppo,  D-flat  major,  3-4.  A  woman  draped  in 
black,  but  with  a  shoulder  exposed,  floats  over  a  peaceful  land,  and  slowly 
drops  poppy-heads  from  a  cornucopia.  The  melody  is  played  by  the 
violoncellos.  Harp,  bassoons,  double-bassoon,  violas,  and  double-basses 
accompany. 

V.  a.  "Sport  of  the  Waves  "  (1883,  in  the  New  Pinakothek,  Munich). 
Quasi  presto,  E  minor,  24,  3-4.  Water-men  and  water-women  frolic  in  the 
waves.  One  woman  gayly  dives.  Another,  frightened,  is  laughed  at  by  a 
bearded  and  rubicund  old  fellow,  whose  head  is  wreathed  with  pond-lilies. 
A  caprice  for  the  wood-wind.  In  the  section  2-4  the  violins  continue  the 
melody,  while  violin  and  viola  solos  ornament,  and  harp  and  triangle  add 
color.     A  cadenza  for  solo  violin  leads  to  variation 


146  Tremont  Street. 
FRE5H,    PURE,    DELICIOUS 

BONBONS  and 
CHOCOLATES. 

Hot   Chocolate   and    Icecream 
Soda. 


Miss  GAFF/NEY, 

Manicuring,  Shampooing,  Heir 
Dressing,  and  Chiropodg. 
Hygienic  Treatment  of  Head,  Face, 
and  Neck. 

AMIRAL  SOAP 

Made  in  France,  for  reducing  corpulency  by 
external  application.  Recommended  and  pre- 
scribed by  tbe  medical  profession. 

Removing  and  preventing  wrinkles  and  im- 
proving the  complexion  by  restoring  muscular 
tone  and  tissue  building,"  without  the  use  of 
cosmetics  or  steaming.  Head  treated  for  con- 
gestion, falling  hair,  and  to  promote  growth. 
Will  visit  ladies  at  their  homes. 

Address,  384  BOYLSTON  STREET. 

Testimonials  from  distinguished  men  and 
women  of  Boston. 


(91) 


V.  b.  "  The  Hermit  fiddling  before  the  Statue  of  the  Madonna  "  (painted 
after  1882;  in  the  National  Gallery,  Berlin).  Molto  moderato,  E  major, 
3-4.  An  aged  man  in  his  cell  plays  with  bowed  head  before  the  Madonna, 
while  little  angels  listen.  The  strings  are  hushed.  Organ  relieved  here 
and  there  by  flutes,  oboes,  clarinets. 

VI.  "  The  Elysian  Fields  "  (1878,  in  the  National  Gallery,  Berlin).  Alle- 
gretto tranquillo.G  major,  6-8.  One  of  Bocklin's  most  celebrated  paintings. 
It  suggested  to  Felix  Weingartner  and  Andreas  Halle'n  symphonic  poems. 
A  landscape  of  diversified  and  wondrous  beauty,  with  mermaidens,  swans,  a 
fair  woman  on  the  back  of  a  centaur  crossing  a  stream,  a  group  in  the 
distance  around  an  altar.  Long-sustained  trombone  chords  furnish  the 
harmonic  foundation.  The  melody,  of  a  soft  and  lightly  flowing  dance 
character,  is  maintained  by  the  wood-wind  and  violins,  and  a  horn  reminds 
one  of  an  expressive  theme  in  the  first  movement. 

VII.  "The  Dawn  of  Love"  (1868,  owned  by  von  Heyl  of  Darm- 
stadt). Andante  molto  espressivo  e  appassionato,  E  major,  3-4.  Nymphs 
and  young  Loves  in  a  smiling  and  watered  landscape.  The  passionate 
melody  is  given  to  the  strings.  Wood-wind  and  horns  take  part  in  this  as 
well  as  in  the  accompaniment.  A  short  and  vigorous  crescendo  leads 
to  the  last  var  ation. 

VIII.  "  Bacchanale  "  (owned  by  Knorr  of  Munich).  Tempo  di  valse,  ma 
quasi  presto,  E  major,  3-4.  Men  and  women  are  rioting  about  a  tavern  near 
Rome.  Some,  overcome  by  wine,  sprawl  on  the  ground.  The  theme  is 
developed  in  waltz  form.  A  rapid  violin  passage  leads  to  the  close, 
maestoso  ma  non  troppo.  The  organ  joins  the  orchestra  in  thundering 
out  the  chief  theme. 

This  symphony  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2 
bassoons,  double  bassoon,  4  horns,  2  trumpets,  3  trombones,  tuba,  kettle- 
drums, big  drum,  triangle,  cymbals,  harp  (in  the  third  and  fourth  move- 
ments), organ  (in  finale),  and  strings. 

* 
#  # 

This  is  not  the  only  eulogy  in  ultra-modern  symphonic  form  of  a  dis- 
tinguished man.  William  Henry  Bell's  symphony,  "  Walt  Whitman,"  was 
performed  in   1900  at  the   Crystal    Palace,  and  reference  was  made  in  a 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(1)2) 


programme-book  of  last  year  to  the  extraordinary  "  Bismarck  "  Symphony 
(1901),  by  Major  A.  D.  Hermann  Hutter,  of  Nuremberg.  It  is  not  now 
necessary  to  speak  of  Beethoven's  "  Eroica,-'  as  originally  planned  for  a 
"  Napoleon  Bonaparte  "  Symphony ;  nor  is  it  necessary  to  refer  to  Tschai- 
kowsky's  attempt  in  his  Piano  Trio  to  paint  musically  the  character, 
tastes,  habits,  of  Nicholas  Rubinstein,  or  to  Koessler's  Variations,  in  which 
the  composer  intends  to  illustrate  musically  certain  mental  characteristics 
of  Johannes  Brahms.  There  are  other  examples  of  this  kind  of  programme 
music. 

Here  is  an  attempt  to  translate  painting  into  music  ;  and  Liszt  was 
the  forerunner  of  Huber.  Thus  Andrea  Orcagna's  "  Triumph  of  Death  " 
inspired  Liszt's  "  Dance  of  Death  "  for  pianoforte  and  orchestra  ;  Kaul- 
bach's  "  Battle  of  the  Huns,"  his  symphonic  poem  of  the  same  title  ;  a 
picture  in  the  Cologne  Cathedral,  the  "  March  of  the  Three  Kings  "  in 
"  Christus  "  ;  Overbeck's  cycle  of  paintings,  "  The  Seven  Sacraments  "  ; 
the  famous  picture  of  Raphael,  the  pianoforte  piece,  "  Sposalizio  "  ;  the 
Medicean  statue    of    Giulano,    Duke  of    Nemours,    the    pianoforte    piece, 

"  II  Penseroso." 

* 

*   * 

Arnold  Bocklin  was  born,  the  son  of  a  highly  respectable  merchant, 
at  Bale  on  Oct.  16,  1827.  He  died  at  his  villa  in  San  Domenico,  near 
Florence,  on  Jan.  16,  190 1,  and  he  is  buried  at  Florence  in  the  Evangelical 
Cemetery.  He  studied  for  two  years  at  Geneva,  then  at  Dusseldorf  under 
the  landscapist,  J.  W.  Schirmer,  then  at  Antwerp,  then  at  Brussels,  where 
he  studied  figure-painting.  He  was  in  Paris  during  the  bloody  days  of 
1848,  and  he  then  returned  to  Bale  to  perform  his  military  service.  The 
remaining  years  were  thus  spent  :  Rome,  1850-58,  with  a  short  stay  at 
Bale  in  1852;  1858,  Munich  and  Hanover;  1859-60,  Munich;  1860- 
1862,  Weimar,  whither  he  was  called  to  be  professor  at  the  newly  founded 
art  school  ;  Rome,  1862-66;  Bale,  1866-71;  Munich,  1871-74;  Florence, 
1874-85  ;  Zurich,  1888-92  ;  1892  till  his  death,  Florence.  He  died 
crowned  with  titles  and  honors.  He  married  "  a  luxuriantly  beautiful 
Transteverina,"  and  her  beauty  and  that  of  his  daughter  Angela  served 
him  in  his  work. 

Much  has  been  written  about  Bocklin,  who  is  perhaps  best  known  to  the 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  'WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COriPANY,    -    BOSTON 

(93) 


people  at  large  by  his  "  Elysian  Fields  "  and  "  Island  of  the  Dead."  A 
recent  appreciation  by  Christian  Brinton  appeared  in  the  Critic  (New 
York),  and  the  following  quotations  are  from  this  article  :  — 

"Arnold  Bocklin  was  able  to  develop  a  national  art,  an  art  specifically 
Germanic,  because  he  had  the  magic  to  impose  his  dream  upon  his  fellow- 
countrymen,  and  because  that  dream  was  the  reflex,  the  embodiment,  of  all 
the  ineffable  nostalgia  of  his  race  not  alone  for  the  cream-white  villas  of  Italy, 
the  fountains  and  the  cypresses,  but  for  the  gleaming  marbles  and  golden 
myths  of  Greece.  His  art  is  merely  another  version  of  that  Sehnsucht  which 
finds  voice  in  the  ballads  of  Goethe,  the  prose  fancies  of  Heine,  or  the 
chiselled  periods  of  Winckelmann.  Once  again  it  is  the  German  view- 
ing Greece  through  Renaissance  eyes.  The  special  form  under  which 
Bocklin's  appeal  was  made  implied  a  reincarnation,  under  actual 
conditions,  of  the  classic  spirit.  He  realized  from  the  outset  that 
the  one  way  to  treat  such  themes  was  to  retouch  them  with  modern 
poetry  and  modern  passion.  Pan,  Diana,  Prometheus,  monsters  of  the 
deep  and  grotesques  of  the  forest  were  made  vital  and  convincing.  He 
quickened  much  that  had  become  blurred  or  rigid,  he  even  made  it  possi- 
ble for  a  stray  centaur  to  dash  through  the  streets  of  Berlin.  He  fused 
into  one  the  national  thirst  for  myth  and  the  national  taste  for  antique 
beauty.  While  in  essence  Bocklin's  art  is  romantic,  it  is  free  from  the 
routine  faults  of  romanticism.  His  sense  of  form  is  Grecian  and  his  color 
entirely  modern  in  its  breadth  and  brilliancy.  The  persuasive  charm  of 
his  c  assic  scenes  is  chiefly  due  to  the  anti-classic  and  often  frankly 
humorous,  Dionysian  manner  in  which  they  are  presented.  .  .  .  The  for- 
mula of  Bockli ..'s  art  consists  in  peopling  sea  or  sky,  shore  or  wood,  with 
creatures  of  tradition  or  of  sheer  imagination.  Its  animus  is  a  pantheis- 
tische   Naturpoesie,  illustrating  the   kinship  of  man   and    nature,  a  concep- 


\K  7E    beg    to   announce  that    we    are    now    New    England 

A.  B.  CHASE  PIANO 

The  A.  B.  Chase  Piano  Co.  for  many  years  have  maintained 
the  highest  standard  in  workmanship  on  their  piano,  and  to- 
day it  is  universally  recognized  as  the  most  artistic  and  purest 
toned    instrument  manufactured  in  this  country.     Perfection 
has  been  their  motto,  and  it  is  with  great  pleasure  we  make 
this  brief  announcement,  realizing  that  there  is  always  room 
for  the  best. 

We  cordially  invite  the  public  to  call  and  inspect  the 
A.   B.  Chase  Grand  and  Upright  Pianos  at  our  Warerooms. 

5 

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Vt 

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PURE 

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In  honest  buttles. 


PRICE   LIST  SENT  ON   APPLICATION. 

S.  PIERCE  CO. 

Eslab"3hed  l831-  IMPORTERS  and  GROCERS,  "c«"mM-'>»- 

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Coolidge's  Corner,  BROOKLINE 


(95) 


We  are  now  displaying  our  Complete  Line  of 

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New  Husic  Books 

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A  short  account  of  the  most  celebrated  or- 
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Foreign   Books, 
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Tauchnitz's  British  Authors. 


CUPPLES   &   SCHOENHOF, 

Tremont  St..  2d  door  north  of  Winter  8t., 
Wood's  Jewelry  Store.    (Tel.,  oxford  1099-2.) 


128 

over 


Hlle.  CAROLINE 

Invites  you  to  inspect  her  foreign  selection 
of 

Hats  and   Bonnets, 

Together  with  her  own  designs.    The  prices 
are  very  reasonable. 

486  Boylston  Street,  Boston. 

In  block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


Q»> 


tion  both  Hellenic  and  Germanic,  which  arose  from  a  blending  of  that  which 
his  spirit  caught  at  in  the  world  about  him  and  that  which  came  through  the 
gates  of  fancy  and  of  fable.  From  the  ardent  school  days  in  Basel  to 
those  last  quiescent  afternoons  on  the  heights  of  Fiesole,  Bocklin  clung 
to  the  classics,  to  the  golden  treasure-houses  of  Latin  and  of  Greek.  .  .  . 
First  and  last  Bocklin  was  a  colorist.  He  chose  by  instinct  only  the  most 
alluring  hues, —  the  pure  radiance  of  far  stars,  the  vivid  grotto-blue  of  the 
sea,  the  copper-brown  of  a  faun's  skin,  or  the  viridescence  of  water 
serpent.  No  man  studied  nature  more  closely  or  surprised  so  many  of 
her  secrets.  The  Campania,  the  clear  vistas  of  the  Oberland,  foam-lashed 
rocks  along  the  Tuscan  coast,  here  a  dark  stretch  of  wood,  there  a  splash 
of  light,  all  produced  an  accumulation  of  stimuli  which,  coupled  with  an 
indelible  memory  and  remarkable  powers  of  visualization,  made  Bocklin 
one  of  the  few  really  sovereign  colorists.  .  .  . 

"  Arnold  Bocklin  was  a  tall,  powerfully  moulded  man,  with  dark  hair 
and  deep,  blue-gray  eyes.  He  cared  as  little  for  the  conventional  in  life 
as  for  the  quotidian  in  art.  His  was  essentially  an  isolated,  taciturn 
nature.  In  conversation  he  was  diffident  and  often  constrained,  though  at 
times  showed  abundant  humor.  What  is  called  society,  he  abhorred.  .  .  . 
At  sixty  he  was  all  but  unknown  ;  by  the  seventieth  birthday  his  name 
was  on  every  lip  from  the  Alps  to  the  Baltic.  .  .  .  Wherever  he  chanced  to 
be,  Bocklin  led  the  life  of  a  normal  Swiss  bourgeois.  His  tastes  were 
simple,  even  severe.  He  had  small  liking  for  the  panoramic  accompani- 
ments, the  sumptuous  atrocities,  which  so  appealed  to  Makart  or  Mun- 
kacsy.  His  studio  was  bare  and  workman-like.  For  him  not  only  was 
the  kingdom  of  heaven,  but  in  large  measure  the  kingdom  of  earth,  within. 
Bocklin  had  but  one  dissipation, —  a  consuming  desire  to  solve  the  prob- 
lem of  aeronautism.  His  taste  for  science  and  particularly  for  mathe- 
matics was  strong ;  and  sometimes,  as  at  Weimar,  he  almost  wholly 
neglected  painting,  in  the  pursuit  of  Icarian  fancies." 

It  may  be  added  that  Bocklin  tried  his  hand  at  polychrome  sculpture 
and  published  a  defence  of  colored  statuary. 

They  that  wish  to  study  analytically  Huber's  Symphony  No.  2  should  con- 
sult Eugen  Segnitz's  articles  in  the  Musikalisches  Wochenblatt  (Leipsic)  of 
Dec.  5,  12,  19,  1 90 1.    These  articles  have  been  published  in  pamphlet  form. 


[ 


V 

COCOA-  CHOCOLATE 


GROCERS      EVERYWHERE. 


W) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
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Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas      All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

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284  Boylslon  Street 

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Roxbury 

Boston 

198) 

Newport 

Third  Rehearsal  and  Concert. 


FRIDAY   AFTERNOON,  OCTOBER  3J,  at  2.30  o'clock. 


SATURDAY  EVENING,  NOVEMBER   J,  at  8.00  o'clock. 


PROGRAMME. 

Brahms Symphony  No.  3,  in  F  major 

Beethoven Concerto  for  Pianoforte  in  E-flat 

Richard  Strauss  ....           Symphonic  Poem,  "  Don  Joan  " 
Wagner Kaisermarsch 


SOLOIST : 
Mr.  FREDERIC  LAMOND. 


199) 


^TE^IIVE^RT    HAl^rv 


Mr.  George  Devoll,  Tenor, 

Air.  Edwin  Isham,  Baritone, 

Assisted  by  Mrs.  J.  EMORY  TIPPETT,  announce  TWO  VOCAL 
RECITALS  at  STEINERT  HALL,  on  Monday  afternoon,  November 
10,  and  Tuesday  afternoon,  November  18,  at  three  o'clock. 


Tickets,  with  reserved  seats,  for  both  recitals,  $2.50.     Single  tickets,  $1.50,  $1.00,  and 
50  cents,  for  sale  at  the  hall. 

Mr.  George  W.  Stewart 

Begs  to  announce  that  he  has  arranged  a  course  of 

Five   Concerts  by  a  Small   Orchestra 

To  be  given  in 

STEINERT  HALL, 

on  the  following  five  Saturday  evenings : 

November  8,  December  13,  1902,  January  17,  February  21,  March  21,  1903. 

These  eminent  soloists  will  assist  : 
Miss  ANITA  RIO,  Soprano. 

Mr.  FREDERIC  LAMOND,  Pianist. 

Miss  ROSE  STEWART,  Soprano. 

Mr.  FRANCIS  ROGERS,  Baritone. 

Mr.  H.   EVAN  WILLIAMS,  Tenor, 
and  others. 


Tickets  for  the  best  seats  may  be  subscribed  for  at  $5.00  for  the  series.  Single 
tickets,  $1.00  and   $1.50. 

( )rders,  with  check  made  payable  to  (i  1  0RGE  YV.  S  1  1  \v  \kt,  may  be  sent  to  STEINERT 
Hall,  162  Boylston  Street,  Boston,  and  will  receive  prompt  attention,  as  will  also  orders  by 
telephone  (Oxford  1330). 

(100) 


ST^ITVK^JCT  BCAIvIv 


PIA/NIST 

Management,  HENRY   WOLFSOHN,  New  York 

For  INSTRUCTION  address  Studio    17,   STEINERT  HALL,  Boston 

CHAMBER  CONCERT 

.'.    BY    THE    .*. 

Dannreuther  String  Quartette 

(Of  New  York),  assisted  by 

Mr.  HEINRICH   GEBHARD,  Pianist 

Tuesday  afternoon,  November  4,  at  3,  in  STEINERT  HALL 

PROGRAM 
I.     DVORAK         ....  Quartette,  Op.  96,  in   F  major 

II.     C.  HUBERT  H.   PARRY        .  Partita  in  D  minor,  for  Violin 

and  Pianoforte 
III.     BRAHMS         ....  Quartette,  Op.  26,  in  A  major, 

for  Pianoforte,  Violin,  Viola, 
and  Violoncello 


Tickets  are  now  on  sale  at  the  hall  The  Stein ertone  will  be  used 

Mr.  Frank  E.  Morse 

AND    ASSISTING    TEACHERS 

VOCAL  TRAINING 

FOR     SOLOISTS     AND     TEACHERS 

Studios,  STEINERT  HALL,  162  Boylston  Street 
Special  Normal  Classes  for  those  preparing  to  teach 

(101) 


MR.  HENRY  LAWRENCE  SOUTHWICK  an- 
nounces his  third  annual  course  of  interpretative 
recitals,  to  be  presented  in  Chickering  Hall,  239  Hunt- 
ington Avenue,  on  Friday  evenings,  beginning  Friday, 
November  seventh,  at  eight  o'clock.  The  series  this  year 
will  be  devoted  to  Shakespeare's  English  Historical  Plays. 

Programme. 

November  7 Mrs.  JESSIE  ELDRIDGE  SOUTHWICK 

King  John 

November  14 Mr.   HOWARD  MALCOLM  TICKNOR 

Richard  II. 

November  21 Mr.  WALTER  BRADLEY  TRIPP 

Henry  IV.,  Part  1 

November  28 Mr.  GEORGE  RIDDLE 

Henry  V. 

December  5 Mr.  HENRY  LAWRENCE  SOUTHWICK 

Richard  III. 

December  12 Miss  KATHARINE  OLIVER 

Henry  VIII. 

Tickets  for  the  course,  five  dollars  and  four  dollars.     On  sale  at  Chickering  Hall. 
Advance  orders  for  course  tickets  may  be  sent  to  Mr.  Walter  B.  Tripp,  239  Hunt- 
ington Avenue,  Boston.     Advance  sale  begins  Tuesday,  October  21. 


CHICKERING  HALL.  TUGNO. 

Saturday  afternoon,  November  J,  at  2.30. 
R  A  O  U  L< 

PUGNO 

PIANO  RECITAL. 

MANAGEMENT,  HENRY  WOLFSOHN. 
Seats,  $1  and  $1.50. 

Ticket  sale  begins  at  Chickering  Hall,  Friday,   October  24. 

THE  BALDWIN   PIANO  USED. 
(102) 


Carl    Faeltein's 

SECOND    PIANOFORTE    RECITAL, 
Wednesday  Evening,  November    12,    1902,  at  8  o'clock. 

PROGRAMME. 

THIRTY-TWO   VARIATIONS,   C   MINOR    )  R     ,.      „„ 

SONATA,    F   MAJOR,   OP.    54  J ceetnoven 

Huntington        PRELUDE   AND    FUGUE,   C-SHARP   MAJOR  Bach 

Chambers  RONDO,    A   MINOR Mozart 

H   ,j  NOCTURNE,   A   MAJOR Field 

GIGUE,   D   MINOR Haesler 

SONATA,   G   MINOR,   OP.   22 Schumann 

TICKETS,  $1.00.    J*     J*    J*    J*    For  sale  at  the  School,  30  Huntington  Avenue. 

Signor  AUGUSTO    ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Miss  HELEN  HENSCHEL 
T^OO^L    RECITALS 

WITH  THE  ASSISTANCE  OF 

Miss  Winifred  Smith,  Violinist,  of  London 

For  terms,  dates,  and  other  particulars  address  Mrs.  S.  B.  FIELD,  Hotel  Nottingham 

BOSTON 


Mr.  HANS  SCHNEIDER 

Begs  to  announce    a    course    of    ten 
Lecture  Lessons  in  the  study  of  the 

WAGNERIAN  DRAMA 

on  November  n  and  following  Tuesdays,  at  12  o'clock,  at  the  rooms  of 
the  Copley  Square  School  of  Music. 

For  terms,  etc.,  apply  at  the  Copley  Square  School  of  Music  or  at  Mr.  Hans  Schneider's 

studio,  Huntington  Chambers,  503,  Tuesdays  from  2  to  5. 

Circulars  mailed  upon  application. 

(103) 


NEW  ENGLAND 


CONSERVATORY   OF  MUSIC, 

GEORGE   W.   CHADWICK,   Director. 

HUNTINGTON  AVE.,  BOSTON,  one  block  from  Symphony  Hall. 


The  Magnificent  New  Building  contains: 

Seventy  Recitation  Rooms,  Thirteen  Pipe  Organs,  Library,  Music 
Store,  Reception  Halls,  Gymnasium,  Students'  Club  Room, 
Concert  Hall  (Jordan  Hall)  seating  nearly  1,200,  Recital  Hall 
seating  over  400.    jt     <£     jt     j£    j*    jt     j* 


. . .  SCHOOL  YEAft  FROM  SEPTEMBER  18  TO  JUNE   24  . . . 

FACULTY 

Consisting  of  eighty  members,  including  the  following : 

PIANO. 
Mr.  BAERMANN.       Mr.  STASNY.  . 

Mr.  PROCTOR.-        Madam  SZUMOWSKA.         Mr.  DENNEE. 

Mr.  JEFFERY.  Mr.  KLAHRE. 

VIOLIN,  'CELLO,  Etc. 
Mr.   WINTERNITZ.         Mr.  MAHR. 

Mr.  SCHUECKER.         Mr.  ADAMOWSKI. 

Mr.  KUNZE.         Mr.  GRUENBERG. 

COMPOSITION,  THEORY,  and  ORGAN. 

Mr.  CHADWICK.  Mr.  ELSON.  Mr.  DUNHAM. 

Mr.  GOODRICH.  Mr.  CUTTER. 

VOICE. 

Mr.  ROTOLI.  Mr.  BIMBONI.  Mr.  DUNHAM.  Mr.  WHITE. 

Mrs.  ROGERS. 

The  management  have  also  made  an  arrangement  with  Mr.  GEORG    HENSCHEL  by  which  Mr. 
Henschel  will  until  the  beginning  of  March,  1903,  teach  exclusively  at  the  New  England  Conservatory. 

ORCHESTRA.  CHORUS. 

GEORGE  W.  CHADWICK.  GEORGE  W.  CHADWICK. 

SCHOOL  OF  OPERA. 

Sig.  ORESTE    BIMBONI,  Conductor. 

School  of  Languages.  School  of   Oratory  and  Expression. 

CAMILLE   THURWANCKR.  E.  CHARLTON    BLACK,  LL.D. 

For  full  information  concerning  registration  and  terms  apply  at  the 
office  or  send  for  year-book. 

(1(H) 


Hyperion  Theatre,  New  Haven 


FRIDAY  EVENING,  NOVEMBER 

TWENTY-FIRST,  NINETEEN 

HUNDRED  and  TWO,  at   EIGHT 

O'CLOCK 

THE   NIGHT   BEFORE   THE   FOOT-BALL  GAME 

AT  NEW  HAVEN 


THIRD   JOINT    CONCERT 

by  the  Glee,  Mandolin,  and  Banjo 


Clubs  of 


Yale  and  Harvard 
Universities 


Orders  by  mail,  accompanied  by  cheque  made  payable  to 
F.  R.  COMEE,  and  addressed  to  Symphony  Hall,  Boston, 
will  be  filled  in  the  order  of  their  reception,  and  seats 
will    be    assigned    as    near  the  desired  location  as  possible. 


Tickets,  $1  and  $1.50. 

(105) 


Boston  Symphony  Orchestra. 
REHEARSAL  and  CONCERT 

Seats  in  all  parts  of  the  hall,  for  the  season  or  single  concerts, 
may  be  secured  at  reasonable  prices  at 


Cnrwllv's   TICKET  office, 
^.onneny  b  adams  i 


HOUSE. 


d-lICKBRIINQ     HALL 

the  St  Botolpb  Concert  Company 

ELSA  HEINDL,  Soprano  KARL  ONDRICEK,  Violin 

ALFRED  DE  VOTO,  Piano 

Zfye  strongest  and  most  brilliant  concert  company  in 

Hew  England 

For  dates,  terms,  and  all  particulars  address  at  once 

HEARD  &    WILLIAMS,  Chickering   Hall,  Boston 

239   Huntington   Hall  Telephone,  1670  Back  Bay 

THE    QUESTS 

A  posthumous  work  by  ETHELBERT  NEVIN,  for  chorus  and 
soloists.     Text  by  Randolph  Hartley.     To  be  performed  by 

THE  BOSTON  SINGING  CLUB,  H  JUSE**- 

At    its    first   concert,    CHICKERING     HALL,     DECEMBER     17. 

John  Church  Co.,  Publishers.       On  sale  at  the  music  store  of 

C.  W.  THOMPSON  &  CO.      .      .      13  West  Street. 

In    every   way    a    brilliant    and    most    attractive   composition. 

Mrs.   W.    H,.    STOVAL1. 

TEACHER    OF     MUS'C 

DISTINCTIVE  FEATURES:  The  study  of  MUSIC  as  LITERATURE.  The 
Synthetic  and  Analytic  study  of  MUSICAL  FORM.  APPLIED  HARMONY.  EAR 
TRAINING,  including  Musical  Dictation  and  Sight  Singing,  looking  toward  the  ideal, 

—  the  ability  to  hear  mentally  the  printed  page. 

IManofortt*     Instruction 

The  plan  and  scope  of  the  work  will  be  explained  at  the  studio,  or  by  ilcsi  riptive 
matter  sent  on  application, 

f*TX7I>I<>,     HUNTINGTON     CIIAMIIER8 

(106) 


SYHPHONY    HALL 
Friday  Afternoon,  November  7 


At  2.30  o'clock 


SONG       IfcKOIT^L 

n  A  D AH  E 

— SEMBRICH — 


Direction,  C.  L.  ORAFF  CO. 


programme; 

French,  (ierman,  Italian,  and  English  Airs  and  Songs 

PART  I. 

a.  Aria  from  "  Iphigenie  en  Tauride  "... 

b.  Air  from  "  Joshua  "...... 

c.  Aria  from  "  La  Serva  Padrona  "    . 

d.  Chanson  du  Papillon  from  "  Les  Fetes  Venetiennes  " 

e.  Air  from  "  Der  Streit  zwischen  Phobus  und  Pan  " 

f.  Song,  "  Neue  Liebe,  neue  Leben  "... 

PART  II. 

Classical  German  Lieder 
a:  "  Friihlingstraum  "  ...... 

b.  "Die  bose  Farbe  "  ...... 

c.  "  Nussbaum  "  ....... 

d.  "  Friihlingsnacht  "  . 

e.  "  Die  Mutter  an  der  Wiege  "  .... 

f.  "  Immer  leiser  wird  mein  Schlummer  "  . 

g.  "  Dort  in  denWeiden  "  ..... 


Gluck 

Handel 

Pergolese 

Campra 

Bach 

Beethoven 


Schubert 

Schubert 

Schumann 

Schumann 

Lowe 

Brahms 

Brahms 


PART  III. 

Modern  Songs  in  various  languages. 

a.  "  Heimweh  "    . 

b.  "  Der  Gartner  " 

c.  "  Ich  trage  meine  Minne  " 

d.  "Ob  heller  Tag"  (Russian) 

e.  "  Pastorale  "  (French) 

f.  "  Verborgene  Liebe  " 

g.  "  Zickeltanz  " 
h.  "In  der  Rosenlaube  " 
i.    "  Fallih  !  Fallah  I  "  (English) 

At  the  piano,  Mr.  Rubin  Goi.dmark 


Hugo  Wolf 

.       Hugo  Wolf 

Richard  Strauss 

Tschaikowsky 

Bizet 

Grieg 

Grieg 

Bungert 

Van  der  Stucken 


Tickets  $1.00,  $1.50,  and  $2.00.     Mail  orders  now  being  received. 

L.  H.  MUDGETT,  Manager. 
BALDWIN  PIANO  USED. 
(107) 


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MASCAGNI 

GRAND    ITALIAN    OPERA 


FOUR    PERFORMANCES 

Monday  Evening,  November  3 
Tuesday  Evening,  November  4 
Wednesday  Matinee  and 

Evening,   November  5 

Mascagni  ^conducting 
his  own  Operas 

"  Cavalleria 

Rusticana" 

"Zanetto"  "Iris" 

"Ratcliffe" 


Single-ticket  sale  opens  at  Music  Hall  on 
Monday,  October  27,  at  9.00  a.m. 


PRICES 


Single  performance, 


$5.00 
3.00 
5.00 
3.00 
2.00 
1. 00  each 


Orchestra,    season  tickets,    $18.00 

Orchestra  Circle     "  n.oo 

First  Balcony  "  18.00 

Dress  Circle  "  11.00  "  " 

Second  Balcony      "  7.00  ':  " 

Last  rows  in  Second  Balcony,  single  performances  only, 

Boxes,  single  performances,  lower  boxes,  each  seat,     .  .    7  00 

Boxes,  single  performances,  upper  boxes,  each  seat, 6.00 

Orders  by  mail,  with  check  enclosed,  will  be  filled  in  the  order  and 
date  of  their  receipt.  Checks  to  be  made  payable  to  the  order  of  C.  H. 
Smith,  Manager  of  Music  Hall. 

Please  state  plainly  in  all  correspondence  Dates  for  which  tickets  are 
desired. 

Management,  MITTENTHAL   BROS.  &    S.  KRONBERG,  Knickerbocker  Theatre 

Building,  New  York 
Local  Management,  RICHARD  HEARD,    .         .         .         Chickering  Hall,  Boston 

Remember  the  Dates  and  Place... 

BOSTON  MUSIC   HALL 

See  Seat  Plan  on  opposite  page. 

ao9) 


.  .  SYMPHONY   HALL  .  . 


Monday  and  Tuesday  Evenings,  October  27 
and  28,  and  Tuesday  Afternoon 


EVENINGS  AT   8 


MATINEE  AT  2.30 


D  US  S 

AND       HIS       FAMOUS       BAND 

Management  of  R.  E.  JOHNSTON 


SIXTY    NOTED    ARTISTS 
"America's  Greatest  Bandmaster" 

Direct  from  a  triumph  of  1  28  consecutive  nights  in  New  York  City 


First  Night 


. .  PROGRAM  .  . 


SOLOISTS: 
William  C.  Carl,  Organist 
Charlotte  G.  George,  Contralto 


Percy  Hem  us,  Baritone 
Bohumir  Kryl,  Cornetist 


in 


J.  S.  DUSS,  Conductor 

PART   I. 

OVERTURE,  "William  Tell"    .            .           .            .                       .    ,                  .  Ros9ini 

(a.  SERENADE.    "D'Amor"              ........  Blon 

(  6.  CHARACTERISTIC  MARCH.     "  The  Trolley  "          .....  Duis 

BARITONE  SOLO.    "TheErlking" Schubert 

Percy  Hemds. 
FIRST  SYMPHONY  for  Organ  and  Orchestra  (two  movements)         .  .    Quilmant 

1.  Andante ;  Pastorale. 

2.  Allegro;  Finale. 

Mr.  William  C.  Caul  and  Band. 

OVERTURE.    "1812"      .  ......  Tscluiikowsky 

(Commemorative  of  Napoleon's  Invasion  of  Russia.) 

CONTRALTO  SOLO.    "  For  All  Eternity  "  .....  Mascherom 

Charlotte  <s  <; eorqs. 
INTRODUCTION   AND   BRIDAL  CHORUS  from  "  Lohengrin,"  Act  III.    .  Wagner 

CORNET  SOLO.    "Du,  du,  liegst  mir  ani  llerrrn  "  iair  varie)  .  .  Levy 

Bohumik   Kkvi. 
INTERMEZZO.    "Pas  des  Fleurs,"  from  "Naila"          .....       Delibes 
"DANCE  OF  THE  HOURS,"  from  '« La Gioconda" PonohielU 


Reserved  Seats,  50c,  75c,  and  $J.00. 


KNABE  PIANO    USED. 
(110) 


CREATORE  is  coming. 

SYMPHONY  HALL. 

One  week,  commencing  Monday  night,  November  3. 
That  Wonderful  Musician  and  Sensational  Leader, 


and  his  Italian  Band. 

DIRECT  FROM 
ONE  HUNDRED  NIGHTS  ON  BROADWAY, 

Where  he  set  New  York  music-mad,  was  the  talk  of  the 
town  and  a  craze  all  summer. 

F.  ADDISON  PORTER, 

PIANOFORTE    INSTRUCTOR. 

Address,  Steinert  Hall,  162  Boylston  Street, 

or 
New  England  Conservatory  of  Music, 

Boston,  Mass. 

THE    LOJNGY   CLUB 

A.  Maquarre,  Flute  A.  Hackebarth,  Horn 

V.  Lebailly,  Clarinet  H.  Gebhardt,  Piano 

A.  Debuchy,  Bassoon  Q.  LONGY,  Oboe 

Begs  to  announce  that  its  regular  Chamber    Music  Concerts  will   be 
given  at  CHICKERING  HALL,   Huntington  Avenue,   on   the   fol- 
lowing Monday  evenings,  at  8 : 

NOVEMBER  24,  JANUARY  5.  MARCH  30. 

Prices  of  subscription  for  the  three  evening  concerts        .       $4.00 
Tickets  for  single  concerts    .  .         .         .         .         .  .         1.50 

Last  season's  subscribers  will  have  the  privilege  of  securing  the  same  seats  as  last  sea- 
son, if  they  will  apply  to  Mr.  J.  Sauerquell,  Symphony  Hall,  before  November  15. 
General  subscription  sale  opens  at  Symphony  Hall  box  office  November  17  at  8.30  a.m. 

(ill; 


SANDERS  THEATRE,  CAMBRIDGE 

The  Boston  Symphony  Orchestra 

70  PERFORMERS.     §Mr.    WILHELM  GERICKE,  Conductor 

Ten  Concerts  Thursday  Evenings 


OCTOBER  30 

NOVEMBER  20 
DECEMBER  4 

DECEMBER  18 
JANUARY  8 


JANUARY  29 

FEBRUARY  12 
MARCH  12 

APRIL  2 

APRIL  23 


at  7.45 

SOLO  ARTISTS 

MISS  HELEN  HENSCHEL  MR.  RAOUL  PIGNO 

THE  MISSES  CARBONI  MR.  CARL  STASNY 

MISS  WINIFRED  SMITH  MR.  GEORGE  W.  PROCTOR 

MR.  ANTON  YON  ROOY  MISS  MAUI)  MaH  ARTHY 

MME.  BLOOMFIELD  ZEISLER  MR.  ADOLF  BACK 

AND    OTHERS    TO    BE    ANNOUNCED. 


SEASON  TICKETS  for  the  ten  concerts,  $7.50,  on  sale  at  the  Univer- 
sity Bookstore,  Harvard  Square,  Saturday  morning,  October  25,  at  8 
o'clock.  A  limited  number  of  seats  have  been  reserved  for  college  officers 
and  invited  guests. 


(Hi;) 


CHICKERING    HALL 
Honday  Evening,  October  27,  at  8 

FIRST  CONCERT 


The  KneLsel  Quartet 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALVVIN    SCHROEDER,  Violoncello 


PROGRAMME 

Sgambati  Quartet  in  C-sharp  minor,  Op.  17. 

Songs 

a.  "  Die  junge  Nonne  ".......         Schubert 

b.  "Die  Soldatenbraut "    .......      Schumann 

c.  "  Von  Waldbekranzter  Hohe  ".....  Brahms 

d.  "  Wie  Melodie" 

e.  "  Tausendschon  " 

Beethoven  Quartet  in  C  minor,  Op.  18 


Henschel 


Assisting  artist,  Miss  Helen  Henschel. 

Miss  Laura  Hawkins  at  the  Piano. 


THE  PIANO  IS  A  CHICKERING 


MUSICAL    INSTRUCTION. 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 


Miss  HARRIET  S.  WHITTIER, 


Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 

Miss  GERTRUDE  EDMANDS,  vocai  instruction. 

No.  160  Boylston  Street,  Room  7. 

Specialist  in  the  Science  of 

Mr.  CHARLES  B.  STEVENS,  Tosnte  TTT  ™tV* 

'  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 

PIERCE   BUILDING, 

Mrs.  ANNE  6ILBRETH  CROSS,      copley  square, 

TEACHER  OF  THE  PIANOFORTE.  „  _ 

BOSTON. 

(113; 


Miss  ANNA  MILLER  WOOD, 

flEZZO-CONTRALTO. 


Teaching- room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and   Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 

AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  \  ianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

Studio  20,  STEINERT  HALL. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Miss  SUZA  DOANE 


Prise  Pupil,  Leipsic  Conservatory. 


Piano  and  Harmony. 

196  DARTMOUTH    STREET. 

Soloist  with  Mr.  Gericke,  Mr.  Nikisch,  and  Mr. 
Van  der  Stucken. 


Mr.  OTTO  ROTH, 


VIOLIN    AND    ENSEMBLE 
LESSONS. 

10  ARLINGTON    STREET. 


Miss  JESSIE  DAVIS 


Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,    163    flassachusetts   Avenue. 


Mr.  CARLO  BUONAMICi, 


PIANIST  AND  TEACHER. 

Steinert  Hall   Building. 


(114) 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5 Thespian  Hall, 

168   Massachusetts    Avenue, 
Boston,   Mass. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  A,  E.  PRESCOTT 


153  TREMONT  STREET. 


Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe  l'ete  avecmoi.  Je  lui  ai  donne  des  lecons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lemons. 
Cela  l'a  mis  en  mesure  de  connaitre  a  fond  ma  m^thode. 
Je  peux  done  recommander  mon  eJeve,  Mr.A.E.  Pres- 
cott. C'est  un  professeur  intelligent  et  conscien- 
cl.?"x-  II  est  capable  de  bien  poser  une  voix  dans  les 
differents  registres  et  connait  les  principes  dont  je  me 
sers  pour  enseigrner  le  chant  et  la  musique." 
Paris,  31  Aout,  iqoi. G.  SBRIGLIA. 


Slg.  AUGOSTO  VANNINI, 


Teacher  of  Singing. 

Steinert  Hall. 


J.  D,  BUCKINGHAM. 


PIANOFORTE.      Method  of  I.  Phllipp. 

The   most   advanced   technics   of  the 
present  day. 
"A  teacher  of  the   first   magnitude." — Huneker,   on 
Philipp,  in  Mezzo-tints  i?i  Modern  Music. 

32   STEINERT  HALL,  BOSTON. 


Mr.  GDSTAV  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


TeacherofYiolin.Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS. 

Pierce  Building, 
Copley  Square,    Boston. 


HEINR1CH  SCHUECKER,  Miss  MAR,E   L-  EVERETT, 

TEACHER  OF  THE  HARP.     TEACHER    of   SINGING, 


Erard  Harps  for  sale  and  to  let. 
32  Westland  Avenue        -       Boston. 


Holds  a  recent  Diplome  Supe>ieur 
from  Madame  Marchesi,  Paris. 


THE  COPLEY, 


COPLEY  SQUARE. 


Miss  A\NA  JANSEIN,  Pianiste, 

PUPIL   OF 

Mme.  Rappoldi,  Dresden.  Sgambati,  Rome. 

Harold  Bauer,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

ADDRESS,  86  CHARLES  ST.,  BOSTON. 


'«  From   Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FROM     LONDON, 

Specially  authorized  by  the  inventor. 

Investigation  invited.         Studio,  278  Boylston  St, 


(115) 


Mr.  JACQUES   HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN   C.  MANNING, 
Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 

Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 

384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOtt  ELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1   at  her  residence,  THE    OXFORD. 


LETTY    LAUNDER, 
TEACHER  of  the  VIOLIN, 

Trinity  Court,  175  Dartmouth  Street. 


FREDERICK  N.   SHACKLEY 

(Organist  and  Choirmaster,  Church  of  the  Ascension), 

Piano,  Organ,  Composition. 

Specialty:    Training  organists  for    practical 
Church  work. 

_      ..        I  1900  Washington  St.,  BOSTON. 
Studios:  1  I2g  FrankHn  Street,  ALLSTON. 


Miss    EDITH   E.  TORREY, 

SOPRANO  SOLOIST   AND  TEACHER  OF 
SINGING. 

164  Huntington    Avenue,  Boston. 

Everv  day  except  Tuesday  and  Friday. 
Telephone,  Back  Bay  1089-5. 


Hr.  QEORQE   E.  WHITING, 

154  Tremont   Street, 

Boston. 


U.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts,  Recitals,  and 

Ensemble  Playing. 

77    WESTLAND    AVENUE. 


Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Mr.  EMIL  MAHR 

Resumes  his  private  lessons,   Violin  and 
Viola,  and  his  Ensemble  Classes  for 

Pianists.  Address  69  Crawford  Street, 

Roxbury. 
Tuesdays  and  Fridays      Steinert  Building. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Hrs.  S.  B.  FIELD, 

TEACHER  OF  THE  PIANO  and  the 
ART  OF  ACCOMPANYING. 

Special  attention  to  Coaching  in  Songs. 
Hotel  Nottingham      -      Copley  Square. 


Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


TO   read   Music  like  Print. 
The  Vars'  New  Interval  System  of  Sight 
Singing. 

No  Sol-faing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Dime.  L.  Hamburger,  Pierce  Bldg.,  Copley  8q 


Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 

Studio,  21  Steinert  Building. 


Mrs.  nabelMann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(lie) 


I 


i 


WEBER 
PIANOS 


Admired  and  endorsed  by  great 
artists  and  the  musical  public  for 
half  a  century  <&  <&  <£  <£  <&  <£  % 

EXCLUSIVELY  USED  BY  THE 

Maurice  Grau  Opera  Company 
The  Mascagni  Opera  Company 

AND  BY 

Kocian  and  Julie  Geyer 

3  On  their  1902-1903  transcontinental 

tours 


WEBER  WAREROOMS 

CORNER  FIFTH  AVENUE  AND  SIX- 
TEENTH  STREET,  NEW  YORK,  NY. 

BOSTON     REPRESENTATIVES 

GEORGE   H.  CHAHPLIN  &  CO. 
181  Tremont  Street 


5TEINWAY  &  SONS 

Grand  and  Upright  Pianos. 


MANUFACTURERS    BY   APPOINTMENT    TO 

His  Majesty. 


His  Majesty, 

NICHOLAS  II 

CZAR  OF  RUSSIA. 


WILLIAM  II., 

EMPEROR  OF  GERMANY  AND 
KING  OF  PRUSSIA. 


His  Majesty, 

FRANCIS 
JOSEPH  Ul 

EMPEROR   OF 
AUSTRIA 


KING  OF  HUNGAKY  Hungary. 


£&$ 


His  Majesty. 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty. 

ALEXANDRA, 

QUEEN^OF  GREAT   BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  majesty. 

VICTORIA, 

QUEEN  OF  GREAT  BRITAIN 
and  EMPRESS  OF  INDIA. 


f^~\    j"^£*         -^-Their  Royal  Highnesses, 

WD  THE  PRINCE  AND  h« royal H.CHNESS. 

PRINCESS  OF  THE    DUKE   OF 

WALES.  EDINBURGH. 


His  Majesty. 

UMBERTO 

KING  OF  ITALY. 


His  Majesty. 

ALBERT, 

KING    OF    SAXON  Y.\ 


Her  Majesty, 

MARIACHRISTINA, 

QUEEN  REGENT  OF  SPAIN 


His  Majesty. 

OSCAR  II., 

KING  OF  SWEDEN 

and  NORWAY. 


NORWAY  AMI  SWEDE!*. 


His  Majesty. 


,     MOUSAFFER-ED-DIN.    ABDUL  HAMID 

SHAH  OF  PERSIA.  SULTAN  OF  TURKEY. 

AND   THEIB    BtSPECTIVC    COURTS 
ILLUSTRATED    CATALOOUE    MAILED    FREE    ON    APPLICATION 


STEINWAY    PIANOS. 

H.  STEINERT   &   SONS   CO., 

162  to   168  Boylston  Street,   Boston,   Mass. 


PRoGRAttttE 


AMERICAN    LINE 


[copy] 


RED    STAR    LINE 


INTERNATIONAL    NAVIGATION    COMPANY 


Pier  14,  North  River 
JOSEPH   S.  BENNETT, 

Port  Steward 


New  York,  July  29,  1902. 


Messrs.  MASON  &  HAMLIN  CO., 

No.  135  Fifth  Avenue,  New  York. 

Dear  Sirs,— In  placing  with  you  our  order  for  eight  pianos  for  the  steamships 
Finland  and  Kroonland,  the  equipment  of  the  entire  fleet  of  four  passenger  steamers 
of  the  American  Line  and  four  passenger  steamers  of  the  Red  Star  Line  with  Mason 
and  Hamlin  Pianofortes  is  completed. 

Our  decision  to  continue  the  use  of  your  piano  was  determined  by  the  experience 
we  have  had  with  them  in  the  past,  and  it  gives  us  pleasure  to  testify  to  the  satis- 
faction which  they  have  given  to  the  patrons  of  our  Lines  for  the  past  ten  years. 

Yours  truly, 

J.  S.  BENNETT, 
For  International  Navigation  Company. 


American  line  S®^fri 


New  England  Representatives, 

H.    STEINERT   &    SONS    CO. 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES, 

(Telephone,  1492  Back  Bay.) 

TWENTY -SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

THIRD 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      j*    J*    #    J* 


FRIDAY  AFTERNOON,  OCTOBER  31, 

AT  2.30  O'CLOCK. 

SATURDAY  EVENING,  NOVEMBER  J, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager, 
(lit) 


MESSRS. 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The    Smallest    Grand    Embodying 
Modern  Principles  Ever  Made 


RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(113 


TWENTY-SECOND  SEASON,  1902-1903. 


Third  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  OCTOBER  31,  at  2.30  o'clock. 

SATURDAY  EVENING,  NOVEMBER  J,  at  8.00  o'clock. 


PROGRAMME. 


Brahms  ....         Symphony  No.  3,  in  F  major,  Op.  90 

I.  Allegro  con  brio. 

II.  Andante. 

III.  Poco  allegretto. 

IV.  Allegro. 


Beethoven      .     Concerto  for  Pianoforte,  No.  5,  in  E-flat  major,  Op.  73 

I.  Allegro. 

II.  Adagio  un  poco  moto. 

III.  Rondo :  Allegro  ma  non  troppo. 


Richard  Strauss      .        .       **  Don  Juan/'  Tone-poem  (after  N.  Lenau) 
Wagner Kaisermarsch 


SOLOIST: 
Mr.  FREDERIC  LAMOND. 


The  Pianoforte  is  a  Mason  &  Hamlin. 


There  will  be  an  intermission  of  ten  minutes  after  the  Beethoven  Concerto. 


There  will  be  no  Public  Rehearsal  and  Concert  next  week. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:  J.  M.  GALVIN,  City  Clerk. 

(U9) 


L.  P.  HOLLANDER  &  CO. 

FURS 

RUSSIAN    SABLES 

We  have  imported  an  unusually  fine  lot  of  Skins  from 
which  to  take  orders,  and  have  also  made  up  a  choice 
assortment  of  New  Designs  in 

SCARFS  AND  HUFFS 

Which  we  are  able  to  sell  at  very  reasonable  prices, 
qualities  considered. 

CLOAKS 
Many  New  Coats  and  Long  Wraps 

for  day  and  evening  wear  have  been  added  to  our 
stock  the  past  week. 


Fall  Weddings. 

LATEST  PRODUCTIONS  IN 

Sterling  Silver, 
Art  Glass,  and  Potteries, 
Clocks,  Rich  Cut  Glass, 
Pearl  and  Diamond  Jewelry. 

fa 

OI)I>  THINGS  NOT  FOUND  EL8EWHEBE.       /■  >^ 

SMITH,  PATTERSON   ^  M/^k 


&ff\        Wholesale 
vU.         and   Retail. 


UMME 

i — v 


Symphony  No.  3,  in  F  major,  Op.  90  ...  .  Johannes  Brahms, 
(Born  at  Hamburg,  May  7,  1S33 ;  died  at  Vienna,  April  3,  1897.) 

This  symphony  was  first  performed  on  Dec.  3,  1883,  at  Vienna.  The 
first  performance  in  Boston  was  by  the  Boston  Symphony  Orchestra  under 
Mr.  Gericke,  Nov.  8,  1884.  The  first  performance  in  the  Ui:ited  States 
was  at  a  public  rehearsal  of  one  of  Mr.  Van  der  Stucken's  Novelty  Con- 
certs, on  Oct.  24,  1884.  The  copyright  of  the  manuscript  was  sold  to  the 
publisher  Simrock,  of  Berlin,  for  36,000  marks  ($9,000)  and  a  percentage 
on  sums  realized  by  performances. 

Hans  Richter  in  a  toast  christened  this  symphony,  when  it  was  still  in 
manuscript,  the  "  Eroica."  Hanslick  remarks  concerning  this  :  "  Truly,  if 
Brahms'  first  symphony  in  C  minor  is  characterized  as  the  '  Pathetic '  or 
the  '  Appassionata  '  and  the  second  in  D  major  as  the  '  Pastoral,'  the  new 
symphony  in  F  major  may  be  appropriately  called  his  '  Eroica '  " ;  yet 
Hanslick  took  care  to  add  that  the  key-word  was  not  wholly  to  the  point, 
for  only  the  first  movement  and  the  finale  are  of  heroic  character.  This 
third  symphony,  he  says,  is  indeed  a  new  one.  "  It  repeats  neither  the 
poignant  song  of  Fate  of  the  first,  nor  the  joyful  Idyl  of  the  second ;  its 
fundamental  note  is  proud  strength  that  rejoices  in  deeds.  The  heroic 
element  is  without  any  warlike  flavor ;  it  leads  to  no  tragic  action,  such 
as  the  Funeral  march  in  Beethoven's  '  Eroica.'  It  recalls  in  its  musical 
character  the  healthy  and  full  vigor  of  Beethoven's  second  period,  and 
nowhere  the  singularities  of  his  last  period ;  and  every  now  and  then  in 
passages  quivers  the  romantic  twilight  of  Schumann  and  Mendelssohn." 

The  first  movement,  Allegro  con  brio,  in  F  major,  6-4,  opens  with  three 
introductory  chords  (horns,  trumpets,  wood-wind),  the  upper  voice  of  which, 
F,  A-flat,  F,  presents  a  short  theme  that  is  an  emblematic  figure,  or  device, 
which  recurs  significantly  throughout  the  movement.  Although  it  is  not 
one  of  the  regular  themes,  it  plays  a  dominating  part,  immediately  as  bass 

THE  MANAGE/IENT  OF  THE 

/MEW    E/NGLA/MD     CO/MSE  R  V  ATC  R  Y    OF    MUSIC 

ANNOUNCES    THE  gJQ  QRESTE         BIMBONI 

AND   THE    OPENING 
OF   THE 


SCHOOL  OF  OPERA, 


Which  will  give,  in  addition  to  the  performances  in  JORDAN   HALL, 

TWO  PERFORMANCES,  Z  IS £r>" 
BOSTON  THEATRE. 

COIID     QPUfll   ADQUIDQ      Will  be  awarded  at  a  competition  to  take  place  at  the  Conservatoiy, 

rUUri     OUnULHnOnlrO      OCT.  31.     Names  of  competitors   must    be    sent   (by  letter)   to  the 

itOfin    Q!|.h^  director  on  or  before  OCT.  27.     A  preliminary  examination  will  be 

""^  eacn;  held  in  NEW  YORK   OCT   2o. 

Not  more  than  two  of  these  scholarships  will  be  awarded  to  students  of  the  Conservatory. 
Theen^emenisalso        ^  Mr        QEORC      HENSCHEL, 

who  will  teach  —  until  March,  1903 — EXCLUSIVELY   in   tlft   Conservatory.     Particulars  and  term  s  (to 
one  or  any  number  of  lessons)  may  be  had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(121) 


^.  ialteil  &  gmts 


In  addition  to  our  plain  styles 
we  have  a  large  line 


Rich    Paris    Models 


On  private  exhibition 


Sole  Makers 

of  the 

BALLARD 
Safety- 
Riding 
Habit 


VISITING  GOWNS  and  WAISTS 
and  EVENING  COATS 

Elaborately  designed  and  trimmed  with 
lace,  velvet,  and  braiding 


256     Boylston     Street 


(122) 


and  later  as  an  opposing  voice  in  middle  and  upper  position  to  the  first 
theme,  which  is  introduced  by  the  violins  in  octaves,  supported  by  violas, 
violoncellos,  and  trombone  at  the  beginning  of  the  third  measure.  The 
short  introductory,  now  counter,  theme  rises  as  a  bass,  and  produces 
thereby  a  strongly-marked  cross-relation, —  the  A-flat  of  the  bass  against 
the  preceding  A-natural  of  the  first  theme.  This  deliberate  violation  of 
the  rules  has  provoked  much  discussion,  although  the  swing  of  the  theme 
is  in  no  way  influenced  by  this  cross-relation,  or  Querstand.  Some  find 
here  the  "  keynote  to  some  occult  dramatic  signification."  Mr.  William  F. 
Apthorp  has  voiced  this  opinion  with  peculiar  felicity :  "  It  seems  to  me 
that  it  can  only  be  explained  on  the  supposition  of  some  underlying  dra- 
matic principle  in  the  movement,  such  as  the  bringing  together  of  two  op- 
posing forces, —  Light  and  Darkness,  Good  and  Evil,  or  perhaps  only 
Major  and  Minor. —  for  on  purely  musical  grounds  the  thing  has  little 
sense  or  meaning.  The  first  theme  starts  in  passionately  and  joyously,  in 
the  exuberance  of  musical  life ;  the  counter-theme  comes  in  darkly  and 
forbiddingly,  like  Iago's 

" '  .  .  .  O,  you  are  well-tun'd  now  ! 

But  I'll  set  down  the  pegs  that  make  this  music, 
As  honest  as  I  am.' " 

The  second  chief-member  of  the  body  of  the  first  theme  is  silent  for 
four  measures,  while  the  first  violins  continue  ;  but  it  again  appears  in  the 
bass,  A,  C,  A.  Enharmonic  modulation  leads  to  A  major,  the  tonality  of 
the  second  theme.  There  is  first  a  slight  reminiscence  of  the  "Venus- 
berg"  scene  in  "  Tannhauser," — "  Naht  euch  dem  Strande  !  "  ;  and  Dr. 
Hugo  Riemann  goes  so  far  as  to  say  that  Brahms  may  have  thus  paid  a 
tribute  to  Wagner,  who  died  in  the  period  of  the  composition  of  this 
symphony. 

The  second  theme  is  of  a  graceful  character,  but  of  compressed  form, 
and  is  in  strong  contrast  with  the  broad  and  sweeping  first  theme.     The 


FIVE  PIECES 

BY 

A..      CORELLI 

Transcribed  for  Pianoforte 

BY 

Giuseppe  flartucci. 


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rhythm,  9-4,  is  complicated.  The  clarinet  sings  against  a  bassoon  phrase 
over  a  double  drone-bass  or  organ-point  from  the  deeper  strings,  while  the 
flute  embellishes.  This  is  repeated,  and  the  strings  bring  a  short  phrase 
in  antithesis.  But,  with  the  end  of  this  section  in  9-4  and  with  the  return 
to  6-4  and  the  stormier  mood,  the  oboe  gives  out  the  "  device  "  (A,  C,  A). 

The  free  fantasia,  or  middle  section,  is  comparatively  short, —  nine  pages 
of  the  score  to  fourteen  occupied  by  the  exposition.  Both  themes  are 
developed,  and  the  "  device "  is  developed  melodically  by  horn  and 
oboe. 

The  recapitulatory  section  begins  with  a  reannouncement  of  the  "  de- 
vice "  in  full  harmony  (F,  A-flat,  F,  in  wood-wind,  horns,  trumpets,  and 
strings),  and  the  "  device "  is  repeated  by  the  trumpets,  horns,  trom- 
bones, bassoons;  and  it  gives  way  to  the  announcement,  as  at  the  begin- 
ning of  the  movement,  of  theme  and  counter-theme  together.  The 
development  is  much  like  that  in  the  first  part.  The  second  theme,  in 
9-4,  is  now  in  D  major.  The  first  theme  is  in  F  major  at  the  begin- 
ning of  the  elaborate  coda.  After  a  struggle  it  triumphs  over  its  old 
adversary,  and,  triumphant,  dies  away  in  pianissimo. 

The  second  movement,  Andante  in  C  major,  4-4,  opens  with  a  hymn- 
like passage,  which  in  the  first  three  chords  reminds  one  of  the  "  Prayer  "  * 
in  "  Zampa."     It  is  played  in  four-part  harmony  by  clarinets  and  bassoons, 

*Not  the  "  Prayer"  for  three  voices,  Act  II.,  No.  i,  but  the  opening  measures  of  the  chorus  in  A  major, 
in  the  finale  of  the  opera,  "  Ah,  soyez  nous  propice,  Sainte  Alice,"  which  is  introduced  ( B-fiat)  in  the  overture. 

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re-enforced  after  two  measures  by  horns  and  flutes  in  the  lower  register. 
Violas  and  violoncellos  in  four  parts  repeat  the  last  measures  of  several 
phrases,  as  an  echo.  The  theme  developed  in  this  manner  is  followed  by 
a  variation  for  the  strings,  wood-wind,  and  horns.  The  transition  to  the 
second  theme  consists  of  a  figured  and  extended  repetition  of  the  first  half- 
period.  This  second  theme  is  sung  first  by  clarinet  and  bassoon,  then  by 
oboe  and  horn,  in  octaves,  while  there  is  a  subdued  accompaniment  in  the 
strings.  The  strings  lead  in  a  supplemental  passage,  wood-wind  instru- 
ments answer  them,  and  then  there  is  a  phrase  of  six  measures  remarkable 
for  its  transitional  harmonies.  The  first  theme  returns  in  new  and  elabo- 
rate variations.  The  remarkable  harmonies  reappear  as  an  approach  to 
the  short  coda,  which  is  built  on  fragments  of  the  first  theme,  in  clarinets 
and  bassoons,  then  in  the  brass,  while  rising  arpeggios  in  oboe  and  flute 
lead  to  the  close. 

The  third  movement  is  a  poco  allegretto  in  C  minor,  3-8,  and  is  a  ro- 
mantic substitute  for  the  traditional  scherzo.  It  is  scored  for  a  small 
orchestra, —  strings,  wood-wind,  and  two  horns.  It  is  an  example,  seldom 
found,  of  a  third  movement  in  the  minor  of  the  dominant  of  the  key  of  the 
symphony.  And  here  is  there  more  or  less  of  a  return  to  the  restless 
spirit  of  the  first  movement.  The  chief  theme,  mezza  voce,  espressivo,  is 
sung  in  the  first  twelve  measures  by  the  violoncellos,  afterward  by  the 
violins  with  more  of  an  accompaniment.     Contrapuntal  passages  between 


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violoncellos  and  first  violins  supply  the  antithesis.  A  repetition,  with 
melody  spread  out  in  flute,  oboe,  and  horn  ;  and  a  modulation  to  A-flat 
major,  brings  in  the  second  theme,  which  is  given  to  the  wood-wind  in 
strange  harmonies  to  a  syncopated  accompaniment  of  the  violoncellos. 
There  is  a  repetition  of  this  theme,  which  is  modified.  There  is  a  flowing' 
passage  for  the  strings  alone.  Again  the  strange  harmonies  in  the  wind. 
There  is  a  return  to  the  first  theme  in  C  minor,  which  is  sung  by  the  horn, 
^hen  by  the  oboe,  and  at  last  by  the  first  violins  and  violoncellos.  There 
is  a  short  coda. 

The  Finale,  allegro,  in  F  minor,  2-2,  opens  with  the  statement  of  the  first 
theme  (sotto  voce)  by  the  strings  and  the  bassoons.  The  exposition  is 
simple,  and  the  theme  is  then  repeated  in  more  elaborate  form  by  flutes, 
clarinets,  and  bassoons.  Trombones  announce  a  solemn,  fateful  theme  in 
A-flat  major,  given  out  pianissimo  by  strings  and  wind  instruments  in  har- 
mony. A  strong  transitional  passage  leads  to  another  theme  in  C  major, 
of  a  lighter  and  more  jubilant  nature,  given  out  by  violoncellos  and  horns, 
and  later  by  the  first  violins  and  wood-wind,  while  there  is  a  running  con- 
trapuntal bass  (strings).  The  rhythm  is  complicated.  The  development 
leads  to  a  climax,  fortissimo,  and  after  another  intermediary  passage  a  bold 
theme  in  syncopated  rhythm  enters.  This  is  developed  with  suggestions 
of  the  first  theme.  The  measures  that  follow  are  a  combination  of  free 
fantasia  and  recapitulation.  This  combination  begins  with  a  reappearance 
of  the  chief  theme  in  its  original  form,  which  is  repeated  in  harmony  and 
elaborated.  There  is  a  passage  built  on  an  organ-point  and  ornamented 
with  allusions  to  the  first  theme,  then  a  return  of  the  solemn  theme  in 
trombones  and  other  wind  instruments.  There  is  a  brave  attempt  to  re- 
establish the  inexorable  "  device  "  (F,  A-flat,  F)  ;  but  the  major  triumphs 
over  the  minor,  and  at  the  end  the  strings  in  tremolo  bring  the  original 


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first  theme  of  the  first  movement,  "  the  ghost"  of  this  first  theme,  as  Mr. 
Apthorp  calls  it,  over  sustained  harmonies  in  the  wind  instruments. 

The  symphony  is  scored  for  3  flutes,  2  oboes,  2  clarinets,  2  bassoons, 
double-bassoon,  4  horns,  2  trumpets,  3  trombones,  kettle-drums,  and 
strings. 

ENTR'ACT 

BEETHOVEN   AS    A   PIANIST. 

Karl  Czerny  played  Beethoven's  Concerto  in  E-flat  for  pianoforte  when 
it  was  produced  for  the  first  time  in  Vienna.  Why  did  not  the  composer 
play  it  ?  He  made  his  first  appearance  in  that  city  as  a  pianist  when  he 
played  his  Concerto  in  C  major  (March  29,  1795).  He  had  improvised 
there  privately  in  1787,  and  for  some  years  he  was  esteemed  in  Vienna  as 
a  pianist  rather  than  composer.  We  find  him  playing  his  Concerto  in  G 
major  and  the  pianoforte  part  of  his  Fantasia  with  chorus  and  orchestra  in 
December,  1808,  thirty  years  after  he  had  appeared  at  Cologne  as  an 
infant  phenomenon.  But  after  that  he  preferred  to  let  his  pupils  inter- 
pret his  works,  the  Baroness  Ertmann  in  concerts  of  a  private  nature 
and  Czerny  in  public  concerts. 

Some  years  ago  Franz  Kullak  wrote  a  series  of  introductory  chapters  to 
his  excellent  edition  of  Beethoven's  concertos  for  pianoforte  and  orchestra. 
One  of  these  chapters,  devoted  to  consideration  of  Beethoven  as  a  pianist 
was  Englished,  in  connection  with  Kullak's  essay  on  the  Execution  of  the 
Trill,  by  Dr.  Theodore  Baker,  and  published  in  1901  by  G.  Schirmer,  of 
New  York. 

Beethoven  at  a  tender  age  was  urged  to  severe  piano  practice.  One  of 
his  teachers  said  of  him  when  he  was  eight  years  old,  "  He  plays  the 
pianoforte  with  vigor  and  in  a  finished  manner."  When  Beethoven,  about 
seventeen  years  old,   met  Mozart,  he  complained  that,  although  he  took 


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lessons  from  him, —  probably  in  composition, —  Mozart  never  played  to 
him.  Later  he  heard  the  Abbe'  Johann  Franz  Xaver  Sterkel  (i 750-181 7), 
then  one  of  the  foremost  pianists  in  all  Germany.  "  Beethoven,  who  had 
never  before  heard  an  illustrious  pianist,  was  unfamiliar  with  the  fine  shad- 
ings in  the  treatment  of  the  instrument ;  his  own  playing  was  rough  and, 
hard."  Nevertheless  he  played  his  variations  on  "  Vieni  Amore  "  (com- 
posed about  1790),  "also  a  great  many  other  pieces  not  less  difficult,  and, 
to  the  extreme  surprise  of  his  hearers,  in  precise  and  perfect  imitation  of 
the  elegant  styles  which  had  impressed  him  in  Sterkel's  performance." 
Another  wrote  of  him  in  comparison  with  Vogler  :  Beethoven  is,  "  aside 
from  his  dexterity,  more  eloquent,  imposing,  expressive  —  in  a  word  he 
touches  the  heart  more  ;  he  is  therefore  as  fine  in  Adagio  as  in  Allegro." 
And  this  writer  declared  that  the  pianist  had  struck  out  a  new  path. 

Mozart  had  delighted  by  his  clearness,  roundness,  tranquillity,  delicacy. 
Beethoven  surprised  the  Viennese  by.  his  vigor,  fiery  expression,  grandeur. 

Here  is  a  significant  fact :  "  As  Beethoven's  creative  genius  continually 
sought  greater  and  loftier  tasks,  his  careful  attention  to  the  details  of 
technic  appears  to  have  relaxed." 

And  then  his  deafness  increased. 

J.  B.  Cramer,  himself  a  great  pianist,  the  only  pianist  praised  by 
Beethoven,  said  of  his  friendly  rival,  "  All  in  all,  Beethoven  was,  if  not 
the  greatest,  certainly  one  of  the  greatest  and  most  admirable  pianists  I 
have  ever  heard."  He  heard  him  in  1 799-1800.  Cherubini  heard  him 
five  years  later,  and  characterized  his  performance  as  "rough."  Cle- 
menti  described  it  as  "  little  cultivated,  not  seldom  violent,  like  himself, 
but  full  of  spirit."  The  prevailing  opinion  was  that  his  style  was  admi- 
rable, his  technic  adequate,  and  his  touch  too  violent.  When  he  played 
his  G  major  Concerto  at  the  famous  performance  in  1808,  Reichardt  bore 
witness  that  he  played  "  with  astounding  cleverness  in  the  fastest  pos- 
sible tempi.     The  Adagio,  a  masterly  movement  of  beautifully  developed 

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song,  he  sang  on  his  instrument  with  a  deep,  melancholy  feeling  that 
thrilled  me." 

Czerny,  the  teacher  of  Liszt,  was  a  pupil  of  Beethoven.  He  said  of  his 
master  (1800-1805)  that  no  one  rivalled  him  in  the  swiftness  of  his  scales, 
in  double-trills;  that  his  attitude  was  calm  and  refined,  "without  the 
slightest  gesticulation  (except  bending  over  as  his  deafness  increased)  "  ; 
that  he  pedalled  a  great  deal,  "  far  more  than  is  indicated  in  his  works  "  ; 
that  his  titanic  force  was  too  much  for  the  instruments  of  the  period. 

Ries,  another  pupil,  said  :  "Asa  rule,  he  played  his  compositions  most 
eccentrically ;  however,  he  usually  kept  strict  time,  though  he  would  occa- 
sionally hurry  somewhat  the  tempo." 

Nisle  wrote :  "Asa  player  he  is,  to  be  sure,  inferior  to  many  others  in 
elegance  and  technical  accomplishments ;  and  as  he  was  hard  of  hearing, 
he  played  rather  loud;  but  one  lost  sight  of  his  defects  when  the  master 
disclosed  the  depths  of  his  soul." 

Here  surely  are  opinions  at  variance.  It  must  be  remembered  that  some 
of  them  came  to  us  through  the  speech  of  several,  and  that  in  some  in- 
stances the  original  speech  was  the  recollection  of  a  man  who  heard  Beet- 
hoven years  before  he  was  questioned  about  him.  Some  years  ago,  here 
in  Boston,  Mr.  Busoni  was  praised  here  by  some  for  his  delicacy;  by  others 
he  was  reproached  for  his  violence.     And  which  opinion  was  the  true  one  ? 

There  is  always  interest  in  speculation  concerning  a  composer's  inter- 
pretation of  his  own  works.  In  some  instances  the  composition  suffers 
because  the  technic  of  the  composer-pianist  is  inadequate.  Thus  Brahms 
—  I  speak  from  personal  knowledge  —  in  the  eighties  was  a  coarse,  nerve- 
rasping  pianist. 

To-day  you  often  hear  a  pianist  reproached  for  his  interpretation  of 
Beethoven's  music.  "  No,  his  performance  was  not  in  the  spirit  of  Beet- 
hoven,"—  a  beautiful  phrase,  like  that  other  phrase,  "The  chronometer 
of  God  never  errs,"  which  in  Mark  Twain's  story  passed  as  beautiful 
until  some  one  had  the  boldness  to  ask,  "What  is  the  chronometer  of 
God  ? " 

If  Beethoven  should  play  his  sonatas  to  us  now  in  Boston,  would  not 
some  one  complain  of  his  lack  of  temperament?  and  might  not  some  one 
say,  from  force  of  habit :  "  He  is  an  interesting  pianist,  but  he  should  net 
attempt  to  play  Beethoven  :   he  had  better  stick  to  Chopin  and  Liszt  "  ? 

Attractive  Novelties 

In  Lamps  and  Shades,  Gas  and  Electric 

Reading  Lights 

(Including    some  rare  Oriental  pieces). 


ANDIRONS.    FIRE  SETS.    FIRE  SCREENS, 

A  large  number  of  new  patterns  in  Wrought  Iron  and  Brass. 

David  R,  Craig, 

44    SUMMER    STREET. 

EXCLUSIVE  DESIGNS  IN  LIGHTING  FIXTURES. 


BIGELOW 
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FINE  BRONZES 


ANCIENT 
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Mr.  Frederic  Lamond,  pianist  and  composer,  was  born  at  Glasgow  on 
Jan.  28,  1868.  He  studied  at  first  with  his  brother  David.  In  1880  he 
was  organist  of  Laurieston  parish  church,  and  he  gave  organ  recitals. 
He  also  studied  the  violin  and  the  oboe.  In  1882  he  went  to  Frankfort- 
on  the- Main,  where  he  took  lessons  of  Max  Schwartz  and  Anton  Urspruch 
at  the  Hoch  Conservatory.  Later  Liszt  and  von  Billow  gave  him  lessons. 
He  played  at  Berlin  in  1885,  soon  after  at  Vienna,  and  early  in  1886  he 
played  in  Glasgow  and  London.  In  the  winter  of  that  year  he  gave  a  con- 
cert at  St.  Petersburg.  Since  then  he  has  led  chiefly  the  life  of  a  virtuoso, 
though  he  has  found  time  to  write  serious  compositions.  A  symphony  was 
produced  by  the  Glasgow  Choral  Union  in  1889  ;  an  overture,  "  From  the 
Scottish  Highlands,"  was  performed  by  the  Chicago  Orchestra  in  1894 
and  by  the  Philharmonic  Society  of  New  -York,  March  7,  1896  ;  and  a 
pianoforte  trio,  'cello  sonata,  and  some  pianoforte  pieces,  composed  in 
Scotland  in  1887,  were  brought  out  by  him  at  Dresden  in  February,  1888. 

Concerto  No.  5,  E-flat,  for  Pianoforte  and  Orchestra,  Op.  73. 

Ludwig  van  Beethoven. 

(Born  at  Bonn,  Dec.  16  (?),  1770;  died  at  Vienna,  March  26,  1S27.) 

Beethoven    wrote    this    concerto    in    1809    at  Vienna.     The    town    was 

occupied  by  the  French  from  May  12  to  October.  14.     Other  works  of  the 

year  were  the  String  Quartet  in  E-flat,  Op.   74,  the  Sonata  in  E-flat,  Op. 


CATERER 


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fasts, Lunches,  Din- 
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the  best  of  material  and  finest  ware. 

Reasonable  prices.  Orders  delivered  in  the 

city  limits,  Roxbury,  and  Brookline. 


25  and  27  Temple  Place 
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WEDDING   CAKE   A  SPECIALTY. 

Telephone,  433  Oxford. 


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SCHIRMER'S 

MUSIC    STORE 

(The  Boston  Music  Co.) 

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ploma at  the  Vienna   Exposition, 
1888.) 


JACOB  THOMA  &  SON, 

/lakers  and  Importers  of 

HIGH-GRADE  VIOLINS. 

Repairers  to  the 
Boston  Symphony  Orchestra. 

47  Winter  Street,  Boston,  Mass. 


(134) 


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211  Tremont  Street,  Boston 

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34  Snow  Street,  Providence,  R.I. 

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71  Fourth  Street,  Troy,  N.Y. 


F.  A.  NORTH  &  CO. 

1308  Chestnut  Street,  Philadelphia 

MARCELLUS  ROPER  CO. 

Worcester,  Mass. 

SANDERS  &  STAYMAN  CO. 

1327  F  Street,  Washington 

EDWARD  MALLY  CO. 

New  Haven,  Conn. 


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SMITH    LYRAPHOINE    CO., 


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(135) 


Si  a,  Sonata,  F-sharp  major,  Op.  78,  a  march  for  a  military  band,  some 
pianoforte  pieces,  and  songs.  And  it  was  in  1809  that  Joseph  Haydn 
died. 

The  autograph  Jjears  this  inscription:  "  Klavier  Konzert  1809  von 
LvBthvn."  The  concerto  was  published  in  February,  181 1,  and  the  title 
read  as  follows  :  "  Grand  concerto  pour  le  Pianoforte  avec  accompagne- 
ment  de  l'orchestre  compose'  et  de'die'  a  Son  Altesse  Imperiale  Roudolphe 
Archi-Duc  d'Autriche,  etc.,  par  L.  v.  Beethoven  (Euv.  73." 

It  is  said  that  the  first  public  performance  of  which  there  is  any  record 
was  at  Leipsic  on  Nov.  28,  181 1.  The  pianist  was  Friedrich  Schneider.* 
The  AUgemeine  Musik  Zeitung  described  the  concerto  as  "  without  doubt 
one  of  the  most  original,  imaginative,  effective,  but  most  difficult  of  all 
existing  concertos."  Schneider,  it  seems,  played  "  with  soul  "  as  well  as 
force,  and  the  orchestra  accompanied  remarkably,  for  "  it  respected  and 
admired  composer,  composition  and  pianist." 

The  first  performance  with  which  Beethoven  was  concerned  was  at 
Vienna  on  Feb.  12,  1812,  when  Karl  Czerny  (1791-1857)  was  the  pianist. 
The  occasion  was  a  singular  sort  of  entertainment.  Theodor  Korner, 
who  had  then  been  a  looker-on  in  Vienna  only  for  a  short  time,  wrote 
home  on  February  15:  "Wednesday  there  took  place  for  the  benefit  of 
the  Charitable  Society  of  Noble  Ladies  f  a  concert  and  a  representation 
of  three  pictures  after  Raphael,  Poussin,  and  Troyes,  as  Goethe  describes 
them  in  his  '  Elective  Affinities.'  A  new  concerto  by  Beethoven  for  the 
pianoforte  did  not  succeed."     Castelli's  "Thalia"  gave  as  the  reason  of 

* Johann  Christian   Friedrich  Schneider,  organist,  pianist,  composer,  teacher  i  He  was  busy 

as  organist,  pianist,  and  conductor  at  Leipsic  from  1807  to  1821,  when  he  settled  at  I  >essau,  where  he  died. 

t  The  title  of  |this  society  was  "  Gesellschaft  adelicher  Frauen  zur  Beforderung  des  Guten  und 
Niitzlichen." 


acopy  g 


<$*&-& 


Uftol§|3itC0Td  t 

EDITED     BY    THOMAS    TAPPER 

CESAR  FRANCK  — Portrait 

A  WANDERING  CAPELLMEISTER  — His  Chronicle     Thomas  Tapper 

(Three  Sonatas;  The  Lesson  of  the  Worcester  Festival;  Correspondence^. 

CESAR  FRANCK  — Biographical  Sketch        ....     H.J.Storer 

CAN  NKiHT  DOUBT  ITS  STAR  ?  — Vocal  Composition    Wm.  A.  Fisher 

PICTURES   IN  MUSIC Anna  Alice  Chapin 

RAOUL   PUGNO- Portrait  and  Biographical  Note 

MARK    HAMBOURQ 

A  STUDY  OF  THE  PEOPLE William  Benhow 

PRAYER   AT    EVENTIDE—  Piano  Composition  .        Homer  N.  Bartlett 

STUDENT    PAOES 

PROn  THE  PRESS 

PRELUDE  —  Piano  Composition A  Scriabine 

RECORD  AND  REVIEW  OF  "1USIC  EVENTS 

NEW  riUSIC  RECEIVED 

TEACHERS  DEPARTMENT 


Contents 

for 
flovember 

1902 

by 


Oliver  HJitson  Companx?,  451  IKflasbinoton  St.,  Boston 


(136) 


ITALIAN    FILET 

(Fourth  Floor) 

There  is  now  in  Paris  a  great  demand  for  Italian  Filet  Lace  for  interior 
decorations.  Every  chair  and  table  has  its  choice  bit  of  lace,  made  up  with 
alternate  squares  of  point  Venise  or  English  embroidery.  Large  table 
covers,  piano  covers,  and  even  curtains  are  made  in  this  way,  and  the  effect 
is  rich  and  pleasing. 

Our  Tremont  Street  window  shows  some  of  the  pieces  our  buyer  secured 
in  Paris  last  summer. 

BASKETS 

(Fourth  Floor) 

Nuremberg  Leather 

We  have  received  our  entire  Holiday  Line  of  Decorated  Leather  Waste 
Paper  Baskets.  They  are  most  useful  and  attractive  presents  for  men, 
especially  suitable  for  library,  office,  or  student's  room.     Prices : 

$10,  $12.50,  $13.50,  $18,  $20,  $25,  $35 

West  Coast  Indian 

We  received  last  week  another  exceptionally  interesting  lot  of  West  Coast 
Indian  baskets, —  including  a  few  choice  specimens  of  Pomo,  Skokomish, 
and  Yakutat  weaves, —  Jicarilla  Apache  waste  paper  baskets,  and  a  fine 
large  Klickitat  hamper ;  also  several  dozen  Makah  work-boxes  of  various 
sizes,  and  one  or  two  "  good  luck"  rattle  baskets.. 

MILLINERY  DEPARTMENT 

(Secoud  Floor) 

New  models  in  Dress  and  Street  Hats.     New  models  in  Misses'  Hats. 

Neckwear 

New  styles  in  stocks  for  evening  wear. 

Full  line  of  imported  Boas  in  Taffeta,  Lace,  Chiffon,  and  Liberty  Silk. 

Boa  and  Muff  Sets  in  the  latest  styles. 

Ladies'    Tailoring    Department 

(Sixth  Floor) 

This  department  is  giving  our  best  customers  unusual  satisfaction  this 
season.     We  can  confidently  recommend  it. 

R.  H.  Stearns  &  Company 

(137) 


(188; 


this  failure  the  unwillingness  of  Beethoven,." full  of  proud  self-confidence," 
to  write  for  the  crowd.  "  He  can  be  understood  and  appreciated  only  by 
the  connoisseurs,  and  one  cannot  reckon  on  their  being  in  a  majority  at 
such  an  affair."  Thayer  moralizes  on  this  statement.  "  The  trills  of  Miss 
Sessi  *  and  Mr.  Siboni  f  and  Mayseder's  Variations  on  the  March  from 
'  Aline  '  J  were  appropriate  to  the  occasion  and  the  audience."  And  he 
might  have  added  with  reference  to  this  concerto  the  line  of  Burns,  slightly 
altered  :  — 

"  Compar'd  with  this,  Italian  trills  are  tame." 

The  programme  of  this  entertainment  was  as  follows  :  — 

*  There  were  four  distinguished  sisters  by  the  name  of  Sessi.  Marianne  (1776-1847)  was,  perhaps,  the 
most  famous,  and  she  was  applauded  in  many  cities,  although  the  Earl  of  Mount  Edgcumbe  heard  her  in  Lon- 
don in  1815,  and  wrote:  "  The  first  woman,  Sessi,  was  somewhat  of  a  singer,  with  whom  though  it  was  diffi- 
cult to  find  fault,  it  was  equally  so  to  be  pleased."  The  oboist  Parke  admitted  that  her  voice  was  "  clear  and 
powerful,  its  compass  was  extensive,  and  her  style  tasteful;  but  she  sang  without  expression."  Marianne 
married  a  rich  grocer  named  Natorp.  Imperatrice  (1784-180S)  married  an  army  officer,  Baron  von  Natorp, 
brother  of  the  grocer.  Caroline  sang  at  Naples.  Anna  Maria  (1790-1864)  began  her  career  at  Vienna  about 
1S11,  and  afterward  was  known  on  the  stage  as  Neumann-Sessi.  This  debutante  was  probably  Maria  Theresa 
Sessi.  She  was  of  another  family,  and  began  her  career  at  Parma  in  1805  ;  and  on  December  26  of  that  year 
she  appeared  at  La  Scala,  Milan.  She  went  to  Vienna,  afterward  to  cities  of  Poland  and  Russia,  and  from 
1835  to  1837  she  sang  again  in  Italy,  but  without  conspicuous  success. 

tGuiseppe  Siboni,  celebrated  tenor,  was  born  at  Bologna  in  17S2.  He  was  for  a  long  time  at  the  opera 
house  in  Prague.     He  died  at  Copenhagen  in  1839. 

t  Joseph  Mayseder,  violinist  and  composer  (1789-1863),  was  born  at  Vienna,  and  he  died  there.  He  seldom 
gave  concerts,  and  he  never  went  on  tours;  yet,  as  a  virtuoso,  he  was  admired  by  Paganini.  There  were 
several  operas  founded  on  the  story  of  Aline,  Queen  of  Golconda.  The  most  famous  were  by  Monsigny  (1766), 
Berton  (1803),  Boieldieu  (1808),  Donizetti  (1S28). 


Shreve,  Crump  &  Low  Co, 

147  TREflONT  STREET 


HALL  CHIME  CLOCKS. 

STRIKING  WESTMINSTER. 

WHITTINGTON  AND  ST.  MICHAEL'S  CHIMES. 
ALSO  ON  TUBES. 
CASES  OF  OUR  OWN  DESIGNING. 

MANTEL  AND  CARRIAGE  CLOCKS. 


(139) 


1.  Ouverture Cartellieri* 

2.  Raphael's  "Queen  of  Sheba  doing  Homage  to  King  Solomon." 

3.  Scene  and  Aria  from  "Adelasia  ed  Aleramo" Mayr\ 

(Sung  by  Ther.  Sessi,  her  first  appearance.) 

4.  Grand   New  Concerto   for  Pianoforte,  dedicated  to  Archduke  Rudolph 

by  Louis  van  Beethoven,  played  by  Carl  Cserny  {sic). 

5.  Poussin's  " Esther  Fainting  before  King  Ahasuerus." 

6.  Aria  from  "  Debora  e  Sisera  " Guglielmi  \ 

(Sung  by  Mr.  Siboni.) 

7.  Variations  for  Violin  on  the  March  from  "Aline"     .,    .     Mai  seder  (sic) 

(Played  by  Mayseder.) 

8.  Duet  from  "  Adelasia  e  Aleramo  " Mayr 

(Sung  by  Sessi  and  Siboni.) 

9.  Franz  de   Troyes's  "The  Arrest  of   Haman  by  Command  of  Ahasuerus 

in  the  Presence  of  Esther." 

The  Vienna  correspondent  of  the  Allgcmeine  Musik  Zeitung  wrote   that 
the  extravagant  length  of  the  concerto  diminished  the  total  effect  which 

*Casimir  Anton  Cartellieri  (1772-1807),  composer  and  chapel-master  to  Prince  Lobkowirz  at  Liebeshausen. 
t"  Adelasia  e  Aleramo,"  opera  by  G.  S.  Mayr  (1763-1845),  was  produced  at  La  Scala,  Milan,  Dec.  26, 
1806,  when  Sessi  created  a  part. 

J  "Debora  e  Sisera,"  oratorio  (1794),  by  Pietro  Guglielmi  (1727  (?) —  1804). 

The  "CLA55IQUE" 

This  celebrated  French  Corset,  acknowledged 
to  be  the  most   perfect  fitting  in  the  world, 

IS  SOLD  IN  BOSTON  EXCLUSIVELY  BY  US. 

It  is  used  by  the  modistes  who  set  the  fashion  in  the  world  of  dress  and 
know  the  correct  result  is  assured  when  the  gown  is  fitted  over  the 
CLASSIQUE.  Only  genuine  whalebone  is  used,  and  the  Corsets  are 
hand-fashioned  by  the  most  skilful  French  makers. 


We  have  received  the  latest  models,  suitable  for  all  figures. 
Prices  from  $5.75  to  $15.00. 

Corset  department  on   first   floor.  Competent   fitters   in  attendant 

B.  SOMMER  &  CO.,  " ind  i6  wmTER  STREET- 

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(1«) 


the  "  noble  production  of  the  mind  "  would  otherwise  have  made.  As  for 
Czerny,  "he  played  with  much  accuracy  and  fluency,  and  showed  that  he 
has  it  in  his  power  to  conquer  the  greatest  difficulties."  But  the  cor- 
respondent wished  that  there  were  greater  purity  in  his  performance,  a 
finer  contour. 

The  tableaux  pleased  mightily,  and  each  one  was  repeated. 

One  of  the  first  performances,  if  not  the  first,  in  Boston,  was  at  a  con- 
cert of  the  Germania  on  March  4,  1854.  The  pianist  was  Robert  Heller.* 
The  concerto  has  been  played  at  these  Symphony  Concerts  by  Mr.  d'Al- 
bert  (1892),  Miss  Aus  der  Ohe  (1888),  Mr.  Baermann  (1882,  1885,  1889, 
1894),  Mr.  Faelten  (1886),  Mme.  Hopekirk  (1898),  Mr.  Paderewski  (1899). 

The  concerto  was,  no  doubt,  as  Mr.  Apthorp  says,  called  the  "  Emperor  " 
"from  its  grand  dimensions  and  intrinsic  splendor."  The  orchestral  part 
is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  2  horns,  2  trumpets, 
kettle-drums,  and  strings. 

The  first  movement,  Allegro,  in  E-flat,  4-4,  opens  with  a  strong  chord 
for  full  orchestra,  which  is  followed  by  a  cadenza  for  the  solo  instrument. 
The  first  theme  is  given  out  by  the  strings,  and  afterward  taken  up  by  the 
clarinets.  The  second  theme  soon  follows,  first  in  E-flat  minor  softly 
and  staccato  by  the  strings,  then  legato  and  in  E  flat  major  by  the  horns. 
It  was  usual  at  that  time  for  the  pianist  to  extemporize  his  cadenza,  but 
Beethoven  inserted  his  own  with  the  remark,  "  Non  si  fa  una  cadenza  ma 

♦Robert  Palmer,  known  39  Robert  Heller,  was  born  at  Canterbury,  England,  in  1S33.  He  studied 
music,  and  at  the  age  of  fourteen  won  a  scholarship  in  the  Royal  Academy  of  Music,  London.  Fascinated  by 
the  performances  oi  Robert  Houdin,  he  dropped  music  to  become  a  magician,  and  he  came  to  the  United 
in  September,  1852.  Some  say  that  he  made  his  first  appearance  in  New  York  at  the  Chinese  (iardens 
as  a  Frenchman  ;  others,  that  his  first  appearance  was  at  the  Museum,  Albany,  N.Y.  He  met  with  no  success, 
and  he  then  went  to  Washington,  D  C,  where  he  taught  the  piano  and  served  as  a  church  organist.  He  married 
one  of  his  pupils,  Miss  Kieckhoffer,  the  daughter  of  a  rich  banker,  and  at  once  went  back  to  magic.  In  New 
York  he  opened  Heller's  Hall,  and  was  eminently  successful.  He  then  went  to  London,  opened  Poole's 
Theatre. and  he  came  back  to  New  Ymk  in  1875.  He  had  given  exhibitions  of  his  skill  in  Australia  »nd  India. 
He  died  at  Philadelphia,  Nov.  28,  187S.  His  name  stands  very  high  in  the  list  of  magicians.  His  tricks  of 
ond  sight  "  lor  a  long  time  perplexed  the  most  skilful  of  his  colleagues.  And  he  was  one  of  the  first  to 
use  electricity  as  a  confederate.  In  his  will  he  instructed  his  executors  to  destroy  all  his  apparatus.  Kor  a 
long  and  interesting  explanation  of  his  "second  sight"  tricks,  see  "Magic,''  by  A.  A.  Hopkins  (Munn  & 
Co.,  New  York,  1897). 


Perfect  Eyeglasses 

We  cannot  claim  perfection, 
but  our  glasses  do  combine 
neatness,  accuracy,  reliabil- 
ity, and  economy.  Certainly 
these  virtues  ought  to  inter- 
est you.  Ask  your  oculist, 
or  let  us  quote  you  prices.  | 

PI/MKHAM    &     SMITH 
OPTICIANS 

288    Boylston  Street 


OLD  VIOLINS. 


Mr,  Olivbb  offers  his 

annual     collection     of 

rare     old     violins    ami 

'cellos,   by  the  Old    Italian   and  other  makers 

also  a    line   Collection   of   Old    ami    new  artists; 

bows,  Italian  strings,  silver  »J's,  leather  cases, 

etc. 

F.  A.  OLIVER, 

25     Winter    Street, 

Violin  Maker  and  Repairer, 

and  Dealer  in 

High-grade  Old  Instruments. 

(Violins  used  la  the  Symphony  orchestra. 


(142) 


JORDAN  MARSH  CO- 


JORDAN  MARSH  CO. 


PAILLARD,    PARIS 


Black  velvet  garment,  trimmed  with  bands  of 
pearl-colored  velvet  embroidered  with  black  silk,  and 
finished  with  jet.  Long,  flowing:  sleeves,  edged  with  hand- 
some marten,  faced  with  ermine,  lined  throughout  with 
white  Thibet  lamb.  Price,  $392 

JORDAN   MARSH  CO. 


(148; 


•s'  attaca  subito  il  seguente  "  (that  is  to  say,  Do  not  insert  a  cadenza,  but 
attack  the  following  immediately) ;  and  he  then  went  so  far  as  to  accom- 
pany with  the  orchestra  the  latter  portion  of  his  cadenza. 

The  second  movement,  Adagio  un  poco  moto,  in  13  major,  2-2,  is  in  the 
form  of  "  quasi-variations,"  developed  chiefly  from  the  theme  given  at  the 
beginning  by  muted  strings.  This  movement  goes,  with  a  suggestion 
hinted  by  the  pianoforte  of  the  coming  first  theme  of  the  Rondo,  into  the 
Rondo,  the  Finale,  Allegro,  in  E-flat,  6-8.  Both  the  themes  are  an- 
nounced by  the  pianoforte  and  developed  elaborately.  The  end  of  the 
coda  is  distinguished  by  a  descending  long  series  of  pianoforte  chords 
which  steadily  diminish  in  force,  while  the  kettle-drums  keep  marking  the 
rhythm  of  the  opening  theme. 

"  Don  Juan,"  a  Tone-poem  (after  Nicolaus  Lenau),  Op.  20. 

Richard  Strauss. 
(Born  at  Munich,  June  11,  1864  ;  now  living  at  Charlottenburg-Berlin.) 

"  Don  Juan  "  is  known  as  the  first  of  Strauss's  symphonic  or  tone-poems, 
but  "  Macbeth,"  Op.  23,  although  published  later,  was  composed  before 
it.  The  first  performance  of  "  Don  Juan  "  was  at  the  second  subscription 
concert  of  the  Grand  Ducal  Court  Orchestra  of  Wtimar  in  the  fall  of  1S89. 
The  Signale,  No.  67  (November,  1889),  stated  that  the  tone-poem  was 
performed  under  the  direction  of  the  composer,  "  and  was  received  with 
great  applause."  (Strauss  was  a  court  conductor  at  Weimar  1889-94.) 
The  first  performance  in  Boston  was  at  a  Symphony  Concert,  led  by  Mr. 
Nikisch,  Oct.  31,  1891.  The  piece  was  also  played  at  a  Symphony  Con- 
cert, Nov.  5,  1898.  It  was  also  played  here  by  the  Chicago  Orchestra, 
Theodore  Thomas  conductor,  March  22,  1898. 

The  work  is  scored  for  3  flutes  (one  interchangeable  with  piccolo),  2 
oboes,  cor  anglais,  2  clarinets,  2  bassoons,  double-bassoon,  4  horns,  3 
trumpets,  3  trombones,  tuba,  a  set  of  3  kettle-drums,  triangle,  cymbals, 
glockenspiel,  harp,  strings.  The  score  is  dedicated  "  To  my  clear  friend, 
Ludwig  Thuille  "  (born  at  Bozen  in  1861),  a  composer  and  teacher,  who 
was  a  fellow-student  with  Strauss  at  Munich. 

The  following  extracts  from  Lenau's  *  dramatic  poem,  "  Don  Juan,"  are 

♦Nicolaus  Lenau,  whose  true  name  was  Nicolaus  Niembsch  von  Strehlenau,  was  horn  at  Cstatad,  llun- 

fary,  Aug.  13,  1802.  He  studied  law  and  medicine  at  Vienna,  but  practised  neither.  In  iS;2  he  visited  the 
'tilted  States.  In  Oi  tober,  1844,  lie  went  mad,  and  his  love  for  Sophie  von  Ldwenthal  had  much  to  do  with 
the  wretched  mental  condition  of  his  later  years.  He  died  at  Oberdobling,  near  Vienna,  Aug,  12,  1850.  He 
I11  1  '  If  called  "  Don  Juan"  his  strongest  work. 

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(144) 


printed  on  a  fly-leaf  of  the  score.  I  have  taken  the  liberty  of  defining  the 
characters  here  addressed  by  the  hero.  The  speeches  to  Don  Diego  are 
in  the  first  scene  of  the  poem ;  the  speech  to  Marcello,  in  the  last. 

Don  Juan  (zn  Diego). 

Den  Zauberkreis,  den  unermesslich  weiten, 
Von  vielfacb  reizend  schonen  Weiblichkeiten 
Mocht'  ich  durchziehn  im  Sturme  des  Genusses, 
Am  Mund  der  Letzten  sterben  eines  Kusses. 
O  Freund,  durch  alle  Raume  mocht'  ich  fliegen, 
Wo  eine  Schonheit  bliiht,  hinknien  vor  Jede, 
Und,  war's  auch  nur  fiir  Augenblicke,  siegen. 

Don  Juan  (zu  Diego). 

Ich  fliehe  Uberdruss  und  Lustermattung, 

Erhalte  frisch  im  Dienste  mich  des  Schonen, 

Die  Einzle  krankend,  schwarm'  ich  fiir  die  Gattung. 

Der  Odem  einer  Frau,  heut  Friihlingsduft, 

Driickt  morgen  mich  vielleicht  wie  Kerkerluft. 

Wenn  wechselnd  ich  mit  meiner  Liebe  wandre 

Im  weiten  Kreis  der  schonen  Frauen, 

1st  meine  Lieb'  an  jeder  eine  andre; 

Nicht  aus  Ruinen  will  ich  Tempel  bauen. 

Ja,  Leidenschaft  ist  immer  nur  die  neue ; 

Sie  lasst  sich  nicht  von  der  zu  jener  bringen, 

Sie  kann  nur  sterben  hier,  dort  neu  entspringen, 

Und  kennt  sie  sich,  so  weiss  sie  nichts  von  Reue. 

Wie  jede  Schonheit  einzig  in  der  Welt, 

So  ist  es  auch  die  Lieb',  der  sie  gefallt. 

Hinaus  und  fort  nach  immer  neuen  Siegen, 

So  lang  der  Jugend  Feuerpulse  fliegen! 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUCIMO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS  CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  Hass. 


(146) 


III. 

Don  Juan  (zu  Marcello). 

Es  war  ein  schoner  Sturm,  der  mich  getrieben, 
Er  hat  vertobt,  und  Stille  ist  geblieben. 
Scheintot  ist  alles  Wiinschen,  alles  Hoffen  ; 
Vielleicht  ein  Blitz  aus  Hoh'n,  die  ich  verachtet, 
Ilat  totlich  meine  Liebeskraft  getroffen, 
Und  plotzlich  ward  die  Welt  mir  wiist,  umnachtet; 
Yielleicht  auch  nicht;  der  Brennstoff  ist  verzehrt, 
Und  kalt  und  dunkel  ward  es  auf  dem  Herd. 

These  lines  have  been  Englished  by  John  P.  Jackson.* 

Don  Juan  (to  Diego,  Iris  brother). 

O  magic  realm,  illimited,  eternal, 

Of  gloried  woman, —  loveliness  supernal! 

Fain  would  I,  in  the  storm  of  stressful  bliss, 

Expire  upon  the  last  one's  lingering  kiss  ! 

Through  every  realm,  O  friend,  would  wing  my  flight, 

Wherever  Beauty  blooms,  kneel  down  to  each, 

And,  if  for  one  brief  moment,  win  delight ! 


Don  Juan  (to  Diego). 

I  flee  from  surfeit  and  from  rapture's  cloy, 

Keep  fresh  for  Beauty  service  and  employ, 

Grieving  the  One,  that  All  I  may  enjoy. 

The  fragrance  from  one  lip  to-day  is  breath  of  spring : 

The  dungeon's  gloom  perchance  to-morrow's  luck  may  bring. 

When  with  the  new  love  won  I  sweetly  wander, 

No  bliss  is  ours  upfurbish'd  and  regilded; 

A  different  love  has  This  to  That  one  yonder, — 

Not  up  from  ruins  be  my  temples  builded. 

Yea,  Love  life  is,  and  ever  must  be  new, 

Cannot  be  changed  or  turned  in  new  direction  ; 

It  cannot  but  there  expire  —  here  resurrection  ; 

And,  if  'tis  real,  it  nothing  knows  of  rue ! 

Each  Beauty  in  the  world  is  sole,  unique : 

So  must  the  Love  be  that  would  Beauty  seek ! 

*  John  P.  Jackson,  journalist,  died  at  Paris,  Dec.  i,  1897,  at  the  age  of  fifty.  He  was  for  many  years  on 
the  staff  of  the  New  York  Herald.  He  espoused  the  cause  of  Wagner  at  a  time  when  the  music  of  that  com- 
poser was  not  fashionable,  and  he  Englished  some  of  Wagner's  librettos. 


BY    ROYAL     APPOINTMENT 
TO    THE     BRITISH     COURT. 


MACKENZIE-JACKSON 

LADIES'  TAILOR 
Glasgow  184  Boylston  Street,  Boston  Oban 

(146) 


So  long  as  Youth  lives  on  with  pulse  afire, 
Out  to  the  chase!     To  victories  new  aspire  ! 

Don  Juan  (to  Marcello,  his  Friend). 

It  was  a  wond'rous  lovely  storm  that  drove  me  : 
Now  it  is  o'er;  and  calm  all  round,  above  me; 
Sheer  dead  is  every  wish  ;  all  hopes  o'ershrouded, — 
'Twas  p'r'aps  a  flash  from  heaven  that  so  descended, 
Whose  deadly  stroke  left  me  with  powers  ended, 
And  all  the  world,  so  bright  before,  o'erclouded ; 
And  yet  p'r'aps  not !     Exhausted  is  the  fuel ; 
And  on  the  hearth  the  cold  is  fiercely  cruel. 

There  are  two  ways  of  considering  this  tone  poem  :  to  say  that  it  is  a 
fantasia,  free  in  form  and  development,  and  that  the  quotations  from  the 
poem  are  enough  to  show  the  mood  and  the  purposes  of  the  composer  ; 
or  to  discuss  the  character  of  Lenau's  hero,  and  then  follow  foreign  com- 
mentators who  give  significance  to  every  melodic  phrase  and  find  deep, 
esoteric  meaning  in  every  modulation.  No  doubt  Strauss  himself  would 
be  content  with  the  verses  of  Lenau  and  his  own  music ;  for  he  is  a  man 
not  without  humor,  and  on  more  than  one  occasion  he  has  slyly  smiled  at 
his  prying  and  pontifical  interpreters. 

Strauss  has  particularized  his  hero  among  the  many  that  bear  the  name 
of  Don  Juan,  from  the  old  drama  of  Gabriel  Tellez,  the  cloistered  monk 
who  wrote,  under  the  name  of  "  Tirso  de  Molina,"  "  El  Eurlador  de  Sevilla 
y  el  Convidado  de  Piedra  "  (first  printed  in  1634)  to  "Juan  de  Manara," 
drama  in  four  acts  by  Edmond  Haraucourt,  with  incidental  music  by  Paul 
Vidal  (Odeon,  Paris,  March  8,  1898).  Strauss's  hero  is  specifically  the 
Don  Juan  of  Lenau,  not  the  rakehelly  hero  of  legend  and  so  many  plays, 
who  at  the  last  is  undone  by  the  Statue  whom  he  had  invited  to  supper. 

Lenau  wrote  his  poem  in  1844.  It  is  said  that  his  third  revision  was 
made  in  August  and  September  of  that  year  at  Vienna  and  Stuttgart. 
After  September  he  wrote  no  more,  for  he  went  mad,  and  he  was  mad 


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until  he  died  in  1850.  The  poem,  "  Eitel  nichts,"  dictated  in  the  asylum 
at  Winnenthal,  was  intended  originally  for  "  Don  Juan."  "  Don  Juan  "  is 
of  a  somewhat  fragmentary  nature.  The  quotations  made  by  Strauss 
paint  well  the  hero's  character. 

L.  A.  Frankl,  the  biographer  of  the  morbid  poet,  says  that  Lenau  once 
spoke  as  follows  concerning  his  purpose  in  this  dramatic  poem  :  "  Goethe's 
great  poem  has  not  hurt  me  in  the  matter  of  '  Faust,'  and  Byron's  '  Don 
Juan  '  will  here  do  me  no  harm.  Each  poet,  as  every  human  being,  is  an 
individual  '  ego.'  My  Don  Juan  is  no  hot-blooded  man  eternally  pursuing 
women.  It  is  the  longing  in  him  to  find  a  woman  who  is  to  him  incarnate 
womanhood,  and  to  enjoy  in  the  one,  all  the  women  on  earth,  whom  he 
cannot  as  individuals  possess.  Because  he  does  not  find  her,  although  he 
reels  from  one  to  another,  at  last  Disgust  seizes  hold  of  him,  and  this 
Disgust  is  the  Devil  that  fetches  him." 

Now  Strauss  himself  has  not  given  a  clue  to  any  page  of  his  score. 
Yet,  in  spite  of  this  fact,  Mr.  William  Mauke  does  not  hesitate  to  entitle 
certain  sections  :  "  The  First  Victim,  '  Zerlinchen  '"  ;  "  The  Countess  "  ; 
"Anna."  Why  "Zerlinchen"?  There  is  no  Zerlina  in  the  poem.  There 
is  no  reference  to  the  coquettish  peasant  girl.  Lenau's  hero  is  a  man  who 
seeks  the  sensual  ideal.  He  is  constantly  disappointed.  He  is  repeatedly 
disgusted  with  himself,  men  and  women,  and  the  world ;  and  when  at  last 
he  fights  a  duel  with  Don  Pedro,  the  avenging  son  of  the  Grand  Com- 
mander, he  throws  away  his  sword  and  lets  his  adversary  kill  him. 

"  Mein  Todfeind  ist  in  meine  Faust  gegeben; 
Doch  dies  auch  langweilt,  wie  das  ganze  Leben." 

("My  deadly  foe  is  in  my  power;  but  this,  too,  bores  me,  as  does  life  itself.") 

The  first  theme,  E  major,  allegro  molto  con  brio,  2-2,  is  a  theme  of  pas- 
sionate, glowing  longing ;  and  a  second  theme  follows  immediately,  which 
some  take  to  be  significant  of  the  object  of  this  longing.     The  third  theme, 


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typical  of  the  hero's  gallant  and  brilliant  appearance,  proud  and  knight-like, 
is  added;  and  this  third  theme  is  entitled  by  Mr.  Mauke  ''the  Individual 
Don  Juan  theme,  No.  i."  These  three  themes  are  contrapuntally  bound 
together,  until  there  is,  as  it  were,  a  signal  given  (horns  and  then  wood- 
wind). The  first  of  the  fair  apparitions  appears,— the  "  Zerlinchen "  of 
Mr.  Mauke.  The  conquest  is  easy,  and  the  theme  of  Longing  is  jubilant ; 
but  it  is  followed  by  the  chromatic  theme  of  "Disgust"  (clarinets  and 
bassoons),  and  this  is  heard  in  union  with  the  second  of  the  three  themes 
in  miniature  (harp).  The  next  period  —  "  Disgust  "  and  again  "  Longing  " 
—  is  built  on  the  significant  themes,  until  at  the  conclusion  (fortissimo), 
the  theme  "  Longing "  is  heard  from  the  deep-stringed  instruments 
(rapidamente). 

And  now  it  is  the  Countess  that  appears, —  "  the  Countess , 

widow  ;  she  lives  at  a  villa,  an  hour  from  Seville  "  (glockenspiel,  harp, 
violin  solo).  Here  follows  an  intimate,  passionate  love  scene.  The 
melody  of  clarinet  and  horn  is  repeated,  re-enforced  by  violin  and  'cellos. 
There  is  canonical  imitation  in  the  second  violins,  and  afterward  viola, 
violin,  and  oboes.  At  last  passion  ends  with  the  crash  of  a  powerful  chord 
in  E  minor.  There  is  a  faint  echo  of  the  Countess  theme ;  the  'cellos 
play  (senza  espressione)  the  theme  of  "  Longing."  S^on  enters  a 
"molto    vivace,"    and    the    Cavalier    theme    is    heard    slightly    changed. 


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Don  Juan  finds  another  victim.  Here  comes  the  episode  of  longest 
duration.      Mr.  Mauke  promptly  identifies  the  woman.      She  is  "  Anna." 

This  musical  episode  is  supposed  to  interpret  the  hero's  monologue. 
Dr.  Reimann  thinks  it  would  be  better  to  entitle  it  "  Princess  Isabella  and 
Don  Juan,"  a  scene  that  in  Lenau's  poem  answers  to  the  Donna  Anna 
scene  in  the  Da  Ponte-Mozart  opera.*  Here  the  hero  deplores  his  past 
life.  Would  that  he  were  worthy  to  woo  her  !  Anna  knows  his  evil  fame, 
but  struggles  vainly  against  his  fascination.  The  episode  begins  in  G  minor 
(violas  and  'cellos).  "  The  silence  of  night,  anxious  expectancy,  sighs  of  long- 
ing "  ;  then  with  the  entrance  of  G  major  (oboe  solo)  "  love's  bliss  and 
happiness  without  end."  The  love  song  of  the  oboe  is  twice  repeated, 
and  it  is  accompanied  in  the  'cellos  by  the  theme  in  the  preceding  passage 
in  minor.  The  clarinet  sings  the  song,  but  Don  Juan  is  already  restless. 
The  theme  of  "  Disgust "  is  heard,  and  he  rushes  from  Anna.  The  "  In- 
dividual Don  Juan  theme,  No.  2,"  is  heard  from  the  four  horns, — "Away! 
away  to  ever  new  victories." 

Till  the  end  the  mood  grows  wilder  and  wilder.  There  is  no  longer 
time  for  regret,  and  soon  there  will  be  no  time  for  longing.  It  is  the  Car- 
nival, and  Don  Juan  drinks  deep  of  wine  and  love.  His  two  themes  and 
the  themes  of  "Disgust"  and  the  "Carnival"  are  in  wild  chromatic  pro- 
gressions. The  glockenspiel  parodies  his  second  "Individual  Theme," 
which  was  only  a  moment  ago  so  energetically  proclaimed  by  the  horns. 
Surrounded  by  women,  overcome  by  wine,  he  rages  in  passion,  and  at  last 
falls  unconscious.  Organ-point.  Gradually  he  comes  to  his  senses.  The 
themes  of  the  apparitions,  rhythmically  disguised  as  in  fantastic  dress, 
pass  like  sleep-chasings  through  his  brain,  and  then  there  is  the  motive  of 
"  Disgust."  Some  find  in  the  next  episode  the  thought  of  the  cemetery 
with  Don  Juan's  reflections  and  his  invitation  to  the  Statue.     Here  the 

*  It  is  only  fair  to  Dr.  Reimann  to  say  that  lie  does  not  take  Mr.  Wilhelm  Mauke  too  seriously. 


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Address,  384  BOYLSTON  STREET. 

Testimonials  from   distinguished  men  and 
women  of  Boston. 


(151) 


jaded  man  finds  solace  in  bitter  reflection.     At  the  feast,  surrounded  by 
gay  company,  there  is  a  faint  awakening  of  longing,  but  he  exclaims :  — 

"The  fire  of  my  blood  has  now  burned  out." 

Then  comes  the  duel  with  the  death-scene.  The  theme  of  "Disgust" 
now  dominates.  There  is  a  tremendous  orchestral  crash  ;  there  is  long 
and  eloquent  silence.  A  pianissimo  chord  in  A  minor  is  cut  into  by  a 
piercingly  dissonant  trumpet  F,  and  then  is  there  a  last  sigh,  a  mourning 
dissonance  and  resolution  (trombones)  to  E  minor. 

"  Exhausted  is  the  fuel, 
And  on  the  hearth  the  cold  is  fiercely  cruel." 


Pamphlets  concerning  Richard  Strauss  and  his  music  :  "  Richard  Strauss," 
by  Gustav  Brecher  (Leipsic,  Hermann  Seeman  Nachfolger,  57  pp.); 
"  Strauss  contra  Wagner,"  by  Dr.  Erich  Urban  (Berlin  and  Leipzig, 
Schuster  &  Loeffler,  1902,  90  pp.);  "Also  sprach  Zarathustra :  eine 
Studie  iiber  die  moderne  Programsymphonie,"  by  Hans  Merian  (Leipsic, 
1900,  55  pp.)  ;  "Ein  Heldenleben,"  by  Rosch  and  Konig  (Leipsic,  Leuck- 
art) ;  "Don  Juan,"  by  Wilhelm  Mauke  (Leipsic,  Seemann,  17  pp.); 
"Also  sprach  Zarathustra,"  by  Arthur  Hahn  (Leipsic,  Seeman,  21  pp.); 
"  Tod  und  Verklarung,"  by  Wilhelm  Mauke  (Leipsic,  Seeman,  20  pp.); 
"Till  Eulenspiegels  lustige  Streiche,"  by  Wilhelm  Mauke  (Leipsic,  See- 
man, 19  pp.). 

The  Emperor's  March Richard  Wagner. 

(Born  at  Leipsic,  May  22,  1813  ;  died  at  Venice,  Feb.  13,  1883.) 
This  march  was  performed  in  public  and  under  the  direction  of  the 
composer,  at  a  concert  for  the  benefit  of  the  Konig-Wilhelm,  Berlin,  on 
May  5,  187 1.  Wagner  had  conducted  it  at  a  private  concert  in  Leipsic  a 
short  time  before.  Theodore  Thomas  brought  it  out  in  Boston  on  Dec. 
1,  1871. 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(1BJ) 


Wagner  tells  the  story  of  the  origin  of  this  march  in  "  What  is  Ger- 
man ?  "  (A  large  portion  of  the  article,  which  was  published  in  the  Bay- 
reuther  Blatter  of  February,  1878,  was  written  probably  as  early  as   1865.) 

"  We  who,  with  the  spirit  of  our  great  masters  at  heart,  witnessed  the 
physiognomic  bearing  of  our  death  defiant  landsmen  in  the  soldier's  coat, 
we  cordially  rejoiced  when  listening  to  the  '  Kutschkelied  '  and  deeply 
were  we  affected  by  the  '  Feste  Burg'  before  the  war  and  'Nun  danktt 
Alle  Gott '  when  it  was  over.  To  be  sure,  it  was  precisely  we  who  found 
it  hard  to  comprehend  how  the  deadly  courage  of  our  patriots  could  whet 
itself  on  nothing  better  than  the  '  Wacht  am  Rhein  '  ;  a  somewhat  mawkish 
Liedertafel  product,  which  the  Frenchmen  held  for  one  of  those  Rhine- 
wine  songs  at  which  they  earlier  had  made  so  merry.  But  no  matter, 
they  might  scoff  as  they  pleased,  even  their  '  Allons  enfants  de  la  patrie ' 
could  not  this  time  put  down  '  Lieb  Vaterland,  kannst  ruhig  sein  '  or  stop 
their  being  soundly  beaten.  When  our  victorious  troops  were  journeying 
home,  I  made  private  inquiries  in  Berlin  as  to  whether,  supposing  one  con- 
templated a  grand  solemnity  for  the  slain  in  battle,  I  should  be  permitted 
to  compose  a  piece  of  music  for  performance  thereat,  and  to  be  dedicated 
to  the  sublime  event.  The  answer  was :  Upon  so  joyful  a  return,  one 
wished  to  make  no  special  arrangements  for  painful  impressions.  Still, 
beneath  the  rose,  I  suggested  another  music-piece  to  accompany  the 
entry  of  the  troops,  at  the  close  of  which,  mayhap  at  the  march  past  the 
victorious  Monarch,  the  singing-corps,  so  well  supported  in  the  Prussian 
army,  should  join  in  with  a  national  song.  No!  that  would  have  neces- 
sitated serious  alterations  in  arrangements  settled  long  before,  and  I  was 
counselled  not  to  make  the  proposal.  My  Kaisermarsch  I  arranged  for 
the  concert-room  ;  there  may  it  fit  as  best  it  can  !  In  any  case,  I  ought 
not  to  have  expected  the  '  German  spirit,'  new-risen  on  the  field  of  battle, 
to  trouble  itself  with  the  musical  fancies  of  a  presumably  conceited  opera- 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COHPANY,    -    BOSTON 

(153) 


composer."     (Richard    Wagner's    "  Prose   Works,"    translated  by  W.    A. 
Ellis,   IV.   pp.    167,   168.) 

The  march  is  scored  for  piccolo,  2  flutes,  3  oboes,  3  clarinets,  4  horns, 
3  bassoons,  3  trumpets,  3  trombones,  bass  tuba,  a  set  of  3  kettle-drums, 
cymbals,  military  drum,  big  drum,  and  strings.  At  the  return  of  the 
theme  in  the  finale  Wagner  wrote  a  part  for  a  chorus  in  unison  :  — 

Ileil  dem  Kaiser !  Konig  Wilhelm  ! 
Aller  Deutschen  Hort  unci  Freiheitswehr  ! 

Hochste  der  Kronen, 
vvie  ziert  dein  Haupt  sie  hehr! 

Ruhmreich  gewonnen 
soil  Frieden  dir  lohnen  ! 
Der  neuergriinten  Eiche  gleich, 
erstand  durch  dich  das  deutsche  Reich  : 

Heil  seinen  Ahnen, 
seinen  Fahnen, 

die  dich  fiihrten,  die  wir  trugen, 
als  mit  dir  wir  Frankreich  schlugen ! 

Feind  zum  Trutz, 

Freund  zum  Schutz, 
allem  Volk  das  deutsche  Reich  zu  Ileil  und  Nutzl 

which  has  been  Englished  by  Mr.  Apthorp  as  follows  :  — 

Hail  to  the  Emperor!  King  William!  The  treasure  and  liberty-guardian  of  all  Ger- 
mans !  How  brightly  does  the  loftiest  of  crowns  adorn  thy  head!  Gloriously  won  peace 
shall  be  thy  reward  !  Like  to  the  freshly  greening  oak-tree,  did  the  German  Empire 
come  into  being  through  thee:  Hail  to  its  forbears,  to  its  banners,  who  led  thee,  which 
we  bore,  when  we,  with  thee,  struck  down  France  !  A  terror  to  our  enemies,  a  guardian 
to  our  friends,  the  German  Empire  is  safety  and  prosperity  to  the  whole  people! 


w 


E    beg   to   announce  that   we   are    now    New    England 
Agents   for   the   well-known    .-.     .-.     .-.     .-.     .*.     .\     .\ 


The  A.  B.  Chase  Piano  Co.  for  many  years  have  maintained 
the  highest  standard  in  workmanship  on  their  piano,  and  to- 
day it  is  universally  recognized  as  the  most  artistic  and  purest 
toned  instrument  manufactured  in  this  country.  Perfection 
has  been  their  motto,  and  it  is  with  great  pleasure  we  make 
this  brief  announcement,  realizing  that  there  is  always  room 
for  the  best. 

We  cordially  invite  the  public  to  call  and  inspect  the 
A.   B.  Chase  Grand  and  Upright  Pianos  at  our  Warerooms. 


'W/K/tfe/^i 


vs/ty/ 


120-122 

Boylston  St. 


(1MJ 


Veuve  Ghaffard 

PURE 

OLIVE   OIL 

In  honest  bottles. 


PRICE   LIST  SENT  ON   APPLICATION. 

S.  PIERCE  CO. 


Established  1831. 


IMPORTERS  and  GROCERS,  - 


ncorporated  1894. 


Tremont  and  Beacon  Sts.  i 
Copley  Square  > 

185  nilk  St.  (Wholesale)) 


BOSTON 


Coolidge's  Corner,  BROOKLINE 

(156) 


We  are  now  displaying  our  Complete  Line  of 

AUTUMN    GLOVES. 

The  styles  and   colors  have  never  been  more 
attractive,  and  the  range  of  prices,  from 

$1.00  to  $2.00, 

Will  meet  the  demand  of  all  wearers  of  gloves. 


Miss  M.  F.  FISK,  144  Tremont  St. 


NEW    SONGS 


The  Angels'  Songs.    Three  keys 

H.  R.  Shelley,  $0.60 


Forget  me  not 


Manuel  Klein,      .50 


If  1  were  a  King.    Low  voice 

F.  H.  Clifford,      .60 

The  Eternal  City.    Sacred 

W.  B.  Fairchikl,  .00 

Fair  Roses      ...         M.  M.  Osgood,  .40 

Swing  High  and  Swing  Low,    R.  Stevens,  .30 
City  of  Heavenly  Light.    Sacred 

E.  F.  Favor,  .60 

Elaine.    Two  keys       .         H.  N.  Bartlett,     .60 
The  Bell  Buoy.    Low  voice,       F.  Boott,         .50 

C.  W.  THOHPSON  &  CO., 

Music    Publishers,   13   West  St. 


Foreign  Books, 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES   &  SCHOENHOF, 

128  Tremont  St.,  2d  door  north  of  Winter  St., 

over  Wood's  Jewelry  Store.     (Tel.,  Oxford  1008  &  i 

rille.  CAROLINE 

Invites  you  to  inspect  her  foreign  selection 
of 

Hats  and   Bonnets, 

Together  with  her  own  designs.    The  prices 
are  very  reasonable. 

486  Boylston  Street,  Boston. 

In  block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298    Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(166, 


This  chorus  is  hardly  ever  sung,  for  the  march  is  complete  without  it. 
It  was  not  Wagner's  intention  to  have  a  chorus  on  the  stage :  he  wished 
the  singers  to  be  distributed  among  the  audience. 

The  first  theme  of  the  march  is  proclaimed  by  the  full  orchestra.  Then 
follows  a  passage  of  "  grand  orchestral  noise."  There  is  a  repetition  of 
the  second  phrase  of  the  theme  amid  the  din,  and  after  a  hold  the  second 
theme  enters.  Four  measures  of  this  theme  are  occupied  with  a  sort  of 
"bell-tolling"  of  brass  instruments  and  kettle-drums.  A  melody  given  to 
the  wood-wind  leads  to  the  first  phrase  of  "  Ein'  feste  Burg,"  sung  in  full 
harmony  and  fortissimo  by  all  the  wind  instruments.  The  working-out 
section  is  full  of  the  storm  and  shock  of  battle.  The  brass  at  last  shouts 
the  choral,  for  the  victory  is  won.  A  fanfare  leads  to  the  final  return  of 
the  theme. 


#   # 


The  Emperor  William  paid  the  scantiest  attention  to  this  tribute  of 
Wagner,  and  the  critics  wrangled  over  the  march.  Jensen,  the  composer  of 
songs,  wrote  that  the  Huldigungsmarsch,  "  tender  and  full  of  devotion, 
looks  ever  inward,  while  the  Kaisermarsch  presses  with  imposing  force 
ever  outward,  like  the  magnetic  mountain  which  draws  everything  in  its 
range  to  itself." 

When  the  march  was  played  at  Mannheim,  Pohl  prepared  this  table  of 
contents  :  "  Encased  in  a  coat  of  mail,  prepared  for  battle,  the  Emperor 
marches  past  with  his  renowned  generals ;  the  people  crowd  about  him 
enthusiastically,  the  swords  glitter ;  '  A  stronghold  sure  is  our  Lord ' 
(Luther's  Choral)  is  the  battle-cry,  which  rises  above  all  the  din  of  battle  ; 
and  in  the  folk-song,  '  Hail,  hail  the  Kaiser,'  the  song  of  triumph  reaches 
its  climax.     This  is  genuine  German  music." 

On  the  other  hand,  a  Munich  colleague  characterized  the  march  as  "  a 
piece  of  such  barbaric  rudeness,  such  impotence  in  invention,  such  shame- 
less impudence  in  the  use  of  all  conceivable  noises,  that  its  name  appears 
to  us  a  blasphemy,  its  performance  before  a  civilized  public  a  coarse  in- 
sult." And  Heinrich  Dorn,  the  teacher  of  Schumann,  did  not  hesitate  to 
describe  the  "barbaric  vulgarity"  of  the  march  as  "an  insult  against  the 
august  majesty  of  the  German  Emperor." 


H0lJT  a"^LTEPA 

COCOA  -o  CHOCOLATE 


GROCERS      EVERYWHERE. 


(157) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas      All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston^ 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

<16K| 

Newport 

Fourth  Rehearsal  and  Concert* 


FRIDAY   AFTERNOON,  NOVEMBER   J  4,  at  2.30  o'clock. 

SATURDAY  EVENING,  NOVEMBER   J5,  at  8.00  o'clock. 


PROGRAMME. 


Rimsky-Korsakoff        .        .         .        .  "  La  Fiancee  do  Tzar " 

(First  time.)  Lu^Jl>-3 

Brahms  ........    Concerto  for  Violin 

Bizet Suite,  "  L'Arlesienne,"  No.  \ 

Beethoven Symphony  No.  4 


SOLOIST : 
Miss  MAUD  MacCARTHY. 


U») 


CHAMBER    CONCERT 

BY   THE 

Dannreuther  String  Quartette 

(Of  New  York),  assisted  by 

Mr.  HEINRICH    GEBHARD,  Pianist 

Tuesday  afternoon,  November  4,  at  3,  in  STEINERT  HALL 

v  /  PR0GRAH 

I.    DVORAK Quartette,  Op.  90,  in  F  major 

II.    C.  HUBERT  H.  PARRY  ....     Partita  in  D  minor,  for  Violin  and  Pianoforte 

III.    BRAHMS     .     Quartette,  Op.  26,  in  A  major,  for  Pianoforte,  Violin,  Violu,  and  Violoncello 

Tickets  are  now  on  sale  at  the  hall  The  Steinertonk  will  be  used 

Pianoforte    Recital 

BY 

FREDERIC     LAMOND 

SATURDAY  AFTERNOON 
NOVEMBER   8    AT    3 

STEINERT   HALL 

PROGRAM 

i.     a.  Variations  on  a  theme  of  Paganini  (2  parts),  Op.  35  ...  Brahms 

b.   Sonata,  E-flat  major,  Op.  31,  No.  3     ......         .      Beethoven  / 

2.  a.  Erlkonig Schubert-Liszt 

b.  Nocturne,  C  moll,  Op.  48  \  ..,  , 

c.  Polonaise,  A-flat,  Op.  53    \  P 

3.  Fantaisie,  Op.  17        .........  Schumann' 

4.  <i.   Soiree  de  Vienne  .........       Schubert-Liszt 

b.  Barcarolle  ...........      Rubinstein 

c.  Don  Juan  Fantaisie     ........         ...       Liszt 

THE    MASON  &  HAMLIN  PIANOFORTE 
Ticket,  $1.00  and  $1.50.     For  sale  at  the  hall 

Mr.  George  Devoll,Tenor, 

iVAr.  Edwin  Isham,  Baritone, 

Assisted  by  Mrs.  J.  EMORY  TIPPETT,  announce  TWO  VOCAL 
RECITALS  at  STEINERT  HALL,  on  Monday  afternoon,  November 
10,  and  Tuesday  afternoon,  November  18,  at  three  o'clock. 

Ticket-*,  with  reserved  seats,  for  both  recitals,  $2.^0.     Single  tick<  t>.  »si  .50,  S'-oo,  and 
50  cents,  for  sale  at  the  hall. 

i(160) 


^T^IIVE^RT    HAXvXv 


Mr.  George  W.  Stewart 

Begs  to  announce  that  he  has  arranged  a  course  of 

Five   Concerts   by  a  Small   Orchestra 
To  be  given  in  STEINERT     HALL 

on  the  following  five  Saturday  evenings: 
November  8,  December  13,  1902,  January  17,  February  21,  March  21,  1903. 

These  eminent  soloists  will  assist: 
Miss  Anita  Rio,  RopraDo  Miss  Rose  Stewart,  Soprano      Mr.  H.  Evan  Williams,  Tenor 

Mr.  Frederic  Lamond,  Pianist  Mr.  Francis  Roceks,  Baritone    Miss  Jessie  Davis,  Pianist 

And  others 

Tickets  for  the  best  seats  may  be  subscribed  for  at  $5.00  for  the  series.     Single  tickets,  $1.00  arH  $1.50. 
Orders,  with  check  made  payable  to  George  W.  Stewart,  may  be  sent  to  Steinbrt  Hall,  162  Boylston 
Street,  Boston,  and  will  receive  prompt  attention,  as  will  also  orders  by  telephone  (Oxford  1330). 


Mme. 

HELEN  HOPEKIRK 

Will  give,  in  the  course  of  the  season,  Three 
Recitals,  on  Saturday  Afternoons, —  the  first  on 
13th  December,  at  3  o'clock,  in  Steinert   Hall. 

Works  by  Bach,-  Beethoven,  Brahms,  Chopin, 
Couperin,  D'Indy,  Debussy,  Faure,  Liszt, 
MacDowell,  Percy  Pitt,  Schumann,  Sinding, 
StcherbatchefT,    Tschaikowsky,    and    others. 

Parterre,  one  dollar ;  Balcony,  fifty  cents. 
All    seats    reserved. 

Management  of  %  Nelfrman,  Steinert  Hall,  Boston, 


A  Dramatic  Recital 

BY 

KATHERINE  JEWELL   EVERTS 


"MY  LADY'S  RING" 

A  Comedy  by  ALICE  BROWN 

STEINERT  WEDNESDAY   EVENING, 

HALL  November  12,  at  8 

TICKETS  AND  CIRCULARS  AT  THE  HALL 

(161) 


CHICKERING  HALL.  TUGNO. 

Saturday  afternoon,  November  I,  at  2.30. 
R  A  O  U  L 

PUGNO 

PIANO  RECITAL. 

MANAGEMENT,  HENRY  WOLFSOHN. 

Seats,  $1  and  $1.50. 
Ticket  sale  begins  at  Chickering  Hall,  Friday,  October  24. 

THE  BALDWIN  PIANO  USED. 

CHICKERING     HALL 

MR.  HENRY  LAWRENCE  SOUTHWICK  an- 
nounces his  third  annual  course  of  interpretative 
recitals,  to  be  presented  in  Chickering  Hall,  239  Hunt- 
ington Avenue,  on  Friday  evenings,  beginning  Friday, 
November  seventh,  at  eight  o'clock.  The  series  this  year 
will  be  devoted  to  Shakespeare's  English  Historical  Plays. 

Programme. 

November  7 Mrs.  JESSIE  ELDRIDGE  SOUTHWICK 

King  John 

November  14 Mr.   HOWARD  MALCOLM  TICKNOR 

Richard  II. 

November  21 .     Mr.  WALTER  BRADLEY  TRIPP 

Henry  IV.,  Part  1 

November  28 Mr.  GEORGE  RIDDLE 

Henry  V. 
Decembers Mr.  HENRY  LAWRENCE  SOUTHWICK 

Richard  III. 
Decembers Miss  KATHARINE  OLIVER 

Henry  VIII. 

1  ii  kets  for  the  coarse,  five  dollars  and  four  dollars.     On  sale  at  Chickering  Hall. 
Advance  orders  for  course  tickets  may  be  sent  to  Mr.  Walter  B.  Tripp,  230  Hunt- 
ington Avenue,  Boston.      A.dvam  e  sale  begins  Tuesday,  October  21. 

(162) 


Carl    Faelten's 

SECOND    PIANOFORTE    RECITAL, 
Wednesday  Evening,  November    12,    1902,  at  8   o'clock. 

No  foreign  artist  faho  visited  Boston  the  past  fainter  played  faith  a. 
clearer  technique  or  faith  more  authority,  dignity,  and  repose. 

—  R.  R.  G.,  in  the  "  Transcript." 

Huntington         His  interpetations  of  this  great  genius's  (Beethoven)  <ruork  are  rather 

Chambers        regarded  as  the  standard  by  which  other  performers  are  judged  than 

Hall.  as  affording  any  opportunity  for  fahat  is  generally  understood  as 

detailed  criticism.  —  H.  G.  Hopper,  in  the  "  Times." 

TICKETS,  $1.00.   ,*     &    J*    J*    For  sale  at  the  School,  30  Huntington  Avenue. 


Signor  AUGUSTO   ROTOLI, 
.  ..Vocal   I  nstruction .. 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Mr.  HANS  SCHNEIDER 

Begs  to  announce    a   course    of   ten 
Lecture  Lessons  in  the  study  of  the 

WAGNERIAN  DRAMA 

on  November  n  and  following  Tuesdays,  at  12  o'clock,  at  the  rooms  of 
the  Copley  Square  School  of  Music. 

For  terms,  etc.,  apply  at  the  Copley  Square  School  of  Music  or  at  Mr.  Hans  Schneider's 
studio,  Huntington  Chambers,  503,  Tuesdays  from  2  to  5. 

Circulars  mailed  upon  application. 
(163) 


NEW  ENGLAND 


CONSERVATORY   OF  MUSIC, 

GEORGE   W.   CHADWICK,    Director. 

HUNTINGTON  AVE.,  BOSTON,  one  block  from  Symphony  Hall. 

The  Magnificent  New  Building  contains: 

Seventy  Recitation  Rooms,  Thirteen  Pipe  Organs,  Library,  Music 
Store,  Reception  Halls,  Gymnasium,  Students'  Club  Room, 
Concert  Hail  (Jordan  Hall)  seating  nearly  1,200,  Recital  Hall 
seating  over  400.    J*     &     J*     J*    J*    &     jH 

THE    FACULTY 


George  W.  Chadwick,  M. A.,  Director 

James  C.  D.  Parker,  Class  Inspector  and  Superintendent  of  Examinations 


Carl  Baermann 
David  S.  Blanpied 
Charles  F.  Dennee 
Alfred  De  Voto 
Edward  D.  Hale 
J.  Albert  Jeffery 


PIANOFORTE 
Edwin  Klahre 
Frederick  F.  Lincoln 
F.  Addison  Porter 
George  W.  Proctor 
Harry  N.  Redman 
William  E.  Sackett 
Carl  Stasny 


H.  S.  Wilder 

Mme.  Antoinette  Szumow- 

ska-Adamowski 
Estelle  T.  Andrews 
Lucy  Dean 
Anna  M.  Stovall 


ORGAN 


Henry  M.  Dunham 


Wallace  Goodrich 


VOICE-CULTURE    AND    ART    OF    SINGING 


Louis  Black 
William  H.  Dunham 
Armand  Fortin 
Georg  Henschel 
Augusto  Rotoli 


Clarence  B.  Shirley 
Charles  A.  White 
William  L.  Whitney 
Etta  A.  Burgess 
Edith  Castle 


Alena  G.  Emerson 
Clara  Tourjee  Nelson 
Mrs.  Henry  M.  Rogers 
Pauline  Woltmann 


Sig.  Oreste  Bimboni 


Elsa  Bimboni 


Sig.  Marco  Piacenti 
Camille  Thurwanger 


SCHOOL   OF   OPERA 
Mrs.  Erving  Winslow 
Mrs.  Lilla  Viles  Wyman 

LANGUAGES 
Georg  Van  Wieren 

STRINGED    INSTRUMENTS 
Josef   Adamowski,  Violon-       Max    O.    Kunze,    Double-       Felix  Winternitz,  Violin 

cello  bass 

Eugene  Gruenberg,  Violin       Emil     Mahr,     Violin     and 

and  Viola  Viola 

WIND    AND    OTHER    INSTRUMENTS 
Arthur  Brooke,  Flute  L.   Kloepfel,  Trumpet  and       Heinrich  Schuecker,   Harp 

Joseph  B.  Claus,  Flute  and  Cornet  E.  Spitzer,  Oboe 

Band  Instruments  D.  II.  Moore,  Trombone  E.  Strasser,  Clarinet 

F.  Schormann,  French  I  lorn 


THEORY 
Louis  C.   Elson 


SIGHT    READING. 
Samuel  W.  Cole  Eustace  B.  Rice 


George  W.  Chadwick 


COMPOSITION 
Benjamin  Cutter 
Harry  N.  Redman  Wallace  Goodrich 

DEPARTMENT    OF   LITERATURE,   EXPRESSION,   AND 
INTERPRETATION 
E.  Charlton   Black,  LL.D.  Agnes    Knox    Black    (Mrs.       Gertrude  I.  McQuesten 

Maude  Elizabeth  Masson  E.  Charlton  Black)  Elizabeth  I.  Samuel 

(164) 


Hyperion  Theatre,  New  Haven 

FRIDAY  EVENING,  NOVEMBER 

TWENTY-FIRST,  NINETEEN 

HUNDRED  and  TWO,  at  EIGHT 

O'CLOCK 

THE  NIGHT   BEFORE    THE   FOOT-BALL    GAME 

AT  NEW  HAVEN 

THIRD     JOINT     CONCERT 

by  the  Glee,  Mandolin,  and  Banjo 

Clubs  of 

Yale  and  Harvard 
Universities 


Orders  by  mail,  accompanied  by  cheque  made  payable  to 
F.  R.  COMEE,  and  addressed  to  Symphony  Hall,  Boston, 
will    be    filled    in    the    order   of   their   reception,    and    seats 

will  be  assigned   as   near    the    desired   location   as  possible. 

— - 

TicKets,  $1  and  $1.50. 

(165) 


CHICKERING   HALL    Huntington  Avenue 

The  Principals  of  Chauncy-Hall  School  announce,  in  honor  of  the  seventy- 
fifth   year   of    the  school's  existence,  a  Course    of    Four    Readings  by 

Mr.  GEORGE  RIDDLE 

(CLASS      F   "70) 

ON    THE    FOLLOWING    DATES 

TUESDAY  EVENINO,  NOVEHBER  4,  at  8  o'clock  "OTHELLO'' 

SATURDAY  AFTERNOON,  NOVEMBER  8,  at  2.30  o'clock.      Selections  from  American  Poets 

TUESDAY  EVENINO,  NOVEHBER  11,  at  8  o'clock "KINO  LEAR" 

SATURDAY  AFTERNOON,  NOVEHBER  IS,  at  2.30  o'clock, 

TENNYSON'S  "  ENOCH  ARDEN,"  with  Strauss  music  played  by  Mr.  B.  J.  Lang: 

POPULAR  PRICES. —  In  order  to  bring  these  readings  within  the  reach  of  all  lovers  of  good  literature, 

the  following  scale  of  prices  has  been  adopted : 

COURSE  TICKETS,  $i.oo.        TICKETS    FOR    THE    TWO   EVENING    OR 

TWO    MATINEE    READINGS,  75  CENTS.      SINGLE  TICKETS,  50  CENTS 

ALL  SEATS  RESERVED  Box  Office,  Chickering  Hall.    Opens  October  28 

SYMPHONY    SEATS 

For   SEASON,  SINGLE,  REHEAR0srA&NCERT, 


$|K-00  *»»  $1.00 

|\J  UPWARD. 


AND 

UPWARD. 


CONNELLY'S  Ticket  Office,  Adams  House. 

'Phone,    Oxford   942. 

CHICKERIINQ    HALL 

Zbe  St  Botolpb  Concert  Company 

ELSA  HEINDL,  Soprano  KARL  ONDRICEK,  Violin 

ALFRED  DE  VOTO,  Piano 

Zbe  strongest  and  most  brilliant  concert  company  in 

View  England 

For  dates,  terms,  and  all  particulars  address  at  once 

HEARD  &    WILLIAMS,  Chickering  Hall,  Boston 

239   Huntington   Hall  Telephone,  1670  Back  Bay 

Mrs.   W.    L.    STOVALL 

TEA-OHETR     OF     MUSrC. 

DISTINCTIVE  FEATURES  :  The  study  of  MUSIC  as  LITERATURE.  The 
Synthetic  and  Analytic  study  of  MUSICAL  FORM.  APPLIED  HARMONY.  EAR 
TRAINING,  including  Musical  Dictation  and  Sight  Singing,  looking  toward  the  ideal, 
—  the  ability  to  hear  mentally  the  printed  page. 

Pianoforte    Instruction 

The  plan  and  scope  of  the  work  will  be  explained  at  the  studio,  or  by  descriptive 
■natter  sent  on  application. 

STUDIO,    IITJNTTlNrGTOlV    CHAMHER8 

(JOG) 


SYHPHONY    HALL 

Friday  Afternoon,  November  7 


At  2.30  o'clock 


SONG       HEOIT^L 

HAD AH  E 

— SEMBRICH — 


Direction,  C.  L.  GRAFF  CO. 


PROGRAMME 
French,  German,  Italian,  and  English  Airs  and  Songs 

PART  I. 

a.  Aria  from  "  Iphigenie  en  Tauride  "... 

b.  Air  from  "  Joshua  "...... 

c.  Aria  from  "  La  Serva  Padrona  "    . 

d.  Chanson  du  Papillon  from  "  Les  Fetes  Venetiennes  " 

e.  Air  from  "  Der  Streit  zwischen  Phobus  und  Pan  " 

f.  Song,  "  Neue  Liebe,  neue  Leben" 

PART  II. 

Classical  German  Lieder. 


"  Friihlingstraum  "  ... 

•'  Die  bose  Farbe  "... 

"  Nussbaum  "  .... 

"  Friihlingsnacht "  . 

"  Die  Mutter  an  der  Wiege  " 

"  Immer  leiser  wird  mein  Schlummer  " 

"  Dort  in  denWeiden  " 


Gluck 

Handel  "SrT5»l^ 

Pergolese  '£4?  C 

Campra      "X.~\  f\  t 

Bach  koHo  .  -a. 

Beethoven         u*",3^1 


Schubert 

Schubert 

Schumann 

Schumann 

Lowe  K. 

Brahms 

Brahms 


PART  III. 


b.  " 

c.  " 

d.  " 

e.  " 

f.  " 

g-  " 

h.  " 


Modern  Songs  in  various  languages. 

Heimweh  " Hugo  Wolf  & 

Der  Gartner "... Hugo  Wolf    J 

Ich  trage  meine  Minne  "........         Richard  Strauss 

Ob  heller  Tag"  (Russian)    ........  Tschaikowsky  * 

Pastorale "  (French) Bizet  «_— 

Verborgene  Liebe  "..........  Grieg 

Zickeltanz " .  Grieg  s^ 

In  der  Rosenlaube "... Bungert.v 

Fallih  !  Fallah  !  "  (English) Van  der  Stucken  *s 

At  the  piano,  Mr.  Rubin  Goldmark. 


Tickets  jJSi.oo,  $  1.50,  and  $2.00.     Mailorders  now  being  received. 

L.  H.  MUDGETT,  Manager. 
BALDWIN  PIANO  USED. 
(167) 


BOXES 


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BOSTON    MUSIC    HALL 


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1*9 


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2° 


3  104  i°5  i°fc  ml  i°8i0<) 


SECOND     BA  L  CON  Y 


°-$2  00- 


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BOSTON   MUSIC  HALL 


MASCAGNI 

GRAND    ITALIAN   OPERA 

FOUR    PERFORMANCES 

Monday  evening,  November  3 

Cavalleria  Rusticana 

^T^HjAff/t    First  performance  in  Boston 
£t<lllvllV    of  this  lovely  work 

Tuesday  evening,  November  4 

Tt*IC    ^e  daintiest  and  most  fascinating  of 
lv  Japanese  operas.     First  time  in  Boston 

Wednesday  cMatinee,  November  5 

£avalleria  Rusticana 

and  ZaiteitO 

Wednesday  evening,  November  5 

Production   0-*f  Aliff  A  -First   time 
of       .  |\alVllllV  in  America 

Popular  prices,  $1.00,  $2.00,  $3.00.    A  few  choice  seats  at  $5.00  each. 
General  admission,  $1.50.  Now  on  sale  at  Music  Hall. 

WEBER   PIANO  USED. 

Management,  Mittenthal  Bros,  and  S.  Kronberg,  Knickerbocker  Theatre 

Building,  New  York. 

Local  Management,  Richard  Heard,  Chickering  Hall,  Boston. 

REMEMBER    THE     DATES     AND     PLACE 
BOSTON    MUSIC    HALL. 

'169) 


Creatore   is   Coming'  ! 

SYMPHONY    HALL,    BOSTON 

ONE       Commencing  XJfNWIT  X/f  T»  IT  1>        Q 

WEEK       Monday  Night        IN  KJ  V  JC^  JFl  13 ML, M\.       l3 

PRICES.    50c,     75c,     $1.00. 

Matinees,  Tuesday,   Wednesday,  Thursday,  and    Saturday,  25c,  50c,  and  75c 
Seats  on  sale  at  Box  Office,  commencing  Wednesday,  October  29,  at  8.30  A.  M. 


The  Wonderful  Musician  and 
Sensational    Leader 

CREATORE 

iT.  Italian  Band 


DIRECT    FROM 

100  Nights  on  Broadway 

Where  he  set  New  York  music- 
mad,  was  the  talk  of  the  town 
land  a  craze  all  summer 


In  presenting  the  great  and  justly  famous 
CREATORE,  the  undersigned  feel  confident  that 
every  patron  of  these  concerts  will  be  delighted  and 
more  than  satisfied.  The  intense  artistic  tempera- 
ment and  personal  magnetism  of  this  leader  dominate 
every  concert,  and  in  this  respect  he  is  simply  with- 
out precedent  and  beyond  compare.  Not  alone  by 
our  assertions,  but  by  the  declarations  of  all  others 
of  experience  who  have  seen  CREATORE,  both 
from  a  musical  and  theatrical  standpoint,  the  inter- 
esting personality  of  the  leader  and  the  excellence 
of  his  great  band,  as  well  as  the  popular  success  of 
his  concerts,  stand  unparalleled. 

HOWARD     PEW, 
FRANK    GERTH, 

Managers,  12 J  West  42d  Street,  New  York. 

(170) 


CHICRERING      HALL, 

Miss     HELEN 

HENSCHEL 

Will  give  a  VOCAL  RECITAL  on  Tuesday  afternoon,  Novem- 
ber II,  at  three,  assisted  by  Miss  WINIFRED  SMITH,  Solo 
Violin.     Miss  LAIRA  HAWKINS  at  the  Piano. 

Tickets,  $1.50  and  $1.00,  on  sale  at  Symphony  Hall  on  and  after  Friday,  October  31. 


PROQRAHriE. 

a.  Recitative  and  Aria  from  Jephthah      Handel        Adagio  and  Finale  from  Concerto  for  Two 

b.  Song,  "  Kennst  du  das  Land "        Beethoven  Violins  J.S.Bach 

c.  Song,  "  Rastlose  Liebe  "  Schubert  Miss  Hhnschbl  and  Miss  Smith 

Miss  Helen  Henschbl  FiVB  Traditional   Songs  of  England,  Scotland, 

Italy,  and  France 


Violin 

Songs: 
a.  ' 

Solo.     Adagio   from   Concerto 
in  D  minor 
Miss  Winifred  Smith 

*  Das  Veilchen  " 

No.  2, 
Max  Bruch 

Mozart 

Violin 

Solo 

Miss  Helen  Henschel 

s.     a.   "  Berceuse  " 

b.  "  Valse  Espagnole  " 
Miss  Winifred  Smith 

Faure 
Centola 

b.  ' 

'  Volksliedchen  " 

Schumann 

Songs. 

a.  " 

;  Les  Roses  d'Ispahan  " 

Faure 

c.  ' 

'  Der  Liebsten  Schwur  " 

Brahms 

b.  *' 

1  Ouvre  tes  Yeux  Bleus  " 

Massenet 

d.  ' 

e.  ' 

'  Donald  Blair  "  (new) 
'  Tausendschoen  " 

Miss  Helen  Henschel 

Henschel 
Henschel 

Aria. 

c.  ' 

'  Non,  je  ne  Veux  pas  Chanter 
(from  Le  Billet  de  Loterie) 
Miss  Helen  Henschel 

!  " 
Isouard 

f.  ADDISON  PORTER, 

PIANOFORTE    INSTRUCTOR. 
Address,  Steinert  Hall,  162  Boylston  Street, 

or 

New  England  Conservatory  of  Music, 
Boston,  Mass. 

THE   LONGY   CLUB 

A.  Maquarre,  Flute  A.  Hackebarth,  Horn 

P.  Metzger,  Clarinet  H.  Gebhardt,  Piano 

A.  Debuchv,  Bassoon  O.  LONQY,  Oboe 

Begs  to  announce  that  its  regular  Chamber  Music  Concerts  will  be 
given  at  CHICKERING  HALL,  Huntington  Avenue,  on  the  fol- 
lowing Monday  evenings,  at  8 : 

NOVEMBER  24.     JANUARY  5.       THURSDAY,  MARCH  5. 
Prices  of  subscription  for  the  three  evening  concerts        .       $4.00 

Tickets  for  single  concerts 1.50 

Last  season's  subscribers  will  have  the  privilege  of  securing  the  same  seats  as  last  sea- 
son, if  they  will  apply  to  Mr.  J.  Sauerquell,  Symphony  Hall,  before  November  15. 
General  subscription  sale  opens  at  Symphony  Hall  box  office  November  17  at  8.30  a.m. 

(171) 


The  Choral  Art  Society 

OF    BOSTON. 

Mr.  WALLACE  GOODRICH,  Conductor. 

DIRECTORS. 

Dr.  William    Sturgis  Bigelow,   Mr.  Samuel  Carr,  Mr.  Charles  P.  Gardiner, 

Mr.  Henry  L.  Higginson,  Mr.  Eben   D.  Jordan,  Mr.  S.  Lothrop 

Thorndike,  the   Rt.   Rev.    William  Lawrence,   D.D. 

Secretary,  Mr.  Charles  G.  Saunders.  Treasurer,    Mr.    Herbert   Lyman. 


Chorus  of  Forty  Professional  Singers. 

SECOND    SEASON. 

First  Program  to  be  rendered  in  Trinity  Church, 

FRIDAY  EVENING,   DECEMBER    19. 

Motet  for  double  chorus,  Hodie  Christus  natus  est  .  .  .  Palestrina 

Es  ist  ein'  Ros'  entsprungen  ......  Praetorius 

Adoramus  Te     ..........         Corsi 

Christmas  Song  (6  parts)        ........    Calvisius 

O  Magnum  Mysterium         ........     Vittoria 

m        /-ii        1         (  Brich  an,  O  schoenes  Morgenlicht  )  T    c    r> 

Two  Chorals,      1  ,XT  ^  }■     .  J.  S.  Bach 

(  WeR  NUR  DEN  LIEBEN  CjOTT  laesst  walten  )  J 

Jam  Sol  recedit.     Unaccompanied  chorus  from  "  St.  Christopher,"   H.  W.  Parker 

Psalm  137,  "  By  the  Rivers  of  Babylon  "  .  .  .  .   C.  M.  Loeffler 

For  women's  chorus,  two  flutes,  solo  violoncello,  harp,  and  organ. 

Solo  violoncello,  Mr.  Schroeder. 

Mass  for  two  choirs  and  two  organs  .....   Ch.  M.  Widor 

Assisting,  a  special  chorus  of  thirty  bass  voices. 


For  the  first  evening  no  single  tickets  will  be  sold. 

The  second  program  will  be  presented  in  March  or  April. 

Associate  Membership,  $25.00,  entitling  the  subscriber  to  six  tickets  for  each  even- 
ing and  for  the  final  rehearsal  prior  to  each. 

Subscription    Membership,  $6.00,  entitling   the  subscriber   to  two  tickets  for  each 
evening. 

Subscriptions  should  be  sent  to 

CHARLES    G.  SAUNDERS,   Secretary, 

95  Milk  Street,  BOSTON,  MASS. 
(172) 


The  KneLsel  Quartet 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALWIN    SCHROEDER,  Violoncello 


Eighteenth  Season,  1902=1903 

EIGHT  CONCERTS 

In  Chickering  Hall,  Huntington  Avenue,  Honday 
evenings,  at  eight  o'clock 


October  27,  November  17,  December  1,  December  29,  January  26, 
February  9,  March  9,  April  6 


ASSISTING    ARTISTS 

Hiss  Helen  Henschel,  firs.  Szumowska=Adamowski,  Hrs.  Thomas  Tapper, 
Hr.  Ossip  Gabrilowitsch,  Hr.  flare  Hambourg,  fir.  Frederic  Lamond, 
rir.  August  Spanuth,  and  members  of  the  Boston  Symphony  Orchestra 

MUSICAL    INSTRUCTION. 

VOCAL  INSTRUCTION  and 

Miss  HARRIET  S.  WHITTIER,     "£££?£-. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 

Concert  and  Oratorio. 
MiSS  GERTRUDE  EDMANDS,  Vocal  Instruction. 

No.  160  Boylston  Street,  Room  7. 

Specialist  in  the  Science  of 

Mr.  CHARLES  B.  STEVENS,  *"  J*""- **!** 

'  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 
PIERCE  BUILDING, 

Mrs.  ANNE  GILBRETH  CROSS,      copley  square, 

TEACHER  OF  THE  PIANOFORTE. 

BOSTON. 

(173) 


Miss  ANNA  MILLER  WOOD, 

J1EZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and   Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 

AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Miss  SUZA  DOANE 


Prize  Pupil,  Leipsic  Conservatory. 


Piano  and  Harmony. 

196  DARTMOUTH    STREET. 

Soloist  with  Mr.  Gericke,  Mr.  Nikisch,  and  Mr. 
Van  der  Stucken. 


Mr.  OTTO  ROTH, 


VIOLIN   AND    ENSEMBLE 
LESSONS. 

10  ARLINGTON    STREET. 


Miss  JESSIE  DAVIS 


1 

Pupil  of  Harold  Bauer. 


CONCERTS   and    RECITALS. 
...LESSONS... 

Studio,    163    Hassachusetts   Avenue. 


Mr.  CARLO  BUONAMICI. 


PIANIST  AND  TEACHER. 

Steinert  Hall  Building. 


(174) 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5 Thespian  Hall, 

168   Massachusetts   Avenue, 
Boston,   Mass. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr,  A.  E.  PRESCOTT 


153  TREMONT  STREET. 


Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe  Pete  avecmoi.  Je  lui  ai  donne  des  lecons 
pendant  ce  temps  d'une  fagon  tres  suivie.  En  outre 
}?  ,  ,j"  Permis  d'assister  a  toutes  mes  autres  lemons. 
Cela  I'a  mis  en  mesure  de  connaitre  a  fond  ma  m^thode 
Je  peux  done  recommander  mon  eleve,  Mr.A.E.  Pres- 
cott. C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  les 
differents  registres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Pans.  31  Aout,  iqoi. G.  SBRIGLIA. 


Sig.  AUGUSTO  VANNINI, 


Teacher  of  Singing. 

Steinert  Hall. 


J.  D.  BUCKINGHAM, 


PIANOFORTE.     Method  of  I.  Philipp. 

The    most    advanced    technics    of  the 
present  day. 
"  A  teacher  of  the  first   magnitude." —  Huneker,   on 
Philipp,  in  Mezzo-tints  in  Modem  Music. 

32  STEINERT  HALL,  BOSTON. 


Teacher  of  Violin,  Theory ,  ard  Compositioo 

IF,    GOSTAV     STROBE  Highest  references  as  Violin 

(Member  of  Boston  Symphony  Orchestra).  Soloist  and  Ensemble  Player. 


79  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS, 

Pierce  Building, 
Copley  Square,    Boston. 


HEINRICH  SCHUECKER, 

TEACHER  OF  THE  HARP. 

Erard  Harps  for  sale  and  to  let. 

32  Westland  Avenue       -       Boston. 


Miss  MARIE  L.  EVERETT, 

TEACHER   of  SINGING, 

Holds  a  recent  Diplome  Supdrieur 
from  Madame  Marchesi,  Paris. 


THE  COPLEY. 


COPLEY  SQUARE. 


Miss  A\NA  JANSEN,  Pianiste, 

PUPIL   OF 

Mme.  Rappoldi,  Dresden.  Sgambati,  Rome. 

Harold  Bauer,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

ADDRESS,  86  CHARLES  ST.,  BOSTON. 


"  From   Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FROM     LONDON, 

Specially  authorized  by  the  inventor. 

Investigation  invited.         Studio,  278  Boylston  St, 


(176) 


Mr.  JACQUES   HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN   C.  MANNING, 
Pianist    and     Teacher*, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 

Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 

384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOttELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1   at  her  residence,  THE    OXFORD. 


Miss  LETTY    LAU/NDFR, 
TEACHER  of  the  VIOLI/N, 

Trinity  Court,  175  Dartmouth  Street. 


FREDERICK  N.  SHACKLEY 

(Organist  and  Choirmaster,  Church  of  the  Ascension), 

Piano,  Organ,  Composition. 

Specialty :    Training  organists  for    practical 
Church  work. 
(  iqoo  Washington  St.,  BOSTON. 
Studios:  j  I2g  Franklin  Street,  ALLSTON. 


Miss    EDITH   E.  TORREY, 

SOPRANO  SOLOIST   AND  TEACHER  OF 
SINGING. 

164  Huntington   Avenue,  Boston. 

Every  day  except  Tuesday  and  Friday. 

Telephone,  Back  Bay  1089-5. 


L,.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Hr.  GEORGE   E.  WHITING, 

154  Tremont  Street, 

Boston. 


Mr,    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts,  Recitals,  antl 

Ensemble  1'layitiy. 

7    ADELAIDE    ST.,   JAMAICA    PLAIN. 


Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  o*  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting.  ' 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Mr.  EMIL  MAHR 

Resumes  his  private  lessons,   Violin  and 
Viola,  and  his  Ensemble  Classes  tor 

Pianists.  Address  69  Crawford  Street, 

Roxbury. 
Tuesdays  and  Fridays      Steinert  Building. 


Hrs.  S.  B.  FIELD, 

TEACHER  OF  THE  PIANO  and  the 
ART  OF  ACCOMPANYING. 

Special  attention  to  Coaching  in  Songs. 
Hotel  Nottingham      -      Copley  Square. 


Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


TO   read   Music  like  Print. 
The  Vara'  New  Interval  System  of  Sight 
Singing. 

No  Sol-faing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mine.  L.  Hamburger,  Pierce  Bldg.,  Coplej  Sq 


Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 

Studio,  21  Steinert  Building. 


Mrs.  Habel  Mann  Jordan, 

Pupil  of  Silveetri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(176) 


,M^®LMI 


WEBER 

PIANOSj 


i 


Admired  and  endorsed  by  great 
-<  artists  and  the  musical  public  for 
*  half  a  century  *£  <£  «£  *£  «£  <£  ^ 

EXCLUSIVELY  USED  BY  THE 

Maurice  Grau  Opera  Company 
The  Mascagni  Opera  Company 

AND  BY 

Kocian  and  Julie  Geyer 

On  their  J902-J903  transcontinental 
tours 


WEBER  WAREROOMS 

CORNER  FIFTH  AVENUE  AND  SIX- 
TEENTH STREET,  NEW  YORK,  NY. 

BOSTON     REPRESENTATIVES 

GEORGE   H.  CHAHPLIN  &  CO. 
181  Tremont  Street 


STEINWAY  &  SONS 

Grand  and  Upright  Pianos. 


MANUFACTURERS    BT  APPOINTMENT   TO 

His  Majesty, 


His  Majesty. 

NICHOLAS  II., 

CZAR  OF  RUSSIA. 


WILLIAM  II., 

EMPEROR  OF  GERMANY  and 
KING  OF  PRUSSIA. 


His  Majesty. 

FRANCIS 
JOSEPH  \.,l 

EMPEROR   OF      '/' 
AUSTRIA  ~c 

AND 

KING  OF  HUNGARY.  Hungary 


^■TriEiR  Royal  Highnesses. 

THE  PRINCE  AND 

PRINCESS  OF 

WALES. 


His  Majesty. 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty. 

ALEXANDRA, 

QUEEN  OF  GREAT    BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  majesty. 

VICTORIA, 

QUEEN  OF  GREAT  BRITAIN 
and  EMPRESS  OF  INDIA. 


His  Majesty, 

UMBERTO  I., 

KING  OF  ITALY. 


His  Royal  Hichness. 

THE    DUKE   OF 
EDINBURGH. 


ALBERT, 

KING    OF    SAXONY^* 


Her  Majesty, 


MARIA  CHRISTINA, 


His  Majesty, 

OSCAR  II., 


QUEEN  REGENT  OF  SPAIN.      I    KING  OF  SWEDEN 

and  NORWAY. 


NORWAY  AND  SWEDEN, 


His  Majesty, 


His  Majesty. 


j^j    MOUSAFFER-ED-DIN.;  ABDUL  HAMID  II. 


SHAH  OF  PERSIA.  SULTAN  OF  TURKEY. 

AND   THUD    RESPECTIVE    COURTS. 


illustrated  catalogue  mailed  free  on  application 


STEINWAY    PIANOS. 

H.  STEINERT  &   SONS  CO., 

162  to  168  Boylston  Street,  Boston,  Mass. 


PRoGRAttttE 


In  Europe  and  America  there  aret  all  told,  over 
eight  hundred  (800)  different  manufacturers 
of  pianofortes* 

HAROLD  BAUER, 

the  distinguished  pianist,  a  musician  qualified  by  natural 
endowments,  training,  and  experience  to  pass  ex-cathedra 
judgment  on  matters  musical,  selects  from  the  eight  hundred 
the 

Mason  &  Hamlin  Pianoforte 

for  his  public  and  private  use, 
and  declares  of  the 

Mason  &  Hamlin  Grand : 

'  'As  an  instrument  for  bringing  into  prominence  the  individual 

qualities  of  tone  and  touch  of  the  player,  the 

Mason  &  Hamlin  Piano  stands  absolutely  pre-eminent f  f ; 

and  of  the 

Mason  &  Hamlin  Upright : 

'  'It  is  the  finest  upright  piano  I  have  ever  met  with. 


New  England  Representatives, 

M.  STEINERT  &  SONS  CO. 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY -SECOND  SEASON, 
1902-1903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

FOURTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     ^    jt    J*    # 


FRIDAY  AFTERNOON,  NOVEMBER  14, 

AT  2.30  O'CLOCK. 

SATURDAY  EVENING,  NOVEMBER  15, 

AT  8.00  O'CLOCK. 


Published  by  C  A.  ELLIS,  Manager. 

(177) 


ME  S  S  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest    Grand    Embodying 
Modern  Principles  Ever  Made 


RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(17«) 


TWENTY-SECOND  SEASON,  1902-1903. 


Fourth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  NOVEMBER  14,  at  2.30  o'clock. 

SATURDAY  EVENING,  NOVEMBER  15,  at  8.00  o'clock. 


PROGRAMME. 

Rimsky-Korsakoff        .        Overture  to  "  The  Betrothed  of  the  Tsar  " 

(First  time.) 

Brahms  ....    Concerto  in  D  major,  for  Violin,  Op.  77 

I.     Allegro  non  troppo. 
II.     Adagio. 
III.     Allegro  giocoso,  ma  non  troppo  vivace. 

Bizet Suite,  **  V Arlesienne,"  No.  J 

I.  Prelude. 

II.  Minuetto. 

III.  Adagietto. 

IV.  Carillon. 

Beethoven      .         .         .  Symphony  No.  4,  in  B-flat  major,  Op.  60 

I.     Adagio. 

Allegro  vivace. 
II.     Adagio. 

III.  Allegro  vivace. 

Trio  :  Un  poco  meno  allegro. 

IV.  Finale:  Allegro  ma  non  troppo. 


SOLOIST: 

Miss  MAUD  MacCARTHY. 


There  will  be  an  intermission  of  ten  minutes  before  the  Symphony. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  ivish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised.  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:  J.   M.  GALVIN,  City  Clerk. 

(179) 


L.  P.  HOLLANDER  &  CO. 

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RUSSIAN  SABLE,  BLACK  LYNX, 
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and  all  other  fashionable  furs,  in  COATS, 
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CLOAKS 

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SMITH, 

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fft>    52  Summer  St. 


Overture  to  the  Opera,  "The  Betrothed  of  the  Tsar." 

Nicolas  Andrejevitch  Rimsky-Korsakoff. 

(Born  at  Tikhvin,  in  the  government  of  Novgorod,  March  18,  1844;  * 
now  living  at  St.  Petersburg.) 

Rimsky-Korsakoff  finished  "  Zarskaja  Newesta  "  ("  La  Fiancee  du  Roi  "), 
an  opera  in  three  acts,  in  1898.  The  libretto  was  founded  on  a  comedy 
by  Leo  Mei,  a  Russian  poet  and  dramatist  (1822-62).  The  examination 
committee  of  the  Imperial  Opera  House  objected  to  it  on  the  ground 
that  the  character  of  a  former  ruler  of  all  the  Russias  was  treated  too 
familiarly:  such  was  the  story  spread  abroad  early  in  the  fall  of  1899, 
and  the  story  crossed  the  Atlantic ;  but  the  composer  wrote  a  letter  of  con- 
tradiction, in  which  he  said  that  he  had  never  submitted  his  opera  to  the 
committee.  "Foreign  composers,"  he  added,  "whose  operas  are  about  to 
be  performed  at  the  Court  Opera  do  not  petition  the  managers  for  a  per- 
formance of  their  works,  and  do  not  subject  them  to  an  examination. 
Why  should  Russian  composers  whose  works  are  published  be  obliged 
to  send  their  operas  to  the  managers  and  beg  a  performance  ?  The 
very  publication  of  an  opera  is  at  once  a  submittal  of  it  to  all  opera- 
managers,  whose  duty  it  is  to  be  on  the  watch  for  such  new  publications, 
to  examine  them,  and  to  choose  the  ones  that  are  fit  for  performance." 

"  The  Betrothed  of  the  Tsar "  was  produced  at  the  Solodornikoff 
Theatre,  Moscow,  on  Nov.  3,  1899.  Ippolitoff  Ivanoff  conducted.  The 
theatre  was  crowded,  and  the  success  of  the  opera  was  immediate  and 
great.  The  composer  is  said  to  treat  certain  scenes  with  the  rhythmic, 
tonal,  and  melodic  characteristics  of  Russian  folk-song,  but  with  themes 
of  his  own  invention. 

The  overture,  it  is  said  by  Russian  critics,  does  not  correspond  wholly 
with  the  dramatic  nature  of  the  opera.  It  is  a  composition  that  requires 
neither   analysis    nor   explanation.     It    is  scored   for  piccolo,  2   flutes,  2 

*This  date  is  given  in  the  catalogue  of  Belaieff,  the  Russian  publisher.  One  or  two  music  lexicons  give 
May  21. 

THE  MANAGEHENT  OF  THE 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

SIC.  ORESTE   BIMBONI 
SCHOOL  OF  OPERA, 

Winch  will  give,  in  addition  to  the  performances  in  JORDAN   HALL, 

TWO  PERFORMANCES,  ZS^V 
BOSTON  THEATRE. 


ANNOUNCES    THE 

RETURN    OF 

AND   THE    OPENING 
OF    THE 


MR.    CEORC    HENSCHEL 

will  teach  —  until  March,   1903  —  EXCLUSIVELY  in  the  Conservatory. 

Particulars  and  terms  (for  one  or  any  number  of  lessons)  may  be 

had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(1S1) 


Sole  Makers 
of  the 

BALLARD 

Safety 

Riding 

Habit 


%*,  jfoltarit  &  jisus 


Costume  and  Habit  Tailors. 
SPECIALTIES: 

Bich  Carriage  and  Visiting  Costumes. 

Made    from     Paris    Models,  elaborately    designed,    and 
trimmed  with  Lace,  Velvet,  and  Braiding. 

CLOTH  GOWNS  in  Strictly  Tailor  Styles. 

Plain,  dressy  effects. 

Short  Skirt  Suits. 

Made  from  smart  Scotch  Homespuns  and  English 
Cheviots.     Prices,  $60  up. 

Handsome  Theatre  Waists 

and 

Shirt   Waists  in  Silks,  Saxony   Flannels,  and  Mercerized 

Shirtings. 

All  garments  made  to  order  from  exclusive  materials. 


256      Boylston      Street 


(183) 


oboes,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones,  tuba,  a 
set  of  3  kettle-drums,  harp,  and  the  usual  strings.  It  opens  in  D  minor 
(allegro),  and  there  are  two  endings,  one  that  goes  directly  into  the 
music  of  the  first  scene  of  the  opera  and  one  that  is  designed  for  concert 
use. 


#  # 


Rimsky-Korsakoff  is  known  in  Boston  chiefly  by  his  orchestral  works. 
"Scheherazade,"  a  symphonic  suite,  Op.  35,  was  played  at  these  concerts 
on  April  17,  1897,  Dec.  n,  1897,  Jan.  13,  1900;  "La  Grande  Paque 
Russe,"  overture  on  themes  of  the  Russian  Church,  Op.  36,  on  Oct.  23, 
1897  ;  "  Antar,"  symphony  No.  2,  Op.  15,  on  March  12,  1898. 

Rimsky-Korsakoff  studied  at  the  Naval  Institute  in  St.  Petersburg,  but 
even  then  he  gave  much  time  to  music.  He  was  an  officer  in  the  marine 
service  of  Russia  until  1873,  and  it  would  appear  from  a  passage  in 
Habets's  "  Alexandre  Borodine  "  (Paris,  1893,  p.  20)  that  in  1862  he  came 
as  an  officer  to  the  United  States.  It  was  in  1861  that  he  began  the 
serious  study  of  music  with  Mily  Balakireff,*  and  he  was  one  of  the 
group  —  Borodine,  Moussorgsky,  Cui,  were  the  others  —  who,  under  Balaki- 
reff, founded  the  modern  Russian  school.  His  first  symphony  was  per- 
formed in  1865.  In  187 1  he  was  appointed  professor  of  composition  at 
the  St.  Petersburg  Conservatory.  He  was  inspector  of  the  marine  bands 
from  1873  to  1884,  director  of  the  Free  School  of  Music  from  1874  to 
1887  and  conductor  of  concerts  at  this  institution  until  188 1,  assistant 
conductor  in  1883  of  the  Imperial  Orchestra  ;  and  since  1886  he  has  been 
one  of  the  conductors  of  the  Russian  Symphony  Concerts  (the  others  now 
are  Zagorodni,  Liadoff,  and  Glazounoff).  He  conducted  two  Russian  con- 
certs at  the  Trocadero,  June  22,  29,  at  the  Paris  Exhibition  of   1889  ;  and 

*  Mily  Alexei'ewitch  Balakireff,  born  in  1837  at  Nijni-Novgorod  and  now  living  at  St.  Petersburg,  began 
his  musical  career  as  a  pianist.  He  has  written  a  symphony,  and  other  orchestral  pieces,  as  "  King  Lear," 
"  Thamara"  ;  piano  pieces,  the  most  famous  of  which  is  "  Islamey  "  ;  songs,  etc.  He  published  in  1866  a 
remarkable  collection  of  Russian  folk-songs. 


CHRISTMAS  SONGS 

*Blumenschein,  W.  L. 

Bethlehem  Song  .  .  .  $0.65 
Capocci,  F.  The  Holy  Child  .  .50 
Davison,  W.  E. 

'Twas  Night  in  Old  Judea  .  .60 
*  Hanscom,  E.  W.  The  Prince  of  Peace  .50 
Lang,  Margaret  R.  Tryste  Noel  .50 
Lansing,  A.  W. 

The  Angels'  Christmas  Song  .  .50 
Neidlinger,  W.  H. 

O  Quiet  Night,  O  Holy  Night  .50 
*Schnecker,  P.  A. 

Sing,  O  sing,  this  Blessed  Morn       .75 

*  With  Violin  Obligato. 

SENT  FREE.  Portrait  Catalogue  No.  2,  Songs; 
No.  4,  Violin  Music. 


FOUR  NEW  SONGS 

BY 

VICTOR  HARRIS 


An  Idle  Poet    . 

The  Prince  will  Come 

Folk-song 


$0.50 
.50 
.50 


All  music  performed  at  these  concerts 
constantly  on  hand. 


ARTHUR   P.  SCHMIDT, 

BOSTON,  LEIPZIO.  NEW  YORK, 

146  Boylston  Street. 


136  Fifth  Ave. 


CHARLES  W.  HOHEYER  &  CO., 

165  TREHONT  STREET, 

BOSTON. 


(183) 


he  has  conducted  in  the  Netherlands.  His  thirty-fifth  jubilee  as  a  com- 
poser was  celebrated  with  pomp  and  circumstance  at  St.  Petersburg,  Dec.  8, 
1900,  and  at  Moscow,  Jan.  1,  1901. 

Borodine  wrote  of  him  in  1875  :  "  He  is  now  working  for  the  Free 
School :  he  is  making  counterpoint,  and  he  teaches  his  pupils  all  sorts  of 
musical  stratagems.  He  is  arranging  a  monumental  course  in  orchestra- 
tion, which  will  not  have  its  like  in  the  world,  but  time  fails  him,  and  for 
the  moment  he  has  abandoned  the  task.  .  .  .  Many  have  been  pained  to 
see  him  take  a  step  backward  and  give  himself  up  to  the  study  of  musical 
archaeology ;  but  I  am  not  saddened  by  it,  I  understand  it.  His  develop- 
ment was  exactly  contrary  to  mine  :  I  began  with  the  ancients,  and  he 
started  with  Glinka,  Liszt,  and  Berlioz.  After  he  was  saturated  with  their 
music,  he  entered  into  an  unknown  sphere,  which  for  him  has  the  char- 
acter of  true  novelty."  Yet  in  1877  Borodine,  Rimsky- Korsakoff,  Liadoff, 
and  Cui  were  working  together  amicably  on  the  amazing  "  Paraphrases  " 
for  pianoforte,  which  Liszt  valued  highly,  and  to  which  he  contributed ; 
and  after  the  death  of  Borodine,  in  1887,  Rimsky-Korsakoff  undertook 
the  revision  and  the  publication  of  his  friend's  manuscripts.  He  com- 
pleted, with  the  aid  of  Glazunoff,  the  opera  "  Prince  Igor  "  (St.  Peters- 
burg, 1890),  just  as  he  had  completed  and  prepared  for  the  stage  Dargo- 
mijski's  "  Stone  Guest"  (St.  Petersburg,  i872)/and  Moussorgsky's  "  Kho- 
vanschtchina  "  *  (St.  Petersburg,  1886,  by  the  Dramatic  Musical  Society; 

*  Rimski-Korsakoff  also    orchestrated   Moussoigsky's  Intermezzo   for    pianoforte   and  "La   Nuit    sur 
le  Mont-Chauve  "  (St.  Petersburg,  1886). 

B.  T.  S LATTERY  CO. 

ARE     SHOWING    THE 


Latest   Irpported   Styles 

Reproduced  in  their  READY-TO-WEAR 

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(185) 


Kief,  1892);  yet  he  was  more  radical  and  revolutionary  in  his  views  con- 
cerning the  true  character  of  opera  than  was  Borodine.  And  when,  in 
1881,  Nikisch  conducted  "  Antar "  at  the  Magdeburg  festival,  it  was 
Borodine  who  conveyed  to  the  conductor  the  wishes  of  Rimsky-Korsakoff 
concerning  the  interpretation. 

Liszt  held  Rimsky-Korsakoff  in  high  regard.  Rubinstein  brought  the 
score  of  "  Sadko  "  *  to  him  and  said,  "  When  I  conducted  this  it  failed  hor- 
ribly, but  I  am  sure  you  will  like  it "  ;  and  the  fantastical  piece  indeed 
pleased  Liszt  mightily.  Liszt's  admiration  for  the  Russian  is  expressed 
in  several  letters.  Thus,  in  a  letter  (1878)  to  Bessel,  the  publisher,  he 
mentions  "  the  '  Russian  national  songs  edited  by  N.  Rimsky-Korsakoff,' 
for  whom  I  feel  high  esteem  and  sympathy.  To  speak  frankly,  Russian 
national  music  could  not  be  more  felt  or  better  understood  than  by  Rimsky- 
Korsakoff."  In  1884  he  thanked  Rahter,  the  publisher  at  Hamburg,  for 
sending  him  the  "  Slumber  Songs  "  by  Rimsky-Korsakoff,  "  which  I  prize 
extremely  ;  his  works  are  among  the  rare,  the  uncommon,  the  exquisite." 
To  the  Countess  Louise  de  Mercy- Argenteau  f  he  wrote  in  1884:  "Rim- 
sky-Korsakoff, Cui,  Borodine,  Balakireff,  are  masters  of  striking  originality 

*  Habets  tells  this  story  as  though  Rubinstein  had  conducted  "  Sadko  "  at  Vienna  ;  but  the  first  performance 
of  the  work  in  that  city  was  at  a  Gesellschaft  Concert  in  1872.  Did  not  Rubinstein  refer  to  a  performance  at 
St.  Petersburg? 

tShe  was  a  zealous  propagandist  in  the  Netherlands  of  the  New  Russian  School.  Her  husband,  cham- 
berlain of  Napoleon  III.,  died  in  1888,  and  she  then  left  Belgium,  her  native  land,  and  moved  to  St.  Peters- 
burg, where  she  died  in  i8go. 

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Let  us   not   forget    that    we    sprang 
from  a  country  where  not  trial  by  jury, 
but  the  dinner  is  the  capital  institution, 
and    that  our  ancestors  believed    in    the 
undoubted  virtues  of  a  good  trencherman. 
All    this    in    part    accounts    for    the 
importance    which    now    attaches   to  the 
choice  of  a  Dining  Table,  and  explains 
why  we  carry  in  our  stock  an  assortment 
of    over    100    styles    of    round,    square, 
pedestal,  extension,  and  pillar  tables. 
Here    is    as    perfect    a    design    as    one    often    sees.       It  is  well    balanced 
structurally,  and  shows  in  its  fine  proportions  of  pillar,  box,  and  base  the  master 
hand  of  an  expert  designer.      Do  not  forget  that  we  sell  these  high-class  pro- 
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and  worth.  Their  works  make  up  to  me  for  the  ennui  caused  to  me  by 
other  works  more  widely  spread  and  more  talked  about.  ...  In  Russia  the 
new  composers,  in  spite  of  their  remarkable  talent  and  knowledge,  have  as 
yet  but  a  limited  success.  The  high  people  of  the  Court  wait  for  them 
to  succeed  elsewhere  before  they  applaud  them  at  Petersburgh.  Apropos 
of  this,  I  recollect  a  striking  remark  which  the  late  Grand  Duke  Michael 
made  to  me  in  '43  :  '  When  I  have  to  put  my  officers  under  arrest,  I  send 
them  to  the  performances  of  Glinka's  operas.'  Manners  are  softening,  and 
Messrs.  Rimski,  Cui,  Borodine,  have  themselves  attained  to  the  grade  of 
colonel."  In  1885  he  wrote  to  her:  "I  shall  assuredly  not  cease  from 
my  propaganda  of  the  remarkable  compositions  of  the  New  Russian 
School,  which  I  esteem  and  appreciate  with  lively  sympathy.  For  six  or 
seven  years  past  at  the  Grand  Annual  Concerts  of  the  Musical  Associa- 
tion, over  which  I  have  the  honor  of  presiding,  the  orchestral  works  of 
Rimsky-Korsakoff  and  Borodine  have  figured  on  the  programs.  Their 
success  is  making  a  crescendo,  in  spite  of  the  sort  of  contumacy  that  is 
established  against  Russian  music.  It  is  not  in  the  least  any  desire  of 
being  peculiar  that  leads  me  to  spread  it,  but  a  simple  feeling  of  justice, 
based  on  my  conviction  of  the  real  worth  of  these  works  of  high  lineage." 
Liszt's  enthusiasm  was  shared  by  von  Biilow,  who  wrote  to  the  Signale 
in  1878:  "  Rimsky- Korsakoff's  'Antar,'  a  program-symphony  in  four 
movements,  a  gorgeous  tone-picture,  announces  a  tone-poet.  Do  you  wish 
to  know  what  I  mean  by  this  expression  ?  A  tone-poet  is  first  of  all  a 
romanticist,  who,  nevertheless,  if  he  develop  himself  to  a  genius,  can  also 
be  a  classic,  as,  for  example,  Chopin." 


* 


Two  more  recent  opinions  concerning  the  music  of  this   Russian  com- 
poser are  worthy  of  consideration. 

Mr.  Heinrich  Pudor,  in  an  essay,  "  Der  Klang  als  sinnlicher  Reiz  in  der 

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modernen  Musik"  (Leipsic,  1900),  wrote:  "  Rimsky-  Korsakoff  is  in  truth 
the  spokesman  of  modern  music.  Instrumentation  is  everything  with 
him  ;  one  might  almost  say,  the  idea  itself  is  with  him  instrumentation. 
His  music  offers  studies  and  sketches  in  orchestration  which  remind  one 
of  the  color-studies  of  the  Naturalists  and  the  Impressionists.  He  is  the 
Degas  or  the  Whistler  of  music.  His  music  is  sensorial,  it  is  nourished 
on  the  physical  food  of  sound.  One  might  say  to  hit  it  exactly,  though  in 
a  brutal  way :  the  hearer  tastes  in  his  music  the  tone,  he  feels  it  on  his 
tongue." 

And  Mr.  Jean  Marnold,  the  learned  and  brilliant  critic  of  the  Meratre 
de  France,  wrote  in  an  acute  study  of  the  New  Russian  School  (April, 
1902) :  "Of  all  the  Slav  composers,  Rimsky-Korsakoff  is  perhaps  the  most 
charming  and  as  a  musician  the  most  remarkable.  He  has  not  been 
equalled  by  any  one  of  his  compatriots  in  the  art  of  handling  timbres,  and 
in  this  art  the  Russian  school  has  been  long  distinguished.  In  this  re- 
spect he  is  descended  directly  from  Liszt,  whose  orchestra  he  adopted,  and 
from  whom  he  borrowed  many  an  old  effect.  His  inspiration  is  some- 
times exquisite ;  the  inexhaustible  transformation  of  his  themes  is  always 
most  intelligent  or  interesting.  As  all  the  other  Russians,  he  sins  in  the 
development  of  ideas  through  the  lack  of  cohesion,  of  sustained  enchain- 
ment, and  especially  through  the  lack  of  true  polyphony.  The  influence  of 
Berlioz  and  of  Liszt  is  not  less  striking  in  his  manner  of  composition. 
'  Sadko  '  comes  from  Liszt's  '  Ce  qu'on  entend  sur  la  montagne  ' ;  '  Antar  ' 
and  '  Scheherazade '  at  the  same  time  from  '  Harold  '  and  the  '  Faust ' 
Symphony.  The  oriental  monody  seems  to  throw  a  spell  over  Rimsky- 
Korsakoff  which  spreads  over  all  his  works  a  sort  of  '  local  color,'  under- 
lined here  by  the  chosen  subjects.  In  '  Scheherazade,'  it  must  be  said, 
the  benzoin  of  Arabia  sends  forth  here  and  there  the  sickening  empy- 
reuma  of  the  pastilles  of  the  hari'm.     This  'symphonic  suite'  is  rather  a 


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(190) 


triple  rhapsody  .in  the  strict  meaning  of  both  word  and  thing.  One  is 
at  first  enraptured,  astonished,  amused,  by  the  wheedling  grace  of  the 
melodies,  the  fantasy  of  their  metamorphoses,  by  the  dash  of  the  sparkling 
orchestration  ;  then  one  is  gradually  wearied  by  the  incessant  return  of 
analogous  effects,  diversely  but  constantly  picturesque.  All  this  decora- 
tion is  incapable  of  supplying  the  interest  of  an  absent  or  faintly  sketched 
musical  development.  On  the  other  hand,  in  the  second  and  the  third 
movements  of  '  Antar,'  the  composer  has  approached  nearest  true  musical 
superiority.  The  descriptive,  almost  dramatic,  intention  is  realized  there 
with  an  unusual  sureness,  and,  if  the  brand  of  Liszt  remains  ineffaceable, 
the  ease  of  construction,  the  breadth  and  the  co-ordinated  progression  of 
combinations  mark  a  mastery  and  an  originality  that  are  rarely  found 
among  the  composers  of  the  far  North,  and  that  no  one  has  ever  possessed 
among  the  '  Five.'  " 

See  also  a  study  of  Rimksy-Korsakoff  by  Camille  Bellaigue  ("  Impres- 
sions Musicales  et  Litte'raires,"  pp.  97-140).' 

Miss  Maud  MacCarthy,  violinist,  was  born  in  Ireland  in  1884,  the 
daughter  of  a  physician  at  Sydney,  New  South  Wales,  where  she  lived 
until  her  ninth  year,  when  she  went  to  England  to  continue  her  studies. 
Her  teacher  was  Arbos,  a  Spaniard.  She  made  her  debut  in  Lon- 
don at  the.  Princes'  Hall  on  May  16,  1894,  when  she  played  Bach's 
Sonata  in  A  and  de  Be'riot's  "  Scene  de  Bal."  Two  years  were  spent  in 
further  study,  and  in  1896  (May  11  and  December  15)  and  in  1897  (June 
n)  she  again  gave  concerts  in  London.  She  visited  the  United  States 
during  the  season  of  1898-99.  She  played  in  New  York  at  a  Metropoli- 
tan Opera  House  concert  on  Dec.  25,  1898,  and  she  was  heard  in  private, 
it  is  said,  in  this  city.  Since  then  she  has  appeared  at  important  concerts 
in  London  and  in  cities  of  Germany,  Scandinavia,  and  Italy. 


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Concerto  in  D  major,  for  Violin,  Op.  77  .  .  .  Johannes  Brahms. 
(Bom  at  Hamburg,  May  7,  1833;  died  at  Vienna,  April  3,  1S97.) 

This  concerto  was  written  for  Josef  Joachim,  dedicated  to  him,  and 
first  played  by  him  under  the  direction  of  the  composer  at  a  Gewand- 
haus  Concert,  Leipsic,  on  Jan.  1,  1879.  The  first  performance  in  Boston 
was  by  Franz  Kneisel  at  a  Symphony  Concert  on  Dec.  7,  1889,  when  Mr. 
Kneisel  played  a  cadenza  of  his  own  composition.  It  has  since  then  been 
played  at  these  concerts  by  Messrs.  Brodsky  (Nov.  28,  189 1)  and  Kneisel 
(April  15,  1893  ;  Feb.  13,  1897,  with  a  cadenza  by  Charles  Martin  Loeffler ; 
and  at  the  concert  in  memory  of  Governor  Wolcott,  Dec.  29,  1900). 

The  orchestral  part  of  this  concerto  is  scored  for  2  flutes,  2  oboes,  2 
clarinets,  2'  bassoons,  2  horns,  2  trumpets,  kettle-drums,  and  strings. 

Hanslick  once  said  that  this  work  was  "  the  ripe  fruit  of  the  friendship 
between  Joachim  and  Brahms."  A  prominent  Leipsic  critic,  friendly  dis- 
posed toward  both  composer  and  violinist,  wrote  at  the  time  of  the  first 
performance  that  Joachim  too*evidently  had  great  difficulty  in  playing  the 
concerto.     Marcella  Sembrich  sang  at  the  same  concert. 

The  composition  is  fairly  orthodox  in  form.  The  three  movements 
are  separate,  and  the  traditional  tuttis,  soli,  cadenzas,  etc.,  are  pretty  much 
as  in  the  old-fashioned  pieces  of  this  kind  ;  but  in  the  first  movement  the 
long  solo  cadenza  precedes  the  taking  up  of  the  first  theme  by  the  violin. 
The  modernity  is  in  the  prevailing  spirit  and  in  the  details.  Furthermore, 
it  is  not  a  work  for  objective  virtuoso  display.  Brahms  set  no  traps  for 
applause. 

The  first  theme  (D  major,  3-4),  of  a  somewhat  pastoral  character,  is  pro- 
claimed by  violas,  'cellos,  bassoons,  and  horns ;  and  the  development  is 
carried  on  by  the  full  orchestra  in  harmony.  In  the  course  of  the  intro- 
duction this  theme  is  pushed  aside  by  other  motives;  and  it  first  becomes 
again  prominent  through  wood-wind  and  strings  in  the  highly  developed 

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introductory  cadenza  of  the  solo  violin.  The  free  fanatsia  begins  with  an 
orchestral  tutti  in  A  minor,  and  for  some  time  the  orchestra  carries  it  on 
alone;  then  the  working-out  is  continued  between  orchestra  and  violin.  In 
the  coda,  after  the  orchestral  fury,  Brahms  has  given  opportunity  for  the 
violinist  to  introduce  an  unaccompanied  cadenza. 

The  second  movement,  Adagio,  F  major,  2-4,  is  in  the  nature  of  a 
serenade  movement.  It  may  be  called  a  romanza.  The  chief  song  is 
played  first  by  the  oboe,  which  is  accompanied  by  wind  instruments  ;  then 
it  is  played  in  changed  form  by  the  violin,  which  also  plays  a  more  emo- 
tional second  theme,  and  ornaments  it  in  the  development.  After  frequent 
modulations  in  the  development  of  the  second  theme  there  is  a  return 
to  F  major  and  the  first  theme,  which  is  sung  by  the  solo  violin. 

The  Finale,  a  rondo  in  D  major,  2-4,  is  built  on  three  themes.  There  is 
brilliant  work  for  the  solo  violin, —  double-stopping,  florid  running  passages, 
arpeggios,  unusual  technical  demands  on  the  player.  Dr.  Reimann  men- 
tions Brodsky,  Halir,  Marie  Soldat,  as  among  the  violinists  who  have  been 
most  successful  with  the  concerto  in  European  cities. 

Suite  No.   i,  from  "  L'Arlesienne  " Georges*  Bizet. 

(Bom  at  Paris,  Oct.  25,  1838  ;  died  at  Bougival  the  night  of  June  2-3,  1875.) 
When  Leon  Carvalho  was  manager  of  the  Vaudeville  Theatre,  Paris,  he 
wished  to  revive  the  melodrama,  the  dramatic  piece  with  incidental  and  at 

*  Alexandre  Cesar  Leopold  Bizet  is  the  name  of  the  composer  of  "Carmen."  The  name  Georges  was 
given  to  him  by  his  godfather;  and  as  Georges  he  was  always  known  to  his  family,  his  friends,  and  the  world 
at  large.  Only  in  official  papers,  as  a  citizen  of  France,  and  in  the  archives  of  the  Conservatory,  was  he  named 
Alexandre  Cesar  Leopold. 


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times  accentuating  music.  He  chose  as  dramatist  Alphonse  Daudet,  who 
happened  to  have  a  Provencal  play  ready  for  the  Vaudeville.  He  chose  as 
musician  Bizet,  whose  "  Djamileh,"  an  opera  in  one  act,  produced  at  the 
Opera-Comique  on  May  22,  1872,  had  been  praised  by  only  a  few  critics. 
The  libretto  and  the  incapacity  of  a  Mme.  Prelly,  a  woman  of  society  who 
longed  for  applause  as  a  public  singer,  did  woeful  injury  to  the  composer. 
Bizet  was  accused  of  being  a  Wagnerite,  and  Wagner  was  not  then  in 
fashion. 

"  L'Arlesienne,"  a  piece  in  three  acts,  was  produced  at  the  Vaudeville 
on  Oct.  1,  j 87 2.  The  cast  was  as  follows:  Balthazar,  Parade;  Frederi, 
Abel ;  Mitifio,  Re'gnier  ;  Le  Patron  Marc,  Colson  ;  Francet,  Cornaglia  ; 
L'FLquipage,  Lacroix  ;  Rose  Mamai,  Mme.  Fargueil ;  Mere  Renaud,  Mme. 
Alexis ;  L'Innocent,  Miss  Morand  ;  Vivette,  Jeanne  Bartet.  The  play  was 
not  liked,  and  there  were  only  fifteen  performances.  Various  objections 
were  made  against  it :  there  was  no  action  ;  it  was  "  too  literary  "  ;  it  was 
too  psychological,  etc.  The  audience  chattered  or  yawned  during  the 
prelude  and  the  entr'actes.  Good-natured  dramatic  critics  asked  why 
there  was  such  "orchestral  cacophony";  but  the  menuet-intermezzo 
pleased  by  its  frank,  gay  rhythm.  The  music  as  a  whole  shared  the  fate 
of  the  piece.  "  Its  character  harmonizes  happily  with  the  general  color  of 
the  work.  .  .  .  There  is  nothing  distinguished  in  the  score.  .  .  .  The  com- 
poser seems  to  have  wished  to  hide  himself  behind  the  dramatist.  The 
melodrama  thus  loses  in  importance." 

Now  the  orchestra  at  the  Vaudeville  was  singularly  composed.  Accord- 
ing to  Adolphe  Jullien,  it  was  made  up  of  7  first  violins,  no  second  violins, 
2  violas,  5  'cellos,  2  double-basses,  flute,  oboe,  cornet-a-pistons,  2  horns,  2 
bassoons,  drums,  harmonium,  piano.     Charles  Pigot  gives  a  different  list: 


&  m        THE  T     SG2S       I 

^t\^icians1ibrary| 


The  Initial  Volumes  Just  Issued  are 


FIFTY  MASTERSONGS 

Edited  by  HENRY  T.  FINCK 

Issued  in  Two  Editions.   Tor  High  Voice.   For  Low 

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FREDERIC  CHOPIN 

FORTY  PIANO  COMPOSITIONS 

Edited  by  JAMES  HUNEKER 
Bound  in  paper,  $1.50  ;  cloth,  gilt  top,  $2.50. 

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Purchases  made  at  this  sale  cannot  be  returned  or  exchanged. 
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2  flutes,  an  oboe  interchangeable  with  cor  anglais,    i  clarinet,  2  bassoons, 

1  saxophone,  2  horns,  kettle-drums,  7  violins,  1  viola,  5  'cellos,  2  double- 
basses,  piano.  Pigot  says  the  harmonium  was  put  in  the  wings  to  support 
the  choruses  in  this  particular  piece,  and  it  was  played  now  by  Bizet  and 
now  by  Guiraud.*  For  this  orchestra  Bizet  wrote  his  original  score.  The 
conductor  was  Constantin.f 

After  the  failure  of  the  piece  Bizet  chose  certain  numbers  out  of  the 
twenty-seven,  rescored  them,  and  arranged  them  in  the  form  of  a  suite. 
The  first  performance  of  this  version  was  at  a  Pasdeloup  Concert  on  Nov. 
10,  1872.  The  first  performance  of  this  suite  in  Boston  was  at  a  Phil- 
harmonic Concert  on  April  2,  .1881.     After  the  death  of  Bizet  a  suite  No. 

2  was  arranged  by  Guiraud  from  other  numbers  of  the  melodrama. 

This  suite  is  scored  for  2  flutes,  2  oboes  (the  second  of  which  is  inter- 
changeable with  cor  anglais  in  the  first  movement),  2  clarinets,  2  bassoons, 
alto  saxophone,  4  horns,  2  trumpets,  2  cornets,  3  trombones,  kettle-drums, 
snare-drum,  harp,  strings. 

"  L'Arlesienne "  was  revived  at  the  Odeon,  Paris,  on  May  5,  1885, 
when  Bizet's  revised  score  was  played  by  Colonne's  orchestra.  Paul 
Mounet  was  the  Balthazar  ;  Lambert  the  younger,  Frederi ;  Aimee  Jeanne 

*  Ernest  Guiraud  was  born  at  New  Orleans  (U.  S.  A.)  in  1837  ;  he  died  at  Paris  in  1892.  Educated  at 
the  Paris  Conservatory,  he  took  the/W_r  de  Rome  in  1859.  He  wrote  operas,  orchestral  suites  and  overtures, 
pieces  for  solo  instruments,  songs,  and  a  Treatise  on  Instrumentation.  He  taught  at  the  Conservatory,  and 
was  a  member  of  the  Institute. 

t  Titus  Charles  Constan tin,  bom  at  Marseilles  in  1835,  died  at  Paris  in  1891.  A  conductor  of  coflcert, 
theatre,  and  opera  orchestras,  he  wrote  some  overtures  and  other  pieces. 


ANTIQUE  DEPARTMENT. 

Tapestries,  Furniture,  Bronzes,  and  Silver. 


Our  stock  of  this  season  forms  the  most  extensive  and 
beautiful  collection  yet  exhibited  by  us. 

The  articles  have  been  selected  with  the  greatest  care,  the 
whole  have  been  purchased  under  exceptionally  favorable  condi- 
tions, and  it  is  believed  that  better  value  for  money  has  never 
been  offered. 

SHREVE,  CRUMP  8  LOW  CO. 

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November,  1902. 

(199) 


Tessandier,  Rose  Mamai ;  Irma  Crosnier,  Mere  Renaud ;  Eugenie  Yahne, 
L'Innocent ;  and  Miss  Hadamard,  Vivette.  Edmond  de  Goncourt,  in  the 
Journal  des  Goncourts,  wrote  about  this  first  performance  :  "  Public  cold, 
icy  cold.  Mme.  Uaudet  beats  her  fan  about  her  with  the  angry  rustling 
of  the  wings  of  fighting  birds.  Audience  still  cold,  ready  to  titter  and 
sneer  at  the  piece.  It  applauds  the  music  enthusiastically.  Suddenly 
Mine.  Daudet,  who  is  leaning  in  a  state  of  pitiful  depression  against  the 
side  of  the  box,  exclaims  :  '  I'm  going  home  to  bed  ;  it  makes  me  sick  to 
stay  here.'  Thank  God,  with  the  third  act  the  piece  goes,  and  its  quality 
and  the  acting  of  Tessandier  provoke  loud  applause  in  the  last  scenes." 
Here  is  a  list  of  the  performances  at  the  Ode'on  :  1885,  60;  1886,  14; 
1887,  42  ;  1889,  8;  1890,  19;  1 89 1,  6;  1898,  30  ;  1899,  l  x  5  1900,  30  ; 
1901,  9. 

The  piece  was  performed  with  Bizet's  music  in  Germany  for  the  first 
time  on  Sept.  8,  1899,  at  Bremen.  "  The  Woman  of  Aries,"  a  version  by 
Charles  H.  Meltzer  and  Willy  Schulz,  was  produced  at  the  Broadway 
Theatre,  New  York,  on  March  22,  1897,  when  Agnes  Booth  was  the  Rose 
Mamai;  Rosa  Rand,  Mere  Renaud;  Florence  Thornton,  The  Innocent; 
Mary  Haines,  Vivette ;  Charles  M.  Kent,  Balthazar ;  John  Kellerd,  Fre- 
deri.  The  other  parts  were  taken  by  Augustus  Cook,  Horace  Lewis, 
Walter  Craven.*     Mr.  Seidl  led  the  orchestra. 

*  Laura  Moore  sang  an  air  in  this  performance.  Born  at  Terre  Haute,  Jan.  6,  1S63,  she  took  the  first 
prize  for  singing  at  the  Paris  Conservatory  in  18S5.  She  sang  Ophelia  in  Thomas's  "  Hamlet"  early  in  1SS8 
at  the  Opera,  but  her  voice  was  not  large  enough  for  the  hall.  On  her  return  to  this  country  she  sang  for 
a  time  in  concert  and  in  operetta.  Thus  she  was  heard  in  Boston  in  "The  Oolah  "  (iSSojand  in  "The 
Lion  Tamer"  (1893). 

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An  opera  in  four  acts  founded  on  Daudet's  piece  and  entitled  "L'  Ar- 
lesiana,"  libretto  by  Leopoldo  Marenco,  music  by  Francesco  Cilea,  was 
produced  at  the  Lyric  Theatre,  Milan,  on  Nov.  27,  1897.  Three  numbers 
were  encored,  and  the  composer  was  called  before  the  curtain  twenty-one 
times.  The  chief  singers  were  Mmes.  Frida  Rici-De  Paz,  Tracey,  and 
Orlandi ;  Caruso,  Casini,  Aristi,  and  Frigotti. 


#   # 


The  plot  of  "  L'Arldsienne  "  is  the  story  of  a  young  farmer  of  Carmague, 
Fre'deri,  the  son  of  Rose  Marnai,  of  Castelet.  He  is  madly  in  love  with 
a  girl  of  Aries,  a  brunette  who  is  irresistible  in  the  farandole  ;  and  he 
would  fain  wed  her.  She  is  not  seen  in  the  drama.*  Fre'deri  is  told  at 
last  that  she  is  unworthy  the  love  of  any  honest  man  ;  and  he,  thinking  that 
contempt  can  kill  passion,  swears  he  will  forget  her.  The  baleful  beauty 
of  the  woman  haunts  him  day  and  night.  The  maiden  Vivette,  with  whom 
he  has  grown  up,  wishes  to  console  him ;  but,  when  he  would  woo  her,  the 
woman  of  Aries  comes  between  them.  Thus  tortured  by  jealousy,  hatred, 
love,  despair,  on  a  night  when  the  peasants  are  celebrating  the  Festival  of 
Saint  Eloi,  and  dancing  the  farandole  to  the  sound  of  flute  and  tambourine, 
Fre'deri  hurls  himself  from  the  garret  window  of  the  farmhouse  and 
dashes  his  skull  against  the  pavement  of  the  court. 

As  a  contrast  to  this  furious  passion  there  is  the  pure  love  of  the  long- 
separated  shepherd  Balthazar  and  Mere  Renaud.  There  is  also  the  Inno- 
cent, the  young  brother  of  Frederi,  whose  brain  begins  to  work  only  as  the 
tragedy  deepens,  and  at  last  is  awakened  to  full  consciousness  by  the 
catastrophe. 

*  And  so  it  is  with  the  charming  widow  in  the  old  farce,  "  Dunducketty's  Picnic."  Yet,  when  an  English 
adaption  of  "  I/Arlesienne  "  was  produced  in  London,  this  woman  of  Aries  was  introduced  in  the  scene  of  the 
farandole,  that  the  curiosity  of  the  audience  might  be  gratified.  When  "  The  Woman  of  Aries"  was  about  to 
be  produced  in  New  York,  a  passionate  press  agent  announced,  with  a  marked  display  of  hysteria,  that  Mrs. 
Agnes  Booth  would  "impersonate  the  title-role." 


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PI/NKHAM    &    SMITH 
OPTICIANS 

288    Boylston  Street 


OLD  VIOLINS. 


Mr.  Oliver  offers  his 

annual     collection  t  of 

rare    old    violins    and 

'cellos,  by  the  old  Italian  anil  other  makers, 

also  a  fine  collection  of  old  and  new  artists ; 

bows,  Italian  strings,  silver  G's,  leather  cases, 

>.  A.  OLIVER, 

25    Winter    Street, 

Violin  Maker  and  Repairer, 

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(203) 


Prelude. 

The  Prelude  of  the  suite  is  the  prelude  of  the  dramatic  piece.  It  is 
founded  on  three  themes, —  the  Noel,  the  theme  of  the  Innocent,  the 
theme  of  Frederi's  insane  passion.  It  opens  Allegro  deciso  in  C  minor, 
4-4,  with  a  strongly  marked  theme  given  to  the  violins,  violas,  'cellos, 
clarinets,  bassoons,  horns,  cor  anglais,  saxophone.  The  tune,  given  out  in 
unison,  is  an  old  Provencal  Noel,  or  Christmas  song,  concerning  which 
there  is  a  dispute  ;  for  some,  as  Julien  Tiersot,  say  that  the  tune  is  "  The 
March  of  Turenne's  Regiment  "  ;  that  it  became  popular  in  Provence,  and 
was  adopted  there  as  the  national  song,  the  "  Marcho  dei  Rei  " ;  while 
others,  as  the  learned  J.  B.  Weckerlin,  say  this  title,  "  March  of  Turenne," 
was  given  by  Castil  Blaze  to  a  march  published  by  him  in  1855  or  1856, 
and  that  the  tune  was  not  used  by  the  soldiers  under  Turenne.*  The  tune 
in  its  original  form,  for  Bizet. made  some  rhythmic  changes,  may  be  found, 
with  the  words  attributed  to  King  Rene',  in  "Lou  Tambourin,"  by  F.  Vidal, 
the  younger,  published  at  Avignon  (pp.  258,  259).  The  words  by  Rene',f 
Comte  d'Anjou  et  de  Provence,  first  Duke  of  Lorraine,  and  King  of  Sicily 
(1408-80),  are  of  course  much  earlier  than  the  air,  even  if  it  had  been  left 
in  Provence  by  Turenne's  men  :  — 

De  matin, 

Ai  rescountra  lou  trin, 

De  tres  grand  Rei  qu'anavon  en  viagi. 

Or,  as  the  French  version  has  it :  — 

De  bon  matin 

J'ai  rencontre  le  train 

De  trois  grands  rois  qui  allaient  en  voyage, 

De  bon  matin 

J'ai  rencontre  le  train 

De  trois  grands  rois  dessus  le  grand  cheniin. 

Venaient  d'abord 
Des  gardes  du  corps, 
Des  gens  armes  avec  trente  petits  pages, 
Venaient  d'abord 
Des  gardes  du  corps 
Des  gens  armes  dessus  leur  justau corps. 

*  But  the  air  itself  is  by  many  years  older  than  its  title.  Bizet  used  more  than  one  Provencal  melody  in 
"  L'Arlesienne."  The  theme  of  the  farandole  is  that  of  the  "  Danso  dei  Chivau-Frus " :  "  The  Bute  weds 
itself  to  the  pan,  pan,  pan  of  the  tambourine."  The  lullaby  of  the  Innocent  is  the  old  melody,  "  Erdou  Guet." 
(See  "  hou  Tambourin,"  by  F.  Vidal,  the  younger,  pp.  246,  248.) 

t  Concerning  King  Rene"  as  musician  and  patron  of  music  see  Albert  Jacquot's  ''La  Musique  en  Lor- 
raine" (Paris,  :SS2),  pp.  4-7. 

KAKAS  BROS:  Fur  Store, 

REMOVED    TO  I    REMOVED    TO 


Xenr  Trcmont 
I  /i<  utre. 


179  TREMONT  ST.,  "ZSffr*  I  179  TREMONT  ST, 

THE  MODEL  FUR  STORE  OF  BOSTON. 


Formerly  34  and  36  Bedford  Street 
(204) 


Sur  un  char 

Dore  de  toutes  parts, 

On  voit  trois  rois  modestes  comme  d'anges ; 

Sur  un  char 

Dore  de  toutes  parts, 

On  voit  trois  rois  parmi  les  etendards. 

This  Noel  is  prominent  as  march  and  as  chorus  in  the  third  act  of  the 
piece. 

Variations  follow  the  singularly  frank  and  sonorous  exposition  of  this 
theme. 

I.  C  minor.  A  smooth  and  flowing  variation  for  flute,  clarinet,  cor 
anglais,  bassoons. 

II.  C  minor.  A  livelier  variation  for  full  orchestra,  at  first  pianissimo, 
sharply  rhythmed,  and  with  an  effective  use  of  the  snare-drum. 

III.  C  major.  Variation  for  2  horns  and  'cellos,  with  counterpoint  for 
the  bassoon. 

IV.  C  minor.     Variation  in  march  form  for  full  orchestra. 

The  second  section  of  this  Prelude  is  founded  on  the  typical  theme  of 
the  Innocent,  which  shadows  him  throughout  the  play.  The  theme  is 
used  at  length  in  the  melodrama  of  the  first  act,  and  is  highly  developed 
in  the  entr'acte,  Act  III.,  scene  ii.  Thus  it  accompanies  significantly 
the  speech  of  Balthazar :  "  They  say  he  will  never  be  cured,  but  I  do  not 
think  so.     It  has  seemed  to  me  for  some  time  that  there  is  a  stirring  in 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUCNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS   CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  Hass. 


that  little  brain,  as  in  the  cocoon  of  the  silkworm  when  the  butterfly  is 
about  to  leave.  This  child  is  on  the  point  of  awaking."  The  air,  andante 
molto,  A-rlat  major,  4-4,  is  played  by  the  alto  saxophone,  accompanied  by 
muted  strings,  while  at  every  second  measure  there  is  an  ever-recurring 
sigh  of  the  clarinet.  The  accompaniment  is  afterward  strengthened  by 
flutes  and  cor  anglais. 

The  theme  of  Fre'deri  serves  for  the  finale, —  the  theme  that  is  used 
with  thrilling  effect  when  Balthazar  exclaims  at  the  end  of  the  piece,  "Go 
to  the  window  :  you  will  see  whether  one  does  not  die  of  love !  "  In  this 
Prelude  it  is  introduced  by  first  violins  and  violas.  Later,  violins,  violas, 
and  'cellos  play  it  feverishly  against  triplets  in  the  wind  instruments.  The 
Prelude  ends  in  G  major. 

MlNUETTO. 

Allegro  giocoso,  E-flat,  3-4.  This  is  No.  17  of  Act  II.  in  the  score  of 
the  play.  It  is  known  in  the  complete  version  as  Intermezzo.  It  has 
also  been  entitled  "  Menuet  des  Vieillards  "  and  "  Menuet-valse."  It  is, 
as  a  matter  of  fact,  an  entr'acte,  which  is  independent  of  the  orchestral 
prelude  to  Act  III.;  and  it  is  intended  to  serve  as  a  halting-place  between 
the  exposition,  which  occupies  three  scenes,  and  the  denouement,  which  is 
more  swiftly  contrived.  The  Trio  is  said  to  characterize  "  the  tender  and 
resigned  affection  of  Balthazar  and  Mere  Renaud,"  but  here  is  probably 
another  instance  of  an  imaginative  commentator.  In  this  Trio  the  melody 
is  played  by  saxophone  and  clarinet,  while  violins  ornament  with  ara- 
besques. In  the  reprise  of  the  Trio  the  air  is  played  by  violins  and 
'cellos,  with  the  embroidery  of  flutes  and  clarinets. 

Adagietto. 

This  Adagietto —  it  is  an  Adagioin  the  score  for  the  play —  F  major,  3-4, 
is  for  muted  strings  without  double-basses.      The  scene  is  the  Court  of 


BY    ROYAL     APPOINTMENT 
TO    THE     BRITISH     COURT. 


MACKENZIE-JACKSON 

LADIES'  TAILOR 
Glasgow  J  84  Boylston  Street,  Boston  Oban 

(20C) 


Castelet.  The  music  is  played  during  the  conversation  of  Mere  Renaud 
and  Balthazar.  It  is  impossible  to  preserve  in  English  the  exquisite  sim- 
plicity and  flavor  of  Daudet's  prose  ;    his  lines  must  suffer  a  sea-change. 

Balthazar. 
God  keep  you,  Renaud  ! 

Mere  Renaud. 

Oh  !  O  my  poor  Balthazar. 

Balthazar  (in  a  lotv  voice). 

It's  my  fault.     I  knew  you  were  coming.     I  should  not  have  stayed. 

Mere  Renaud. 

Why  not  ?  To  keep  your  oath  ?  Bah  !  that  is  not  worth  the  trouble.  God  himself 
has  not  wished  that  we  should  die  without  a  meeting,  and  for  this  he  put  love  in  the 
hearts  of  those  children  there.  And,  after  all,  he  owes  us  this  as  a  reward  for  our 
bravery. 

Balthazar. 

Yes,  there  was  need  of  courage.  Leading  my  beasts,  I  sometimes  saw  the  smoke  of 
your  dwelling,  and  it  seemed  to  make  a  sign  to  me  :  "  Come  !     She  is  here  !  " 

Mere  Renaud. 

And  when  I  heard  your  dogs  bark,  and  I  recognized  you  and  your  great  cape  afar  off,  it 
took  all  my  strength  to  keep  me  from  running  toward  you.  And  now,  at  last,  our  trouble 
is  at  an  end,  and  we  can  look  on  each  other  without  blushing.     Balthazar ! 

Balthazar. 

Renaud  ! 

Mere  Renaud. 

Would  you  be  ashamed  to  kiss  me  now,  all  old  and  wrinkled  by  years  as  I  am  ? 

Balthazar. 

Oh! 

Mere  Renaud. 

Well,  press  me  close  to  your  heart.  For  fifty  years  I  have  owed  you  this  kiss  of 
friendship. 


Mr.  WILLIAM  C.  CARL 

GIVES 

INSTRUCTION 

IN  THE  ART  OF 

Organ  Playing 

AT  THE 

GUILMANT  ORGAN  SCHOOL, 
34  West  12th   Street, 

NEW    YORK. 

Send  for  Catalogue. 


W.  A.  Moffitt 

CHIROPODIST 


128A  Tremont  Street 


Manicuring,  Pedicuring, 

Hair  Shampooing,  Scalp  and  Facial 

Treatment. 


The  most  exclusive  list  of  patrons 
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(207) 


Carillon.* 

E  major,  3-4.  The  Carillon  is  the  orchestral  prelude  to  the  fourth 
scene,  the  Court  of  Castelet.  The  courtyard  of  the  old  farmhouse  is  in 
full  festival  dress  for  the  betrothal  of  Fre'deri  and  Vivette  and  for  the 
Festival  of  Saint  Eloi,  the  patron  saint  of  husbandry.!  There  are  gar. 
landed  May-poles,  and  above  the  gate  is  a  huge  bouquet  of  cornflowers 
and  poppies.  There  is  a  persistent  chiming  figure,  G-sharp,  E,  F-sharp,  for 
fifty-six  measures,  which  is  relieved  only  by  counter-themes.  This  theme 
is  first  given  to  horns,  harp,  second  violins. 

Then  comes  the  episode,  "The  Entrance  of  Mere  Renaud,"  andantino, 
C-sharp  minor,  6-8,  a  duet  for  flutes,  after  which  oboes  join  flute.  Mere 
Renaud  enters,  leaning  on  Vivette  and  Fre'deri. 

The  Carillon  is  resumed,  and  it  ends  the  suite. 

* 

#   # 

Camille  Bellaigue  some  years  ago  protested  against  the  separation  of 
this  music  from  the  drama  :  "  As  though  one  could  detach  the  colors  from 
the  canvas ;  as  though  the  supreme  beauty  of  these  melodies,  these  ritor- 
nels,  these  chords  (for  sometimes  there  are  only  chords)  did  not  consist 
in  rigid  adherence  to  the  situations,  the  speech,  the  gestures." 

*"  Carillon,"  formerly  "  quadtillon,"  a  chiming  with  four  bells.  The  term  is  now  applied  to  a  system  of 
bells  arranged  for  the  performance  of  a  tune,  which  itself  is  also  called  "  carillon."  The  term  is  loosely  used 
to  denote  any  chiming  where  there  is  rhythm  or  accord.  For  curious  information  concerning  carillons  sec 
Kastner's  "  Paremologie  Musicale  de  la  Langue  Francaise "  (Paris  1S62),  and  J.  D.  Blavignac's  "La 
Cloche"  (Geneva,  1877),  pp.  147-154.  The  old  terms  for  sounding  three  bells  were  "  treseler,  tresiller,  tri- 
boler."  The  most  famous  ancient  carillon,  or  chime  of  bells,  was  that  at  Alost,  in  Belgium,  which  was  con- 
structed in  1485  or  1487.  Next  to  it  was  an  older  one,  that  of  Dunkirk,  which,  mounted  in  1437,  was  restored 
in  1825  and  again  since  then.  And  there  was  an  old  dance,  "  Le  Carillonde  Dunkerque,'"  still  seen  at  chil- 
dren's parties  in  France,  a  dance  in  rapid  2-4  or  6-8.  The  tune  was  set  to  ironical  words  of  a  scurvy  nature. 
(See  Desrat's  "  Dictionnaire  de  la  Danse,"  Paris,  1895.) 

t  But  some  hagiologists  say  that  Saint  Eloi,  or  Eligius,  was  the  patron  of  all  artisans  who  use  the  hammer. 
Eloi,  born  at  Chatelat  or  Catillac  in  588,  died  in  659.  He  was  the  goldsmith,  bishop,  and  treasurer  of  King 
Dagobert.  A  man  far  in  advance  of  his  period,  he  forbade  feasting  on  Thursday  in  honor  of  Jupiter,  wor- 
shipping trees,  lights,  rocks,  hanging  talismans  on  men,  women,  and  animals,  shrieking  during  an  eclipse  to 
relieve  the  sun  or  moon,  considering  sneezing  or  flights  and  calls  of  birds  as  things  of  portent,  or  reckoning 
days  as  lucky  or  unlucky. 


Simpson  &  Surette's 

"Commonwealth" 

HIGH-GRADE     CIGARS 

ALL  SIZES 
AT 

Hubbell  &  McGowan's 

Opposite  Symphony  Hall 


HAVE  YOU  A 

^Broken 

REPAIRING    U.EMANNlN<r 
ECOVER1NG  Umbrella  Mfgr. 

ASP£C/ALty>*a>    Covin  A.5t»wiu-i) 
ZZ  Wl  HTIR  ST  3 OS TOAf 


M  I  L  L  I  IN  E  R  Y 
Miss  M.  E.  FORD 

149A  Tremont  St.,    Boston 

Has    opened     her     Rooms    with    a 

Choice    Assortment    of 

Fall    Coods 

Take  elevator 


(208) 


SVPEKLATIVE  QUALITY. 


Never  in  tHe  History  of  our  House  Have  our  stand- 
ards Heen  Hig'Her,  our  facilities  for  turning'  out  su- 
perior worh  so  adequate,  or  our  experience  so  Hroad. 
"We  are  devoting'  much  attention  to  small  g'rands  of 
faultless  construction  as  ■well  as  to  small  uprig'Hts  for 
small  rooms.  W^e  rent  superior  pianos,  and  sell  on 
convenient  systems  of  payment.     Catalog'ues  g'ratis. 


L 


♦  I  VERS  Q  POND    • 

•  PIANO    CO  • 

114BOYLSTON  ST.  BOSTON 

(209) 


# 
*   * 


The  suite  has  been  played  at  these  concerts  Jan.  7,  1893,  Nov.  10, 
1894,  Dec.  23,  1897.  It  has  also  been  played  at  an  extra  and  a  "pop- 
ular "  concert  given  by  this  orchestra. 


.    ENTR'ACTE. 

ALPHONSE    DAUDET'S    "  L'ARLESIENNE." 

(Englished  by  William  F.  Apthorp  from  Zola's  "  Nos  Auteurs  Dramatiques.") 

Among  Alphonse  Daudet's  plays  there  is  one  other  failure  which  is  still 
more  astounding;  I  mean  "  L'Arlesienne."  I  have  already  said  repeatedly 
of  what  severe  injustice  press  and  public  had  given  proof  toward  this 
remarkable  love-poem.  Yet  it  is  not  passion  that  is  lacking  here.  The 
hero,  Frederi,  dies  of  love  for  a  girl ;  and  side  by  side  with  this  burning 
desire,  there  is  near  him  Vivette's  smiling  and  resigned  affection.  Then, 
again,  it  is  Rose  Mamai's  motherly  love,  that  cry  of  the  lioness  who  sees 
her  whelp  dying.  And  all  this  in  a  setting  of  exquisite  originality,  in  the 
sunshine,  in  an  atmosphere  of  puissant  and  sweet  morals.  Never  had  a 
work  united  more  strength  with  more  grace.  Why,  then,  the  public's 
coldness  ?     One  must  surely  admit  that  the  public  did  not  understand  it. 

"  L'Arlesienne  "  stepped  out  too  far  from  the  current  formula  at  the  time 


Dominion  Line 

EXPRESS    SERVICE 
BOSTON    TO 

Mediterranean, 
Gibraltar,    Naples, 

Genoa,  and 
Alexandria,  Egypt. 


Resumption    of    trips    by   the    mammoth    popular    twin-screw  steamers,    "COM- 
MONWEALTH"  and    "NEW    ENGLAND." 

S.S.  New  England  (ii,.|oo  tons)  sails  Dec.  6,  Jan.  17,  Feb.  2S. 
S.S.  Commonwealth  (13,000  tons)  sails  Jan.  3,  Feu.  i  (,  Mar.  jS. 
Send  for  rates  and  illustrated  booklet. 

Direct    Service  to       AZORES        PONTA     DELGADA, 

And   through   to  GIBRALTAR,   NAPLES,  and  GENOA. 
S.S.  Camukoman,  Nov.  8,  Dec.  20,  Jan.  31.  S.S.  Vancoi  vbr,  Nov,  19,  ran.  10,  Feb.  11. 

For  rates  and  furthei  information  app 


RICHARDS,  MILLS  &  CO.,  77-81  STATE  STREET,  BOSTON 

Or  any  local  steamship  agent. 


(210) 


when  it  was  given.  Later  on  we  have  seen  "  L'Ami  Fritz  "  *  succeed, 
which  in  its  cut  and  social  atmosphere  has  strong  points  of  relationship 
with  Daudet's  work.  This  leads  me  to  believe  that  "  L'Arlesienne  "  would 
succeed  if  taken  up  again.  It  is  with  certain  plays  as  with  certain  books  : 
when  they  are  too  far  ahead  of  the  times,  the  public  must  be  given  time  to 
ripen.  The  time  is  now  coming  for  these  human  analyses  put  upon  the 
stage  in  simple  settings.  "  L'Arle'sienne "  remains  so  far  Daudet's 
masterpiece  in  drama,t  and  surely  "L'Arlesienne"  will  have  its  day  of 
triumph. 

Besides,  it  matters  little  whether  Alphonse  Daudet's  plays  may  have 
had  a  more  or  less  long  and  resounding  success  on  their  first  appearance. 
They  live,  in  spite  of  all,  through  their  style  and  their  analysis.  They 
will  be  played  a  hundred  years  hence,  when  all  the  lauded  things  of  to-day, 
the  great  successes  of  the  craftsmen,  will  have  long  been  sleeping  beneath 
the  dust,  gnawed  into  by  rust.  The  clever  dramatists  had  better  not 
smile  when  they  speak  of  Alphonse  Daudet  as  a  dramatic  author  ;  for  he 
will  bury  them  all  with  the  "  Arlesienne,"  even  if  the  "  Arlesienne  "  never 
has  the  scenic  success  it  deserves. 

Such  is  the  consolation  of  true  writers.  They  have  the  centuries  to 
come  to  prove  them  right.  One  may  despise  them  as  he  pleases.  They 
remain  erect,  and  impose  themselves  at  last.     They  live. 

*"L'Amf  Fritz,"  comedy  in  three  acts  by  Erckmann-Chatrian,  founded  on  their  novel  of  like  name, 
produced  at  the  Comedie-Frangaise  on  Dec.  4,  1876  (Suzel,  Miss  Reichemberg ;  Fritz,  Febvre;  Josef, 
Trumer;  David  Sichel,  Got.)  The  incidental  music  was  by  Henri  Marechal  (1842-).  "  L'  Amico 
Fritz,"  an  opera  in  three  acts,  libretto  by  Zanardini  and  Daspuro,  music  by  Mascagni,  was  produced  at  Rome, 
Oct.  31,  1S91,  with  Calve,  Synnerberg,  de  Lucia,  and  Lherie  as  the  chief  singers;  and  in  Boston,  April  25, 
1893,  at  the  Boston  Theatre  by  the  Hinrichs  Opera  Company,  with  Selma  Koert-Kronold,  Catharine 
Fleming,  Payne  Clarke,  and  Del  Puente.  An  English  version  of  the  play,  adapted  by  Stanislaus  Stange, 
entitled  "Friend  Fritz,"  and  with  music  by  Marechal  and  Julian  Edwards,  was  produced  here  at  the 
Columbia  Theatre  on  March  20,  1893.  Marion  Manola  took  the  part  of  Suzel,  John  [Mason  that  of  Fritz , 
Robert  McWade  was  the  Rabbi  David ;  and  the  other  chief  parts  were  taken  by  Hattie  Schell,  Seth 
M.  Crane,  and  E.  P.  Temple.—  P.  H. 

t  The  first  play  of  Alphonse  Daudet  (1S40-97)  was  "La  Derniere  Idole,"  comedy  in  one  act,  Odeon, 
Paris,  Feb.  4,  1S62.  "  L'Arlesienne  "  was  his  seventh  piece  for  the  stage.  His  works  for  the  operatic  stage 
are  as  follows  :  "  Les  Absents,"  opera-comique  in  one  act,  music  by  Poise  (OpeVa-Comique,  Oct.  26,  1864); 
"  Le  Char,"  opera-comique  in  one  act,  with  Arene,  music  by  Pessard  I  Opera-Comique,  Jan.  18,  187S).  The 
libretto  of  Massenet's  "  Sapho  "  was  founded  by  Cain  and  Bernede  on  Daudet's  novel  (Opera-Comique,  Nov. 
27,  1897,  with  Calve  as  the  heroine).  Pugno's  "  Les  Etoiles, "  an  opera-ballet  founded  on  one  of  Daudet's 
"  Contes  du  Lundi,"  has  not  yet  been  produced. —  P.  H. 


146  Tremont  Street. 
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BONBONS  and 
CHOCOLATES. 

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Soda. 


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tone  and  tissue  building,  without  the  tise  of 
cosmetics  or  steaming.  Head  treated  for  con- 
gestion, falling  hair,  and  to  promote  growth. 
Will  visit  ladies  at  their  homes. 

Address,  384  BOYLSTON  STREET. 

Testimonials  from  distinguished  men  and 
women  of  Boston. 


211) 


Symphony  in  B-flat  major,  No.  4,  Op.  60     .     Ludwig  van  Beethoven. 

(Born  at  Bonn,  Dec.  16  (?),  1770;  died  at  Vienna,  March  26,  1S27.) 

This  symphony  was  written  during  the  summer  of  1806,  published  in 
1809,  and  dedicated  to  the  Count  von  Oppersdorf.  Before  working  on  this 
symphony  Beethoven  had  spent  considerable  time  on  the  Symphony  in  C 
minor,  which  he  put  aside.  The  first  performance  of  the  one  in  B-flat 
was  at  a  private  concert  given  for  Beethoven's  benefit  in  March,  1807,  at 
Vienna.  The  Journal  des  Luxi/s  und  der  Moden  published  this  review 
early  in  April  of  that  year :  — 

"  Beethoven  gave  in  the  dwelling-house  of  Prince  L.  two  concerts 
in  which  only  his  own  compositions  were  performed :  the  first  four 
symphonies,  an  overture  to  the  tragedy  '  Coriolanus,'  a  pianforte  concerto, 
and  some  arias  from  '  Fidelio.'  Wealth  of  ideas,  bold  originality,  and 
fulness  of  strength,  the  peculiar  characteristics  of  Beethoven's  Muse,  were 
here  plainly  in  evidence.  Yet  many  took  exception  to  the  neglect  of  noble 
simplicity,  to  the  excessive  amassing  of  thoughts,  which  on  account  of 
their  number  are  not  always  sufficiently  blended  and  elaborated,  and 
therefore  often  produce  the  effect  of  uncut  diamonds." 

Was  this  "Prince  L"  Lobkowitz  or  Lichnowsky?  Thayer  decided  in 
favor  of  the  former. 

The  symphony  was  also  played  in  public  at  a  charity  concert  at  the 
Burg  Theatre,  Vienna,  on  Nov.  15,  1807,  when  it  was  conducted  by  the 
composer.  The  correspondent  of  Kotzebue's  Freimuthige  (Jan.  14,  1808) 
wrote :  "  Beethoven  has  composed  a  new  symphony,  which  has  pleased 
at  least  his  furious  admirers,  and  an  overture  to  Collin's  '  Coriolanus,' 
which  has  pleased  everybody." 

The  first  performance  in  Boston  was  probably  at  a  concert  of  the  Musi- 
cal Fund  Society  on  Dec.  8,  1849. 

Some  in  late  days  try  to  account  for  the  postponement  of  the  Fifth  Sym- 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(212) 


phony,  begun  before  the  Fourth,  "by  the  fact  that  in  May,  1806,  Beet- 
hoven became  engaged  to  the  Countess  Theresa.  .  .  .  The  B-flat  symphony 
has  been  mentioned  as  '  the  most  tenderly  classical '  of  all  works  of  its  kind  ; 
its  keynote  is  '  happiness  '  —  a  contentment  which  could  have  come  to  the 
master  only  through  such  an  incident  as  the  one  above  set  forth  —  his  be- 
trothal."    I  do  not  see  the  force  of  this  reasoning. 

No  one  has  written  more  acutely,  discriminatively,  and  with  more  poetic 
appreciation  of  the  symphonies  of  Beethoven  than  Hector  Berlioz,  still 
the  prince  of  critics. 


* 


"  Here  Beethoven  abandons  wholly  the  ode  and  the  elegy," —  a  reference 
to  the  "  Eroica  "  Symphony, —  "  to  return  to  the  less  lofty  and  sombre  but 
perhaps  no  less  difficult  style  of  the  Second  Symphony.  The  character 
of  this  score  is  generally  lively,  nimble,  joyous,  or  of  a  heavenly  sweetness. 
If  we  except  the  meditative  adagio,  which  serves  as  an  introduction,  the 
first  movement  is  almost  entirely  given  up  to  joyfulness.  The  motive  in 
detached  notes,  with  which  the  allegro  begins,  is  only  a  canvas,  on 
which  the  composer  spreads  the  other  more  real  melodies,  which 
thus  render*  the  apparently  chief  idea  of  the  beginning  an  accessory. 
This  artifice,  although  it  is  fertile  in  curious  and  interesting  results,  had 
already  been  employed  by  Mozart  and  Haydn  with  equal  success.  But  we 
find  in  the  second  section  of  this  same  allegro  an  idea  that  is  truly  new, 
the  first  measures  of  which  captivate  the  attention ;  this  idea,  after  lead- 
ing the  hearer's  mind  through  mysterious  developments,  astonishes  it  by 
its  unexpected  ending.  It  consists  of  this  :  after  a  rather  vigorous  tutti 
the  first  violins  pick  the  first  theme  to  pieces,  and  form  with  it  a  pianis- 
simo dialogue  _with  the  second  violins,  which  leads  to  holds  on  the  chord 
of  the  dominant  seventh  in  B-natural :  each  one  of  these  holds  is  inter- 
rupted by  two  measures  of  silence,  which  are  filled  out  only  by  a   light 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &   FAIRBANKS   COHPANY,    -    BOSTON 

(213) 


tremolo  of  kettle-drums  on  B-flat,  the  enharmonic  major  third  of  the  fun- 
damental F-sharp.  After  two  apparitions  of  this  nature,  the  drums  are 
silent  to  allow  the  strings  to  murmur  gently  other  fragments  of  the  theme, 
and  to  arrive  by  a  new  enharmonic  modulation  to  the  chord  of  the  sixth 
and  the  fourth  of  B-flat.  The  kettle-drums  then  enter  on  the  same 
note,  which  is  not  now  a  leading  note,  as  it  was  the  first  time,  but  a 
true  tonic,  and  they  continue  the  tremolo  for  twenty  measures  or  so. 
The  force  of  tonality  of  this  B-flat,  scarcely  perceptible  at  first,  waxes 
greater  and  greater  as  the  tremolo  is  prolonged ;  then  the  other  instru- 
ments, scattering  little  unfinished  bits  of  phrases  in  their  onward  march, 
lead  with  the  continuous  roll  of  the  drums  to  a  general  forte  in  which  the 
perfect  chord  of  B-flat  is  at  last  established  by  the  orchestra  in  its  full 
majesty.  This  astonishing  crescendo  is  one  of  the  most  skilfully  con- 
trived things  we  know  of  in  music ;  you  will  hardly  find  its  equal  except  in 
that  which  ends  the  famous  scherzo  of  the  Symphony  in  C  minor.  And 
this  latter,  in  spite  of  its  immense  effectiveness,  is  conceived  on  a  less  vast 
scale,  for  it  sets  out  from  piano  to  arrive  at  the  final  explosion  without 
departing  from  the  principal  key,  while  the  one  whose  march  we  have  just 
described  starts  from  mezzoforte,  is  lost  for  a  moment  in  a  pianissimo 
beneath  which  are  harmonies  with  vague  and  undecided  coloring,  then  re- 
appears with  chords  of  a  more  determined  tonality,  and  bursts  out  only  at 
the  moment  when  the  cloud  that  veiled  this  modulation  is  completely  dis- 
sipated. You  might  compare  it  to  a  river  whose  calm  waters  suddenly  dis- 
appear and  only  leave  the  subterranean  bed  to  plunge  with  a  roar  in  a 
foaming  waterfall. 


THE 


,   From  all  sides  comes  the  highest  praise  for  the  Apollo  piano 
player.     Singers,  pianists,  organists,  and  orchestral  directors,  all  of 
them  recognized  as  belonging  in  the  ranks  of  the  world's  greatest  ar- 
tists, join  in  paying  hearty  tribute  to  its  beautiful  musical  qualities,  its  fine  con 
struction,  its  responsiveness,  and  its  perfect  and  brilliant  execution.      Price. 

$225. 

The  APOLLO  GRAND  (the  largest  piano-player  made)  covers  the  entire 
range  of  a  seven-octave  piano.      Price,   $300. 


(214) 


Veuve  Chaffard 

PURE 

OLIVE   OIL 

In  honest  buttles. 


PRICE   LIST  SENT  ON   APPLICATION. 

S.  S.  PIERCE  CO. 


Established  183 


±  IMPORTERS  and  GROCERS, lncofporated'894- 


Fremont  and  Beacon  Ms.  ) 
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185  Hilk  St.  (Wholesale)) 


BOSTON 


Coolidge's  Corner,  BROOKLINE 


(215) 


We  are  now  displaying  our  Complete  Line  of 

AUTUMN    GLOVES. 

The  styles  and   colors  have  never  been  more 
attractive,  and  the  range  of  prices,  from 

$1.00  to  $2.00, 

Will  meet  the  demand  of  all  wearers  of  gloves. 


Miss  M.  F.  FISK,  144  Tremont  St. 


New  Musical  Books. 


flUSIC  IN  THE  HISTORY  OF  THE  WESTERN 
CHURCH.  With  an  introduction  on  religious 
music  among  primitive  and  ancient  peoples. 
By  Edward  Dickinson,  Professor  of  the 
History  of  Music,  Oberlin  College.    $2.50. 

ORCHESTRAL  INSTRUHENTS  AND  THEIR 
USE.  By  Arthir  Elson.  $1.50. 
Giving  a  description  of  each  instrument  now 
employed  by  civilized  nations,  a  brief  ac- 
count of  its  history,  an  idea  of  the  tech- 
nical and  acoustical  principles  illustrated  by 
its  performance,  and  an  explanation  of  its 
value  and  functions  in  modern  orchestra. 


C.  W.  THOflPSON  &  CO., 

Music    Publishers,    13  West  St. 


Foreign  Books, 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 
CUPPLES^STSCHOENHOF, 

128  Tremont  St..  2d  door  north  of  Winter  St., 
over  Wood's  Jewelry  Store.    (Tel.,  Oxford  1098  _'.  > 

nile.  CAROLINE 

Invites  you  to  inspect  her  foreign  selection 
of 

Hats  and   Bonnets, 

Together  with  her  own  designs.    The  prices 
are  very  reasonable. 

486  Boylston  Street,  Boston. 

In  block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(216; 


"As  for  the  adagio  —  it  escapes  analysis.  It  is  so  pure  in  form,  the 
melodic  expression  is  so  angelic  and  of  such  irresistible  tenderness,  that 
the  prodigious  art  of  the  workmanship  disappears  completely.  You  are 
seized,  from  the  first  measure,  by  an  emotion  which  at  the  end  becomes 
overwhelming  in  its  intensity ;  and  it  is  only  in  the  works  of  one  of  these 
giants  of  poetry  that  we  can  find  a  point  of  comparison  with  this  sublime 
page  of  the  giant  of  music.  Nothing,  indeed,  more  resembles  the  impres- 
sion produced  by  this  adagio  than  that  which  we  experience  when  we  read 
the  touching  episode  of  Francesca  da  Rimini  in  the  '  Divina  Comedia,'  the 
recital  of  which  Virgil  cannot  hear  'without  weeping  in  sobs,'  and  which, 
at  the  last  verse,  makes  Dante  '  fall,  as  falls  a  dead  body.'  This  move- 
ment seems  to  have  been  sighed  by  the  archangel  Michael,  one  day,  when, 
overcome  by  melancholy,  he  contemplated  the  worlds  from  the  threshold 
of  the  empyrean. 

"  The  scherzo  consists  almost  wholly  of  phrases  in  binary  rhythm,  forced 
to  enter  into  combinations  of  3-4  time.  This  means,  frequently  used  by 
Beethoven,  gives  much  vigor  to  the  style  ;  the  melodic  cadences  thus 
become  more  piquant,  more  unexpected ;  and,  besides,  these  syncopated 
rhythms  have  in  themselves  a  real  charm,  although  it  is  hard  to  explain  it. 
There  is  pleasure  in  seeing  the  time  thus  pounded  into  pieces  wholly 
restored  at  the  end  of  each  period,  and  the  meaning  of  the  musical  speech, 
for  a  while  arrested,  reach  nevertheless  a  satisfactory  conclusion,  a  com- 
plete solution.  The  melody  of  the  trio,  given  to  wind  instruments,  is  of  a 
delicious  freshness ;  the  pace  is  a  little  slower  than  that  of  the  rest 
of  the  scherzo,  and  its  simplicity  stands  out  in  still  greater  elegance  from 
the  opposition  of  the  little  phrases  which  the  violins  throw  across  the  wind 
instruments,  like  so  many  teasing  but  charming  allurements. 

"The  finale,  gay  and  lively,  returns  to  ordinary  rhythmic  forms  ;  it  con- 
sists of  a  jingling  of  sparkling  notes,  interrupted,  however,  by  some  hoarse 
and  savage  chords,  in  which  are  shown  the  angry  outbursts  which  we  have 
already  had  occasion  to  notice  in  the  composer." 

* 

The  symphony  is  scored  for  flute,  2  oboes,  2  clarinets,  2  bassoons, 
2  horns,  2  trumpets,  kettle-drums,  strings. 


Don't  let  your  children  acquire  the  CoffeeHabit 

Get  out  of  the  rut  yourself!  All  doctors 

recommend  COCOA  and  CHOCOLATE 

in  preference  to  coffee. 

Wynofjfe/l/ieBesl? 


UNEQUALLED    FOR 
GROCERS  EVERYWHERE  (/        QUALITY.  PURITY  &  FLAVO  R . 


(217) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies   Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets    Portieres    Draperies    Furniture   Coverings    can    be 
dyed  to  wear  like  new      There  are  great  possibilities  in  these 


lines--- 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 

New  York   Providence  17  Temple  Place  Philadelphia   Baltimore 

Hartford   New  Haven  Lynn     284  Boylston  Street  Watertown  Cambridge 

Roxbury  Boston  Newport 

(218) 


Fifth  Rehearsal  and  Concert* 


FRIDAY   AFTERNOON,  NOVEMBER  2J,  at  2.30  o'clock. 

SATURDAY  EVENING,  NOVEMBER  22,  at  8.00  o'clock. 


PROGRAMME. 

Mendelssohn  ....  Symphony  in  A  major  iS~.  ^ek) 

|\a»  ffc  *^*t. Ola*-    <*juu 

•■  Mdiiclilier     .         .         .        .         .         .  .      Ar\<\  f^™  <<Hlr"'  H«tii 


Dvorak ♦  Variations 


Wagner,  "  Wotan's  Farewell "  and  "  Fire-charm,"  from  u  Die  Walkure  " 


SOLOIST : 
Mr,  ANTON  VON  ROOY 


1219) 


JST^J^VK^T    H^VXvXv 


SECOND   SONG. RECITAL   BY 

GEORGE  DEVOLL,  Tenor,    and  EDWIN  ISHAfl,  Baritone. 


firs.  J.  E.  TIPPETTat  the  Piano. 


DUETS. 

a.  "  The  Sea."  ) 

b.  "The  Path  of  Love."  ) 
SONGS  FOR  TENOR. 

a.  "  O  Sleep,  why  dost  thou  leave  me?  "      Handel 

b.  "  Auf  Fliigeln  des  Gesanges."        Mendelssohn 

To  the  Queen  of  my  Heart.'' 
SONGS  FOR  BARITONE. 

a.  "  La  Premiere." 

b.  "  Voisinage."  / 

c.  "  Espoir.         1 
DUETS. 

a.  "  Summer  Night."  Edwin  Schultz 


Brahms 


Ernest  Ford 
Amherst  Weber 
Chaminade 


TUESDAY  AFTERNOON,  NOVEHBER  18,  AT  3 
PROORAM. 

b.  "  Nocturne  Pyreneen." 
SONGS  FOR  TFNOR. 
Creole  Songs 

a.  "  Madeleine  Cnere." 

b.  "  De  'tit  Zozos." 

c.  "  Aubade  Creole." 

SONGS  FOR   BARITONE. 

a.  "  O  let  Night  speak  of  me 

b.  "  Eldorado." 
C.   "  Freebooter  Song." 

Hi   ET. 
"  Les  Pecheurs  de  Pedes." 


Chaminade 


Herbert  Bunning 


Chadwick 
Richard  Walthew 
William  Wallace 

Bizet 


Tickets,  $1.00  and   $1.50,    now  at  Steinert   Hall.      Admission,   50  cents. 

Beethoven    Recital 

L  A  M  O  N  D 

TUESDAY  EVENING,  NOVEMBER  18,  AT  8.15 


*--* 


STEINERT   HALL 

PROGRAM 


«     '       ^ 


1.  Sonata,  Op.  106. 

Allegro.     Scherzo  (assai  vivace).     Adagio  sostenuto.     Largo. 

2.  a.  Sonata,  Op.   n  i. 

Maestoso.     Arietta  (con  variazioni). 

b.  Sonata,  Op.  8i. 

Adagio  (L'Adieu).  Andante  espressivo  (L'Absence).    Vivacissimamente  (Retour). 

3.  Sonata,  Op.  57  (Appassionata). 

Allegro  assai.     Andante  con  moto.     Allegro,  ma  non  troppo. 


Tickets,  $1.00  and  $1.50,  are  for  sale  at  the  hall 
(The  Mason  &  Hamlin  'Pianoforte) 


RECITAL    OF 

ORIGINAL    MONOLOGUES 

To-morrow,  Saturday  Afternoon, 

NOVEMBER     15,    AT    2.30. 

BEATRICE   HERFORD. 

TICKETS   NOW    ON    SALE 
AT    STEINERT     HALL. 

(220) 


PIANO    .AJNX>    VIOLIN    RECITAL 

BY 

IHiss  Jessie  Davis  and  lUr.  fiugb  godman 

STEINERTH  ALL,  THURSDAY  EVENING,  NOVEMBER  20.  at  8. 1  5  o'clock 
Tickets,  with  Reserved  Seat,  $1.50  and  $1.    Admission,  75  cents.    On  sale  at  the  hall 


PROGRAM 

Sonata  in  D  minor.    Op.  36,        Gabriel  Piern6 

Intermezzo.    Op.  117 

.  Brahms 

Allegretto 

Novelette.    Op.  21,  No.  8 

Schumann 

Allegretto  tranquillo 

Andante    non    troppo  — 

Zigeunerweisen 

Sarasate 

Allegro  un  poco  agitato 

Impromptu.     F-sharp ) 

.    Chopin 

(First  time  in  Boston) 

Mazurka                           ) 

Chaconne.    For  violin  alone         .       .        Bach 

,  Prelude 

.  Liadow 

Serenade     .... 

Rachmaninoff 

MASON    AND    HAMLIN     PIANOFORTE 

TWO    CHAMBER    CONCERTS 

BY  THE 

HOFFMANN  .STRING  QUARTET 

J.  HOFFMANN,  Violin  ,  F.  ZAHN,  Viola 

A.  BAK,  Violin  C.  BARTH,  'Cello 

FIRST    CONCERT,    "WEDNESDAY 
EVENINC,    DECEMBER    3,  at  8.15 

>  ■  j*     j*     MISS  JESSIE   DAVIS,    Pianist,    assisting.     J>     J>     £• 

Reserved  Seats,  $1.00  and  $0*75,  for  sale  at  the  hall  (telephone,  Oxford  133)* 

Miss  AUGUSTA  COTTLOW 

mu g™z  PIANOFORTE  RECITAL, 

To  take  place  in 

STEINERT    HALL 


The   date   will   be    announced   later 

(The  Steinway  Piano  used) 


Mr.  GEORGE    H^JMLIIV 

Tenor 

Will  give   a   recital   of 
SONGS  composed  by  RICHARD  STRAUSS 

On    Tuesday    Afternoon,    December    2,    in    STEINERT    HALL 


P.S. —  Mr.  Hamlin,  it  may  be  remembered,  gave  a  Strauss  recital  last 
season  in  the  same  hall,  after  which  he  was  very  highly  praised  by  the 
critics  and  other  hearers. 


Cbickering  fyall 

CHICKERING  HALL,  """SKS.  »T .. 

Fourth    ^Vnnnal    B^IVJO    Recital, 

BY  THE  WORLD'S  GREATEST  BANJOIST, 

Assisted  by  H.  SCHUECKER Harpist. 

^^^^  Miss  MARGARET  ROCHE,  Contralto. 

IMPERIAL  MANDOLIN  AND  GUITAR  CLUB, 

management,  EDWARD  A.  GROUT. 

ARLAND 

•♦THE  HOST  WONDERFUL  MUSICAL  PERFORMANCE  OF  THE  TIME." 

"  It  was  a  matter  of  excitement  to  hear  Sarland,  for  the  man  has  a  technique  that  makes 
one  begin  to  believe  possible  what  one  reads  of  l'aganini  himself. .  .  .  His  banjo  whines  like  the 
wind  and  oftener  sounds  like  a  'cello,  a  violin,  or  a  harp  than  it  does  like  a  banjo.  .  .  .  Those  who 
fell  into  a  tine  frenzy  at  Ktjbelik's  technical  feats  should  not  miss  an  opportunity  of  hearing 
Fakland's  still  more  amazing  exploits."—  Boston  Transcript,  December  18,  1901. 

"His  third  annual  recital  only  served  to  make  more  firm  the  impression  that  he  has  estab- 
lished the  banjo,  by  his  mastery  of  it,  as  the  equal  of  any  other  stringed  instrument.  .  .  .  All  the 
delicacy  of  tone  effects,  all  the  musical  distinctions  which  are  made  plain  on  the  violin  or  piano 
by  the  masters  of  those  instruments,  are  reproduced  with  equal  effect  by  Mr.  Farland's  subtle 
fingers."—  Boston  Journal,  December  18, 1901. 

"Fakl and  astounded  his  auditors  with  the  most  brilliant  nights  of  virtuosity  ever  heard 
here  on  a  stringed  instrument."—  Cincinnati  Commercial  Tribune,  April  i,  1899. 

Tickets,  $1 .00,  75c,  50c.    Now  on  sale  at  Herrick's,  Copley  Square ;  Parker  House  ;  Connelly's, 

Adams  House. 

MR.  HENRY  LAWRENCE  SOUTHWICK  an- 
nounces his  third  annual  course  of  interpretative 
recitals,  to  be  presented  in  Chickering  Hall,  239  Hunt- 
ington Avenue,  on  Friday  evenings,  beginning  Friday, 
November  seventh,  at  eight  o'clock.  The  series  this  year 
will  be  devoted  to  Shakespeare's  English  Historical  Plays. 

Programme. 

November  14 Mr.  HOWARD  MALCOLM  TICKNOR 

Richard  II. 

November  21 Mr.  WALTER  BRADLEY  TRIPP 

Henry  IV.,  Part  1 

November  28 Mr.  GEORGE  RIDDLE 

Henry  V. 

Decembers Mr.  HENRY  LAWRENCE  SOUTHWICK 

Richard  III. 

Decembers Miss  KATHARINE  OLIVER 

Henry  VIII. 

Tickets  for  the  course,  five  dollars  and  four  dollars.     On  sale  at  Chickering  Hall. 
Advance  orders  for  course  tickets  may  be  sent  to  Mr.  Walter  B.  Tripp,  239  Hunt- 
ington Avenue,  Boston. 

(223} 


Carl    Faeltein's 

THIRD    PIANOFORTE    RECITAL, 
Wednesday  Evening,   December   10,    1902,  at  8  o'clock. 

Programme. 

Andante,  F  major  )  Beethoven 

Sonata  (Appassionata),  F  minor,  Op.  57  J 


H     ti     ton       Giga  con  Variazioni,  D  minor,  Op.  91,  No.  2   .         .         .         .  Raff 


Chambers 
Hall. 


Nocturne,  B  major,  Op.  9,  No.  3  )  Chopin 

Valse,  A-flat  major,  Op.  42  )  v 

Hungarian  Rhapsody,  No.  2,  C-sharp  minor     ....         Liszt 
TICKETS,  $1.00.    J*    J*    **     J*    For  sale  at  the  School,  30  Huntington  Avenue. 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction.. 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Mr.  HANS  SCHNEIDER 

Begs  to  announce    a   course   of   ten 
Lecture  Lessons  in  the  study  of  the 

WAGNERIAN  "DRAMA 

on  November  1 1  and  following  Tuesdays,  at  1 2   o'clock,  at  the  rooms  of 
the  Copley  Square  School  of  Music. 

For  terms,  etc.,  apply  at  the  Copley  Square  School  of  Music  or  at  Mr.  Hans  Schneider's 

studio,  Huntington  Chambers,  503,  Tuesdays  from  2  to  5. 

Circulars  mailed  upon  application. 

The  Boston  Symphony  Orchestra  Programme. 

For  the  twenty-four  Boston  Concerts, 
with  Historical  and  Descriptive  Notes 
by  Philip  Hale.  J*  J*  &  &  J*  J*   & 

Bound  copies  of  the   Programme  for  the  entire    season  can    be    had    at 
$1.50  by  applying  before  the  last  concert.     Address  all  communications  to 

F.  R.  COMEE,  Symphony  Hall,  Boston. 

(223) 


SYMPHONY   HALL. 


SATURDAY  AFTERNOON,  NOVEMBER   15,  AT  2.30. 


MA5CAGNI 

OPERATIC  CONCERT 

By  the  Principal  Artists,  Entire  Chorus,  and  Orchestra  of  the  Mascagni 

Opera  Company. 

Sig.  cMASCAGNI,  Conductor. 


PROGRAMME.— PART    I. 


i.     a.  Sogno 

b.  Intermezzo 


y       .    From  the  opera,  "William  Ratcliff  "      Mascagni 


(First  time.) 
Orchestra. 


2.  Aria  from  "  Dinorah "  .         .         . 

Sig.  Bellatti. 

3.  Romanza  from  "  Cinq-Mars  " 


Signora  Farneti. 

4.     "Hymn  to  the  Sun,"  from  "Iris" 

Chorus  and  Orchestra. 


Meyerbeer 

Gounod 

Mascagni 


PART   II. 


MASCAGNI'S 

CAVALLERIA  RUSTICANA 

In  concert  form, by  the  entire  chorus  and  orchestra,  and  the  following  cast: 

Santuzza         .  ....  Signora  Bianchini  Cappelli 

Signora  De  Filippi 

Signora  Del  Parto 

.    Sig.  Schiavazzi 

Sig.  Bellatti 


Tickets,   with  reserved  seats,  $2,  $1.50,  $1,  and  50c.     Sale  opens  Thursday  morning, 
November  13,  at  Symphony  Hall. 


Sunday  evening,  November  16.    Last  Mascagni  concert.     Popular  programme 

(2-24) 


E^a 


ASTERS  IN  MUSIC  will  be  unlike  any  other 
musical  magazine.  It  will  be  edited  by  Mr. 
Daniel  Gregory  Mason.  Each  monthly  issue, 
complete  in  itself,  will  be  devoted  to  one  of 
the  world's  greatest  musicians,  giving  thirty- 
two  pages  of  engraved  piano  music,  which 
will  comprise  those  compositions  or  move- 
ments that  represent  the  composer  at  his  best,  with  editorial  notes 
suggesting  their  proper  interpretations  ;  a  beautiful  frontispiece 
portrait;  a  life;  and  estimates  of  his  genius  and  place  in  art 
chosen  from  the  writings  of  the  most  eminent  musical  critics. 
The  text  of  Masters  in  Music  will  thus  constitute  an  interest- 
ing and  authoritative  monthly  lesson  in  musical  history ;  its 
selections  of  music  will  form  a  library  of  the  world's  musical 
masterpieces,  and  all  at  slight  cost.  Among  the  composers 
to  be  treated  during  the  first  year  are  Mozart,  Chopin,  Gounod, 
Verdi,  Grieg,  Beethoven,  Mendelssohn,  and  others.  The  maga- 
zine will  be  most  attractively  presented  throughout.  The  first 
issue  will  appear  January  i,  1903.  Subscription  price,  $2.00  a 
year.     Single  copies,  20  cents.     :::::::::::: 


SEND    FOR   PROSPECTUS 

WITH     SPECIMEN     PORTRAIT    AND     SAMPLE 

PAGES     5~F      MUSIC 


(226) 


SYMPHONY   SEATS      I 

For   SEASON, 

$|K.OO      AND  $1.00  AND 

|vj  UPWARD.  \ 


01 WQI  C     REHEARSAL, 
OII1ULL,  or    CONCERT, 


UPWARD. 


CONNELLY'S  Ticket  Office,  Adams  House. 


'Phone,    Oxford    942. 


5^2  N  EM  ES 

THE  GREATEST  HUNGARIAN  VIOLIN  VIRTUOSO. 

VIOLIN  RECITAL  AT  CHICKERINQ  HALL, 
Wednesday  Evening,  December  3,  at  8.15. 

Assisted  by  Mme.  NEMES    (nee    MARIE    HEIMLICHER) 

First  appearance  in  America. 

Reserved  seats,  75  cents,  $1.00,  $1.50,  on  sale  at  Chickering  Hall  on  and 
after  November  28. 

CMICKERIISG    HALL 

the  St  Botolpb  Concert  Company 

ELSA  HEINDL,  Soprano  KARL  ONDRICEK,  Violin 

ALFRED  DE  VOTO,  Piano 

the  strongest  and  most  brilliant  concert  company  in 

View  England 

For  dates,  terms,  and  all  particulars  address  at  once 

HEARD  &    WILLIAMS,  Chickering  Hall,  Boston 

239   Huntington   Hall  Telephone,  1670  Back  Bay 

F.  ADDISON  PORTER, 

PIANOFORTE    INSTRUCTOR. 

Address,  Steinert  Hall,  162  Boylston  Street, 

or 

New  England  Conservatory  of  Music, 
Boston,  Mass. 

(226) 


SYMPHONY  HALL,  BOSTON 

SUNDAY  EVENING,  NOVEMBER  23,   1902,  AT  S  O'CLOCK 


Creator* 


CONCERT 

Given  by  and  for  the  benefit  of 

THE  MUSICIANS'  AID  SOCIETY 


Soloist:  MADAME  BARILI 


Tickets,    50    cents,     75    cents,   $J 

On  sale  Monday,  November  17, 

at  Symphony  Hall.    Mail 

orders  received 


SYMPHONY  HALL 

MONDAY  EVENING,  NOVEMBER  24,  AT  8 


First  Boston  appearance 

KOCIAN 

BOHEMIAN  VIOLIN  VIRTUOSO 


Tickets,  50  cents,  $1,  1,50,  $2.     On  sale  Monday,  November 
J  7,  at  8.30  a.m.     Mail  orders  received 


WEBER    PIANO    USED 

(227 


SANDERS  THEATRE,  CAMBRIDGE 

The  Boston  Symphony  Orchestra 

70  PERFORMERS.     SMr.    WILHELM  GERICKE,  Conductor 

Ten  Concerts  Thursday  Evenings 


OCTOBER  30 

NOVEMBER  20 
DECEMBER  4 

.   DECEMBER  J  8 

JANUARY  8 


JANUARY  29 

FEBRUARY  12 
MARCH  J  2 

APRIL  2 

APRIL  23 


at  7.45 

SOLO  ARTISTS 
MISS  HELEN  HENSCHEL  MR.  RA01L  PIGNO 

THE  MISSES  (ARBONI  MR.  CARL  STASN1 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MR.  ANTON  VON  R00Y  MISS  MAUD  MacCARTHI 

MME.  BLOOMFIELD-ZEISLER  MR.  ADOLF  BACK 

AND    OTHERS   TO    BE   ANNOUNCED. 

SEASON  TICKETS  for  the  ten  concerts,  $7.50,  on  sale  at  the  Univer- 
sity Bookstore,  Harvard  Square,  Saturday  morning,  October  25,  at  8 
o'clock.  A  limited  number  of  seats  have  been  reserved  for  college  officers 
and  invited  guests. 

THE    flULLER-WALLE   HETHOD 

OF 

LIP      READING 

FOR    THE     DEAF. 

To  those  who  have  become  deaf,  this  system,  successfully  taught  in  Germany,  is  recom- 
mended by  Dr.  Lucae  and  other  leading  aurists.  The  aim  of  this  method  is  to  lead"the  pupil  to 
understand  natural  conversation.  In  the  first  lessons  vowels  are  taught  in  connection  with  the 
most  readily  distinguished  consonants.  The  pupil  accustoms  himself  to  read  from  the  speaker's 
lips,  from  the  side,  and  from  partially  or  wholly  covered  lips.  The  eye  is  trained  to  observe  the 
slightest  movement  of  lips  and  chin.  The  pupil  has  the  sensation  of  hearing.  After  .several 
courses  with  Mr.  Miiller,  as  his  assistant,  I  have  secured  the  right  of  teaching  the  JULIUS 
MULLER-WALLE  METHOD  OF  LIP  READING,  and  am  ready  to  receive  pupils.  For  further 
information  address 

Hiss  J1ARTHA  E.  BRUHN,   100  Paul  Gore  Street,  Jamaica  Plain, 
BOSTON,    HASS. 

THE    LONGY   CLUB 

A.   Maouarre,   Mute  A.  Hackehakth,  Horn 

P.  Metzger,  Clarinet  H.  Gehhardt,  Piano 

A.  Debuchy,  Bassoon  O.  LONGY,  Oboe 

Begs  to  announce  that  its  regular  Chamber    Music  Concerts  will   be 
given  at  CHICKERING  HALL,   Huntington   Avenue,   on   the   fol- 
lowing Monday  evenings,  at  8 : 

NOVEMBER  24.     JANUARY  5.       THURSDAY,  MARCH  5. 
Prices  of  subscription  for  the  three  evening  concerts        .       $4.00 
Tickets  for  single  concerts   .  .         .         .         .         .  .         1.50 

Last  season's  subscribers  will  have  the  privilege  of  securing  the  same  seats  as  last  sea- 
son, if  they  will  apply  to  Mr.  J.  Sauerquell,  Symphony  Hall,  before  November  J5. 
General  subscription  sale  opens  at  Symphony  Hall  box  office  November  17  at  8.30  a.m. 

(2Sfe) 


CHICRERING     HALL 

Monday,  November  17,  at  8 

The  FCneLsel  Quartet 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALVVIN    SCHROEDER,  Violoncello 


programme: 

Tschaikowsky Quartet  in  E-flat  minor,  Op.  30 

Schubert  .        .        .        Trio  for  Piano,  Violin,  and  Violoncello,  in  B-flat  major 

D'Indy  .        .        .        Suite  in  D  major  (dans  le  style  ancien),  for  Trumpet,  Two 

Flutes,  Two  Violins,  Viola,  and  Violoncello,  Op.  27 


ASSISTING    ARTISTS 

Mr.  OSSIP  GABRILOWITSCH  Mr.  L.  Kloepfel,  Trumpet 

Mr.  A.  Maquarre,  Flute  Mr.  A.  Brooke,  Flute 

The  Piano  is  an  Everett 

MUSICAL    INSTRUCTION. 

VOCAL  INSTRUCTION  and 

Miss  HARRIET  S.  WH1TTIER,     '^SL 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 

Concert  and  Oratorio. 

Miss  GERTRUDE  EDMANDS,  vocai  instruction. 

EXETER    CHAMBERS. 

Specialist  in  the  Science  of 

Mr,  CHARLES  B.  STEVENS,   T!te  1^"  ?!/l°?M' 

'  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 

PIERCE  BUILDING, 

Mrs.  ANNE  G1LBRETH  CROSS,      copley  square, 

TEACHER  OP  THE  PIANOFORTE. 

,    BOSTON. 

Teaching-room, 

Miss  ANNA  MILLER  WOOD,      Pierce  Building  Copiey  Square 

flEZZO-CONTRALTO.  Home  Address, 


152  Huntington  Avenue,  Boston. 


(229) 


Hiss  LAURA  HAWKINS, 


Pianist  and   Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 

AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Slgnor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Hiss  SUZA  DOANE, 

Prize  Pupil,  Leipsic  Conservatory. 


Piano  and  Harmony. 

196  DARTMOUTH    STREET. 

Soloist  with  Mr.  Gericke,  Mr.  Nikisch,  and  Mr. 
Van  der  Stucken. 


Hr,  OTTO  ROTH, 


VIOLIN    AND    ENSEMBLE 
LESSONS. 

10  ARLINGTON    STREET. 


Hiss  JESSIE  DAVIS, 


Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,    163    flassachusetts   Avenue. 


Mr.  CARLO  BOONAMICI, 


PIANIST  AND  TEACHER, 

Steinert  Hall   Building. 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5 Thespian   Hall, 

168   Massachusetts    Avenue, 
Boston,   Mass. 
(230) 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  A.  E.  PRESCOTT 


153  TREMONT  STREET. 


"  Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe  l'dte  avecmoi.  Je  lui  ai  donne^  des  lecons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lecons. 
Cela  l'a  mis  en  mesure  de  connaitre  a  fond  ma  memode. 
Je  peux  done  recommander  mon  eJeve,  Mr.A.E.  Prbs- 
COtt.  C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  les 
differents  registres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  31  Aoiit,  iqoi. G.  SBRIGLIA. 


Sig.  ADGDSTO  VANNINI, 


Teacher  of  Singing. 


Steinert  Hall. 


J.  D.  BUCKINGHAM. 


PIANOFORTE.      Method  of  I.  Philipp. 

The   most   advanced   technics   of  the 
present  day. 
"A  teacher  of  the   first   magnitude." — Huneker,   on 
Philipp,  in  Mezzo-tints  in  Modem  Music. 

32  STEINERT  HALL,  BOSTON. 


Mr.  GDSTAY  STROBE 

(Member  of  Bastes  Symphony  Orchestra). 


Teacher  of  Yiolin,  Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS. 

Pierce  Building, 
Copley  Square,   Boston. 


HEINRIGH  SCHUECKER, 


TEACHER  OF  THE  HARP, 

Erard  Harps  for  sale  and  to  let. 

32  Westland  Avenue       -       Boston. 


JTiss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  j-  Accompaniments. 

Trinity  Court. 


Miss  MARIE  L.  EVERETT, 

TEACHER   of  SINGING, 

Holds  a  recent  Diplome  Supe>ieur 
from  Madame  Marchesi,  Paris. 


THE  COPLEY, 


COPLEY  SQUARE. 


Miss  A\NA  JANSEN,  Pianiste, 

PUPIL  OF 

Mme.  Rappoldi,  Dresden.  Sgambati,  Rome. 

Harold  Bauer,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

ADDRESS,  86  CHARLES  ST.,  BOSTON. 


'«  From   Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FROM     LONDON, 

Specially  authorized  by  the  inventor. 
Investigation  invited.        Studio,  278  Boylston  St, 


(231) 


Mr.  JACQUES   HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN   C.  MANNING, 
Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 
Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 
384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1  at  her  residence,  THE   OXFORD. 


Miss  LETTY    LAU/NDER, 
TEACHER  of  the  VIOLI/M, 

Trinity  Court,  175  Dartmouth  Street. 


FREDERICK  N.  SHACKLEY 

(Organist  and  Choirmaster,  Church  of  the  Ascension), 

Piano,  Organ,  Composition. 

Specialty:    Training  organists  for    practical 
Church  work. 

_  (  1900  Washington  St.,  BOSTON. 

Studios:  J  12g  FrankUn  street,  ALLSTON. 


Miss    EDITH  E.  TORREY, 

SOPRANO  SOLOIST  AND  TEACHER  OF 
SINGING. 

164  Huntington   Avenue,  Boston. 

Every  day  except  Tuesday  and  Friday. 
Telephone,  Back  Bay  1089-5. 


rir.  GEORGE  E.  WHITING, 

154  Tremont   Street, 

Boston. 


U.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts,  Recitals,  and 

Ensemble  1'layina. 

7    ADELAIDE    ST.,   JAMAICA    PLAIN. 


Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Mr.  EMIL  MAMR 

Resumes  his  private  lessons,   Violin  and 
Viola,  and  his  Ensemble  Classes  for 

Pianists.  Address  69  Crawford  Street, 

Roxbury. 

Tuesdays  and  Fridays      SteiDert  Building. 


Miss   ROSE    STEWART, 

Pupil  of  riARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Hrs.  5.  B.  FIELD, 

TEACHER  OF  THE  PIANO  and  the 
ART  OF  ACCOMPANYING. 

Special  attention  to  Coaching  in  Songs. 
Hotel  Nottingham      -      Copley  Square. 


Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


TO   read  Music  like  Print. 
The  Vars'  New  Interval  System  of  Sight 
Singing, 

No  Sol-faino;  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mine   L.  Hamburger,  Pierce  Bldg.,  Copley  Sq. 


Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 

Studio,  21  Steinert  Building. 


Mrs.  riabel  Mann  Jordan, 

Pupil  of  Silveotri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


<«2) 


WEBER 
PIANOS 


Piano-building:  as  a  fine  art  has  never  been  more 
highly  exemplified  than  by  our  recent  produc- 
tions. Send  for  description  of  our  new  Style  A 
Grand,  the  most  remarkable  Small  Grand  in 
•volume  and  quality  of  tone  ever  produced  by 
any  maker.     Its  length  is  but  5  feet  4  inches. 


The  Weber  Concert  Grand  will  be  used  exclusively 
by  the  Maurice  Grau  Opera  Company,  Mme.  Roger- 
Miclos,  Kocian,  and  Julie  Geyer  on  their  J902-t903 
transcontinental  tours. 

&he  -WEBER  PIANO   COMPANY 

108     FIFTH     AVE.,    NEW    YORK     CITY 

Boston    Representative,  George    H.  Champlin    &    Co. 
181   Tremont  Street 


5TEINWAY  &  SONS 

Grand  and  Upright  Pianos. 


MANUFACTURERS  BT  APPOINTMENT  TO 

His  Majesty. 

WILLIAM  II., 


His  Majesty. 

NICHOLAS  II., 

CZAR  OF  RUSSIA. 


EMPEROR  OF  GERMANY  AND 
KING  OF  PRUSSIA. 


His  Majesty. 

FRANCIS 
JOSEPH  I., 

EMPEROR   OF 
AUSTRIA 

AND 

KING  OF  HUNGARY 


«»Their  Royal  Highnesses, 

THE  PRINCE  AND! 

PRINCESS  OF 

WALES. 


His  Majesty. 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty. 

ALEXANDRA, 

QUEEN  OF  GREAT  BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  majesty, 

VICTORIA, 

QUEEN  OF  GREAT  BRITAIN 
AND  EMPRESS  OF  INDIA. 


His  Royal  Highness. 

THE   DUKE  OF 
EDINBURGH. 


His  Majesty. 


UMBERTO  I., 

KING  OF  ITALY. 


His  Majesty. 

ALBERT, 

KING    OF    SAXONYj* 


Her  Majesty. 

MARIACHRISTINA.I 


His  Majesty, 

OSCAR  II., 


QUEEN  REGENT  OF  SRAIN.     1   KING  OF  SWEDEN 

and  NORWAY. 


NORWAY  AND  SWEDE*. 


His  Majesty, 


MOUSAFFER-ED-DIN  j  ABDUL  HAMID  II., 

SHAH  OF  PERSIA.  SULTAN  OF  TURKEY! 

ANO  THCIH    RCSPCCTIVC   COURT*. 


ILLUSTRATED    CATALOGUE   MAILED    FREE    ON  APPLICATION. 


STEINWAYJMANOS. 

n.  STEINERT  &   SONS   CO., 

162  to  168  Boylston  Street,  Boston,  Mass. 


PRoGR7W\E 


g*  5  % 


William    R.    Chapman 

Conductor  of  the  great  Musical  Festivals  of  Bangor, 
Portland,  Manchester,  and  Burlington,  and  of  the 
Rubinstein  Club  of  New  York,  writes  as  follows  to 

New  York,  November  2,  1902. 

Messrs.  Mason  &  Hamlin, 
Boston,  Mass. 

Gentlemen, —  Upon  my  return  from  my  fall 
Festivals  I  desire  to  express  to  you  my  sincere  ad- 
miration for  your  magnificent  grand  pianoforte. 

I  do  not  wonder  that  the  greatest  artists  of  the 
day  indorse  it,  for  it  is  a  satisfaction  to  play  upon 
an  instrument  which  is  so  responsive  to  the  individ- 
ual tone  and  touch.  Not  only  when  heard  in  solos, 
hut  also  in  concerted  works  with  orchestra  and  in 
accompaniments,  its  peculiar  beautiful  singing  qual- 
ity of  tone  is  evident. 

My  artists  all  mentioned  this,  and  the  public 
were  enthusiastic  in  their  praise. 

In  my  judgment  the  Mason  &*  Hamlin  pianoforte 
has  no  superior  fox  delicacy  and  responsiveness  of  ac- 
tion and  for  refined  beautiful  tone  quality. 

It  will  always  be  a  pleasure   to   present  such 
a  piano  to  my  audiences,  knowing  how  it  will  both 
gratify  and  satisfy  their  musical  tastes. 
'  I  remain,  gentlemen, 

Yours  very  truly, 

(Signed)       WILLIAM    R.  CHAPMAN. 


New   England    Representatives, 

M.   Steinert  ®l  Sons   Co. 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY -SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 


FIFTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      £    #    £    J* 


FRIDAY  AFTERNOON,  NOVEMBER  21, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  NOVEMBER  22, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(233) 


M  B  S  S  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(231 


TWENTY-SECOND  SEASON,  1902-1903. 


Fifth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  NOVEMBER  2J,  at  2.30  o'clock. 

SATURDAY  EVENING,  NOVEMBER  22,  at  8.00  o'clock. 


PROGRAMME. 


Mendelssohn    .         .        .         Symphony  in  A  major,  **  Italian,"  Op.  90 

I.     Allegro  vivace. 


II.     Andante  con  moto. 

III.  Con  moto  moderato. 

IV.  Saltarello:   Presto. 


Beethoven        .        .         .        Recitative  and  Song,  "To  Hope/' Op.  94 
Dvorak  ♦       Symphonic  Variations  on  an  Original  Theme,  Op.  78 

Wagner,  "  Wotan's  Farewell "  and  "  Fire  Charm,"  from  "  Die  Walkure  " 


SOLOIST : 
Mr.  ANTON  VAN  ROOY 


Mason  &  Hamlin  Liszt  Organ  used. 


There  will  be  an  intermission  of  ten  minutes  after  the  Beethoven  Selection. 


The  door*  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:  J.   M.  GALVIN,  City  Clerk. 

(235) 


L.  P.  HOLLANDER  &  CO. 

FURS 

RUSSIAN  SABLE,  BLACK  LYNX, 
CHINCHILLA,  BLENDED  SABLE, 

and  all  other  fashionable  furs,  in  COATS, 
NECKPIECES,  and  MUFFS.  We  have 
imported  a  large  assortment  of  choice  skins 
from  which  to  take  orders. 

CLOAKS 

NewTHREE-QUARTERS  LENGTH 
COATS    for    street,  driving,  and  evening 
wear.      Plain  and  fur-trimmed. 
NEW  ULSTERS  and  RAIN   COATS, 

$25.00  to  $50.00. 

202  to  216  Boylston  Street  and  Park  Square 


Symphony  in  A  major,  No.  4,  "  Italian,"  Op.  90. 

Felix  Mendelssohn-Bartholdy. 

(Bom  at  Hamburg,  Feb.  3,  1809 ;  died  at  Leipsic,  Nov.  4,  1847.) 

Mendelssohn  wrote  from  Rome  in  December,  1830  :  "  As  for  my  work, 
I  am  fully  occupied.  The  '  Hebrides '  is  done  at  last,  and  is  a  curious 
thing.  .  .  .  For  Christmas  I  propose  to  write  Luther's  choral,  '  Vom 
Himmel  hoch.'  This  I  shall  have  to  do  all  alone, —  a  pretty  serious 
piece  of  business,  as,  indeed,  will  be  the  anniversary  of  the  silver  wedding, 
on  which  I  shall  light  up  a  lot  of  candles  for  myself,  play  the  'Vaude- 
ville,' and  look  at  my  English  baton.  After  that  I  shall  take  hold  again 
of  my  instrumental  music,  write  some  more  things  for  the  pianoforte,  and 
perhaps  another  and  second  symphony ;  for  there  are  two  rattling  around 
in  my  head."  It  will  be  remembered  that  Mendelssohn  wrote  ten  meas- 
ures of  the  Andante  of  the  "Scotch"  symphony,  July  30,  1829,  at  Edin- 
burgh, and  that  he  worked  rather  fitfully  on  the  symphony  in  1830  at 
Rome,  but  did  not  finish  it  until  early  in  1842  at  Berlin. 

In  February,  1831,  he  wrote  again  from  Rome:  "I  am  making  great 
progress  with  the  Italian  Symphony.  It  will  be  the  most  mature  thing  I 
have  ever  done,  especially  the  last  movement,  Presto  agitato.  I  have  not 
yet  found  exactly  the  right  thing  for  the  Adagio,  and  I  think  I  must  put  it 
off  for  Naples."  He  wrote  a  few  days  later  :  "  If  I  could  do  one  of  my 
two  symphonies  here  !  The  Italian  one  I  must  and  will  put  off  till  I  have 
seen  Naples,  which  must  play  a  part  in  it." 

He  wrote  from  Naples  on  April  27,  183 1  :  "The  bad  weather  which  we 
have  been  having  for  some  days  was  good  for  my  working,  and  I  plunged 
with  all  zeal  into  the  '  Walpurgis  Night.'  The  thing  grows  more  and  more 
interesting  to  me,  and  I  spend  on  it  every  free  moment.  It  will  be  done 
in  a  few  days,  I  think,  and  it  will  be  a  jolly  piece.     If   I   remain   in   the 

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present  humor,  I  shall  finish  my  Italian  Symphony,  and  then  I  shall  have 
something  to  show  for  my  winter's  work." 

But  the  symphony  was  not  finished  when  Mendelssohn  left  Naples. 
He  wrote  from  Paris  (Jan.  21,  1832)  to  his  sister:  "Do  you  ask  why  I 
do  not  compose  the  Italian  A  major  symphony?  Because  I  am  compos- 
ing the  A  minor  overture  with  which  I  am  going  to  introduce  the  '  Wal- 
purgis  Night.  '  " 

At  the  general  meeting  of  the  Philharmonic  Society,  London,  Nov. 
5,  1832,  the  following  resolution  was  unanimously  passed  :  — 

That  Mr.  Mendelssohn-Bartholdy  be  requested  to  compose  a  symphony,  an  overture, 
and  a  vocal  piece  for  the  Society,  for  which  he  be  offered  the  sum  of  one  hundred 
guineas. 

That  the  copyright  of  the  above  compositions  shall  revert  to  the  author  after  the 
expiration  of  two  years,  the  Society  reserving  to  itself  the  power  of  performing  them 
at  all  times,  it  being  understood  that  Mr.  Mendelssohn  have  the  privilege  of  publishing 
any  arrangement  of  them  as  soon  as  he  may  think  fit  after  their  first  performance  at  the 
Philharmonic  concerts. 

Mendelssohn  wrote  a  letter  of  acceptance,  in  which  he  expressed  his 
"  sincerest  acknowledgments"  and  "warmest  thanks."  "I  need  not  say 
how  happy  I  shall  be  in  thinking  that  I  write  for  the  Philharmonic  Society." 
He  made  his  third  visit  to  London  in  April,  1833,  and  was  again  happy  in 
"that  smoky  nest."  He  lodged  in  Great  Portland  Street,  stood  godfather 
to  Felix  Moscheles,  who,  as  a  painter,  visited  this  country,  and  wrote  to 
the  secretary  of  the  Philharmonic  Society  :  "  I  beg  you  will  inform  the 
Directors  of  the  Philharmonic  Society  that  the  scores  of  my  new  symphony 
and  overture  are  at  their  disposal,  and  that  I  shall  be  able  to  offer  them  a 
vocal  composition  in  a  short  time  hence,  which  will  complete  the  three 
works  they  have  done  me  the  honor  to  desire  me  to  write  for  the  Society. 
But,  as  I  have  finished  two  new  overtures  since  last  year,  I  beg  to  leave  the 
choice  to  the  Directors  as  to  which  they  would  prefer  for  their  concerts ; 
and,  in  case  they  should  think  both  of  them  convenient  for  performance,  I 


LYRIC  SUITE  for  Pianoforte 
by 

CARL  BOH/I 
Op.  358.     Price,  75  cents 

Prologue 

Love's  Strain 

Song  of  the  Spinning  Maiden 

Fairies'  Song 

Venetian  Barcarolle 

A  Song  of  Fancy 

All  are  attractive  examples  of  the  composer's 
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beg  to  offer  them  this  fourth  composition  as  a  sign  of  my  gratitude  for  the 
pleasure  and  honor  they  have  again  conferred  upon  me." 

The  "  Italian  "  symphony  was  performed  for  the  first  time  and  under 
the  direction  of  the  composer  at  the  sixth  concert  of  the  Philharmonic 
Society  that  season,  May  13,  1833.  "The  concerts  of  the  Society  were 
this  year,  and  onward,  given  in  the  Hanover  Square  Rooms,  which  had 
just  been  remodelled.  The  symphony  made  a  great  impression,  and 
Felix  electrified  the  audience  by  his  wonderful  performance  of  Mozart's 
Concerto  in  D  minor,  his  cadenzas  being  marvels  in  design  and  execution. 
His  new  overture  in  C  was  produced  at  the  last  concert  of  the  season." 

After  this  performance  Mendelssohn  laid  the  symphony  aside.  He  did 
not  produce  it  at  Leipsic  during  his  direction  of  the  Gewandhaus  Con- 
certs, and  it  was  not  published  until  after  his  death. 

The  first  performance  in  Boston  was  probably  on  Nov.  15,  1851,  in 
Tremont  Temple  at  a  concert  of  the  Musical  Fund  Society,  Mr.  G.  J.  Webb 
conductor.     The  programme  was  as  follows:  — 

PART  I. 

1.  Grand  Symphony  No.  4  (posthumous  works  of  Mendelssohn). 

2.  Rondo  from  "  Lucia  di  Lammermoor  " Donizetti 

Signora  Biscaccianti. 

PART  II. 
1.  Overture,  "Zauberflote" Mozart 


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2.  Introduction  et  Variations  sur  un  Theme  Original. 

Full  orchestral  accompaniment. 
Composed  and  performed  by  Mr.  F.  Suck. 

3.  Song,  "  The  Skylark  " J.  L.  Hatton 

Signora  Biscaccianti. 

4.  Adagio  from  Quintette,  Op.  20 Beethoven 

.Mendelssohn  Quintette  Club. 

5.  Terzetto.     Finale  from  second  act,  "  Lucrezia  Borgia" Donizetti 

Arranged  by  G.  Schnai-p. 
Germania  Serenade  Band. 

6.  Rondo  from  "  La  Sonnambula  "     (By  request) Bellini 

Signora  Biscaccianti. 

7.  Grand  Overture,  Op.  14 Niels  W.  Gade 

* 
*    # 

As  Sir  George  Grove  well  remarked  of  this  work :  "  The  music  itself  is 
better  than  any  commentary.  Let  that  be  marked,  learned,  and  inwardly 
digested." 

Reismann  found  the  first  movement,  Allegro  vivace,  A  major,  6-8,  to 
be  a  paraphrase  of  the  so-called  Hunting  Song  in  the  first  group  of  Songs 
without  Words.  It  is  true  that  the  tonality  is  the  same,  and  this  is  often 
enough  to  fire  the  imagination  of  a  commentator. 

The  second  movement,  Andante  con  moto,  D  minor,  4-4,  sometimes 
called  the  Pilgrims'   March,  but  without   any  authority,  is  said  "to  have 

A  WOMAN'S  WORK 


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Virgil  wrote  about  Carthage,  but  it  was  Dido  who  built  the  Carthage  about 
which  he  wrote. 

When  it  comes  to  the  interior  decoration  of  a  house,  a  woman  always 
leads.  Possibly  every  woman  does  not  know  our  facilities  for  the  covering 
of  walls,  tinting  of  ceilings,  staining  of  woodwork,  and  draperies ;  so  let  us 
say  here  that  we  do  everything  to  walls,  floors,  and  ceilings  that  can  be 
classed  as  decoration. 

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been  a  processional  hymn,  which  probably  gave  the  name  of  '  Italian  Sym- 
phony '  to  the  whole  "(!)  Lampadius  remarks  in  connection  with  this  :  "  I 
cannot  discover  that  the  piece  bears  any  mark  of  a  decided  Catholic  char- 
acter, for,  if  I  recollect  rightly,  I  once  heard  Moscheles  say  that  Men- 
delssohn had  in  his  mind  as  the  source  of  this  second  movement  an  old 
Bohemian  folk-song. 

The  third  movement  is  marked  simply  "  Con  moto  moderato  "  (A  major, 
3-4).  "  There  is  a  tradition  (said  to  originate  with  Mendelssohn's  brother- 
in-law,  Hensel,  but  still  of  uncertain  authority)  that  it  was  transferred  to 
its  present  place  from  some  earlier  composition.  It  is  not,  however,  to  be 
found  in  either  of  the  twelve  unpublished  juvenile  symphonies ;  and  in 
the  first  rough  draft  of  this  symphony  there  is  no  sign  of  its  having  been 
interpolated.  In  style  the  movement  is,  no  doubt,  earlier  than  the  rest 
of  the  work." 

The  finale  is  a  saltarello,  presto,  4-4,  and  it  was  undoubtedly  inspired  by 
the  Carnival  at  Rome,  of  which  Mendelssohn  gave  a  description  in  his 
letter  of  Feb.  8,  183 1.  "  On  Saturday  all  the  world  went  to  the  Capitol,  to 
witness  the  form  of  the  Jews'  supplications  to  be  suffered  to  remain  in  the 
Sacred  City  for  another  year,  a  request  which  is  refused  at  the  foot  of 
the  hill,  but,  after  repeated  entreaties,  granted  on  the  summit,  and  the 
Ghetto  is  assigned  to  them.  It  was  a  tiresome  affair ;  we  waited  two 
hours,  and,  after  all,  understood  the  oration  of  the  Jews  as  little  as  the 
answer  of  the  Christians.  I  came  down  again  in  very  bad  humor,  and 
thought  that  the  Carnival  had  begun  rather  unpropitiously.  So  I  arrived 
in  the  Corso  and  was  driving  along,  thinking  no  evil,  when  I  was  suddenly 
assailed  by  a  shower  of  sugar  comfits.  I  looked  up ;  they  had  been 
flung  by  some  young  ladies  whom  I  had  seen  occasionally  at  balls,  but 
scarcely  knew,  and,  when  in  my  embarrassment  I  took  off  my  hat  to  bow 


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to  them,  the  pelting  began  in  right  earnest.     Their  carriage  drove  on,  and 

in  the  next  was  Miss  T ,  a  delicate  young  Englishwoman.     I  tried  to 

bow  to  her,  but  she  pelted  me,  too;  so  I  became  quite  desperate,  and, 
clutching  the  confetti,  I  flung  them  back  bravely.  There  were  swarms  of 
my  acquaintances,  and  my  blue  coat  was  soon  as  white  as  that  of  a  miller. 

The  B 's  were  standing  on  a  balcony,  flinging  confetti  like  hail  at  my 

head;  and  thus  pelting  and  pelted,  amid  a  thousand  jests  and  jeers  and 
the  most  extravagant  masks,  the  day  ended  with  races." 

The  saltarello  was  a  dance  in  6-8  or  6-4  time,  of  the  fifteenth  and  six- 
teenth centuries,  at  Rome,  and  in  the  neighborhood  of  that  city.  Walther 
thus  described  it  in  his  "  Musikalisches  Lexicon"  (1732):  "  Saharella  or 
Saltarello  (Ital.)  is  a  kind  of  movement  which  all  along  goes  into  leaping, 
and  is  almost  always  in  triple  time.  The  first  beat  of  each  measure  is 
marked.  And  one  says  '  in  Saltarello '  when  three  quarter  notes  are 
against  a  half  note  ;  or  three  eighth  notes  against  a  quarter,  as  in  6-8, 
especially  if  the  first  note  of  each  beat  is  accented  sharply.  And  such  also 
were  the  Forlanes  of  Venice,  the  Siciliennes,  the  English  jigs,  and  other  gay 
dances,  whose  tunes  hop  and  leap."  This  definition  was  taken  by  Walther 
from  Brossard's  "  Dictionaire  de  Musique  "  (Paris,  1703).  Walther  adds: 
"  The  name  is  also  given  to  a  short  dance  known  to  us  Germans  as  the  '  Nach- 
Tantz '  because  it  is  generally  or  must  be  dejure  shorter  than  the  Vor-Tantz.'  " 
Modern  de>criptions  of  the  dance  vary.  An  English  writer  in  "  Dancing  " 
(Badminton  Library,  London,  1895)  says  it  is  in  2-4  time,  and  is  a  duet 
dance  of  a  skipping  nature.  "  The  woman  always  holds  her  apron,  and 
performs  graceful  evolutions  in  the  style  of  the  Tarantella.  The  couple 
move  in  a  semi-circle,  and  the  dance  becomes  faster  and  faster  as  it 
progresses,  accompanied  by  many  beautiful  motions  of  the  arms.  This  is 
a  very  ancient  dance,  and  has  quite  a  unique  character  :  we  find  that  it 
is  especially  performed  by  gardeners   and  vintners."     Desrat,  the   most 


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(146) 


trustworthy  writer  on  dances  ("  Dictionnaire  de  la  Danse,"  Paris,  1895), 
says  of  it :  "  The  movements  of  both  dance  and  music  are  of  exceptionally 
original  character.  There  is  a  real  struggle  in  agility  between  the 
dancers.  The  man  plays  the  guitar  and  his  partner  strikes  a  tambourine 
while  they  are  dancing.  The  saltarello  is  a  favorite  with  the  vintners,  who 
excel  in  it.  There  is  no  limit  to  the  number  of  the  couples,  and  the  steps 
are  close  together  and  hurried,  now  on  one  foot,  now  on  the  other." 
The  dance  was  never  in  fashion  among  noble  dames ;  for  the  speech 
of  Julian  de  Medicis,  in  Castiglione's  "  II  Cortegiano  "  (printed  at  Venice 
in  1528),  mirrors  the  opinion  of  the  period.  I  quote  from  the  brave 
version  of  Sir  Thomas  Hoby :  "  Since  I  may  fashion  this  woman 
after  my  mind,  I  will  not  only  have  her  not  to  practise  these  manly 
exercises  so  sturdy  and  boisterous,  but  also  even  those  that  are  meet 
for  a  woman,  I  will  have  her  to  do  them  with  heedfulness  and  with 
the  soft  mildness  that  we  have  said  is  comely  for  her.  And  therefore  in 
dancing  I  would  not  see  her  use  too  swift  and  violent  tricks,  nor  yet  in 
singing  or  playing  upon  instruments  those  hard  and  often  divisions  that 
declare  more  cunning  than  sweetness.  Likewise  the  instruments  of  music 
which  she  useth  (in  mine  opinion)  ought  to  be  fit  for  this  purpose.  Imag- 
ine with  yourself  what  an  unsightly  matter  it  were  to  see  a  woman  play 
upon  a  tabor  or  drum,  or  blow  in  a  flute  or  trumpet,  or  any  like  instru- 
ment :  and  this  because  the  boisterousness  of  them  doth  both  cover  and 
take  away  that  sweet  mildness  which  setteth  so  forth  every  deed  that  a 
woman  doeth.  Therefore  when  she  cometh  to  dance,  or  to  show  any 
kind  of  music,  she  ought  to  be  brought  to  it  with  suffering  herself  some- 
what to  be  prayed,  and  with  a  certain  bashfulness,  that  may  declare  the 
noble  shamefastness  that  is  contrary  to  headiness." 

Some  other  examples  of  the   saltarello  in  music  are  those  by  Berlioz  in 
"  Benvenuto    Cellini"  and  the   overture,    "Roman    Carnival,"    Gounod's 

TO    THE    P  ROFESSf  O/N 

The  increasing  demand  for  GOOD  English  songs,  and  the  • 
seeming  difficulty  in  procuring  the  same,  compel  us  to  draw 
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that,  in  addition  to  our  extensive  catalogue,  we  represent  the 
three  leading  catalogues  in  Europe.  We  can  offer  a  variety  . 
unsurpassed  of  compositions  by  the  best  composers  in  the 
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(247) 


Saltarello  for  orchestra  (Concert  Populaire,  Paris,  Dec.  2,  1877),  piano 
pieces  by  Alkan,  Heller,  Raff. 

It  is  a  singular  reflection  on  "  local  color "  in  music  that  Schumann 
mistook  the  "  Scotch  "  symphony  for  the  "  Italian,"  and  wrote  of  the  for- 
mer :  "  It  can,  like  the  Italian  scenes  in  '  Titan,'  cause  you  for  a  moment 
to  forget  the  sorrow  of  not  having  seen  that  heavenly  country." 

The  best  explanation  of  this  Symphony  No.  4.  if  there  be  need  of  any 
explanation,  is  found  in  the  letters  of  Mendelssohn  from  Italy.  Nor  are 
the  remarks  of  Ambros  without  pertinence.  "  And  just  that  Italian  clear- 
ness of  outline,  that  cheerful  ingenuous  enjoyment  of  abounding  life 
without  dream-like  reflection,  is  a  fundamental  feature  of  the  A  major 
symphony.  If  it  were  not  too  hazardous,  one  might  say,  just  as  from 
Beethoven's  Pastoral  Symphony,  the  local  tone  of  the  charming  environs 
of  Nussdorf,  Heiligenstadt,  Grinzing,  etc.  (near  Vienna),  sounds  forth, 
only  because  the  master  accidentally  felt  and  conceived  these  tones  t/iere, 
there  sounds  in  Mendelssohn's  symphony,  not  indeed  the  impression  of 
Rome, —  the  urbs  ceterna,  where,  according  to  Jean  Paul's  expression,  the 
spirits  of  heroes,  artists,  and  saints  gaze  on  man,  seriously  admonishing 
him, —  but  rather  the  local  tone  of  the  environs  of  Monte  Cavo  in  the 
adjacent  Albanian  chain  of  mountains.  Indeed,  we  may  readily  imagine 
the  youth  Mendelssohn  looking  out,  let  us  say,  from  Nemi  or  Genzano 
across  the  rounded  mirror  of  the  sea  upon  the  splendid  foliage  of  the 
wooded  cliffs  of  the  coast,  and  how  the  motive  of  the  first  movement, 
loudly  exulting  in  the  full  joy  of  life,  passes  through  his  soul,  so  that  he 
has  to  sing  it  aloud. 

"The  Andante  has  been  thought  by  some  to  be  in  the  church  style. 
'The  cowl,'  according  to  an  old  proverb,  'does  not  make  the  monk,' 
and  just  as  little  does  a  continuous  contrapuntal  bass  make  a  piece  of 
music  into  a  contrapuntally  conceived  one.     We  might   perhaps  say  more 

Attractive  Novelties 

In  Lamps  and  Shades,  Gas  and  Electric 

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ANDIRONS.    FIRE  SETS.    FIRE  SCREENS 

A  large  number  of  new  patterns  in  Wrought  Iron  and  Brass. 

David  R,  Craig, 

44    SUMMER    STREET. 

EXCLUSIVE  DESIGNS  IN   LIGHTING  FIXTURES. 

(248/ 


BIGELOW  KENNARD 
AND  COMPANY 


CHATELAINE  WATCHES 

IN  GOLD   ENAMEL  "AND 

DELICATELYCARVED  CASES 

DIAMOND  AND  PEARL 

PAVE 

6f 

511  WASHINGTON  ST.  COR. WEST. 


(249) 


appropriately  that  the  Andante  tells  a  romance  of  the  olden  time,  as  it 
were,  in  the  style  of  Chronicles, —  only  the  poet's  eye  occasionally  betrays 
itself,  sadly  smiling.  Being  once  in  the  Albanian  mountains,  with  our 
fancy,  perhaps  we  now  recall  the  picturesque  castle-embattlements  of 
Grotta  Ferrata,  and  the  old  devotional  stations  with  the  solemn  mosaic 
pictures  of  saints  upon  a  gold  ground. 

"  In  the  Minuet  the  person  of  the  tone-poet  advances  more  into  the 
foreground  :  it  is  the  purest  feeling  of  well-being,  of  calm,  happy  enjoy- 
ment, that  emanates  from  the  gentle  movement  of  this  melody,  as  if  recit- 
ing to  itself  Riickert's  glorious  words  :  — 

'Die  Erd'  ist  schon  genug  den  Tlimmel  zu  erwarten, 
Den  Himmel  zu  vergessen  nicht  schbn  genug  ihr  Garten.' 

(The  earth  is  fair  enough  to  make  us  hope  for  heaven, 
Her  garden  not  so  fair  that  heaven  is  lost  to  mind.) 

And  these  horns  in  the  Trio,  are  they  not  as  if,  in  the  midst  of  the  Italian 
paradise,  a  truly  German  yearning  comes  over  him  for  the  dear  light  green 
of  the  woods  of  his  home  ? 

"  But  the  Finale,  the  Saltarello,  draws  us  into  the  midst  of  the  gay  swirl 
of  southern  life ;  and  the  almost  melancholy  ritardando  toward  the  close, 
does  it  not  remind  us,  like  a  sigh  of  the  tone  poet,  that  amid  all  the  mag- 
nificence he  is,  after  all,  but  a  stranger,  a  wanderer  that  comes  and  goes  ? 
Like  Berlioz's  '  Harold,'  this  symphony  is  therefore  a  souvenir  of  Italian 


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(251) 


travel,  a  piece  of  Italy  that  the  tone-poet  brought  away  with  him."  —  Prom 
"  Die  Grenzen  der  Poesie  und  Musik  "  (first  published  in  r8^6),  Englished 

by  J.  H.  Cornell  (New  York,  1893). 

* 
*  # 

The  symphony  is  scored  for  2   flutes,  2  oboes,  2  clarinets,  2  bassoons, 

2  horn«,  2  trumpets,  kettle-drums,  and  strings. 

Anton  Van  Rooy,  baritone,  was  born  at  Rotterdam  on  Jan.  12,  1870. 
When  he  was  seven  years  old  he  was  a  soprano  in  a  choir  of  his  native 
city.  He  was  educated  for  a  business  life,  but  he  studied  singing  with 
Julius  Stockhausen,  of  Frankfort,  and  Miss  Bech,  of  Berlin.  He  began 
singing  in  song  recitals  throughout  Germany;  and  in  1897,  after  a  con- 
cert at  II(idelberg,  he  made  the  acquaintance  of  Mrs.  Tode,  a  daughter 
of  Cosima  Wagner,  who,  impressed  by  his  performance  of  Wotan's  "  Ab- 
schied,"  invited  him  to  Bayreuth,  where  he  was  engaged  as  Wotan  for  the 
festival  of  that  year.  After  that  he  sang  at  Bayreuth  as  Hans  Sachs  and 
the  Flying  Dutchman.  He  has  sung,  as  a  guest,  at  Berlin,  London,  and 
other  opera  houses,  and  in  concert  at  London,  New  York,  and  in  France, 
Austria,  and  the  Netherlands.  His  first  appearance  in  the  United  States 
was  at  the  Metropolitan,  New  York,  Dec.  14,  1898,  as  Wotan.  He  has 
also  appeared  in  this  country  as  Kurctej^al,  Wolfram,  and  Escamillo.  His 
first  appearance  in  Boston  was  as  Wotan  in  "  Die  Walkiire,"  March  30, 
1899.  He  was  the  Kura^wal  (April  3),  that  season  at  the  Boston  Theatre, 
and  he  sang  arias  from  "  St.  Paul  "  and  "  Elijah  "  in  a  concert  given  by 
Mr.  Grau's  company  April  2. 


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(254, 


Song,  "To  Hope,"  Op.  94 Ludwig  van  Beethoven. 

(Born  at  Bonn,  Dec.  16  (?),  1770,  d  ed  at  Vienna,  March  26,  1827.) 

Beethoven  wrote  music  for  Tiedge's  poem,  "  An  die  Hoffnung."  The 
song  was  published  in  1805,  and  is  known  as  Op.  32. 

He  wrote  another  setting,  which  was  published  in  18 16  at  Vienna  and 
advertised  April  22.  This  version,  dedicated  to  the  Princess  von  Kinsky 
(born  Karoline,  Countess  von  Kerpen),  is  known  as  Op.  94. 

The  advertisement  of  the  publishers,  S.  A.  Steiner  &  Company,  an- 
nounced the  publication,  gave  the  title  in  full,  and  added :  "  Our  inex- 
haustible Hr.  van  Beethoven  has  introduced  with  a  recitative  Tiedge's 
poem,  which  is  full  of  feeling,  and  reproduced  admirably  the  poem, 
composed  throughout  tenderly  and  warmly.  The  little  work  is  one  of  the 
latest  pieces  of  this  artist,  and  all  souls  of  delicate  feeling  will  rejoice  in 
its  appearance." 

Tiedge's  "  Urania,"  a  lyric-didactic  poem,  which  abounds  in  sentimental 
rationalism,  was  published  at  Halle  in  1801.  The  lyrical  portions  pleased 
composers  of  music. 

Beethoven's  first  setting  of  "  An  die  Hoffnung  "  is  a  song  in  conven- 
tional strophe  form.  The  second  version  consists  of  a  recitative  (poco 
sostenuto,  2-2,  allegro)  and  an  aria  (larghetto,  4-4).  The  original  words 
are  as  follows  :  — 

Ob  ein  Gott  sei  ?  ob  er  einst  erfiille,  was  die  Sehnsucht  weinend  sich  verspricht  ?  Ob, 
vor  irgend  einem  Weltgericht,  sich  dies  rathselhafte  Sein  enthiille  ?  Hoffen  soil  der 
Mensch  !  er  f rage  nicht  I 


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are  exhibiting   on   our  second  floor. 


SHREVE,  CRUMP  &  LOW  CO. 

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(255) 


Die  du  so  gern  in  heil'gen  Nachten  feierst, 

Und  sanft  und  weich  den  Gram  verschleierst, 

Der  eine  zarte  Seele  qualt, — 

O  Hoffnung!  lass,  durch  dich  empor  gehoben, 

Den  Dulder  ahnen,  dass  dort  oben 

Ein  Engel  seine  Thr'anen  zahlt. 

Wenn,  Jangst  verhallt,  geliebte  Stimmen  schweigen, 

Wenn  unter  ausgestorb'nen  Zweigen 

Verodet  die  Erinn'rung  sitzt : 

Denn  nahe  dich,  wo  dein  Verlassner  trauert, 

Und  von  der  Mitternacht  umschauert, 

Sich  auf  versunk'ne  Urnen  stiitz. 

Und  blickt  er  auf,  das  Schicksal  anzuklagen, 

Wenn  scheidend  iiber  seinen  Tagen 

Die  letzten  Strahlen  untergehn  ; 

Dann  lass  ihn  urn  den  Rand  des  PIrdentraumes, 

Das  Leuchten  eines  Wolkensaumes, 

Von  einer  nahen  Sonne,  sehn  ! 

Whether  there  is  a  God  ?  Whether  he  will  some  day  satisfy  what  tearful  longing 
promises  itself?  Whether  before  any  Day  of  Judgment  this  mysterious  Being  reveals 
itself  ?     Let  man  hope  and  question  not ! 

Thou  who  through  night  to  reign  calm  pleasure  feelest, 

And  kindly  with  a  veil  concealest 

From  tender  souls  their  meed  of  woe ; 

Bright  Hope,  let  those  who  grieve,  approaching  near  thee, 

This  blessed  truth  proclaiming,  hear  thee, 

An  angel  counts  all  tears  that  flow. 

When  voices  die  away,  which  once  were  cherish'd, 
When  under  boughs  whose  leaves  have  perish'd, 


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Deserted  niem'ry  sits  and  mourns  ; 

Then  conic  to  him  whose  heart  some  woe  distresses, 

Whom  midnight  with  its  gloom  oppresses, 

Who  weary  leans  on  broken  urns. 

And  should  he  lift  his  eyes,  stern  fate  upbraiding, 

The  last,  last  rays  above  him  fading. 

That  us'd  the  light  of  life  to  be ; 

Then  through  another  sun's  soft  lustre  shining, 

A  gorgeous  cloud  with  silver  lining, 

beyond  earth's  vision  let  him  see. 

—  From  the  Boosey  Ed  don  of  Beethoven  s  Songs-. 

Franz  Wild,  a  once  famous  German  singer  (born  at  Hollabrun,  in  Lower 
Austria,  Dec.  31,  1 791,  died  at  Ober  Dobling,  near  Vienna,  Jan.  2,  i860), 
met  Beethoven  at  a  festival  concert  given  in  Vienna  on  the  birthday  of  the 
Tsarina  of  All  the  Russias,  Jan.  25,  18 15.  At  this  concert  Beethoven 
appeared  for  the  last  time  in  public  as.  a  pianist.  Wild  sang  Beethoven's 
"  Adelaide,"  and  with  great  success,  as  he  said.  He  also  said :  "  The 
Master,  delighted  by  the  choice  of  his  song,  which  was  effected  by  me, 
hunted  me  up  and  said  he  was  ready  to  accompany  me.  Pleased  by  my 
performance,  he  declared  his  intention*  to  orchestrate  the  song.  This 
never  happened,  nevertheless  he  wrote  for  me  the  cantata,  '  An  die  Hoff- 
nung '  (text  by  Tiedge)  with  pianoforte  accompaniment,  which  I,  accom- 
panied by  him,  sang  at  a  Matinee  before  a  select  company."  And  on 
April  2o,f  18 1 6,  Wild  gave  a  little  musical  party  at  the  house  of  an  ama- 
teur, when  he  sang  both  "Adelaide  "  and  "  An  die  Hoffnung."  Beethoven 
aga;n  accompanied  him,  and  this  was  his  farewell  as  an  accompanist. 

But  did  Beethoven  write  this  cantata  for  Wild?  Nottebohm  says 
';  No."  The  song  was  sketched  between  August,  1813,  and  the  end  of 
that  year.  It  was  sketched  for  soprano  and  in  the  old  soprano  key. 
Nottebohm  believes,  and  with  apparent  good  reason  that  it  was  composed 

*  Nottebohm  does  not  believe  that  Beethoven  ever  said  anything  of  the  kind, 
t  Nottebohm  says  April  25. 


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(269) 


for  the  Princess  Kinsky,  whose  husband  Ferdinand,  in  1809,  contributed 
1,800  florins  to  a  fund  of  4,000  florins,  to  be  given  yearly  to  Bee'hoven. 
In  this  act  of  benevolence  he  was  associated  with  the  Archduke  Rudolph 
and  Prince  Lobkowitz.     Prince  Kinsky  was  killed  while  riding  on  Nov.  3, 

1812.  There  were  unpleasant  complications  in  the  matter  of  the  payment 
of  his  share  of  the  yearly  amount,  but  Nottebohm  believes  that  Beethoven 
was  a  man  of  too  great  nobility  to  be  dissuaded  thereby  from  offering  this 
musical  consolation  to  the  widow,  and  that  as  the  sketch  was   made  in 

1813,  and  the  song  dedicated  to  her,  Wild's  story  should  not  be  believed. 
Wild,  trained  in  the  choir  of  the  monastery  at  Klosterneuburg,  became 

a  chorus  singer  at  Viennese  theatres.  He  afterwards  was  in  the  service 
of  Prince  Esterhazy,  then  again  in  opera  at  Vienna.  He  sang  in  various 
German  cities,  was  singer  to  the  Grand  Duke  of  Hesse  from  18 16  to 
1825.  He  visited  Paris,  to  study  with  Rossini  and  Bordogni,  stayed  a 
while  at  Cassel,  and  returned  to  Vienna  in  1829,  where  he  sang,  except 
when  he  went  a-touring,  until  1845.  His  last  appearance  on  the  stage 
was  on  March  24,  1845.  After  that  he  was  stage  manager.  His  lifiieth 
jubilee  as  a  singer  was  celebrated  at  Vienna  by  a  concert,  Nov.  8,  1857. 
At  first  a  tenor,  he  sang  in  his  later  jears  such  parts  as  Don  Juan  and 
Zampa.  His  voice,  style,  and  action  were  highly  praised  by  German 
critics,  and  he  was  a  great  favo'ite  with  audiences  in  German  cities. 
When  he  sang  in  1840  as  a  member  of  a  visiting  German  opera  com- 
pany at  London,  Chorley  wrote  of  him  :  "  And  a  strenuous  tenor  veteran 
was  there  in  Herr  Wild,  a  singer  who  had  seen  out  many  dynasties  and 
many  composers,  but  who  never  could  have  been  accepted  as  a  favorite 
elsewhere  than  in  Germany." 

Christoph  August  Tiedge,  known  as  "the  Nestor  of  German  poets," 
was  born  at  Gardelegen,  Dec.  14,  1752.  He  was  a  vo'uminous  writer.  A 
song,  "An  Alexis  send'  ich,"  from  "  Das  Echo  ;  oder,  Alexis  und  Ida," 
was  used  by  composers,  and  there  were  sets  of  variations  for  pianoforte 
thus  entitled.  He  became  acquainted  with  Charlotte  Elisabeth  Con- 
stantia  (otherwise  known  as  Elisa)  von  Medem,  who  was  born  in  1756  on 
an  estate  in  Kurland.  She  married  Count  von  der  Recke,  but  she  left 
him,  and  was  divorced  in  1776.  Her  life  was  a  stormy  one.  She  fell  in 
with  that  amusing  and  picturesque  rascal,  Cagliostro,  wrote  her  reminis- 
cences of  him,  knew  poverty,  was  invited  by  Catherine  II.  in  1795  to 
visit  St.  Petersburg,  and  there  she  was  given  the  usufruct  of  an  estate  in 

KAKAS  BROS:  Fur  Store, 

REMOVED    TO  I     REMOVED    TO 

179  TREMONT  ST,  "*££?*  I  179  TREMONT  ST.,  VT,(.7;:;;:::"" 
THE  MODEL  FUR  STORE  OF  BOSTON. 

J^"  Formerly  34  and  36  Bedford  Street 

(260) 


Kurland.  She  wrote  volumes  of  travels  and  poetry,  and  Tiedge  went 
with  her  to  Italy  and  Switzerland.  Beethoven  knew  them  well  at  Teplitz 
in  1811.  In  18 19  Tiedge  and  the  Countess  settled  at  Dresden,  where  she 
died  in  1833,  and  left  him  property,  so  that  he  was  comfortable  until  his 
death,  March  8,  1841.  After  his  death  a  Tiedge  Fund  was  established, 
at  first  for  the  care  of  the  poet's  tomb,  then  for  the  benefit  of  needy 
poets  and  painters  or  their  widows  and  children  ;  and,  after  a  third  of  the 
proceeds  of  a  lottery  drawn  in  i860  had  been  added  to  the  fund,  the  area 
of  charity,  which  had  been  confined  to  Saxony,  was  extended  to  all  Ger- 
many, and  prizes  were  given  to  poems  of  acknowledged  merit. 

Felix  Mottl,  composer,  conductor  at  Carlsruhe,  and  travelling  virtuoso 
conductor,  orchestrated  the  accompaniment  of  the  second  version  of  "  An 
die  Hoffnung."  He  has  also  orchestrated  the  accompaniments  of  Beet- 
hoven's "Der  Wachtelschlag,"  "Die  Ehre  Gottes "  ;  Mozart's  "Abend- 
empfindung,"  "Der  Sylphe  des  Friedens";  "  Wiegenlied " ;  Schubert's 
"Delphine";  Suleika's  songs,  Nos.  1,  2,  "Thekla,"  "Wiegenlied";  von 
Weber's  "Der  kleine  Fritz,"  "  Meine  Lieder,"  "  Unbefangenheit  "  ;  songs 
by  Wagner,  etc. 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  \  900. 


RAOUL      PUCNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS  CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &   BROOKS,  207  Tremont  Street,  Boston,  flass. 


Symphonic  Variations  on  an  Original  Theme,  Op.  78. 

Anton  Dvorak. 

(liom  at  Miihlhausen  (Nelahozeves),  near  Kralup,  Bohemia,  Sept.  8,  184 1  ; 
now  living  at  Prague.) 

This  work  was  begun  Sept.  6,  1877.     It  was  finished  Sept.  28,  1877. 

It  was  performed  in  Vienna  in  1887,  and  Hanslick  then  said  that  the 
theme  was  taken  from  a  Bohemian  chorus,  "Ja  jsem  guslar." 

It  was  first  performed  in  Boston  at  a  Symphony  Concert,  Feb.  23,  1889  ; 
and  it  was  played  again  at  a  concert  on  Dec.  31,  1898. 

The  theme,  lento  e  molto  tranquillo,  G  major,  2-2,  is  stated  in  twenty 
measures.  It  begins  in  octaves  in  the  strings  against  sustained  notes  in 
the  wind,  and  is  later  in  full  harmony.  The  first  period  is  in  seven  meas- 
ures. The  theme  is  simple,  and  it  is  clothed  simply  in  the  first  presenta- 
tion.    There  are  twenty-seven  variations  and  a  finale. 

A  commentator  has  said  of  this  finale,  "  Dvorak  pays  a  tribute  to  his 
national  enthusiasm  by  a  masterly  movement  in  counterpoint."  This  is 
contrary  to  the  general  opinion  that  Bohemian  enthusiasm  is  not  expressed 
in  fugal  form,  but  in  dances,  chodovska,  chodove,  skakava,  strasak,  babo- 
rak,  zezhulicka,  dudak,  and,  above  all,  the  polka. 

The  variations  are,  as  a  rule,  short.  Some  are  contrapuntal,  others  free 
and  romantic. 

Variations  2,  6,  9,  10,  20,  21,  24,  will  be  omitted  at  this  concert. 

The  work  is  scored  for  2  flutes  (the  second  is  interchangeable  with 
piccolo),  2  oboes,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trom- 
bones, kettle-drums,  strings. 

ENTR'ACTE. 
THE    HERO    WOTAN. 

BY    JOHN    F.    RUNCIMAN. 

:   Wagner  took  enormous  pains  to  make  Briinnhilde  a  living  character, — 


BY    ROYAL     APPOINTMENT 
TO    THE     BRITISH     COURT. 


MACKENZIE-JACKSON 

LADIES'  TAILOR 
Glasgow  J  84  Boylston  Street,  Boston  Oban 

[262) 


that  is  to  say,  to  show  us  her  inmost  soul  so  vividly  that  we  know  why  she 
did  anything  or  everything  without  even  thinking  about  it ;  he  set  her  on  the 
stage,  where  we  see  her  in  the  flesh,  behaving  precisely  as  any  woman  — 
of  her  period  —  would  behave.  And  then  these  excellent  gentlemen  * 
come  along  and  tell  us  that  because  Wagner  at  one  time  or  another 
thought  of  handling  her  story,  and  the  story  of  Wotan  and  Siegfried,  in 
this  or  that  way,  therefore  Wagner  "  meant "  this  or  that,  and  failed  or 
succeeded,  or  changed  his  original  plan  or  held  fast  to  it.  All  these 
things  have  nothing  to  do  with  the  drama  that  is  played  on  the  stage  :  by 
that  alone,  and  by  none  of  his  earlier  ideas,  is  Wagner  to  be  judged : 
he  is  to  be  judged  by  the  effect  and  conviction  of  the  finished  play. 
Now  it  seems  to  me  that  in  the  finished  play  Briinnhilde  is  neither  "  a 
glorious  woman  " — i.e.,  an  Adelphi  melodramatic  heroine  —  nor  "a  deceit- 
ful, vindictive  woman" — i.e.,  an  Adelphi  melodramatic  villainess.  Also, 
while  considered  by  itself  "  The  Dusk  of  the  Gods  "  is  interesting  mainly 
on  account  of  the  music,  considered  in  association,  as  Wagner  wished, 
and  as  one  must  —  for,  after  all,  it  is  but  the  final  act  of  a  stupendous 
drama,  and  it  is  unfair  and  foolish  to  consider  any  one  act  of  a  drama 
alone  —  with  the  other  minor  dramas  of  the  greater  drama,  "The  Nibel- 
ung's  Ring,"  it  is  dramatically  not  only  interesting,  absorbing,  but  abso- 
lutely indispensable,  true,  inevitable.  It  is  true  enough  that  the  "  Ring  " 
suffered  somewhat  through  the  fact  that  Wagner  took  nearly  a  quarter  of 
a  century  to  carry  out  his  plan,  and  during  this  period  his  views  on  life 
changed  greatly;  yet  nevertheless  "The  Dusk  of  the  Gods"  stands  as 
the  noble  —  in  fact,  the  only  possible  —  conclusion  to  a  story  which  is,  on 
the  whole,  splendidly  told. 

When  seeing  "  The  Valkyrie,"  one  thinks  of  Sieglinde  or  Siegmund  or 
Briinnhilde ;  when  listening  to  "  Siegfried,"  one  thinks,  of    Siegfried    and 

*Mr.  Runciman  refers  to  Messrs.  George  Bernard  Shaw,  Asliton  Ellis,  and  Edward  Baughan. —  P.  H. 


Mr.  WILLIAM  C.  CARL 

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INSTRUCTION 

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Treatment. 


The  most  exclusive  list  of  patrons 
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Briinnhilde  and  no  others ;  but  when  one  thinks  of  the  complete  "  Ring," 
the  person  of  the  drama  most  forcibly  forced  before  the  eye  of  the  imagi- 
nation, the  person  to  whom  one  realises  that  sympathy  is  chiefly  due,  is 
Wotan.  Wotan,  not  Siegfried  or  Siegmund,  is  the  hero  of  the  "  Ring." 
His  tragedy  —  if  it  is  indeed  a  tragedy  to  emerge  from  the  battle  in  the 
highest  sense  of  the  word  triumphant  —  includes  the  tragedy  of  Siegfried 
and  Siegmund,  Sieglinde  and  Briinnhilde  —  in  fact,  the  tragedy  of  all  the 
smaller  characters  of  the  play.  "The  Rheingold,''  in  spite  of  its  glorious 
music,  is  entirely  superfluous  —  dramatically,  at  all  events,  it  is  super- 
fluous—  but  there,  anyhow,  the  problem  which  we  could  easily  understand 
without  it  is  stated.  Wotan,  who  has  been  placed  at  the  head  of  affairs 
by  the  three  blind  fates,  has  caught  the  general  disease  of  wishing  to  gain 
the  power  to  make  others  do  his  will.  So  anxious  is  he  for  that  authority 
that  he  not  only  makes  a  bargain  for  it  with  the  powers  of  stupidity  —  the 
giants,  the  brute  forces  of  nature  —  which  bargain  is  afterwards  and  could 
never  be  anything  but  his  ruin,  but  also  he  stoops  to  a  base  subterfuge  to 
gain  it,  and  with  the  help  of  Loge,  fire,  the  final  destroyer,  he  does  gain  it. 
So  determined  was  Wagner  to  make  his  point  clear,  that  even  in  "  The 
Rheingold,"  the  superfluous  drama,  he  made  it  several  times  superfluously. 
He  was  not  content  to  let  his  point  make  itself  —  the  humanitarian,  the 
preacher  of  all  that  makes  for  the  highest  humanity,  was  too  strong  in 
him  for  that :  it  was  a  little  too  strong  even  for  the  artist  in  him  :  he  must 
needs  make  the  powers  of  darkness  lay  a  curse  on  power  over  one's 
fellow-beings,  the  Ring  standing  as  the  emblem  of  that  power.  While 
Wotan  takes  the  power,  his  deepest  wisdom,  which  is  to  say,  his  intui- 
tion —  represented  by  the  spirit  of  the  earth,  Erda  —  rises  against  him 
and  tells  him  he  is  committing  the  fatal  mistake,  and  he  yields  to  the 
extent  of  letting  the  giants  have  the  supreme  power.  But  he  thinks,  just 
as  you   and   I,    reader,    might  think,    that  by  some    quaint    unthinkable 


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Personal  attention  given  to  Mourning. 
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Superlative  Quality. 


Never  in  tKe  History  of  our  House  Have  our  stand- 
ards been  Higher,  our  facilities  for  turning  out  su- 
perior worh  so  adequate,  or  our  experience  so  broad. 
^We  are  devoting  much  attention  to  small  grands  of 
faultless  construction  as  -well  as  to  small  uprights  for 
small  rooms.  "We  rent  superior  pianos,  and  sell  on 
convenient  systems  of  payment.     Catalogues  gratis. 


•  I  VERS   &  POND    • 

•PIANO    CO  • 

114  BOYLSTON  ST.  BOSTON 


(265) 


device  he  can  evade  the  tremendous  consequence  of  his  own  act ;  and, 
instead  of  at  once  looking  at  the  consequence  boldly  and  saying  he  will 
face  it,  he  elaborates  a  plan  by  which  no  one  will  suffer  anything,  while 
he,  Wotan,  will  gain  the  lordship  of  Creation.  From  this  moment  his  fate 
becomes  tragic.  The  complete  man,  full  of  rich  humanity  —  for  whom 
Wotan  stands — cannot  exist,  necessarily  ceases  to  exist,  if  he  is  com- 
pelled to  deny  the  better  part  of  himself,  as  Peter  denied  Jesus  of  Naza- 
reth. And  in  consequence  of  his  own  act  Wotan  has  immediately  to  deny 
the  better  part  of  himself,  to  make  war  on  his  own  son  Siegmund,  and 
then  on  his  own  daughter  Brunnhilde  ;  he  destroys  the  first  and  puts  away 
from  him  for  ever  Brunnhilde,  who  is  incarnate  love.  The  grand  tragic 
movement  of  the  whole  cycle  is  the  laying  to  sleep  of  Brunnhilde.  Wotan 
knows  that  life  without  love  is  no  life,  and  he  is  compelled  to  part  from 
love  by  the  very  bargain  which  enables  him  to  rule.  Rather  than  live 
such  a  life,  he  deliberately,  solemnly  wills  his  own  death. —  From  "  Old 
Scores  and  New  Readings"  London,  i8gg. 


il  Wotan's  Farewell  "  and  the  "  Fire  Charm,"  from  "  Die  Walkure." 

Richard  Wagner. 
(Born  at  Leipsic,  May  22,  1S13;  died  at  Venice,  Feb.  13,  1883.) 
Wagner   sketched    the    plot    of    the    "Ring"    as    early    as    1848.     He 
wrote    Uhlig    in    1852:  "The  introductory  evening  is   really  a  complete 

Dominion  Line 

EXPRESS    SERVICE 
BOSTON    TO 

Mediterranean, 
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Resumption    of    trips    by   the    mammoth    popular    twin-screw  steamers,    ,4  COM- 
MONWEALTH "    and    "NEW    ENGLAND." 

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Send  for  rates  and  illustrated  booklet. 

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For  rates  and  further  information  apply  to  01  addn 

RICHARDS,  MILLS  &  CO.,  77-81  STATE  STREET,  BOSTON, 

Or  any  local  steamship  agent. 

(2CC) 


drama,  quite  rich  in  action;  I  have  finished  fully  half  of  it.  'Die 
Walkiire  '  entirely."  In  August,  1854,  he  was  at  work  on  the  sketch  of 
the  score  of  "  Die  Walkiire,"  and  the  sketch  was  finished  in  December. 
In  February,  1855,  he  had  almost  finished  the  scoring  of  Act  I.  when  he 
was  called  to  conduct  a  season  of  Philharmonic  Concerts  at  London.  He 
began  work  again  on  the  Seelisberg,  near  Zurich,  but  he  was  sick  and  his 
wife  was  sick,  and  he  was  worried  beyond  endurance.  He  wrote  Liszt: 
"'  The  Walkiire '  I  have  now  with  difficulty  completed  to  the  middle, 
including  a  clear  copy.  Now  I  have  been  kept  from  work  for  eight  days 
by  illness  ;  if  this  thing  continues,  I  shall  soon  despair  of  ever  elaborating 
my  sketches  and  completing  the  score."  He  sent  the  first  two  acts  to 
Liszt  on  Oct.  3,  1855,  and  said:  "This  representation  on  paper  will 
probably  be  the  only  one  which  I  shall  ever  achieve  with  this  work,  for 
which  reason  I  linger  over  the  copying  with  satisfaction."  Liszt  immedi- 
ately answered  :  "  Dearest  Richard,  you  are  truly  a  divine  man  !  .  .  .  When 
we  mee'',  more  about  your  magnificent,  marvellous  work."  And  the  Prin- 
cess von  Wittgenstein  assured  Wagner  that  she  had  wept  tears  of  sensibility, 
"  bitter  tears  over  the  scene  between  Siegmund  and  Sieglinde  !  That  is 
beautiful,  like  eernity,  like  earth  and  heaven."  The  last  act  was  finished 
in  April,  1856.  Wagner  wrote  L  szt :  "I  am  extremely  eager  to  know 
how  the  last  act  will  affect  you ;  for  beside  you  I  have  no  one  to  whom  it 
would  be  worth  while  to  communicate  this.  It  has  turned  out  well — is 
probably  the  best  I  have  so  far  written.  A  terrific  storm  —  of  elements 
and  of  hearts  —  which  gradually  calms  downs  to  Briinnhilde's  magic 
sleep." 

"  Die  Walkiire  "  was  performed  for  the  first  time,  and  against  the  wish 
of  the  composer,  at  the  Royal  Court  Theatre,  Munich,  Aug.  26,  1870,  when 


146  Tremont  Street. 
FRESH,    PURE,    DELICIOUS 

BONBONS  and 
CHOCOLATES. 

Hot   Chocolate   and    Ice=cream 
Soda. 


Miss  GAFF/NEY, 

Manicuring,  Shampooinr,  Hair 
Dressing,  and  Chiropodg. 
Hygienic  Treatment  of  Head,  Face? 
and  Neck. 

AMIRAL  SOAP 

Made  in  France,  for  reducing;  corpulency  by 
external  application.  Recommended  and  pre- 
scribed by  the  medical  profession. 

Removing  and  preventing  wrinkles  and  im- 
proving  the  Complexion  by  restoring  muscular 
tone  and  tissue  building,  without  the  use  of 
cosmetics  or  steaming .  Head  treated  for  con- 
gestion, falling  hair,  and  to  promote  growth. 
Will  visit  ladies  at  their  homes. 

Address,  384  BOYLSTON  STREET. 


Testimonials  from   distinguished  men  and 
women  of  Boston. 


(267) 


Kindermann  *  created  the  part  of  Wotan.  The  first  authorized  perform- 
ance was  at  Bayreuth,  Aug.  14,  1876,  when  Betz  was  the  Wotan. 

The  first  performance  in  America  was  at  the  Academy  of  Music,  New 
York,  April  2,  1877,  when  Preusser  was  the  Wotan.  The  first  performance 
in  Boston  was  at  the  Boston  Theatre,  April  16,  1877,  with  Eugenie  Pappen- 
heim  as  BrunnhUde,  Pauline  Canissa  as  Sieglinde,  Miss  Grimmenger  as 
Fricka,  A.  Bischoff  as  Siegmund,  Felix  Preusser  as  Wotan,  A.  Blum  as 
Hunding.     Adolf  Neuendorff  conducted. 

"  Wotan's  Farewell  and  the  Fire  Charm  "  was  first  performed  in  Boston 
from  manuscript  at  a  Thomas  Concert,  Jan.  20,  1875.  Franz  Remmertz 
was  the  Wotan.  The  excerpt  has  been  performed  here  at  concerts  of  the 
Boston  Symphony  Orchestra, —  Dec.  30,  1882  (Mr.  Henschel  singer),  Nov. 
10,  1888  (Emil  Fischer),  April  2,  1892  (Heinrich  Meyn),  Dec.  5,  1896 
(Pol  Plancon),  March  19,  1898  (David  Ffrangcon  Davies). 

The  text  of  the  scene  is  as  follows :  — 

Wotan. 
( Blickt  ihr  ergriffen  in  das  Angc,  und  hebt  sie  auf.) 

Leb'  wohl,  du  kiihnes 

herrliches  Kind  ! 

Du  meines  Herzens 

heiliger  Stolz, 
leb'  wohl  !  leb'  wohl !  leb'  wohl ! 

Muss  ich  dich  meiden, 

und  darf  minnig 
mein  Gruss  nimmer  dich  griissen  ; 

sollst  du  nicht  mehr 

neben  mir  reiten, 

♦August  Kindermann,  bass  baritone,  born  Feb.  6,  1817,  at  Potsdam,  died  March  6,  1891,  at  Munich, 
began  his  career  when  he  was  sixteen  as  a  chorus  singer  in  the  Berlin  Royal  Opera,  and  was  intrusted  by 
Spontini  with  minor  solo  parts.  From  1839  to  1846  he  was  a  member  of  the  Leipsic  Opera  Company.  In 
1846  (August  1)  he  joined  the  Munich  company.  He  created  the  part  of  Wotan  in  ''Das  Rheingold  "  at 
Munich,  Sept.  22,  1869,  and  on  July  26,*&fcf,  the  part  of  Titurel  in  "  Parsifal "  at  Bayreuth,  but  his  voice 
was  then  raucous,  and  he  was  distressingly  false  to  the  true  pitch.  He  was  the  father  of  Hedwig  Reicher- 
Kindermann  (1853-83),  a  dramatic  soprano  of  heroic  voice  and  unbridled  temperament,  who,  after  singing  at 
the  Court  Theatre  and  the  Theater  am  Gartnerplatz  of  Munich,  at  Hamburg,  Paris,  and  I.eipsic  (1880-S2), 
won  great  renown  in  Neumann's  wandering  "  Wagner  Theatre."' 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(208) 


noch  Meth  beim  Mahl  mir  reichen ; 

muss  ich  verlieren 

dich,  die  ich  liebte, 
du  lachende  Lust  meines  Auges  :  — 

ein  brautliches  Feuer 

soil  dir  nun  brennen, 
wie  nie  einer  Braut  es  gebrannt ! 

Flammende  Gluth 

umgliihe  den  Fels ; 

mit  zehrenden  Schrecken 

scheuch's  es  den  Zagen  ; 

der  Feige  fliehe 

Briinnhilde's  Fels :  — 
denn  Einer  nur  freie  die  Braut, 
der  freier  als  ich,  der  Gott ! 

f  Brunnhilde  ivirft  sick  ihm  gerilhrt  wtd  entziickt  in  die  Arme.) 

WOTAN. 

Der  Augen  leuchtendes  Paar, 
das  oft  ich  lachelnd  gekos't 

wenn  Kampfes-Lust 

ein  Kuss  dir  lohnte, 

wenn  kindisch  lallend 

der  Helden  Lob 
von  holden  Lippen  dir  floss ;  — 
dieser  Augen  strahlendes  Paar, 
das  oft  im  Sturm  mir  geglanzt, 

wenn  Hoffnungs-Sehnen 

das  Herz  mir  sengte, 

nach  Welten-Wonne 

mein  Wunsch  verlangte 

aus  wild  webendem  Bangen  :  — 

zum  letzten  Mai 

letz'  es  mich  heut' 

mit  des  Lebewohles 

letztem  Kuss ! 

Dem  gliicklicher'n  Manne 

gliinze  sein  Stern  ; 
dem  unseligen  Ew'gen 
muss  es  scheidend  schliessen  ! 

Denn  so  — kehrt 

der  Gott  sich  dir  ab  : 
so  kiisst  er  die  Gottheit  von  dir. 


HATS     AND     FURS 

PROPER    SHAPES    IN   LADIES'    ROUND 

HATS,  WALKING,  GOLFING,  AND 

HUNTING   HATS.     RICH   FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COHPANY,    -    BOSTON 

(269) 


(Er  kiisst  sie  auf beide  Augen,  die  ihr  sogleich  verschlossen  bleiben:  sie  sinkt  sanft 
ermattendin  seinen  Armen  zuritck.  Er  geleitet  sie  zart  auf  einen  niedrtgen  Mooshugel  zu 
liegen,  iiber  den  sick  eine  breitastige  Tanne  ausstreckt.  Noch  einmal  betrachtet  er  ihre 
Ziige  und  scldiesst  ihr  dann  den  Helm  fest  zu  :  dann  verweilt  sein  Blick  nochmals  schmerz- 
lich  an  f  Hirer  Gestalt,  die  er  endlich  mil  don  langen  Staklschildi  der  Walk  it  re  zitdeckt. — 
Dann  schreitet  er  mil  feierlichem  Entschlusse  in  die  Mitte  der  Biihne  und  kehrt  die  Spitze 
seines  Speeres  gegen  einen  mackligen  Felsstein.) 

I.oge  hor' ! 
lausche  hieher ! 
Wie  zuerst  ich  dich  fand 
als  feurige  Gluth, 
wie  dann  einst  du  mir  schwandest 
als  schweifende  Lohe  : 
wie  ich  dich  band, 
bann'  ich  dich  heut' ! 
Ilerauf,  wabernde  Lohe, 
umlod're  mir  feurig  den  Fels! 
Loge !     Loge !     Hieher ! 
(Bei  der  letzten  Anrufung  schldgt  er  mil  der  Spitze  des  Speeres  dreimal  auf  den  Stein, 
worauf  diesem  ein  Feuerstrahl  entfahrt,  der  schnell  zu  eiue/u   Flammenmeere  anschwillt, 
(few  Wotan  uiit  einem   Winke  seiner  Speerspitze  den    Umkreis  des  Felsens  als  Stromung 
zuweist.) 

Wer  meines  Speeres 
Spitze  fiirchtet, 
durchschreite  das  Feuer  nie  ! 
(Er  verschwindet in  der  Gluth  nach  dem  Hintergrunde  zu.) 
(Der  Vorh a ng  fdllt. ) 

Mr.  William  Foster  Apthorp  has  Englished  this  as  follows  :  — 

Wotan. 

[Mucli  moved,  he  looks  her  in  the  eye,  and  raises  her  up.) 
Farewell,  thou  brave,  splendid  child!     Thou  sacred  pride  of  my  heart,  farewell!  fare- 


THE 


From  all  sides  comes  the  highest  praise  for  the  Apollo  piano 
player.  Singers,  pianists,  organists,  and  orchestral  directors,  all  of 
them  recognized  as  belonging  in  the  ranks  of  the  world's  greatest  ar- 
tists, join  in  paying  hearty  tribute  to  its  beautiful  musical  qualities,  its  fine  con- 
struction, its  responsiveness,  and  its  perfect  and  brilliant  execution.      Price. 

$225. 

The  APOLLO  GRAND  (the  largest  piano-player  made)  covers  the  entire 
range  of  a  seven-octave  piano.      Price,   $300. 


CJ7(l) 


Veuve  Chaffard 

PURE 

OLIVE   OIL 

In  honest  bottles. 


PRICE   LIST  SENT  ON   APPLICATION. 

S.  PIERCE  CO. 


Established  1831. 


IMPORTERS  and  GROCERS, 


Incorporated  1894. 


Tremont  and  Beacon  Sts.  ) 
Copley  Square  > 

185  Hilk  St.  (Wholesale)) 


BOSTON 


Coolidge's  Corner,  BROOKLINE 


(271) 


We  are  now  displaying  our  Complete  Line  of 

AUTUMN    GLOVES. 

The  styles  and   colors  have  never  been  more 
attractive,  and  the  range  of  prices,  from 

$1.00  to  $2.00, 

Will  meet  the  demand  of  all  wearers  of  gloves. 


Miss  M.  F.  FISK,  144  Tremont  St. 


One  Day  in  a  Doll's  Life 

G.    L.    TRACY 

Six  Little  Scenes  for  Young  Pianists 


each   $o  30 

i.  The  Doll  Wakens 

2.  She  Listens  to  the  Birds 

3.  She  Receives  Company 

4.  She  Goes  a-sailing 

5.  She  Dances  with  a  Tin  Soldier 

6.  She  Falls  Asleep.     Grades  I.,  II. 

Bruck-Gyula,     25  Etudes.    Edited  by  A.  H.  Salmon. 
Grade  II $1.00 

Gilbert  Tompkins.    Neglected  Fingers         .         1.00 
For  development  of  the  weaker  ringers 

C.  W.  THOriPSON  &  CO., 

Music  Publishers,  13  West  St. 


Foreign  Books, 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 
CUPPLES  &  SCHOENHOF, 

128  Tremont  St.,  2d  door  north  of  Winter  St., 
over  Wood's  Jewelry  Store.    (Tel.,  Oxford  luiKMLj 

nile.  CAROLINE 

Invites  you  to  inspect  her  foreign  selection 
of 

Hats  and   Bonnets, 

Together  with  her  own  designs.    The  prices 
are  very  reasonable. 

486  Boylston  Street,  Boston. 

In  block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN   FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296-298    Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(272; 


well!  farewell!  Must  I  avoid  thee,  and  must  my  greeting  never  more  lovingly  greet 
thee;  shalt  thou  no  more  ride  by  my  side,  nor  hand  me  mead  at  the  banquet;  must 
I  lose  thee,  thee  whom  I  loved,  thou  laughing  delight  of  my  eyes  :  —  then  shall  a  bridal 
fire  burn  for  thee,  as  never  one  burned  for  a  bride !  Let  a  naming  glow  glow  round  the 
rock  ;  let  it  scare  the  coward  with  devouring  terrors ;  may  the  dastard  flee  Briinnhilde's 
rock :  —  for  let  only  one  woo  the  bride,  who  is  freer  than  I,  the  god ! 

(Brunnhilde  throws  herself,  touched  and  in  ecstacy,  into  his  arms.) 

WOTAN. 

The  shining  pair  of  eyes  that  I  oft  have  smilingly  fondled,  when  a  kiss  was  the  reward 
of  thy  joy  in  fight,  when  the  praise  of  heroes  flowed  in  childish  prattle  from  thy  sweet 
lips  :  — this  beaming  pair  of  eyes,  that  so  often  have  gleamed  upon  me  in  the  storm,  when 
the  yearning  of  hope  singed  my  heart,  and  my  wish  longed  after  world-ecstasies  from  out 
of  wildly  weaving  terror:  —  for  the  last  time  let  it  rejoice  me  to-day  with  the  last  farewell 
kiss  !  Let  thy  star  shine  for  the  happier  man ;  it  must  be  quenched  in  parting  for  the 
hapless  eternal  one!  For  thus  does  the  god  turn  from  thee:  thus  does  he  kiss  the 
divinity  from  thee. 

( He  kisses  her  upon  both  eves,  which  forthwith  remain  closed:  she  falls  gently  fainting 
back  in  his  arms.  He  leads  her  gently  to  lie  on  a  low  moss  hillock,  over  which  a  fir-tree 
spreads  out  its  wide  branches.  Once  more  he  contemplates  her  features,  and  then  closes 
her  helmet ;  then  his  glance  lingers  once  more  sorrowfully  on  her  form,  which  he  at  last 
covers  with  the  Valkyr's  long  steel  shield.  Then  he  walks  with  solemn  determination  to  the 
middle  of  the  stage,  and  turns  1  lie  point  of  his  spear  toward  a  mighty  boulder.} 

Loge,  hear!  listen  hitherward !  As  first  I  found  thee  as  fiery  glow,  as  then  once  thou 
vanishedest  from  me  as  swishing  flame:  as  then  I  bound  thee,  I  loose  thee  to-day!  Up, 
flickering  flame,  flame  around  the  rock  all  ablaze  !     Loge  !     Loge  !     Hither  to  me  ! 

(At  the  last  call  he  strikes  the  rock  three  times  with  the  point  of  his  spear,  whereupon  a 
flash  of  fire  darts  out  from  it,  and  quickly  grows  to  a  sea  of  flame,  to  which  Wotau  points 
out  the  circuit  of  the  rock  for  its  channel  with  his  spear  point.) 

Let  him  who  fears  the  point  of  my  spear  never  walk  through  the  fire  ! 

(He  vanishes  toward  the  background  through  the  glozv.      The  curtain  falls.) 

The  orchestral  part  of  this  scene  is  scored  for  piccolo,  3  flutes  (one  of 
which  is  interchangeable  with  piccolo),  3  oboes,  cor  anglais,  3  clarinets, 
bass  clarinet,  3  bassoons,  8  horns,  3  trumpets,  bass  trumpet,  4  trombones, 
contrabass  tuba,  2  pairs  of  kettle-drums,  6  harps,  glockenspiel,  triangle, 
cymbals,  strings. 


(273) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas      All  materials  of  wear  or  household  use  properly 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(271) 

Newport 

Sixth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  NOVEMBER  28,  at  2.30  o'clock. 

SATURDAY  EVENING,  NOVEMBER  29,  at  8.00  o'clock. 


PROGRAMME. 


D'Alfeert         ....         Overture  to  the  Opera,  "Der  Robin" 


Schobert-Mottl Fantasy  in  F  minor 


Jos.  Suk Ein  Marchen 


Schumann ♦  Symphony  No.  2 


,276; 


STE>i:iv:E>ieT  hall 


RICHARD  STRAUSS 

So  no  Recital 

bjGeoroe   Hamlin 

Tenor, 

Assisted  by  Mr.  CARL  SCHUMANN,  of  the  Symphony  Orchestra, 
TUESDAY  AFTERNOON,  DECEHBER   2,  AT   3,  STEINERT  HALL. 

TICKETS  ARE  NOW  ON  SALE  AT  THE  HALL. 

Mr.  Felix  Fox 

::  PIANIST:: 

WILL    GIVE   A    RECITAL 

on  Thursday  evening,  December  11, 

Dr.  PERCY  GOETSCHIUS,  at  the  organ, 
assisting. 

Mr.    SAMUEL  ARTHUR   KINO 

ANNOUNCES  A 

.  .  Dramatic  Recital .  . 

OF 

SELECTIONS  from  HAMLET, 

Monday  Evening,  December  8. 

Mr.  HEINRICH  GEBHARD 

WILL  GIVE  A 

pianoforte  Recital 

STEINERT  HALL,  on  WEDNESDAY  AFTERNOON,  DECEMBER  ;,. 

At   3   o'clock. 


TICKETS     ARE     NOW     ON     SALE     AT     THE     HALL. 
(276) 


TWO    CHAMBER.    CONCERTS 
HOFFMANN  STRING  QUARTET 

J.  HOFFMANN,  Violin  F.  ZAUN,  Viola 

A.  BAK,  Violin  C.  BARTH,  'Cello 

FIRST    CONCERT,    WEDNESDAY 
EVENING,    DECEMBER    3,  at  8.15 

j*    <*    J-    MISS  JESSIE   DAVIS,    Pianist,    assisting.     J-     &    & 

Reserved  Seats,  $1.00  and  $0.75,  for  sale  at  the  hall  (telephone,  Oxford  133). 


FIRST  RECITAL 


HELEN  HOPEKIRK 


SATURDAY   AFTERNOON 
13th  DECEMBER,  at  3 


Mme.  ALEXANDER-MARIUS, 

(Ofticier  d'Acadeniie) 


BEGS  TO  ANNOUNCE  A 


FRENCH  SONG  RECITAL 

TO  BE  GIVEN  IN 

Steinert  Hall,  Boston,  at  eight  fifteen  o'clock, 
TUESDAY   EVENING,  DECEMBER   9,    1902. 

Mr.  ALFRED  DeVOTO  at  the  Piano. 
Tickets  for  sale  at  the  Hall,  §1.50  and  SI. 00.    Special  tickets  for  students. 

(277) 


CHICKERING  HALL 


Thursday  Evening,  November  27,  at  8*  J  5 


First  Recital  in  America  this  season  by  the  Eminent 

Russian  Pianist 

Mark 

fiambourg 


Reserved  seats,  50  cents,  75  cents,  and  $  \ ,  at  Box 
Office,  Chickering  Hall 


Knabe  Piano  used 

(278) 


Carl    Faeltein's 

THIRD    PIANOFORTE    RECITAL, 
Wednesday  Evening,   December   10,    1902,   at  8  o'clock. 

Programme. 

Andante,  F  major  )  -r.     .,         ■. 

r,  .'.  '.       .   .   — .     .         a  t  ...        Beethoven 

Sonata  (Appassionata),  F  minor,  Op.  57  ) 

Huntington       Giga  con  Variazioni,  D  minor,  Op.  91,  No.  2  .         .         .         .           Raff 

Chambers        Nocturne,  B  major,  Op.  9,  No.  3  )  Chopin 
Hall              Valse,  A-flat  major,  Op.  42            \ 

Hungarian  Rhapsody,  No.  2,  C-sharp  minor  ....         Liszt 

TICKETS,  $1.00.    J*     J*    %£     «J«     For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO   LET 

For   Professional   and   Amateur    Recitals 

SEATS  420 
APPLY   TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Mr.  HANS  SCHNEIDER 

Begs  to  announce    a   course    of   ten 
Lecture  Lessons  in  the  study  of  the 

WAGNERIAN  "DRAMA 

on  November  n  and  following  Tuesdays,  at  12  o'clock,  at  the  rooms  of 
the  Copley  Square  School  of  Music. 

For  terms,  etc.,  apply  at  the  Copley  Square  School  of  Music  or  at  Mr.  Hans  Schneider's 

studio,  Huntington  Chambers,  503,  Tuesdays  from  2  to  5. 

Circulars  mailed  upon  application. 

(279) 


Chickering  lyall 


CHICKERING  HALL, 


TUESDAY  EVENING, 

DECEMBER  2,  AT  8. 

Fourth    Annual    BANJO    Recital, 

— BY  THE  WORLD'S  GREATEST  BANJOIST, 

Assisted  by  H.  SCHUECKER Harpist. 

Miss  ELSA  HEINDL Soprano. 

IMPERIAL  MANDOLIN  AND  GUITAR  CLUB, 

nanagement,  EDWARD  A.  QROUT. 


Frianagement,  EDWARD  A.  OROUT. 
ARLAND 

"THE  HOST  WONDERFUL  MUSICAL  PERFORMANCE  OF  THE  T1J1E." 

Mr.  Farland  will  render:  Schubert,  Military  March;  Li9zt,  2d  Hungarian  Rhapsody;  Wieniawski, 
2me   Polonaise  Brillante;  Chopin.  Funeral  March;    Paganini,  La  Campanella;   Dussek,  La 
Matinee  Rondo;  Schubert,  Hark,  hark,  the  Lark ;  Wieniawski,  2d  Mazurka  (Kuiawiak) ;  and 
others. 
"  Perhaps  nothing  that  has  been  said  of  this  young  genius  so  tersely  and  yet  so  adequately 
describes  his  playing  as  the  title  '  Paderewski  of  the  banjo.'    His  technique  is  marvellous.     But 
there  is  something  about  his  playing  that  is  even  more  to  be  admired  than  his  execution, 
wonderful  as  that  is.    It  is  the  poetic  interpretation  of  some  of  the  world's  masterpieces,  the 
delicacy  of  feeling  that  leads  to  delicacy  of  touch  and  tone,  the  revelation  of  a  fine  artistic  tem- 
perament and  the  ability  to  touch  the  heart  as  well  as  appeal  to  the  mind,  that  makes  Mr. 
Farland's  playing  of  such  a  high  degree  of  artistic  excellence.   To  hear  him  play  is  to  hear  music, 
not  merely  a  succession  of  manual  gymnastics,  but  music  in  the  highest  meaning  of  the  word." 

—  Louisville  Evening  Post,  March  31,  1896. 
Tickets,  $1.00,  75c,  SOc.    Now  on  sale  at  Herrick's,  Copley  Square;  Parker  House;  Connelly's, 

Adams  House. 

CHICKEKINGr     HALL. 

N  EM  ES 

THE  GREAT  HUNGARIAN  VIOLIN  VIRTUOSO. 


DEZSO 


VIOLIN  RECITAL 
Wednesday  Evening,  December  3,  at  8.15. 

Assisted  by  Mme.  NEMES 

First    appearance?    in     America 

Reserved  seats,  75  cents,  $1.00,  $1.50,  on  sale  at  Chickering  Hall  on  and 
after  November  28. 


MR.    HEN 
nounces 
Recitals, 
evenings  at  eight 
to  Shakespeare's 


November  21 
November  28 
December  5 
December  1 2 


RY  LAWRENCE  SOUTHWICK  an- 
his  third  annual  course  of  Interpretative 
to  be  presented  in  Chickering  Hall,  Friday 
o'clock.  The  series  this  year  will  be  devoted 
English  Historical  Plays. 

Programme. 

.  Mr.  WALTER  BRADLEY  TRIPP.     Henry  IV.  (Part  1) 

Mr.  r.EOKC.K   RIDDLE.      Henry  V. 

Mr.  HENRY  LAWRENCE  SOUTHWICK.     Richard  III. 
.     Miss  KATHARINE  OLIVER.     Henry  VIII. 


Tickets  for  the  course,  three  dollars  and  two  dollars.     On  sale  at  Chickering  Hall. 

(280) 


H^teminmu^ic 


ASTERS  IN  MUSIC  will  be  unlike  any  other 
musical  magazine.  It  will  be  edited  by  Mr. 
Daniel  Gregory  Mason.  Each  monthly  issue, 
complete  in  itself,  will  be  devoted  to  one  of 
the  world's  greatest  musicians,  giving  thirty- 
two  pages  of  engraved  piano  music,  which 
will  comprise  those  compositions  or  move- 
ments that  represent  the  composer  at  his  best,  with  editorial  notes 
suggesting  their  proper  interpretations  ;  a  beautiful  frontispiece 
portrait ;  a  life  ;  and  estimates  of  his  genius  and  place  in  art 
chosen  from  the  writings  of  the  most  eminent  musical  critics. 
The  text  of  Masters  in  Music  will  thus  constitute  an  interest- 
ing and  authoritative  monthly  lesson  in  musical  history;  its 
selections  of  music  will  form  a  library  of  the  world's  musical 
masterpieces,  and  all  at  slight  cost.  Among  the  composers 
to  be  treated  during  the  first  year  are  Mozart,  Chopin,  Gounod, 
Verdi,  Grieg,  Beethoven,  Mendelssohn,  and  others.  The  maga- 
zine will  be  most  attractively  presented  throughout.  The  first 
issue  will  appear  January  i,  1903.  Subscription  price,  $2.00  a 
year.     Single  copies,  20  cents.     :::::::::::: 


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PAGES     5~F      MUSIC 


42dI)auncii^treefr^6o<8ton 


(281) 


The  Cecilia  Society 


Mr.   B.  J.    LANG,  Conductor 
SEASON  1902=1903 


SYMPHONY  HALL 

Tuesday,  December  2,  at  8 

Requiem 

(Missa  pro  defunctis)  by  Georg  Henschel,  for  chorus,  solo 
singers,  orchestra,  and  organ,  a  choir  of  boys  assisting 

SOLO  SINGERS 

Miss  HELEN    HENSCHEL  Mr.   ELLISON  VAN    HOOSE 

Miss  PAULINE    WOLTMANN  Mr.  FREDERICK    MARTIN 

Mr.    HENSCHEL  Conducting 


Tuesday,  February  3,  at  8 

The  Death  of  Minnehaha 

The  Departure  of  Hiawathat  Coleridge-Taylor 

For  chorus,  solo  singers,  orchestra,  and  organ 


Tuesday,  April  7,  at  8 

The  Great  B  minor  Mass  /  s.  Bach 

For  chorus,  solo  singers,  orchestra,  and  organ 


Season  subscription,  giving  four  seats  for  each  concert,  $15.00,  are  now  on 

sale  at  the  Box  Office,  Symphony  Hall. 
Single  tickets  for  the  Requiem,  $1.50  each,  on  and  after  Friday,  November  21. 

EDWARD   A.  STUDLEY,  Jr.,  Secretary, 

Box  2927,  Boston,  Mass. 

(282) 


SANDERS  THEATRE,  CAMBRIDGE 

The  Boston  Symphony  Orchestra 

70  PERFORMERS.     Mr.   WILHELM  GERICKE,  Conductor 

Ten  Concerts  Thursday  Evenings 


DECEMBER  4 

DECEMBER  J8 
JANUARY  8 
JANUARY  29 

at  7.45 


FEBRUARY  12 
MARCH  J  2 

APRIL  2 

APRIL  23 


SOLO  ARTISTS 

MISS  HELEN  HENSCHEL  MR.  CARL  STASNY 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MISS  MAUD  MacCARTHY       MME.  BLOOMFIELD-ZEISLER 
MR.  ADOLF  BAK 

AND    OTHERS    TO    BE    ANNOUNCED. 

TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 
at  the  door. 

(283) 


SYMPHONY    SEATS 

For  SEASON,  I  SINGLE,  REHEAR0srAcVcERT, 


SlK.OO      AND  $1.00  AND 

|\J  UPWARD,   i 


UPWARD. 

CONNELLY'S  Ticket  Office,  Adams  House. 

'Phone,    Oxford    942. 

CHlCKERirNQ    HALL 

Zbc  St  Botolpb  Concert  Company 

ELSA  HEINDL,  Soprano  KARL  ONDRICEK,  Violin 

ALFRED  DE  VOTO,  Piano 

Zb*  strongest  and  most  brilliant  concert  company  in 

Hew  England 

For  dates,  terms,  and  all  particulars  address  at  once 

HEARD  &    WILLIAMS,  Chickering  Hall,  Boston 

239   Huntington   Hall  Telephone,  1670  Back  Bay 

THE    QUESTS 

A  posthumous  work  by  ETHELBERT  NEVIN,  for  chorus  and 
soloists.     Text  by  Randolph  Hartley.     To  be  performed  by 

THE  BOSTON  SINGING  CLUB,  H  gonTdSER- 

At   its   first   concert,    CHICKERING    HALL,     DECEMBER    17. 

John  Church  Co.,  Publishers.       On  sale  at  the  music  store  of 

C.  W.  THOMPSON  &  CO.      .      .      13  West  Street. 

In    every   way    a   brilliant    and    most    attractive   composition. 

The  Boston  Symphony  Orchestra  Programme. 

For  the  twenty-four  Boston  Concerts, 
with  Historical  and  Descriptive  Notes 
by  Philip  Hale.  J*  <J*  J*  £   J*   ^    J* 

Bound   copies  of  the   Programme  for  the   entire    season  can    be    had    at 
$1.50  by  applying  before  the  last  concert.     Address  all  communications  to 

F.   R.  COMEE,  Symphony  Hall,  Boston. 

'284) 


SYMPHONY  HALL -NEXT  WEEK 


MASCAGNI 

Beginning  Tuesday  evening,  November  25, 
Tuesday,  Wednesday,  and  Friday  evenings 


Special  engagement  of  SIG.  MASCAGNI  and 
the  principals,  entire  chorus  and  orchestra  of  the 

Mascagni    Opera    Company 


SOLO  ARTISTS 


Signora  Cappelli  Sig.  Schiavazzi 

Signora  Farneti  Sig.  Bellatti 

Signora  de  Filippi  Sig.  Frascona 

Signora  del  Parto 


At  each  performance  there  will  be  given  a  miscellaneous  programme 

concluding  with 

Cavalleria   Rusticana 

(entire)  in  concert  form,  with   chorus,  orchestra,  and  the    following  cast 


Santuzza 

Lola 

Lucia 

Turiddu 

Alfio 


Signora  Cappelli  or  Signora  Farneti 

Signora  de  Filippi 

Signora  del  Parto 

.    Sig.  Schiavazzi 

Sig.  Bellatti 


Conducted  by  the  Composer. 


Tickets,  with  reserved  seats,  $1.50,  $1,  and  50  cents.  Orders  by  mail,  accompanied 
by  money  order  or  check  to  order  of  L.  H.  Mudgett,  will  receive  prompt  attention. 

Note. —  This  is  the  only  organization  performing  "  Cavalleria  Rusticana"  with  the 
original  orchestration. 

(285; 


CHICHERING     HALL 

Monday  Evening,  December  1,  at  8 

The  KneLsel  Quartet 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALVVIN    SCHROEDER,  Violoncello 


PROGRAMME 

SCHUBERT Quartet  in  A  minor,  Op.  29 

RICHARD    STRAUSS,  Sonata  for  Piano  and  Violin,  E-flat  major,  Op.  18 
HAYDN Quartet  in  D  minor,  Op.  76,  No.  2 


ASSISTING   ARTIST 

Mr.   FREDERIC    LAMOND 

The  Piano  is  a  Mason  &  Hamlin 


Monday  Evening,  November  24  CHICKERING  HALL 

THE  LONGY   CLUB 

A.   Maquarre,  Flute  A.  Hackebarth,  Horn 

P.  Metzger,  Clarinet  H.  Gbbhard,  Piano,  and 

A.  Debuchy,  Bassoon  Q.  LONOY,  Oboe 

PROGRAMME 

Herzogenberg    .       Quintet  for  Oboe,  Clarinet,  Horn,  Bassoon,  and  Piano, 
in  G  major,  Op.  43 

Ed.  Malherbe    .         .         Sextuor  for  Flute,  Oboe,  English  Horn,  Clarinet, 

Horn,  and  Bassoon. 

P.  de  Wailly       .  Ottetto  for  Flute,  Oboe,  Two  Clarinets,  Horn,  Trum 

pet,  and  Two  Bassoons. 

Assisting  Artists 
Messrs.  C.  Lenom,  A.  Vannini,  J.  Helleberg,  L.  Kloepfel 

(286) 


SYMPHONY  HALL,  BOSTON 

SUNDAY  EVENING,  NOVEMBER  23,   1902,  AT  8  O'CLOCK 


Creator* 


CONCERT 

Given  by  and  for  the  benefit  of 

THE  MUSICIANS'  AID  SOCIETY 


Soloist:  MADAME  BARILI 


Tickets,    50     cents,     75     cents,    $1 

On  sale  Monday,  November  17, 

at  Symphony  Hall.     Mail 

orders  received 


PROGRAHnE 

i.  MARCH.     "  American  Navy "  .....        Creatore 

2.  OVERTURE.     "  William  Tell  " Rossini 

3.  FUNERAL    MARCH Chopin 

4.  SEXTETTE  from  "  Lucia  " Donizetti 

Signori  Di  Girolamo,  Aiala,  Croce,  Luciano, 
Julio,  and  Margadonna. 


INTERHISSION 


1.  LARGO 

2.  SOPRANO    SOLO.     "  Ernani  "        .... 

3.  ORGAN    OFFERTORIO 

4.  GRAND    SELECTION  from  "Carmen" 

Solos  by  Di  Girolamo,  Croce,  Julio,  and  Altavii 

(287) 


Haendel 

.  Verdi 

Batiste 

.     Bizet 


SYMPHONY    HALL,   BOSTON 
MONDAY  EVENING,  NOVEMBER  24 

FIRST  RECITAL  OF 

KOCIAN 

BOHEMIAN  VIOLIN  VIRTUOSO 

.  ASSISTED    BY  . 

Miss  JULIE   GEYER,  Solo  Pianoforte 

Mr.  FRANZ   SPINDLER,  Accompanist 

PROQRAnnE 

i.   SONATA  in  C  minor    .......  Beethoven 

Kocian  and  Miss  Julie  Geyer 

2.  a.  ROMANCE Joachim 

b.  MOTO    PERPETUO Ries 

Kocian 

3.  a.  GAVOTTE  and  VARIATIONS Rameau 

b.  ETUDE    DE    CONCERT Liszt 

Miss  Julie  Geykk 

4.  a.   DUMKA Kocian 

b.  HOLKA    MADROOKA Sevcik 

Kocian 

5.  a.  BERCEUSE Henselt 

b.  VALSE    .......  Nicolaus  Rubinstein 

Miss  Julie  Geyer 

6.  I    PALPITI •       .  Paganini 

Kocian 

Direction  RUDOLPH   ARONSON 

THE     WEBER     PIANO     USED 
(9M) 


CHICKERING  HALL.  PUGNO 

Thursday  afternoon,  December  4,  at  3 
RAOUL. 

PUGNO 

Second  Piano  Recital 

MANAGEMENT,  HENRY  WOLFSOHN 
Local  Management,  Richard  Heard 


Seats,  75  cents,  $1,  and  $1.50 
Ticket  sale  begins  at  Chickering  Hall,  Friday,  November  28 


THE    BALDWIN   PIANO  USED 


MUSICAL   INSTRUCTION. 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 


Miss  HARRIET  S.  WH1TTIER, 


Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 
MiSS  GERTRUDE  EDMANDS,  Vocal  Instruction. 

EXETER    CHAMBERS. 

Specialist  in  the  Science  of 

Mr.  CHARLES  B.  STEVENS,  Tone  Prod"ctio° wi  the  irt  of  *mi 

'  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 

(289, 


Mrs.  ANNE  GILBRETH  CROSS, 

TEACHER  OF  THE  PIANOFORTE. 


PIERCE  BUILDING, 

COPLEY    SQUARE, 

BOSTON. 


Hiss  ANNA  MILLER  WOOD, 

HEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and   Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Miss  SUZA  DOANE, 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


Mason  Touch  and  Technic. 

196  Dartmouth  Street. 


Mr.  OTTO  ROTH, 


VIOLIN    AND    ENSEMBLE 
LESSONS. 

10  ARLINGTON    STREET. 


Miss  JESSIE  DAVIS, 


Pupil  of  Harold  lianer. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,    163    Hassachusetts   Avenue. 
tttO) 


Mr,  CARLO  BUONAHIGI, 


PIANIST  AND  TEACHER. 

Steinert  Hall  Building. 


CHARLES  N,  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5, Thespian  Hall, 

168   Massachusetts   Avenue, 
Boston,   Mass. 


CLARENCE  B,  SHIRLEY, 


TENOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr,  A,  E,  PRESCOTT, 

153  TREMONT  STREET. 


Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe  l'ete  avecmoi.  Je  lui  ai  donne  des  lecons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lecons. 
Cela  l'a  mis  en  niesure  de  connaitre  a  fond  ma  methode. 
Je  peux  done  recommander  mon  eleve,  Mr.A.E.  Pres- 
cott. C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  let 
differents  registres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  3i  Aout,  iqoi. G.  SBRIGLIA. 


Sig.  AUGUSTO  YANNINI, 


Teacher  of  Singing. 


Steinert  Hall. 


J.  D,  BUCKINGHAM, 


PIANOFORTE.      Method  of  I.  Philipp. 

The    most   advanced    technics    of  the 
present  day. 
"  A  teacher   of  the   first    magnitude." —  Huneker,    on 
Philipp,  in  Mezzo-tinfs  i?i  Modern  Music. 

32  STEINERT  HALL,   BOSTON. 


Mr.  GBSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Violin,  Theory ,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J,  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS. 

Pierce  Building, 
Copley  Square,    Boston. 


HE1NRICH   SCHUECKER,       Miss  MAR,E  L  eveRett, 

TEACHER  OF  THE  HARP. 

Erard  Harps  for  sale  and  to  let. 


32  Westland  Avenue 


Boston. 


Holds  a  recent  Diplame  SupeVieur 
from  Madame  Marchesi,  Paris. 


THE  COPLEY, 


COPLEY  SQUARE. 


(291) 


Miss  ANNA  JANSEN,  Pianiste, 

PUPIL   OF 

Mme.  Rappoldi,  Dresden.  Sgambati,  Rome. 

Harold  Bauer,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

address,  86  Charles  St.,  boston. 


«  From   Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FROM     LONDON, 

Specially  authorized  by  the  inventor. 

Investigation  invited.        Studio,  278  Boylston  St. 


Mr.  JACQUES    HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN   C.  MANNING, 
Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 
Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 
384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1   at  her  residence,  THE    OXFORD. 


Hiss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  j-  Accompaniments. 

Trinity  Court. 


FREDERICK  N.  SHACKLEY 

(Organist  and  Choirmaster,  Church  of  the  Ascension), 

Piano,  Organ,  Composition. 

Specialty :    Training  organists  for    practical 
Church  work. 

_      ..        (  1900   Washington  St.,  BOSTON. 
Studios:  j  I2g  Frankiin  street,  ALLSTON. 


Miss    EDITH  E.  TORREY, 

SOPRANO  SOLOIST   AND  TEACHER  OF 
SINGING. 

164  Huntington   Avenue,  Boston. 

Every  day  except  Tuesday  and  Friday. 
Telephone,  Back  Bay  1089-6. 


rir.  GEORGE   E.  WHITING, 

154  Tremont   Street, 

Boston. 


L.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts,  Recitals,  and 

Ensemble  I'layina. 

7    ADELAIDE    ST.,   JAMAICA    PLAIN. 


Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Mr.  JUNIUS  w.  mm 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


Miss  LOUISE   LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 

Studio,  21  Steinert  Building. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


TO   read   Music  like  Print. 
The  Vars'  New  Interval  System  of  Sight 
Singing. 

No  Sol-faing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mine.  L.  Hamburger,  Pierce  Bldg.,  Copley  Sq, 


Mrs.  riabelMann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(293) 


WEBER 
PIANOS 


Piano-building;  as  a  fine  art  has  never  been  more 
highly  exemplified  than  by  our  recent  produc- 
tions. Send  for  description  of  our  new  Style  A 
Grand,  the  most  remarkable  Small  Grand  in 
•volume  and  quality  of  tone  ever  produced  by 
any  maker.     Its  length  is  but  5  feet  4  inches. 


The  Weber  Concert  Grand  will  be  used  exclusively 
by  the  Maurice  Grau  Opera  Company,  Mme.  Roger- 
Miclos,  Kocian,  and  Julie  Geyer  on  their  1902-1903 
transcontinental  tours. 


&he  WEBER  PIANO   COMPANY 

108     FIFTH     AVE.,    NEW    YORK     CITY 

Boston    Representative,   George    H.   Champlin    &    Co. 
181    Tremont  Street 


STEINWAY  &  SONS 

Grand  and  Upright  Pianos. 


JjPJk^Mr^E^ 


MANUFACTURERS    BT  APPOINTMENT  TO 

H.s  Majesty.  H,s  m"«ty. 

NirHO!  a<;  ii        I      WILLIAM  II., 

ni^nULrtO     II.,  1   EMPEROR  OF  GERMANY  AND 

CZAR. OF  RUSSIA.  KING  OF  PRUSSIA. 


His  Majesty, 

FRANCIS 
JOSEPH  I., 

EMPEROR   OF 
AUSTRIA 

AND 

Austria,,     KING  OF  HUNGARY.         Hungary. 


*Their  Royal  Highnesses, 

THE  PRINCE  AND 
PRINCESS  OF     I 
WALES. 


His  Majesty, 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty. 

ALEXANDRA, 

QUEEN  OF  GREAT   BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  Majesty. 

VICTORIA, 

QUEEN  OF  GREAT  BRITAIN 
AND  EMPRESS  OF  INDIA. 


Hts  Royal  Highness. 

THE   DUKE  OF 
EDINBURGH. 


His  Majesty. 

UMBERTO  I., 

KING  OF  ITALY. 


His  Majesty. 

ALBERT, 

KING    OF    SAXONYa 


Her  Majesty.  his  Majesty. 

MARIACHRISTINA.l        OSCAR  II., 

QUEEN  REGENT  OF  SRA1N.      j    KING  OF  SWEDEN 


and  NORWAY. 


WORWAY  AKDSWtDU. 


His  Majesty.  his  Majesty. 

MOUSAFFER-ED-DIN.)  ABDUL  HAMID  II., 

SHAH  OF  PERSIA.  SULTAN  OF  TURKEY! 

AND  THEIR    RESPECTIVE   COURTS. 
ILLUSTRATED   CATALOGUE  MAILED   FREE  ON  APPLICATION. 


5TEINWAY    PIANOS. 

H.  STEINERT  &   SONS  CO., 

162  to  168  Boylston  Street,  Boston,  Mass. 


2^  BOSTON 
SYMPHONY 


PRSGRHMttE 


—  6  «s 


William    R.    Chapman 

Conductor  of  the  great  Musical  Festivals  of  Bangor, 
Portland,  Manchester,  and  Burlington,  and  of  the 
Rubinstein  Club  of  New  York,  writes  as  follows  to 

MHS0nSclHmImC0. 

New  York,  November  2,  1902. 

Messrs.  Mason  &  Hamlin, 
Boston,  Mass. 

Gentlemen, —  Upon  my  return  from  my  fall 
Festivals  1  desire  to  express  to  you  my  sincere  ad- 
miration for  your  magnificent  grand  pianoforte. 

I  do  not  wonder  that  the  greatest  artists  of  the 
day  indorse  it,  for  it  is  a  satisfaction  to  play  upon 
an  instrument  which  is  so  responsive  to  the  individ- 
ual tone  and  touch.  Not  only  when  heard  in  solos, 
but  also  in  concerted  works  with  orchestra  and  in 
accompaniments,  its  peculiar  beautiful  singing  qual- 
ity of  tone  is  evident. 

My  artists  all  mentioned  this,  and  the  public 
were  enthusiastic  in  their  .praise. 

///  my  judgment  the  Mason  6°  Hamlin  pianoforte 
has  no  superior  for  delicacy  and  responsiveness  of  ac- 
tion and  for  refined  beautiful  tone  quality. 

It  will  always  be  a  pleasure  to  present  such 
a  piano  to  my  audiences,  knowing  how  it  will  both 
gratify  and  satisfy  their  musical  tastes. 

I  remain,  gentlemen, 

Yours  very  truly, 
(Signed)      WILLIAM    R.  CHAPMAN. 


New   England    Representatives, 

M.   Steinert  (Si  Sons   Co. 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay,) 

TWENTY-SECOND  SEASON, 
T902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 


SIXTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      <*    #    #    jt 


FRIDAY  AFTERNOON,  NOVEMBER  28, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  NOVEMBER  29, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(293) 


ME  S  S  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


C294 


TWENTY-SECOND  SEASON,  1902-1903, 


Sixth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  NOVEMBER  28,  at  2.30  o'clock. 

SATURDAY  EVENING,  NOVEMBER  29,  at  8.00  o'clock. 


D'Albert 


PROGRAMME. 

Prelude  to  the  Opera,  "  The  Ruby  n 


Schubert-Mottl     . 

I.  Allegro  molto  moderato. 

II.  Largo  maestoso. 

III.  Allegro  vivace. 

IV.  Tempo  primo. 


Fantasia  in  F  minor,  Op.  103 


Josef  Suk 
I. 

II. 
ill. 

IV. 


Love  and  Grief  of  the  Royal  Children. 
Intermezzo.     Folk-dance. 
Intermezzo.     Funeral  March. 
Queen  Runa's  Curse. —  Triumph  of  Love. 
(First  time.) 


A  Fairy  Tale/' Op.  J  6 


Schumann 
I. 

II. 

III. 

IV. 


Symphony  No.  2,  in  C  major,  Op.  6  \ 


Sostenuto  assai. 
Allegro,  ma  non  troppo. 
Scherzo :  Allegro  vivace. 
Trio  I.  and  Trio  II. 
Adagio  espressivo. 
Allegro  molto  vivace. 


There  will  be  an  intermission  of  ten  minutes  before  the  Symphony. 


The  doors  of  the  hall  will  he  closed  during  the  performance  of 
each  number  on  the  progratnme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in any  seat  thereto 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:  J.  M.  GALVIN,  City  Clerk. 

(295) 


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Prelude  to  the  Opera,  "  The  Ruby." 

Eugene  Francis  Charles  d'Albert. 

(Born  at  Glasgow,  April  10,  1864;  still  living.) 

"The  Ruby,"  a  musical  fairy  tale  in  two  acts,  founded  on  the  like- 
named  fairy  comedy  of  Friedrich  Hebbel  *  by  Eugene  d'Albert,  was 
produced  at  Carlsruhe,  Oct.  12,  1893.  The  chief  singers  were  Mrs. 
Reuss  (Bedura),  Gerhauser  (Asaf),  Nebe  (Hakam),  Plank  (Soliman), 
Heller  (Irad),  Rosenberg  (the  Kazi),  Cords  (the  Caliph),  and  Ulrici 
(the  Wazir).  Felix  Mottl  conducted.  The  prelude  was  played  for  the 
first  time  in  Boston  at  a  Symphony  Concert,  Nov.  30,  1895. 

* 

#   * 

The  story  of  "  The  Ruby,"  as  used  in  the  opera,  is  as  follows :  — 
Two  poorly-dressed  young  fellows  bring  up  in  their  wanderings  at  a 
square  in  Baghdad. f  Asaf  is  entranced  by  the  sights  and  the  bustle. 
Hakam  looks  on  unmoved.  Asaf  remembers  that  he  has  seen  it  all 
in  a  dream,  that  he  saw  himself  in  gorgeous  raiment,  cheered  by  the 
people,  honored  and  obeyed  as  the  Caliph.  Hakam  mocks  him,  pulls  out  a 
cup  from  Asaf's  rags,  which  he  himself  had  stolen  and  hidden  there.  Asaf 
drives  him  away,  and  they  part  deadly  enemies.     The  Wazir  enters  and 

•Friedrich  Hebbel,  born  March  18,  1813,  at  Wesselburen,  poet,  dramatist,  philosopher,  wandered  from 
town  to  town,  and  tarried  awhile  at  Copenhagen,  where  the  King  of  Denmark  gave  him  a  travelling  fund. 
After  living  at  Paris  and  in  Italy,  Hebbel  settled  at  Vienna  in  1846,  married  a  play-actress,  Christine  Enghaus, 
and  died  there  Dec.  13,  1863.  His  "  Nibelungen  "  was  awarded  a  prize  of  1,000  thalers  in  1862.  In  _"  Der 
Rubin"  (1851)  Hebbel  is  said  to  follow  the  romantic  comedy  style  of  Tieck  and  the  fairy  plays  of  Ohlen- 
schlager. 

t"The  city  of  palaces  and  government  offices,  hotels  and  pavilions,  mosques  and  colleges,  kiosks  and 
squares,  bazars  and  markets,  pleasure-grounds  and  orchards,  adorned  with  all  the  graceful  charms  which 
Saracenic  architecture  had  borrowed  from  the  Byzantines,  lay  couched  upon  the  banks  of  the  Dijlah-Hiddekel 
under  a  sky  of  marvellous  purity  and  in  a  climate  which  makes  mere  life  a  '  Kayf '  —  the  luxury  of  tranquil 
enjoyment.  It  was  surrounded  by  far-extending  suburbs,  like  Rusafah  on  the  eastern  side  and  villages  like 
Bat  uranjah,  dear  to  the  votaries  of  pleasure;  and  with  the  roar  of  a  gigantic  capital  mingled  the  hum  of 
prayer,  the  trilling  of  birds,  the  thrilling  of  harp  and  lute,  the  shrilling  of  pipes,  the  witching  strains  of  the 
professional  Almah,  and  the  minstrel's  lay." — From  Sir  Richard  F.  Burton's  terminal  essay  to  his  trans- 
lation of"  The  Book  of  the  Thousand  Nights  and  a  Night.'''' 

THE  MANAQEHENT  OF  THE 

NEW    ENGLAND    CONSERVATORY    OF    MUSIC 

ANNOUNCES    THE 

RETURN    OF 


AND   THE    OPENING 
OF   THE 


SIC.  ORESTE   BIMBONI 
SCHOOL  OF  OPERA, 


Which  will  give,  in  addition  to  the  performances  in  JORDAN   HALL, 

TWO  PERFORMANCES,  ffir^TW" 
BOSTON  THEATRE. 

MR.    CEORC    HENSCHEL 

will  teach  —  until  March,   1903  —  EXCLUSIVELY  in  the  Conservatory. 

Particulars  and  terms  (for  one  or  any  number  of  lessons)  may  be 

had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(297) 


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announces  that  the  Caliph,  mourning  the  loss  of  his  daughter,  who  has 
disappeared  mysteriously,  will  give  his  throne  to  him  that  will  bring  her 
back.  The  crowd  scatters.  Soliman,  a  jeweller,  afraid  that  he  has  lost  his 
hearing,  experiments  on  Asaf.  He  finds  his  ears  are  again  good,  and  in 
his  joy  he  gives  Asaf  a  costly  ring.  But  the  jeweller  is  foolish  enough  to 
show  a  marvellous  ruby,  which  Asaf  would  fain  have  for  his  own.  The 
jeweller  will  not  part  with  it,  and  Asaf  snatches  it  and  runs  away. 

The  people,  in  answer  to  the  cries  of  Soliman,  chase  Asaf,  who  is  caught 
by  Hakam.  The  Kazi  appears,  and  there  is  the  threat  of  the  bastinado, 
and  even  death.  Asaf  clings  to  the  ruby,  and  is  not  dismayed.  The  gal- 
lows are  putting  up.  A  rich  graybeard,  Irad  by  name,  "steps  with  pity 
toward  Asaf,  who  tells  him  that  he  would  have  gladly  killed  the  jeweller  to 
own  the  precious  stone.  Soliman  assures  the  gaping  crowd  that  there 
must  be  some  mighty  spell  in  the  stone  :  an  old  man  had  given  the  ruby 
to  him,  with  the  advice  to  sell  it  quickly,  and  this  old  man,  he  thinks,  is 
Irad.  The  prisoner  is  led  to  the  scaffold,  but  Irad  takes  him  by  the  hand, 
there  is  a  thunder-clap,  and  the  two  vanish  in  the  bowels  of  the  earth. 

In  the  second  act  Irad  and  Asaf  are  in  a  magically  lighted  souterrain  in 
the  magic  kingdom  of  Irad.  The  ruler  tells  Asaf  the  mystery  of  the  ruby  : 
the  stone  is  the  tomb  of  the  most  beautiful  virgin  that  ever  shone  on 
earth.  She  is  imprisoned  in  it  by  the  spell  of  an  evil  spirit,  and  only  a 
man  can  free  her.  If  Asaf  at  midnight  will  press  three  kisses  on  the  ruby, 
the  virgin  will  appear  and  perhaps  solve  him  the  riddle  of  her  freedom. 
Midnight  is  cried  from  the  mosque  by  the  far-off  Mu'ezzin.  Bedura,  the  lost 
daughter  of  the  Caliph,  appears  before  Asaf.  She  tells  how  once,  on  a 
walk  with  her  play-fellows,  a  gigantic  being  stood  before  her  and  de- 
manded three  drops  of  her  blood  for  him  to  use  in  a  love-potion.  Should 
she  grant  the  favor,  no  harm  would  come  to  her ;  should  she  refuse, 
she    would  be    turned  into    a    stone.     She    scorned   the    apparition,    and 


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her  fate  came  upon  her:  she  was  and  is  entombed  in  the  ruby  that 
Asaf  stole.  She  asks  the  youth,  with  fear  and  trembling,  if  he  is  fond 
of  the  stone  ;  and  he,  poor  wretch,  thinking  to  possess  Bedura  with  the 
ruby,  answers  that  he  would  sooner  part  with  his  life.  She  shrieks  aloud 
that  she  will  never  be  freed.  Asaf  passionately  entreats  her  to  tell  him 
what  he  shall  do  to  rescue  her.  Love  is  kindled  in  their  breasts ; 
but  her  words  of  explanation  are  mysterious,  and  Asaf  is  at  a  loss. 
The  cry  of  the  Mu'ezzin  sounds  faintly.  Bedura  vanishes  in  mist. 
Asaf  grasps  the  ruby,  which  had  fallen  from  his  hand  at  the  sight  of 
Bedura.  There  is  a  tremendous  crash  :  the  magic  cave  disappears,  Asaf 
is  in  a  street  of  Baghdad.  As  he  lies  there,  apparently  asleep,  Hakam 
sneaks  along,  sees  him,  and  would  take  the  ruby  from  him.  In  the 
struggle  Asaf  is  victor,  but  for  the  second  time  he  is  haled  as  thief  and 
murderer  before  the  magistrate,  who  now  is  the  Caliph  himself.  The 
Caliph  asks  him  for  the  ruby.  Asaf  is  near  giving  it  to  him,  but  he 
will  not  thus  save  his  life.  The  Caliph  pronounces  the  death  sentence- 
Asaf  runs  to  the  top  of  a  high  rock,  and  throws  the  ruby  into  the  water 
that  no  man  may  ever  have  it.  And,  lo,  Bedura  arises  from  the  water, 
for  Asaf  has  at  last  freed  himself  of  the  ruby,  and  the  spell  is 
thereby  loosed.  She  points  to  him  as  her  saviour,  and  the  Caliph, 
faithful  to  his  promise,  gives  crown  and  throne  to  Asaf,  who  weds  Bedura ; 
and,  in  the  speech  of  "The  Thousand  Nights  and  a  Night,"  Asaf  and 
Bedura  abode  in  all  pleasance  and  solace  of  life  and  its  delights,  for  that 


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indeed  Allah  the  Most  High  had  changed   their  annoy  into  joy ;  and  on 

this  wise  they  continued  till  there  took  them  the  Destroyer  of  delights  and 

the  Severer  of  societies,  the  Desolator  of  dwelling  places  and  Garnerer  of 

grave-yards,  and  they  were  translated  to  the  ruth  of  Almighty  Allah  ;  their 

houses  fell  waste   and  their  palaces  lay  in  ruins  and  the  Kings  inherited 

their  riches. 

* 
#  # 

The  prelude  is  written  in  free  style.  It  begins  Langsam,  4-4,  with  a 
phrase  in  A  minor  (muted  horns  and  trumpets  in  unison).  This  is  followed 
by  a  passage  for  wind  instruments  in  full  harmony  against  arpeggios  for 
the  strings ;  it  begins  in  C  major,  and  ends  with  a  half-cadence  to  A 
minor.  A  cantilena  in  A  major,  sung  by  flute,  clarinet,  'cellos,  and  other 
instruments  to  an  arpeggio  harp  accompaniment,  is  developed.  These 
three  themes  are  developed  at  considerable  length.  A  brilliant  movement 
in  A  major,  Leb/iaft,  2-2,  follows.  The  two  themes  are  derived  from 
phrases  in  the  preceding  slow  movement.  After  the  elaborate  develop- 
ment a  short  coda  in  A  major,  in  the  original  slow  tempo,  brings  back  the 
return  of  the  first  chief  theme. 

The  prelude  is  scored  for  3  flutes  (one  of  which  is  interchangeable  with 
piccolo),  2  oboes,  2  clarinets,  2  bassoons,  double-bassoon,  4  horns,  3 
trumpets,  3  trombones,  bass-tuba,  a  set  of  3  kettle-drums,  triangle,  cym- 
bals, glockenspiel,  harp,  strings. 

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* 

#   * 


"  The  Ruby  "  is  the  first  of  d'Albert's  operas.  The  others  are  :  "  Ghis- 
monda,"  three  acts,  Dresden,  Nov.  28,  1895  ;"  Gemot,"  three  acts,  Mann- 
heim, April  1 1,  1897  ;  "  Die  Abreise,"  musical  comedy  in  one  act,  Frankfort, 
Oct.  20,  1898;  "  Kain,"  music-drama  in  one  act,  Berlin,  Feb.  17,  1900; 
"  Der  Improvisator,"  opera  in  three  acts,  Berlin,  Feb.  26,  1902,  the  latest 
opera  so  far  of  this  industrious  pianist- composer,  who  first  visited  the 
United  States  in  the  season  of  1889-90,  and  afterward  played  in  Boston 
at  a  Symphony  Concert,  March  12,  1892. 

Erratum.  August  Kindermann  created  the  part  of  Titurel  in  "  Parsi- 
fal "  at  Bayreuth,  July  26,  1882,  not  "1877,"  as  was  stated  through  a 
typographical  error  in  the  footnote  on  page  268  of  the  Programme-book 
of  November  21-22. 


Fantasia  in  F  minor,  Op.  103 Schubert-Mottl. 

(Franz  Peter  Schubert,  born  in  the  district  Lichtenthal,  Vienna,  Jan.  31,  1797;  died  at 
Vienna,  Nov.  19,  1828.  Felix  Mottl,  born  at  Unter-St.  Veit,  near  Vienna,  Aug.  24, 
1856  ;  now  living  at  Carlsruhe.) 

This  fantasia  was  written  originally  for  the  pianoforte  for  four  hands. 
The  date  of  composition  is  unknown.  Richard  Heuberger,  the  latest 
biographer  of  Schubert,  "Franz  Schubert"  (Berlin,  1902),  says  that  the 
composer  mentioned  the  work  in  a  letter  to  Schott,  the  publisher,  dated 
Feb.  21,  1828,  and  that  von  Bauernfeld*  noted  in  his  diary,  May  9,  1828  : 
"To-day  Schubert  with  Lachner  played  to  me  his  new  and  wonderful  four- 
handed  fantasia  "  ;  and  Heuberger  asserts  that  the  fantasia  was  written 
early  in  1828.  The  great  Symphony  in  C  major  was  written  in  March  of 
that  year. 

*  Eduard  von  Bauernfeld,  poet,  writer  of  comedies,  etc.,  translator,  for  a  long  time  in  government  ser- 
vice, was  born  at  Vienna  in  1802,  and  he  died  there  in  1890.  He  wrote  entertainingly  about  Schubert  and  his 
circle  in  "  Aus  Alt-  uud  Neu-Wien"  and  in  "  Buch  von  den  Wienem." 

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There  is  a  story  that  the  fantasia  was  inspired  by  Caroline,  the  younger 
daughter  of  Count  Johann  Esterhazy.  Schubert  taught  music  in  this  fam- 
ily at  the  country-seat  at  Zelez,  in  Hungary.  During  the  summer  of  1818 
he  was  invited  to  be  a  member  of  the  household,  and  he  received  two 
gulden  for  each  lesson.  Caroline  was  then  eleven  years  old.  He  was  at 
Zelez  again  in  1824  and  for  six  months.  It  is  said  that  after  a  flirtation 
with  one  of  the  serving-maids  *  he  fell  violently  in  love  with  Caroline ; 
that  she  once  reproached  him  for  never  having  dedicated  any  music  to  her, 
and  he  answered  :  "  What  would  be  the  good  of  it  ?  Everything  I  have 
ever  done  has  been  dedicated  to  you";  that  Schubert  dedicated  this 
fantasia  to  her.  Heuberger  does  not  believe  for  a  moment  that  Schubert 
entertained  this  passion.  But  Caroline  was  seventeen  years  old  at  the 
time  of  Schubert's  second  visit,  and  his  intimate  friend,  von  Bauernfeld, 
wrote  these  mocking  lines  :  — 

"  Verliebt  war  Schubert ;  der  Schiilerin, 
Gait's,  einer  der  jungen  Comtessen, 
Doch  gab  er  sich  einer  ganz  andern  hin, 
Um  —  die  andere  zu  vergessen." 

(Schubert  was  in  love  with  a  pupil,  that  was  all  right,  one  of  the  young  Countesses  ; 
yet  he  devoted  himself  to  an  utterly  different  one,  for  the  purpose  of  —  forgetting  the 
other.) 

*Some  may  lift  eyebrows  at  this  statement.  But  Schubert  wrote  in  a  letter  dated  at  Zelez  in  1818  :  "  The 
cook  is  a  pleasant  fellow;  the  ladies'  maid  is  thirty  :  the  housemaid  very  pretty,  and  often  pays  me  a  visit  ; 
the  nurse  is  somewhat  ancient;  the  butler  is  my  rival  ;  the  two  grooms  get  on  better  with  the  horses  than  with 
us.  The  Count  is  a  little  rough  ;  the  Countess  proud,  but  not  without  heart ;  the  young  ladies,  good  children. 
I  need  not  tell  you,  who  know  me  so  well,  that  with  my  natural  frankness  I  am  good  friends  with  everybody." 
It  was  from  a  kitchen-maid  in  the  Esterhazy  family  that  Schubert  got  a  theme  for  his  "  Divertissement  k  la 
hongroise."  As  Grove  says:  "  He  is  evidently  more  at  home  in  the  servants'  hall  than  the  drawing-room. 
.  .  .  He  was  a  bom  bourgeois,  never  really  at  his  ease  except  among  his  equals  and  chosen  associates."  But 
William  Hazlitt,  in  some  respects  the  most  fastidious  of  men,  boldly  wrote  in  his  essay  on  "  Great  and  Little 
Things  "  :  "  For  my  part,  I  am  shy  even  of  actresses,  and  should  not  think  of  leaving  my  card  with  Madame 
Vestris.  I  am  for  none  of  these  bonnes  for  tunes ;  but  for  a  list  of  humble  beauties,  servant-maids  and  shep- 
herd-girls, with  their  red  elbows,  hard  hands,  black  stockings  and  mob-caps,  I  could  furnish  out  a  gallery 
equal  to  Cowley's,  and  paint  them  half  as  well.  Oh  !  might  I  but  attempt  a  description  of  some  of  them  in 
poetic  prose,  Don  Juan  would  forget  his  Julia.  ...  I  agree  so  far  with  Horace,  and  differ  with  Montaigne. 
1  admire  the  Clementinas  and  Clarissas  at  a  distance.  The  Pamelas  and  Fannys  of  Richardson  and  Fielding 
make  my  blood  tingle.  I  have  written  love  letters  to  such  in  my  time,  d'un  pathetique  a  /aire  Jen  a  re  les 
rockers,  and  with  about  as  much  effect  as  if  they  had  been  addressed  to  stone.  The  simpletons  only  laughed 
and  said,  that  '  those  were  not  the  sort  of  things  to  gain  the  affections.'  I  wish  I  had  kept  copies  in  my  own 
justification."  See  also  Hazlitt's  passion  for  Sarah  Walker,  the  lodging-house  keeper's  daughter,  who 
inspired  the  incredible  "  Liber  Amoris."  There  is  a  celebrated  remark  of  Dr.  Johnson  that  may  serve 
as  commentary. 


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Caroline  married  May  4,  1844,  the  Count  Folliot  von  Crenneville,  cham- 
berlain, and  a  major  in  the  army.     She  died  in  March,   185 1. 

As  a  matter  of  fact,  the  Fantasia  was  not  dedicated  by  Schubert  to  the 
Countess.  The  dedication  was  written  by  the  publishers  after  the  death  of 
the  composer. 

It  is  said  that  the  "  other "  woman  referred  to  by  von  Bauernfeld 
was  Therese  Grob,  the  daughter  of  a  widowed  silk  manufacturer  in  the 
Lichtenthal.  The  household  was  a  pleasant  one ;  there  was  much  music, 
for  Therese  had  an  uncommonly  good,  high  soprano  voice,  and  her  brother 
played  the  violoncello.  Schubert  was  a  frequent  visitor  soon  after  he  left 
the  Convict,  late  in  18 13.  He  was  fond  of  Therese.  He  wrote  a  "  Tan- 
tum  Ergo  "  and  a  "  Salve  Regina  "  for  her.  She  sang  in  the  first  perform- 
ance of  his  Mass  in  F  (Oct.  16,  18 14).  When  he  first  met  her,  she  was 
fifteen  years  old.  She  married  in  1820.  We  know  that  in  18 19  in  two 
letters  written  by  Schubert  there  are  allusions  to  some  love  affair,  but 
Schubert  was  acquainted  with  many  women. 

The  case  is  reduced  to  this :  if  Schubert  fell  in  love  with  Caroline  in 
1818,  she  was  then  eleven  years  old.  If  he  loved  her  in  1824,  when  she 
was  seventeen,  the  "other,"  Therese,  had  been  married  four  years.  And 
another  story  goes  that  Schubert  did  not  meet  her  after  she  was  married. 
About  all  this  Heuberger  says  little  or  nothing.  Kreissle  von  Hellbron 
is  the  chief  gossip,  and  he  is  seconded  by  Sir  George  Grove. 


# 


The  Fantasia  has  been  orchestrated  at  least  thrice.  Dr.  Leopold  von 
Sonnleithner  (1 797-1837),  a  lawyer  of  Vienna,  who  was  extravagantly 
fond  of  music,  and  especially  of  Schubert's,  who  composed  a  little,  who 
was  largely  instrumental  in  the  publication  of  "  Erlkonig  "  (182 1),  and  at 
whose  father's  house  some  of  Schubert's  works  were  first  performed  from 
manuscript,   arranged  the  fantasia  for  orchestra ;    and  his   arrangement, 

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preserved  in  the  archives  of  the  Vienna  Musikverein,  was  played  at  a 
concert  in  Vienna  some  time  in  March,  1864. 

Ernst  Rudorff,  teacher  and  composer,  scored  it  for  2  flutes,  2  oboes, 
2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones,  kettle-drums, 
and  strings. 

Felix  Mottl  scored  it  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2  bas- 
soons, 4  horns,  2  trumpets,  3  trombones,  kettle-drums,  triangle,  harp, 
strings.  In  this  score  are  many  directions  to  the  conductor.  On  one  page 
he  warns  him  to  avoid  a  strong  crescendo,  which  would  give  to  the  passage 
an  incongruously  sentimental  twist.  "  Between  Schubert  and  the  '  Songs 
without  Words '  there  is  an  enormous  difference."  The  score  is  dedicated 
to  Dr.  Josef  Standhartner. 

The  Fantasia  begins  Allegro  molto  moderato,  F  minor,  4-4  time.  The 
first  theme  is  given  out  by  the  clarinet,  then  by  the  flute  and  oboe  in  oc- 
taves over  the  same  accompaniment,  then  by  the  first  violins  and  flute. 
After  the  entrance  and  elaboration  of  a  subsidiary  theme  there  is  a  return 
to  the  first  theme,  which  lead  to  the  second  theme  in  F  major;  this  is 
treated  contrapuntally  in  the  strings,  wood-wind,  and  horns. 

A  short  transition  passage  leads  to  a  Largo  maestoso  in  F-sharp  minor, 
4-4  time,  in  which  two  new  themes,  one  rather  stern,  the  other  more  ex- 
pressive, are  elaborated. 

This  movement  is  followed  by  an  Allegro  vivace  in  F-sharp  minor,  3-4 
time,  a  scherzo  with  the  trio  in  D  major. 

After  the  return  of  the  scherzo  there  is  a  modulation  to  the  original  F 
minor,  which  leads  to  a  return  of  the  first  theme  of  the  first  movement,  in 
the  clarinet  and  over  the  same  accompaniment  in  the  strings.  There  is  an 
elaborate  development.  After  a  climax,  again  the  clarinet  sings  the  first 
theme,  and  a  short  coda  leads  to  a  pianissimo  close. 

The  bringing  back,  by  an  enharmonic  modulation,  of  the  first  movement, 
after  the  interruption  by  the  largo  and  the  scherzo,  and  the  elaboration  in 
the  finale  are  considered  by  Mr.  Arthur  Mees  as  "significant  of  that 
quality  of  Schubert's  music  which  is  properly  termed  '  romantic,'  on  ac- 
count of  its  being  the  result  of  the  preponderance  of  emotional  states  over 
the  more  reflective  condition  which  suggests  the  observance  of  crystallized 
schemes." 

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Schubert's  Fantasia,  orchestrated  by  Mottl,  has  been  played  at  these 
concerts  Jan.  2,  1886,  Nov.  20,  1886,  Feb.  8,  1896. 


ENTR'ACTE. 

ON    MUSICAL   CRITICISMS. 


(Arthur  Symons,  in  the  Academy,  London.) 
One  of  last  week's  essayists  in  little  found  himself  wondering  why  there 
were  so  few  instructive  and  delightful  books  about  music ;  why,  as  a  rule, 
or  even  as  an  exception,  there  was  so  little  instructive  and  delightful 
musical  criticism.  Now  I  think  "  M.  M.  B."  exaggerates.  "Why,"  he 
laments,  "is  there  so  much  written  that  is  interesting  concerning  books 
and  writers,  art  and  artists,  science  and  scientists,  and  so  little  appealing 
to  the  music  lover  or  helping  him  in  his  art?  "  Now  it  seems  to  me  that, 
in  spite  of  the  fact  that  music  is  much  more  difficult  to  write  about  than 
any  of  the  other  arts,  a  great  deal  that  is  both  interesting  and  valuable 
has  been  written  about  music,  not  only  from  a  technical  but  from  a  gen- 
eral point  of  view.  Wagner's  prose  writings  present  us  with  a  body  of 
theory  concerning  his  art  such  as  few  poets  or  painters  have  ever  given 
us.  Indeed,  I  think  we  can  find  a  parallel  only  in  the  writings  of  Leo- 
nardo da  Vinci  and  Sir  Joshua  Reynolds,  on  the  one  hand,  and  of  Goethe 
and  Coleridge  on  the  other.  Then,  among  musicians,  there  was  Schu- 
mann, who  edited  musical  papers  and  wrote  the  main  part  of  them  ;  who 
wrote,  indeed,  in  only  too  literary  a  way,  but  always  with  an  eager  and 
watchful  insight,  which  was  rarely  deceived,  ready  to  discover  a  new 
genius  before  that  genius  had  really  discovered  himself.  Liszt  wrote  with 
voluminous  and   flowing  eloquence,  as  in  his  book  on  Chopin.     Berlioz 


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was  a  music  critic  for  thirty  years,  besides  writing  one  of  the  most  delight, 
ful  and  quite  the  most  exhilarating  of  autobiographies.  Saint-Saens- 
Bruneau,  Vincent  d'Indy,  most  indeed  of  the  contemporary  French  com- 
posers, have  written  musical  criticism,  always  in  an  attractive  as  well  as 
a  sound  and  serious  way.  Gluck,  who  anticipated  Wagner  in  his  music, 
anticipated  him  also  in  a  theoretical  preface  which  sets  forth  very  much 
the  idea  which  Wagner  was  afterward  to  develop.  Then  in  regard  to  the 
musicians  who  have  written  nothing  for  the  public,  how  much  splendid  in- 
cidental criticism  do  we  not  find  in  the  letters  which  their  biographers 
have  printed  after  their  death  !  For  my  part  I  know  hardly  any  biograph- 
ical literature  so  full,  various,  and  entertaining  as  the  biographies  of 
musicians.  Few  musicians  have  not  had  at  least  one  good  biographer. 
And,  as  a  matter  of  interest,  I  contend  that  Grove's  Dictionary  of  Musi- 
cians is  as  good  a  companion  for  a  wet  day  in  the  country  as  any  volume 
of  Larousse  or  the  Encyclopaedia  Britannica. 

"The  musical  papers,"  says  "  M.  M.  B.,"  "fall  far  short  of  their  possi- 
bilities, and  few  critics  are  capable  of  really  illuminative  articles."  No 
doubt ;  but  remember  that  while  everybody,  in  a  certain  sense,  can  write 
about  literature,  only  musicians  or  those  who  have  made  a  special  study  of 
music  can  write  about  music,  and  a  good  musician  is  much  better  em- 
ployed in  writing  music.  Think  of  the  ecstasy  with  which  Berlioz,  when 
at  last  he  had  made  a  little  money  by  his  "  Troyens,"  gave  up  his  post  on 
the  Debats  !  "At  last,"  he  cries  in  his  autobiography,  "after  thirty  years' 
bondage,  I  am  free !  No  more  feuilletons  to  write,  no  more  common- 
places to  excuse,  no  more  mediocrities  to  praise,  no  more  indignation  to 
suppress ;  no  more  lies,  no  more  comedies,  no  more  mean  compromises 
—  I  am  free  !  "  And  he  gravely  writes  down  :  "  Gloria  in  excelsis  Deo, 
et  in  terra  pax  hominibus  bonae  voluntatis." 

The  reason  why  music  is  so  much  more  difficult  to  write  about  than 
any  other  art  is  because  music  is  the  one  absolutely  disembodied  art,  when 
it  is  heard,  and  no  more  than  a  proposition  of  Euclid,  when  it  is  written. 
It  is  wholly  useless  to  the  student  no  less   than  to  the  general   reader  to 


EDITED     BY    THOMAS    TAPPER 


CONTENTS     FOR,     DECEMBER. 

Articles  by  Anna  Alice  Chapin,  Fred.  Field  Bullard, 
George  Cecil,  Frank  H.  Marling,  F.  Fletcher.  Music  by 
Scriabine  and  Carl  Preyer.  Music  Review,  Music  Notes 
and   the   department   of  the    Wandering    Capellmeister 


©liver  Dttson  Company,  451  TRflasbmaton  St.,  Boston 


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write  about  music  in  the  style  of  the  programmes  for  which  we  pay  six- 
pence at  the  concerts.  "  Repeated  by  flute  and  oboe,  with  accompaniment 
for  clarinet  (in  triplets)  and  strings  pizzicato,  and  then  worked  up  by  the  full 
orchestra,  this  melody  is  eventually  allotted  to  the  'cellos,  its  accompani- 
ment now  taking  the  form  of  chromatic  passages,"  and  so  forth.  Not  less 
useless  is  it  to  write  a  rhapsody  which  has  nothing  to  do  with  the  notes, 
and  present  this  as  an  interpretation  of  what  the  notes  have  said  in  an  un- 
known language.  Yet  what  method  is  there  besides  these  two  methods  ? 
None,  indeed,  that  can  ever  be  wholly  satisfactory ;  at  the  best,  no  more 
than  a  compromise. 

In  writing  about  poetry,  while  precisely  that  quality  which  makes  it  poetry 
must  always  evade  expression,  there  yet  remains  the  whole  definite  mean- 
ing of  the  words,  the  whole  easily  explicable  technic  of  the  verse,  which 
can  be  made  clear  to  every  reader.  In  painting,  you  have  the  subject  of 
the  picture,  and  you  have  the  color,  handling  and  the  like,  which  can  be 
expressed  hardly  less  precisely  in  words.  But  music  has  no  subject,  out- 
side itself;  no  meaning,  outside  its  meaning  as  music.  What  subterfuges 
are  required,  in  order  to  give  the  vaguest  suggestion  of  what  a  piece  of 
music  is  like,  and  how  little  has  been  said,  after  all,  beyond  generalization, 
which  would  apply  equally  to  half  a  dozen  different  pieces  !  The  com- 
poser himself,  if  you  ask  him,  will  tell  you  that  you  may  be  quite 
correct  in  what  you  say,  but  that  he  has  no  opinion  in  the  matter. 

Music  has  indeed  a  language,  but  it  is  a  language  in  which  birds  and 
other  angels  may  talk,  but  out  of  which  we  cannot  translate  their  mean- 
ing. Emotion  itself,  how  changed  becomes  even  emotion  when  we  trans- 
port it  into  a  new  world,  in  which  only  sound  has  feeling  !     But  I  am  putting 


SHREVE,  CRUMP  &  LOW  CO. 

147  TREMONT  STREET 


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it  as  if  it  had  died  and  been  reborn  there,  whereas  it  was  born  in  its  own 
region,  and  is  wholly  ignorant  of  ours. 

Now  is  there  not  some  reason  why  musical  criticism  is  not  always 
"illuminative,"  "  instructive,"  or  "delightful"?  Is  it  not,  on  the  other 
hand,  surprising  that  so  much  valuable  writing  about  music  does  exist? 
Of  music  as  music,  perhaps  no  one  has  really  written  ;  but  theory  and 
anecdote,  these  remain,  and,  when  Berlioz  writes  it,  even  a  treatise  on 
instrumentation  can  become  as  interesting  as  a  fairy  tale. 

THE  TRIBE  OF  SALIERI. 

{Pall  Mall  Gazette.) 

Sometimes  cleverness  itself  has  its  own  pathos.  It  can  do  so  much,  and 
can  effect  so  little  ;  it  can  make  so  immediate  a  sensation,  and  has  results 
that  run  to  such  a  little  distance.  Often  you  will  read  of  the  few  contem- 
porary rewards  that  come  to  the  open  hands  of  genius  ;  and  philosophical 
writers  have  mourned  over  the  sadness  that  is  therein  involved.  That  a 
great  genius  has  often  been  left  to  starve  where  the  lesser  man  has 
swaggered  through  life  "with  a  full  purse  and  a  proud  stomach,"  is  a  fact 
that  needs  no  commonplace  proverb  to  emphasize  its  reality ;  it  is  equally 
a  fact  that  cleverness  (as  apart  from  genius)  does,  as  has  been  said,  often 
make  an  immediate  sensation. 

Take  the  case  of  that  very  wonderful  man,  the  Abate  Martini.  Who,  at 
the  present  day,  knows  anything  about  his  work,  his  inspiration,  his  influ- 

REAL   LACE. 

A  piece  of  Real  Lace  is  like  a  jewel.  It  is  always  a  thing  of  value  to  a 
woman.  It  can  be  used  in  a  score  of  ways  and  used  over  again  a  score  of 
times.  It  pays  a  daily  interest  on  its  cost  in  the  service  it  renders.  Age  only 
makes  it  more  valuable. 


We  have  long  been  the  "  Old  Lace  Store  "  of  Boston.  We  have  had  so 
many  calls  for  our  Real  Laces  lately  that  we  have  come  to  believe  what  our 
customers  constantly  tell  us, —  namely,  that  our  stock  is  marked  at  very  low  prices. 
We  certainly  have  never  seen  lower  figures  for  the  same  quality  of  goods  that 
we  sell. 

Here  are  some  of  our  offerings  for  a  few  days,  beginning  Monday,  December  I  : 

Duchesse  and  Point  Lace  Handkerchiefs 
Duchesse  and  Point  Lace  Top  Collars    . 

Applique  Lace  Scarfs 

Duchesse  and  Applique  Barbs 

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Duchesse    and    Point    Laces    combined    and 

Duchesse  Laces,  from  two   to  seven  inches 

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ence,  his  outlook  upon  life,  his  mundane  significance?  And  yet  there  was 
a  time  when  he  stepped  alcng  the  popular  ways  of  music  as  bravely  and 
as  swaggeringly  as  might  ever  befit  the  genuine  musical  dandy,  who 
carried  aloft  the  clouded  cane  of  inculpable  counterpoint,  whose  virtuosity 
was  embodied  in  the  cut  of  his  soutane,  and  whose  three-cornered  hat 
alone  signified  his  necessary  popularity  in  the  withdrawing  rooms  of  his 
gent'er  admirers. 

Martini  was,  in  fact,  a  wonderfully  talented  man.  lie  played  with  music 
as  a  man  with  a  keen  eye  might  play  with  ball  and  bat;  he  juggled  with 
fugues,  and  he  astonished  his  contemporaries  by  his  knowledge  of  a  dra- 
matic sentiment  in  music.  Foreign  visitors  stood  in  admiration  before 
talent  so  definite  and  so  appealing.  If  he  wrinkled  his  eyebrow  in  depre- 
ciation of  a  contemporary  artist,  his  hint  was  at  once  most  volubly  trans- 
lated into  superlatives.  Even  if,  taking  advantage  of  his  undoubted  position 
of  contemporary  responsibility,  he  at  times  simulated  the  aloofness  and  the 
hesitation  of  a  certain  intense  form  of  genius,  he  was  always  pardoned,  if 
only  for  the  reason  that  nobody  believed  him  to  be  in  earnest ;  and  in 
double-quick  time  he  was  abroad  again  rattling  his  bells  and  making  his 
sensations  while  solemn  writers  were  recording  that  they  "  never  before 
had  encountered  so  astonishing  a  creature." 

The  philosophic  lesson  to  be  learned  from  all  this  is  that  such  a  man 
as  the  Abate  Martini  may  be  regarded  definitely  as  an  ancestor  of  the 
lesser  musical  art  of  to  day.  Clever  to  an  extraordinary  degree,  he  knew 
how  to  tease  the  musical  feeling  of  the  time  into  immediate  recognition. 
He  summarized  ancestrally  the  possibility  of  to-day's  so-called  musical 
comedy.  He  ensured  his  own  success ;  and,  above  all  things,  he 
prophesied.  His  prophecy  was  no  more  than  a  preparatory  instinct;  let 
so  much  be  allowed.  But  he  assuredly  made  the  ways  ready  for  the 
modern  musical  farce, —  for  those  charming,  up-to-date,  delight  ul,  ephem- 
eral things  which  have  no  particular  relation  to  musical  art,  but  which, 
like  a  lump  of  sugar,  disappear  in  the  teacup  of  time. 


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In  other  words,  the  Abate  Martini  may  be  taken  as  an  essentially  repre- 
sentative individual.  He  has  left  nothing  behind  him  but  a  mere  name. 
Contemporary  diaries  speak  of  him.  Contemporary  journals  record  his 
achievement.  He  was,  in  a  musical  sense,  a  sort  of  Admirable  Crichton  ; 
and  the  lesson  of  his  life  and  of  his  musical  accomplishment  is  clear  and 
simple.  It  is  the  lesson  which,  as  we  began  by  saying,  one  learns  from 
making  the  distinction  between  musical  cleverness  and  musical  genius. 
"I  hear,"  said  Beethoven,  "that  they«do  not  like  my  new  symphony;  but 
give  them  time."  "I  am  writing  at  present,"  said  Mozart,  "  for  myse'f 
and  two  or  three  friends."  "  Here  lies  one,"  quoth  Keats,  "whose  name 
is  writ  in  water."  And  all  of  these  great  ones  —  salt  of  the  earth —  make 
a  complete  and  final  appeal,  long  after  the  day  when  the  recognition  of  it 
would  bring  comfort  to  their  heart,  or  the  assuaging  of  grief  to  the  desire 
of  their  lives.  But,  if  there  be  an  ultimate  justice  in  the  onward  trend 
of  things,  we  may,  perhaps,  recognize,  as  we  began  by  saying,  that,  despite 
its  own  rewards  that  are  certain  and  instant,  musical  cleverness  has  its 
own  pathos,  its  own  ultimate  agony.  When  one  lcoks  abroad  upon  the 
things  that  have  fallen  by  the  wayside  in  musical  achievements  :  the  musi- 
cal comedies  —  dead;  the  musical  farces — dead;  the  popular  songs  — 
dead  ;  the  snatches  of  musical  humour —  dead  ;  then  it  is  that  one  realizes 
how  pathetic,  once  the  day  of  its  flare  is  done,  is  the  fact  of  musical  clever- 
ness as  apart  from  musical  genius.  Backward  through  such  an  outlook 
the  deaths  of  Schubert  and  Mozart  become  no  longer  tragic ;  there  are 
tears  rather  for  the  death  of  such  a  one  as  Salieri.  .  .  .  For  apart  from  the 
historian,  who  knows  the  tribe  of  Salieri  ? 

Suite,  "A  Fairy  Tale,"  Op.    16 Josef  Suk. 

(Born  at  Kfecovic,  Bohemia,  Jan.  4,  1874  ;  now  living  at  Prague.) 

This  suite  is  made  up  chiefly  of  material  taken  from  the  entr'actes  and 
incidental  music  written  by  .Suk  for  a  dramatic  legend,  "  Raduz  and 
Mahulena,"  by  J.  Zeyer,  a  modern  Bohemian  poet.  The  play  was  pro- 
duced at  Prague,  April  10,  1898. 

The  suite,  "  Pohadka,"  or  "  A  Fairy  Tale,"  was  first  played  at  Heidel- 
berg  at  the  thirty-seventh  meeting  of  the  Allgemeiner  Deutscher  Musik- 
verein,  on  June  3,  1901.  The  first  performance  in  the  United  States  was 
by  the  Chicago  Orchestra,  Theodore  Thomas  conductor,  Nov.  23,  1901. 
It  was  played  again  at  Chicago,  Jan.  25,  1902,  and  at  a  concert  of  the 
Philharmonic  Society  of  New  York,  Emil  Paur  conductor,  Jan.  n,  1902. 
It  was  also  played  at  the  Cincinnati  Festival  of  1902. 

The  plot  of  the  drama  should  be  known  for  the  better  understanding  of 
the  purpose  of   the  composer  and  the  structure  of  the  suite.     Mr.  J.  J. 

KAKAS  BROS:  Fur  Store, 

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(320) 


Kovaf  fk  contributed  a  sketch  of  the  plot  to  the  Philharmonic  Society  (New 
York)  Programme-book,  which  is  edited  by  Mr.  H.  E.  Krehbiel. 

"Once  upon  a  time  Prince  Radiiz,  son  of  the  King  of  Magur  and'Nyola, 
his  wife,  pursued  a  white  deer  into  the  preserves  of  Stojmir,  monarch  of  a 
neighboring  people,  and  there  killed  it.  Now  the  deer  was  not  only  a 
sacred  animal,  but  also  the  pet  of  Mahulena,  daughter  of  King  Stojmir  and 
Runa  his  wife,  who  once  had  been  the  rival  of  Nyola  and  hated  her  with 
a  deadly  hatred.  At  last  her  day  of  vengeance  seemed  to  dawn.  By  her 
orders  Radiiz  was  seized,  manacled,  thrown  into  prison  and  treated  with  harsh- 
ness and  contumely.  But  Mahulena's  heart  went  out  in  love  to  him  and  she 
sought  to  aid  him  to  escape.  The  attempt  was  frustrated,  Radiiz  chained  to 
a  lofty  rock  and  the  key  of  his  fetters  thrown  into  the  abyss.  As  the  key 
fell  it  was  caught  by  a  wood  chopper  to  whom  the  Prince  had  once  done 
a  kindness.  He  carried  it  to  Mahulena,  who  freed  her  lover ;  but  even  as 
the  chains  fell  from  his  limbs  the  wicked  queen  confronted  the  young  pair. 
Radiiz  overpowered  her,  tied  her  to  a  tree,  then  fled  down  the  mountain 
with  Mahulena,  followed  by  the  imprecations  of  Runa,  who  burdened  the 
air  with  an  awful  curse :  Radiiz  was  doomed  to  forsake  his  love  the 
moment  another  woman  kissed  him. 

"  Arrived  at  the  Capital  of  Magur,  Radiiz  hurried  on  ahead  to  prepare 
a  reception  for  his  bride.  At  the  gates  he  was  greeted  by  heralds  announc- 
ing the  death  of  his  royal  father ;  and  when  he  entered  the  death-chamber 


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REPRESENTS    MODERN    IDEAS, 

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GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUGNO, 

THE  GREAT  FRENCH  PIANIST, 

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his  sorrowing  mother  took  him  in  her  arms  and  kissed  him.  A  pain  ran 
through  his  heart  like  a  knife-thrust,  and  all  memory  of  Mahulena  fled 
from  his  mind.  Meanwhile  Mahulena,  weary  of  waiting  for  his  return, 
sought  the  Prince  at  the  royal  palace,  only  to  find  herself  cast  off.  In  her 
woe  she  measured  her  length  upon  the  ground  and  called  on  Mother  Earth 
for  pity.  Her  prayer  was  heard  and  she  metamorphosed  into  a  poplar. 
A  strange  and  unaccountable  attraction  now  drew  Radiiz  toward  the  tree 
which  had  sprung  up  so  miraculously  near  the  palace.  He  hovered  about 
it  always  as  if  in  a  dream  and  gave  no  heed  to  the  entreaties  of  his  mother, 
who  resolved  to  cure  him  of  his  singular  infatuation  by  felling  the  tree. 
But,  as  she  struck  her  hatchet  into  the  trunk,  blood  gushed  out  of  the  wound, 
and  stained  the  forehead  of  Radiiz.  At  once  the  charm  was  broken. 
Mahulena  stood  before  him  in  all  her  beauty,  and  the  royal  children,  lovers 
again,  fell  into  each  other's  arms." 


When  this  suite  was  performed  at  Heidelberg,  Oskar  Nedbal,  the  viola 
player  of  the  Bohemian  String  Quartet,  of  which  Suk  is  the  second  violinist, 
wrote  an  analysis,  which  was  published  in  the  Allgemei/ie  Musik-Zeitung 
(Berlin)  of  May  31-June  7,  1901.  I  acknowledge  my  indebtedness  to  Mr. 
Nedbal's  article,  which  is  illustrated  with  motives  in  notation. 

I.  Love  and  Grief  of  the  Royal  Children. 
This  movement  begins  with  a  short  prelude,  which  gives  one  the  impres- 
sion that  the  composer  wishes  to  drive  away  that  which  is  real,  so  as  to 
prepare  the  hearer  for  the  fancy  of  the  fairy  tale.  Adagio,  ma  non  troppo, 
E  major,  4-4  time.  The  broad  theme  (No.  1),  clarinets,  bassoon,  'cellos, 
of  this  prelude  is  typical  of  the  love  of  Mahulena,  the  king's  daughter,  for 
Radiiz,  the  love  that  prevails  over  all  obstacles.  The  disappearance  of 
reality  is  characterized  by  the   singular  rhythm    of   the    accompaniment, 


BY    ROYAL     APPOINTMENT 
TO    THE     BRITISH    COURT. 


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LADIES'  TAILOR 
Glasgow  218  Boylston  Street,  Boston  Oban 

(822 


which  gradually  diminishes  in  force.  The  motive  that  ends  this  prelude 
(No.  2),  flutes  and  clarinets  under  a  tremolo  of  violins,  expresses  the 
happiness  of  the  love  of  these  royal  children,  which  is  then  sung  by  the 
solo  violin  in  true  legendary  mood.  Theme  No.  2,  somewhat  altered, 
given  to  the  clarinet,  appears  in  tuneful  counterpoint  against  the  violin  solo. 
The  second  section  of  this  movement  describes  the  sorrows  and  woes 
of  the  young  lovers.  The  death  of  the  Prince's  father  is  announced  by 
mysterious  notes  of  horns  (muted,  pianissimo).  The  children  are 
grievously  affected,  as  is  shown  by  a  shrill  and  abrupt  clarinet  motive. 
Louder  and  louder  grows  the  baleful  horn  theme,  until  a  climax  is  reached, 
when  the  theme  of  Mahulena's  love  (No.  1)  reappears,  first  in  the  basses, 
then  with  great  force  and  in  the  key  of  A-flat  minor.  The  movement 
becomes  calmer,  and  the  solo  violin  restores  the  legendary  mood  of  the 
beginning. 

II.     Intermezzo.     Folk-dance. 
A  la  Polka,*  B  major,  2-4  time.     This  movement  is  based  on  a  little 

*The  inventor  of  the  polka  was  Anna  Slezak,  a  peasant  maiden,  who,  about  the  year  1830,  was  in  the 
service  of  the  Klaschtersky  family  at  Elbeteinitz.  One  Sunday  afternoon  she  danced  for  her  own  amusement 
a  dance  of  her  own  invention  ;  and,  as  she  danced,  she  sang  a  suitable  tune.  Joseph  Neruda,  the  father  of 
Lady  Halle,  the  violinist,  happened  to  beat  the  house,  and  he  noted  down  the  melody.  On  the  next  Sunday 
the  dance  was  introduced  at  a  students'  ball.  Five  years  later  it  made  its  way  to  Prague,  where  it  received, 
on  account  of  the  half-step,  the  name  "  pulka,  '  Bohemian  for  "the  half."  Four  years  afterward  a  sharp- 
shooters' choral  society  brought  it  out  in  Vienna,  where  both  dance  and  tune  pleased  exceedingly.  In  1840 
Raab,  of  Prague,  danced  the  polka  on  the  stage  of  the  Od^on,  Paris,  and  then  the  dance  became  the  rage 
throughout  Europe.  The  first  polka  that  appeared  in  the  music  shops  was  by  Franz  Hilmar,  teacher  at 
Kopidlno.     Such  is  the  story  as  told  by  Albert  Czerwinski  and  others. 

There  is  much  entertaining  gossip  about  this  dance  in  Gaston  Vuillier's  "  History  of  Dancing"  and  in 
"  Dancing"  (Badminton  Library) .  Vuillier  says  the  polka  was  introduced  into  Paris  by  Cellarius,  and  that 
a  Laborde  disputed  this  honor.  At  Bordeaux  the  polka  was  danced  in  the  streets  and  even  in  the  shops;  and 
did  the  king  join  in  the  madness?     A  rhymer  of  his  day  would  have  us  think  so  : 

"C'estle  grand  Louis  Philippe, 
Qui  s'est  fichu  par  terre, 
En  dansant  la  polka 
Avec  la  reine  Victoria." 

Clothes,   head  dresses,  public  houses    in   England,   were    named   after   the   dance.      "  Mrs.    Jackson's 

Polka  Book,'  written  in  1S49,  gave  a  recipe  for  making  the  '  Victoria  Polka'  in  crochet,  with  eight-thread 

Berlin  wool."     John  Leech  drew  Brougham  dancing  the  polka  with  the  woolsack.     There  was  a  disease,  the 

"  Polka-morbus,"  —  "  the  pain  felt  by  the  novice  on  the  left  side  of  the  right  foot  on  the  morrow  of  a  dance." 


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(323) 


dance  with  song  episode  in  the  first  act  of  the  drama.  The  first  part  repro- 
duces a  Slavic  colored  and  rhythmed  folk-dance  (clarinets)  ;  while  the  song 
just  mentioned,  first  given  to  the  bassoon,  then  taken  up  by  flutes,  oboes, 
clarinets,  inspires  the  trio.  Note  the  use  of  this  song-theme  in  diminu- 
tion.    The  dance  is  gayly  resumed. 

III.  Intermezzo.  Funeral  March. 
Andante  sostenuto,  G-sharp  minor,  3-4  time.  This  music  is  taken  from 
the  scene  of  the  burial  of  the  Prince's  father.  The  march  begins  with 
strings  mysteriously,  as  though  a  choral  were  heard  from  afar.  This 
choral  leads  to  the  funeral  march  proper,  which  is  introduced  by  wood-wind 
and  one  horn,  and  ornamented  in  the  repetition,  rich  in  interesting  har- 
monies, by  tuneful  counterpoint  in  'cellos  and  later  in  violins.  The  choral 
is  again  heard,  but  in  a  higher  position ;  it  is  developed  in  full  orchestral 
brilliance  and  followed  by  a  return  of  the  march,  now  in  E-flat  minor.  The 
march  is  interrupted  after  characteristic,  heavy  outbursts  of  the  full  orches- 
tra by  the  wailing  choral  melody  ;  this  is  given  to  the  'cellos  with  most 
original    harmonic  reconstruction.     There   is   a  diminuendo  to  the  march, 

Heine  found  the  vibrating  wooden  keys  of  the  piano  affect  the  nerves  terribly,  and  the  great  whirling  disease, 
the  polka,  gives  the  finishing  stroke.     Punch  published  a  poem,  "  Pretty  Polk  "  (1S44) :  — 

By  those  steps  so  unconfined, 
By  that  neat  kick-up  behind, 
Coition's  hop,  and  Michau's  slide, 
Backward,  forward,  or  aside, 
By  th'  alternate  heel  and  toe, 
Polka  ;«i7«,  sas  agapo. 

Yet  some  failed  dismally  in  their  skipping  ambition  :  witness  the  sad  case  of  Elise  Sergent,  once  a  circus- 
rider,  who  danced  wildly  a  polka  of  her  own  improvisation  at  the  Jardin  Mabille,  Paris,  in  May,  1844,  and  was 
hailed  as  "  Queen  PomareV'  Greedy  of  fame,  this  dazzling  beauty  danced  the  polka  on  the  stage  of  the 
Palais  Royal,  and  was  fiercely  hissed  (see  Delvau's  "Cytheres  Parisiennes  "). 

The  Strausses  of  Vienna  gave  116  as  the  proper  metronomic  pace  of  the  polka,  and  58  for  the  polka 
mazurka. 

Probably  the  most  striking  polka  in  the  literature  of  music  is  the  second  movement  of  Smetana's  string 
quartet  in  K  minor,  "  Aus  meinem  Leben."  Smetana  wrote  of  this:  "  Second  movement,  quasi  Polka,  bears 
me  in  recollection  back  to  the  joyance  of  my  youth,  when  as  a  composer  I  overwhelmed  the  world  with  dance 
tunes,  and  was  known  as  a  passionate  dancer."  Raff  did  not  hesitate  to  introduce  the  dance  in  a  pianoforte 
suite,  and  Rubinstein'  spolka  for  the  pianoforte  is  characteristic.  The  best  treatise  on  Bohemian  dances  is 
"  Bbhmische  Nationaltanze  :  Culturstudie,"  by  Alfred  Waldau,  2  vols.,  Prague,  1859. 


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Superlative  Qmiirr. 


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(325) 


which  now  appears  in  new  orchestral  dress,  in  G-sharp  minor,  and  dies 
away  in  the  strings.  The  choral  ends  the  movement :  fragments  of  it 
appear  alternately  in  wind  and  string  instruments  until  the  final  pianis- 
simo chord  for  wood-wind,  trombones,  and  strings. 

IV.     Queen  Runa's  Curse.     Triumph  of  Love. 

Allegro  appassionato,  E  major,  3-2  time.     The  movement  begins  with 

the  motive  of  the  wicked  Queen  Runa,  the  mother  of  Mahulena,  which  is 

interrupted  twice  at  the  beginning  by  the  symbol  of  the  curse  (bassoons, 

trombones,  tuba).     Earlier  motives  appear  singly  and  in  combination, —  the 

theme  of  the  Fairy  Tale  (No.  3)  in  distorted  form  ;  the  Happiness-in-Love 

theme  (No.  2),  also  changed;  as  well  as  the  other  chief  theme  (No.   1), — 

all  bewitched  by  the  magic  spell  of  the  sorceress.     And  it  would  appear  for 

a  time  that  evil  is  conqueror ;  but  the  Happiness-in-Love  theme  gains  the 

mastery ;  there  is  a  return  of  Mahulena's  love  theme,  now  victorious  and 

caressing.     True  love  has  conquered,  and  a  powerful  crescendo  leads  to 

the  apotheosis  of  the  Triumph  of  Love.     Themes  1  and  2  appear  fortissimo 

in  E  major ;  and  soon  after  a  diminuendo,  the  solo  violin,  in  pianissimo 

tremolo,  brings  to  mind  the  legend  motive  from  the  first  movement.     With 

a  full  orchestral  chord,  pianissimo,  the  tale  is  at  an  end. 

* 

Josef  Suk's  first  teacher  was  his  father,  an  excellent  musician.  The  son 
entered  the  Prague  Conservatory  in  1885,  where  he  studied  the  violin 
under  Bennewitz  and  composition  under  Dvorak,  who  later  became  his 
father-in-law.  "A  Dramatic  Overture,"  written  after  study  of  two  years,  was 
highly  praised  ;  and  a  piano  quartet  brought  from  the  government  a  stipend. 


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(326) 


Suk  has  written  a  Symphony  in  E  major,  Op.  14  (played  by  the  Philhar- 
monic Society  of  New  York,  Nov.  17,  1900);  a  Pianoforte  Quartet  in 
A  minor  (New  York,  November,  1901);  a  String  Quartet  in  B  flat  major; 
an  overture  to  Shakespeare's  "Winter's  Tale";  a  Serenade  for  strings; 
a  Ballad  and  Serenade  for  'cello  and  piano ;  a  Suite  for  pianoforte ; 
songs  for  three-voiced  female  chorus  and  pianoforte  (four  hands),  etc. 

Suk  has  always  been  the  second  violinist  of  the  Bohemian  Quarte1, 
which  made  a  sensation  by  its  first  appearance  in  Vienna  in  the  season  of 
1892-93,  and  is  now  famous  throughout  Europe.  The  original  members 
were  Karl  Hoffman,  first  violin  (born  Dec.  12,  1872,  at  Prague)  ;  Suk; 
Oskar  Nedbal,  viola  and  composer  (born  at  Tabor,  March  25,  1874)  ;  and 
Otto  Berger,  violoncellist  (born  at  Machau  in  1873,  died  there  June  30, 
1897).  The  violoncellist  of  the  quartet  to-day  is  Hans  Wihan  (born  at 
Politz,  June  5,  1855). 


# 


"  A  Fairy  Tale  "  is  scored  for  piccolo,  2  flutes,  2  oboes,  cor  anglais, 
2  clarinets,  bass  clarinet,  2  bassoons,  4  horns,  two  trumpets,  3  trom- 
bones, tuba,  kettle-drums,  big  drum,  triangle,  cymbals,  gong,  harp,  and 
strings. 

Symphony  in  C  major,  No.  2,  Op.  61  .  .  .  .  Robert  Schumann. 
(Born  at  Zwickau,  June  8,  1810  ;  died  at  Endenich,  July  29,  1856). 

In  October,  1844,  Schumann  left  Leipsic,  where  he  had  lived  for  about 
fourteen  years,  He  had  given  up  the  editorship  of  the  Netce  Zeitschrift 
in  July.  He  had  been  a  professor  of  pianoforte  playing  and  composition 
at  the  Leipsic  Conservatory  from  April,  1843  ;  but  he  was  a  singularly  re- 
served man,  hardly  fitted  for  the  duties  of  a  teacher,  and  he  was  without 
disciples.  He  was  in  a  highly  nervous  condition,  so  that  his  physician  said 
he  must  not  hear  too  much  music.  A  change  of  scene  might  do  him 
good. 

Schumann  therefore  moved  to  Dresden.  "  Here,"  he  wrote  in  1844, 
"  one  can  get  back  the  old  lost  longing  for  music ;  there  is  so  little  to  hear. 


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Testimonials  from  distinguished  men  and 
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327) 


This  suits  my  condition,  for  I  still  suffer  very  much  from  my  nerves,  and 
everything  affects  and  exhausts  me  directly."  He  lived  a  secluded  life. 
He  saw  few,  and  he  talked  little.  In  the  early  eighties  they  still  showed 
in  Dresden  a  restaurant  frequented  by  him,  where  he  would  sit  alone  hours 
at  a  time,  dreaming  day-dreams.  He  tried  sea-baths.  In  1846  he  was  ex- 
ceedingly sick,  mentally  and  bodily.  "  He  observed  that  he  was  unable  to 
remember  the  melodies  that  occurred  to  him  when  composing,  the  effort 
of  invention  fatiguing  his  mind  to  such  a  degree  as  to  impair  his  memory." 
When  he  did  work,  he  applied  himself  to  contrapuntal  problems. 

The  Symphony  in  C  major,  known  as  No.  2,  but  really  the  third, —  for  the 
one  in  D  minor,  first  written,  was  withdrawn  after  performance,  remodelled, 
and  finally  published  as  No.  4, —  was  composed  in  the  years  1845  and  1846. 
Other  works  of  those  years  are  four  fugues  for  pianoforte,  studies  and 
sketches  for  pedal  piano,  six  fugues  on  the  name  of  Bach  for  organ,  inter- 
mezzo, rondo,  and  finale  to  "  Fantasie  "  (published  as  Concerto,  Op.  54), 
five  songs  by  Burns  for  mixed  chorus,  four  songs  for  mixed  chorus,  Op. 
59,  and  a  canon  from  Op.  124.  The  symphony  was  first  played  at  the 
Gewandhaus,  Leipsic,  under  Mendelssohn's  direction,  on  Nov.  5,  1846.* 
T  rformance  in  Boston  was  at  a  concert  of  the  Harvard  Musical 

Association,  March  1,  1866.     The  Philharmonic  Society  of  New  York  per- 
formed it  as  early  as  Jan.  14,  1854. 

Schumann  wrote  from  Dresden  on  April  2,  1849,  to  Otten,f  a  writer 
and  conductor  at  Hamburg,  who  had  brought  about  the  performance  of  the 
symphony  in  that  city:  "I  wrote  the  symphony  in  December,  1845,  wnen 

•  The  first  part  of  the  program  included  the  overture,  an  aria,  and  the  finale  of  Act  II.  of  "  Kuryanthe  " 
and  the  overture  and  finale  of  Act  II.  of  "  William  Tell."  The  latter  overture  made  such  a  sensation  under 
Mendelssohn's  direction  that  it  was  imperiously  redemanded.  The  symphony,  played  from  manuscript, 
pleased  very  few.  Some  went  so  far  as  to  say  that  the  demand  for  a  second  performance  of  Rossini's  overture 
was  a  deliberate  reflection  on  Schumann,  whose  symphony  was  yet  to  be  heard. 

t  Georg  Dietrich  Otten,  born  at  Hamburg  in  1806,  showed  a  marked  talent  for  drawing,  which  he  studied, 
as  well  as  the  pi  noforte  and  the  o  gan  ;  but  he  finally  devoted  himself  to  music,  and  became  a  pupil  of  Schneider 
at  Dessau  (1828-32).  He  taught  at  Hamburg,  and  led  the  concerts  of  the  Hamburg  Musik-Verein,  which  he 
founded,  from  1855  to  1863.     In  1883  he  moved  to  Vevey,  Switzerland. 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(328) 


I  was  still  half-sick.  It  seems  to  me  one  must  hear  this  in  the  music. 
In  the  Finale  I  first  began  to  feel  myself ;  and  indeed  I  was  much  better 
after  I  had  finished  the  work.  Yet,  as  I  have  said,  it  recalls  to  me  a  dark 
period  of  my  life.  That,  in  spite  of  all,  such  tones  of  pain  can  awaken 
interest,  shows  me  your  sympathetic  interest.  Everything  you  say  about 
the  work  also  shows  me  how  thoroughly  you  know  music  ;  and  that  my 
melancholy  bassoon  in  the  adagio,  which  I  introduced  in  that  spot  with 
especial  fondness,  has  not  escaped  your  notice,  gives  me  the  greatest 
pleasure."  In  the  same  letter  he  expressed  the  opinion  that  Bach's  Pas- 
sion according  to  John  was  more  powerful  and  poetic  work  than  his 
Passion  according  to  Matthew. 

And  yet  when  Jean  J.  H.  Verhulst  of  the  Hague  (1816-91)  visited 
Schumann  in  1845,  and  asked  him  what  he  had  written  that  was  new  and 
beautiful,  Schumann  answered  he  had  just  finished  a  new  symphony. 
Verhulst  asked  him  if  he  thought  he  had  fully  succeeded.  Schumann 
then  said  :  "  Yes,  indeed,  I  think  it's  a  regular  Jupiter." 


*   # 


There  is  a  dominating  motive,  or  motto,  which  appears  more  or  less 
prominently  in  three  of  the  movements.  This  motto  is  proclaimed  at  the 
very  beginning,  Sostenuto  assai,  6-4,  by  horns,  trumpets,  alto  trombone, 
pianissimo,  against  flowing  counterpoint  in  the  strings.  This  motto  is 
heard  again  in  the  finale  of  the  following  allegro,  near  the  end  of  the 
scherzo,  and  in  the  concluding  section  of  the  finale.  (It  may  also  be  said 
here  that  relationship  of  the  several  movements  is  further  founded  by  a 
later  use  of  other  fragments  of  the  introduction  and  by  the  appearance  of 
the  theme  of  the  adagio  in  the  finale.)  This  motto  is  not  developed  : 
its  appearance  is  episodic.  It  is  said  by  one  of  Schumann's  biographers 
that  the  introduction  was  composed  before  the  symphony  was  written, 
and  that  it  was  originally  designed  for  another  work.  The  string  figure 
is  soon  given  to  the  wood-wind  instruments.  There  is  a  crescendo  of 
emotion  and  an  acceleration  of  the  pace  until  a  cadenza  for  the  first 
violins  brings  in  the  allegro,  ma  non  troppo,  3-4.     The  first  theme  of  this 


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HATS,  WALKING,   GOLFING,  AND 

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(329) 


allegro  is  exposed  frankly  and  piano  by  full  orchestra  with  the  exception 
of  trumpets  and  trombones.  The  rhythm  is  nervous,  and  accentuation 
gives  the  idea  of  constant  syncopation.  The  second  them0,  if  it  may  be 
called  a  theme,  is  not  long  in  entering.  The  exposition  of  this  movement, 
in  fact,  is  uncommonly  short.  Then  follows  a  long  and  elaborate  devel- 
opment.    In  the  climax  the  motto  is  sounded  by  the  trumpets. 

The  scherzo,  Allegro  vivace,  C  major,  2-4,  has  two  trios.  The  scherzo 
proper  consists  of  first  violin  figures  in  sixteenth  notes,  rather  simply  accom- 
panied. The  first  trio  in  G  major,  2-4,  is  in  marked  contrast.  The  firsttheme, 
in  lively  tiiplet  rhythm,  is  given  chiefly  to  wood-wind  and  horns  ;  it  alternates 
with  a  quieter,  flowing  phrase  for  strings.  This  trio  is  followed  by  a  re- 
turn of  the  scherzo.  The  second  trio,  in  A  minor,  2-4,  is  calm  and  melo- 
dious. The  simple  theme  is  sung  at  first  in  full  harmony  by  strings  (with- 
out double-basses)  and  then  developed  against  a  running  contrapuntal 
figure.  The  scherzo  is  repeated,  and,  toward  the  close,  trumpets  and  horns 
loudly  sound  the  motto. 

Mr.  William  Foster  Apthorp  has  contributed  an  interesting  personal  note 
concerning  the  scherzo.  "  The  late  Otto  Dresel  once  told  me  a  curious 
fact  about  this  first  trio.  When,  as  a  boy,  he  was  studying  under  Men- 
delssohn, in  Leipsic,  he  happened  to  be  left  alone  one  day  in  Mendels- 
sohn's study.  While  mousing  round  there,  with  a  boy's  curiosity,  he 
espied  on  a  desk  a  MS.  score  that  was  not  in  Mendelssohn's  handwriting. 
It  turned  out  to  be  the  MS.  of  Schumann's  C  major  symphony — then  un- 
known, save  to  the  composer  and  a  friend  or  two;  it  had  evidently  been 
sent  to  Mendelssohn  to  look  over.  Dresel,  much  interested  in  his  unex- 
pected find,  forthwith  began  to  read  the  score,  and  had  time  to  read  it 


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CUPPLES   &   SCHOENHOF, 

128  Tremont  St.,  2d  door  north  of  Winter  St., 
over  Wood's  Jewelry  Store.    (Tel.,  Oxford  1099-2.) 

illle.  CAROLINE 

Invites  you  to  inspect  her  foreign  selection 
of 

Hats  and   Bonnets, 

Together  with  her  own  designs.    The  prices 
are  very  reasonable. 

486  Boylston  Street,  Boston. 

In  block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(332) 


through  and  replace  it  where  he  had  found  it,  before  Mendelssohn  re- 
turned. He  told  me  that,  curiously  enough,  the  triplet  theme  of  the  first 
trio  of  the  Scherzo  was  exposed  and  carried  through  by  the  strings  alone. 
Yet  when,  some  weeks  later,  he  heard  the  symphony  rehearsed  at  the 
Gewandhaus,  this  theme  was  played  by  the  wood-wind  and  horns,  just  as 
it  stands  now  in  the  published  score.  Dresel  thought  it  pretty  plain  that 
Schumann  transferred  this  theme  from  the  strings  to  the  wind  on  Mendels- 
sohn's advice.  It  was  not  uncharacteristic  of  Schumann's  greenness  in 
orchestral  matters  at  the  time,  that  he  should  not  have  thought  of  giving 
the  theme  to  the  wind  —  after  the  carnival  of  the  violins  in  the  Scherzo 
proper  —  without  being  prompted  thereto  by  his  friend." 

The  third  movement,  Adagio  espressivo,  2-4,  is  the  development  of  an 
extended  cantilena  that  begins  in  C  minor  and  ends  in  E-flat  major. 
Violins  first  sing  it ;  then  the  oboe  takes  it,  and  the  song  is  more  and  more 
passionate  in  melancholy  until  it  ends  in  the  wood-wind  against  violin 
trills.  This  is  followed  by  a  contrapuntal  episode,  which  to  some  is  incon- 
gruous in  this  extremely  romantic  movement.  The  melodic  development 
returns,  and  ends  in  C  major. 

The  finale,  Allegro  molto  vivace,  C  major,  2-2,  opens  after  two  or  three 
measures  of  prelude  with  the  first  theme  of  vigorous  character  (full  orches- 
tra except  trombones).  This  is  lustily  developed  until  it  reaches  a  transi- 
tional passage  in  which  the  violins  have  prominent  figures.  All  this  is  in 
rondo  form.  The  second  theme  is  scored  for  violas,  'cellos,  clarinets,  and 
bassoons,  while  violins  accompany  with  the  figures  mentioned.  This 
theme  recalls  the  opening  song  of  the  adagio.  A  new  theme,  formed  from 
development  of  the  recollection,  long  hinted  at,  finally  appears  in  the  wood- 
wind, and  is  itself  developed  into  a  coda  of  extraordinary  length.  Figures 
from  the  first  theme  of  the  finale  are  occasionally  heard,  but  the  theme 
itself  does  not  appear  in  the  coda,  although  there  is  a  reminiscence  of  a 
portion  of  the  first  theme  of  the  first  movement.  The  motto  is  sounded 
by  the  brass.  There  is  a  second  exultant  climax,  in  which  the  introductory 
motive  is  of  great  importance. 

This  symphony,  dedicated  to  Oscar  I.,  King  of  Sweden  and  Norway,  is 
scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  2  horns,  2  trumpets, 
3  trombones,  kettle-drums,  strings. 


COCOA-  CHOCOLATE 

*  GROCERS      EVERYWHERE.^ 

1         — * 

(333) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real  Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas      All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(884) 

Newport 

Seventh  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  DECEMBER  5,  at  2.30  o'clock. 

SATURDAY  EVENING,  DECEMBER  6,  at  8.00  o'clock. 


PROGRAMME. 


Berlioz    .....        Overture,  **  Les  Francs  Juges,"  Op.  3 

(First  time  at  these  concerts.) 
J.  S.  Bach        .     Concerto  for  Violin  and  Orchestra,  in  A  minor,  No.  i 

Vincent  shindy ,   .         .         .         .         .         .         .         .        SuiiSfJDfL^A 

■j11'"'  '■".     ■  '''■••■  ■    ■■■■•  '-■'•'•■  ) 


Beethoven Symphony  No.  3,  "  Eroica " 

SOLOIST : 
Mr.  FRANZ  KNEISEL 


v»8»> 


ST^I^VE^RT     HAI^I^ 


CHAMBER    CONCERT 
HOFFMANN  STRING  QUARTET 

WEDNESDAY    EVENING,    DECEMBER    3,  at  8.15 

MISS  JESSIE   DAVIS,    Assisting    Pianist. 
PROGRAMME 

i.     QUARTETTE,  Op.   18,   No.  6,  B-flat  major         .         .         .  Beethoven 

2.  SONATA,  for  Violin  and  Pianoforte       ....  Cesar  Franck 

3.  QUARTETTE,  "  Aus  meinem  Leben  " Smetana 

THE     MASON     &    HAMLIN     PIANOFORTE 
Reserved  Seats,  $1.00  and  75c.      Tickets  are  now  on  sale  at  the  hall,  162  Boylston  St. 
(Telephone,  Oxford  1330.) 

pianoforte  Recital 

Heilirich  GEBHARD 

Wednesday  Afternoon,  December  3,  at  3. 

PROGRAMME 

Rhapsodie,  Op.  119,  No.  4        .                            Brahms 

Prelude  and  Fugue,  F  minor    ..." Bach 

Allegro,  First  Movement  from  (Posthumous)  Sonata,  A  major       .         .         .  Schubert 
Prelude,  Op.  45                                                  \ 

Etudes,  Op.  10,  A-flat  major  and  F  minor  > Chopin 

Op.  25,  A  minor  ) 

"  Waldesrauschen  "  } 

Sonetto  104  del  Petrarca  <, zt 

Impromptu  No.  2 •  .         .         .  Faure 

"  From  the  Depths  " MacDowell 

"En  Route"  (Etude) C.Johns 

Fantasiestuck,  Op.  46 Leschetizky 

"  Midsummer-night's  Dream " Mendelssohn-Liszt 

The  Steinwav  Piano  used. 

Reserved  Seats,  $1.00  and  $1.50. 
TICKETS     ARE     NOW     ON     SALE     AT     STEIN  I  RT     HALT. 

richard  strauss 
Song  Recital 

George     Hamlin 

Tenor, 

Assisted  by  Mr.  CARL  SCHUMANN,  of  the  Symphony  Orchestra, 

TUESDAY  AFTERNOON,  DECEHBER   2,  AT   3,  STEINERT  HALL. 


J  l-   Mis,  $i.oo  AND  31.50,  FOR  SALE  AT  Till    1 1  A  I  1.. 
(336) 


^TBXrcEM^T   HAXvI^ 


PIANOFORTE,    RECITAL 

Felix  Fox 

Thursday  evening,  December  11, 

Dr.     PERCY     GOETSCHIUS,    a.t    the    organ,    assisting. 

Prelude,  Fugue,  and  Variations.    (For  Organ  and  Piano) Cesar  Franck 

Sonata     .  .....•■••       Liszt 

Super  flumina  Babylonia    '.'.'.'.'. Ch.  V.  Alkan 

Prelude  F-  Blumenfeld 

Theme  and  Variations c-  CheyHlard 

Barcarolle l-  *  hlhPP 

Three  Etudes Chopin 

The  Mason  and  Hamlin  Pianoforte.    Mason  and  Hamlin  Liszt  Organ. 
Tickets  on  sale  at  the  Hall. 


FIRST  RECITAL 


HELEN  HOPEKIRK 


SATURDAY   AFTERNOON 
\  3th  DECEMBER,  at  3 


Mme.   ALEXANDER-MARIUS 

(Otticier  d'Acadernie) 

BEGS  TO  ANNOUNCE  A 

FRENCH  SONG  RECITAL 

To  be  given  TUESDAY   EVENING,  DECEMBER  9,  at  8.15. 

Mr.  ALFRED  DeVOTO  at  the  Piano. 
PROGRAMME. 

Nuages,  ^    qhansons  ,,, 

t    ™u?flere>  y   Miabka,    Alexandre  Georges 

La"  Parole,      j    W  desire) 

Sf| Massenet 

En  Sourdine  (Chanson  Grise),     Gabriel  Faure 
Mandoline      ....  C.  Chaminade 

Jly  d  i. -it  re  of  Mme.  Carbonel  Chaminade 
Tickets  for  sale  at  the  Hall,  $1.50  and  Si. 00.    Special  tickets  for  students. 

(337) 


Le  Poeme  de  1' Amour  et  de  la  Mer, 

Ernest  Chausson 

Nell,  ) 

L'Hermite,  >     .       .        .A.  Perilhou 

Chanson  a  Danser, ) 

Les^apufo'ns,!     ■       •       ■     Ernest  Chausson 


CbkktritiQ  Jyall 

CHICKERING  HALL.  PUGNO 

Thursday  afternoon,  December  4,  at  3 
RAOUL 

PUGNO 

Second  Piano  Recital 

MANAGEMENT,  HENRY  WOLFSOHN 
Boston  Direction,  Richard  Heard 


Seats,  75  cents,  $1,  and  $1.50 
Tickets  at  Chickering  Hall. 


THE    BALDWIN  PIANO  USED 


CHICKERING    HALL. 

N  EM  ES 


DEZSO 


THE  GREAT  HUNGARIAN  VIOLIN  VIRTUOSO. 

VIOLIN  RECITAL 
Wednesday  Evening,  December  3,  at  8A5. 

Assisted  by  Mme.  NEMES 

First    appearance    in     America 

Reserved  seats,  75  cents,  $1.00,  $1.50,  on  sale  at  Chickering  Hall  on  and 
after  November  28. 

MR.  HENRY  LAWRENCE  SOUTHWICK  an- 
nounces  his  third  annual  course  of  Interpretative 
Recitals,  to  be  presented  in  Chickering  Hall,  Friday- 
evenings  at  eight  o'clock.  The  series  this  year  will  be  devoted 
to  Shakespeare's  English  Historical  Plays. 

Programme. 

November  21  .  .  Mr.  WALTER  BRADLEY  TR1  IT      Henry  IV.  (Part  1) 

November  28 Mr.  GEORGE  RIDDLE.     Henry  V. 

Decembers  .         .       Mr.  HENRY  LAWRENCE  SOUTH  WICK.     Richard  III. 

December  12 Miss  KATHARINE  OLIVER.     Henry  VIII. 

Tickets  for  the  course,  three  dollars  and  two  dollars.    On  sale  at  Chickering  Hall. 

(338) 


Carl    Faeltein's 

THIRD    PIANOFORTE    RECITAL, 
Wednesday  Evening,    December   31,    1902,  at  8   o'clock. 

Programme. 

Andante,  F  major  ) 

Sonata  (Appassionata),  F  minor,  Op.  57  \  '         '         '         -Beethoven 

Huntington       ^iga  con  Variazi°ni>  D  minor,  Op.  91,  No.  2  .         .         .         .  Raff 

Chambers         Nocturne,  B  major,  Op.  9,  No.  3  (  r,       .n 

Hall.  Valse'  A"flat  maJor>  Op.  42  \    •        •  •        •        *  cnopin 

Hungarian  Rhapsody,  No.  2,  C-sharp  minor  ....  Liszt 

TICKETS,  $1.00.    &     J*    J*     J*    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 
APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

HANS  SCHNEIDER 

KT         TEACHER    OF    PIANOFORTE. 

Particular  attention  paid  to  TONE   AND   INTERPRETATION  and  to  the 
NORilAL  TRAINING  of  prospective  piano  teachers. 

Huntington  Chambers,  503. 

Tuesday  Afternoons  2  to  6. 

(339 


BOSTON    SYH PHONY    HALL 


Handel  and  Haydn  Society 

Eighty-eighth  Season 

Emil  Mollenhauer,  Conductor  H.  G.  Tucker,  Organist 

A  full  orchestra 


Sunday,  December  21,  1902 

THE    MESSIAH 

Soprano,  Miss  Helen  Henschel 

Alto,  Mrs.  Ernestine  Fish 

Tenor,  Mr.  Glenn  Hall 

Bass,  Mr.  Jos.  Baernstein 

Thursday,  December  25,  1902 

THE    MESSIAH 

Soprano,  Miss  Anita  Rio 

Alto,  Mrs.  Helen  A.  Hunt 

Tenor,  Mr.  Jon  Jackson 

Bass,  Mr.  Luther  B.  Merrill 

Sunday,  February  9,  1903 

PARADISE    LOST 

(Th.  Dubois) 
Soprano,  Mme.  Camille  Seygard 

Alto,  Mme.  Louise  Homer 

Tenor,  Herr  Andreas  Dippel 

Baritone,  Sig.  Emilio  de  Gogorza 

Bass,  M.  MarcelJJournet 

Easter  Sunday,  April  12,  1903 

ISRAEL  IN  EGYPT 

Soloists  to  be  announced 


On  Thursday,  Friday,  and  Saturday,  December  4,  5,  and  G,  after  8.30  a.m.,  our  season  ticket- 
holders  of  last  year  can  procure  their  former  seats  at  Symphony  Hall. 

During  the  week  beginning  Monday,  December  8.  after  8.30  a.m.,  the  sale  of  season  tickets 
will  lie  open  to  the  public.  The  season  ticketB  include  the  choice  of  one  performance  of  the 
Mkssia  II,  and  carry  the  right  of  renewal  for  another  season  to  t  he  same  seats. 

The  price  of  season  tickets  lor  lour  conceits  will  be  86  50,  -■">  00,  and  s;t  ;.o,  according  to  loca- 
tion.   Bale  at  Symphony  Hall.    Telephone,  Back  Baj  1492 

The  sale  of  single  li'cUets  fin  the  \1 1  ssi  ui  concerts,  $2.00,  81.60,  and  81.00,  will  open  Monday, 
Decern  her  15,  at  8  30  am.,  at  Symphony  Hall,  and  also  at  Wright  >^    Di  I  son's.  344  Washington  St." 

Information  In  regard  to  soioi-ts,  8;i|e  ,,t  tickets,  etc.,  can  he  obtained  i>>  addressing  the 
Secretary. 

889  Harvard  Street,  Cambb e  WILLIAM   r.  BRADBI  lev. 

November  26,  1902  Secretary 

(340) 


manttwmw 


Diuilttftaaane 


ASTERS  IN  MUSIC  will  be  unlike  any  other 
musical  magazine.  It  will  be  edited  by  Mr. 
Daniel  Gregory  Mason.  Each  monthly  issue, 
complete  in  itself,  will  be  devoted  to  one  of 
the  world's  greatest  musicians,  giving  thirty- 
two  pages  of  engraved  piano  music,  which 
will  comprise  those  compositions  or  move- 
ments that  represent  the  composer  at  his  best,  with  editorial  notes 
suggesting  their  proper  interpretations  ;  a  beautiful  frontispiece 
portrait ;  a  life  ;  and  estimates  of  his  genius  and  place  in  art 
chosen  from  the  writings  of  the  most  eminent  musical  critics. 
The  text  of  Masters  in  Music  will  thus  constitute  an  interest- 
ing and  authoritative  monthly  lesson  in  musical  history;  its 
selections  of  music  will  form  a  library  of  the  world's  musical 
masterpieces,  and  all  at  slight  cost.  Among  the  composers 
to  be  treated  during  the  first  year  are  Mozart,  Chopin,  Gounod, 
Verdi,  Grieg,  Beethoven,  Mendelssohn,  and  others.  The  maga- 
zine will  be  most  attractively  presented  throughout.  The  first 
issue  will  appear  January  i,  1903.  Subscription  price,  $2.00  a 
year.     Single  copies,  20  cents.     :::::::::::: 


SEND    FOR   PROSPECTUS 

WITH     SPECIMEN     PORTRAIT    AND    SAMPLE 

PAGES     OF     MUSIC 


^atelanaGuilfiCompan^obfijijjer^ 
42d|)auncji^treet-6o<ston 


(341) 


CHICRERING     HALL 


Monday  Evening,  December  1,  at  8 

The  Kneisel  Quartet 


FRANZ   KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALWIN    SCHROEDER,  Violoncello 


PROGRAMME 

SCHUBERT Quartet  in  A  minor,  Op.  29 

RICHARD    STRAUSS,   Sonata  for  Piano  and  Violin,  E-flat  major,  Op.  18 
HAYDN Quartet  in  D  minor,  Op.  76,  No.  2 


ASSISTING    ARTIST 


Mr.   FREDERIC    LAMOND 


The  Piano  is  a  Mason  &  Hamlin 


(842) 


SYMPHONY    SEATS 


For   SEASON, 


$|K-00      AN"  $1.00  AND 

§\J  UPWARD. 


SINGLE 


REHEARSAL 
J  or    CONCERT, 


UPWARD. 


CONNELLY'S  Ticket  Office,  Adams  House. 


'Phone,    Oxford    942. 


CHICKERINQ    HALL 

the  St  BotoJpb  Concert  Company 

ELSA  HEINDL,  Soprano  KARL  ONDRICEK,  Violin 

ALFRED  DE  VOTO,  Piano 

€l)e  strongest  and  most  brilliant  concert  company  in 

Uew  England 

For  dates,  terms,  and  all  particulars  address  at  once 

HEARD  &    WILLIAMS,  Chickering  Hall,  Boston 

239   Huntington  Hall  Telephone,  1670  Back  Bay 

THE    QUESTot 

A  posthumous  work  by  ETHELBERT  NEVIN,  for  chorus  and 
soloists.     Text  by  Randolph  Hartley.     To  be  performed  by 

THE  BOSTON  SINGING  CLUB,  H  gonTdSER' 

At    its   first   concert,    CHICKERINQ    HALL,    DECEMBER    17. 

John  Church  Co.,  Publishers.       On  sale  at  the  music  store  of 

C.  W.  THOMPSON  &  CO.      .      .      13  West  Street. 

In    every   way   a   brilliant    and   most   attractive   composition. 

The  Boston  Symphony  Orchestra  Programme. 

For  the  twenty-four  Boston  Concerts, 
with  Historical  and  Descriptive  Notes 
by  Philip  Hale.  <£  J*  <2*  <£   <1*   J*   & 

Bound  copies  of  the   Programme  for  the   entire   season  can    be    had    at 
$1.50  by  applying  before  the  last  concert.     Address  all  communications  to 

F.   R.  COMEE,  Symphony  Hall,  Boston. 

343) 


SYMPHONY  HALL -BOSTON 


MASCAGNI 

Saturday  Afternoon,  November  29 
Sunday  Evening,  November  30 


Special  engagement  of  SIG.  MASCAGNI  and 
the  principals,  entire  chorus  and  orchestra  of  the 

Mascagni    Opera    Company 


SOLO  ARTISTS 


Signora  Cappelli  Sig.   Schiavazzi 

Signora  Farneti  Sig.   Bellatti 

Signora  de  Filippi  Sig.  Frascona 

Signora  del  Parto 


At  the  Saturday  matinee  there  will  be  given  a  miscellaneous  programme 

concluding  with 

Cavalleria   Rusticana 

(entire)  in  concert  form,  with   chorus,  orchestra,  and  the   following  cast : 

Santuzza         .....     Signora  Cappelli  or  Signora  Farneti 

Lola        .........       Signora  de  Filippi 

Lucia      .........         Signora  del  Parto 

Turiddu  .........    Sig.  Schiavazzi 

Alfio      ..........         Sig.  Bellatti 

Conducted  by  the  Compos]  k. 
SUNDAY  EVENING,  FAREWELL   CONCERT. 
POPULAR  PROGRAMME. 


Tickets,  with  reserved  seats,  $1. 50,  $1,  and  50  cents. 

Note. —  This  is  the  only  organization  performing  "  Cavalleria  Rusticana  "  with   the 
original  orchestration. 

(844) 


Sousa  Mvsic  Festival 


5  Grand  Concerts 

Symphony  Hall,  Sunday  Evening,  December  7 
Tremont  Temple,  Honday  Afternoon,  December  8,  at  2.30 
Tremont  Temple,  Tuesday  Afternoon,  December  9 
Tremont  Temple,  Wednesday  Afternoon  and  Evening,  December  10 
#  Final  Concerts  prior  to  departure  for  Europe  on  Third  Foreign  Tour 

SOUSA 

AND 

HIS 

BAND 


a-    ,-MB^ 

^^^^^^(, 

WBt  i 

^IM^^^L 

'^%^^WB^» 

*gL\   \ 

1 

H|   1 

j.-/'S&»f?:' 

w 

>^;'' 

~ 

ESTELLE  LIEBLING,  Soprano 

GBACE  COURTNEY  JENKINS, 

Violinist 

ABTHVR  PRYOR,  Trombone 


THE  NEW  HARCH, 


"Imperial    Edward" 

(Dedicated  by  special  permission  to  King  Edward  VII.) 


Prices,  Sunday  night,  December  7,  at  S.15,  50  cents,  75  cents,  and  $1.00. 
Seats  on  sale  at  Symphony  Hall  on  and  after  Monday,  December  1. 
Matinee  prices  at  Tremont  Temple,  50  cents  and  75  cents. 
2, 000  reserved  seats  at  Tremont  Temple  at  50  cents  each. 
Evening  prices,  Tremont  Temple,  50  cents,  75  cents,  and  #1.00. 

All  tickets   for  Tremont  Temple   on  sale  at   Box  Office,  Tremont   Temple,  on  and 
after  Monday,  December  1,  at  9  a.m.  daily. 

Boston  Direction,  HEARD  &  WILL1AHS. 
(346) 


CHICKERING  HALL 


THE 
LONG  V 

CLUB 


A.  Maquarre,  Flute  A.  Hackebarth,  Hom 

P.  Metzger,  Clarinet  H.  Gebhard,  Piano,  and 

A.  Debuchy,  Bassoon  Q.  LONGY,  Oboe 


Next  Concert 

Monday  Evening,  January  5t 

1903 


,.•:!.;, 


SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 


70  'PERFORMERS,    m.r.   WILHELM  GERICKE,  Conductor 


Ten  Concerts  Thursday  Evenings 


DECEMBER  4 

DECEMBER  J8 
JANUARY  8 
JANUARY  29 

at  7.45 


FEBRUARY  12 
MARCH  J2 

APRIL  2 

APRIL  23 


SOLO  ARTISTS 

MISS  HELEN  HENSCHEL  MR.  CARL  STASNY 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MISS  MAUD  MacCARTIIY       MME.  BLOOMFIELD-ZEISLER 
MR.  ADOLF  BAK 

AND    OTHERS   TO    BE   ANNOUNCED. 


TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 
at  the  door. 

(347) 


SYMPHONY    HALL,   BOSTON 
SATURDAY  AFTERNOON,  DECEMBER  6 

SECOND  RECITAL  OF 

KOCIAN 

BOHEMIAN  VIOLIN  VIRTUOSO 

.  ASSISTED    BY  . 

Miss  JULIE   GEYER,  Solo  Pianoforte 

Mr.  FRANZ   SPINDLER,  Accompanist 


PROGRAfiriE 

i.  SONATA  in  C  minor Grieg 

Kocian  and  Miss  Julie  Geyer 

2.  a.  SERENADE        \ 

b.  ROMANCE  I A.  V'Ambrosio 

c.  CANZONETTA  J 

Kocian 

3.  a.  NOVELETTE,  E  major Schumann 

b.  CHANT  POLONAIS Chopin-Liszt 

c.  CSARDAS Joseffy 

Miss  Julie  Geyer 

4.  CIACONNA J.  S.  Bach 

Kocian 

5.  RHAPSODIE  No.  12 Liszt 

Miss  Julie  Geyer 

6.  BOHEMIAN  FANTAISIE Sevcik 


Direction  RUDOLPH  ARONSON 

THE    WEBER    PIANO    USED 

Tickets  on  sale  Monday  morning,  December  i.     Mail  orders  accompanied  by  check 

or  money  order  addressed  to  L.  H.  Mudgett,  Symphony  Hall, 

will  be  filled  in  the  order  of  their  receipt. 


The  Cecilia  Society 


Mr.  B.  J.   LANG,  Conductor 


SYMPHONY  HALL 
TUESDAY,  DECEMBER  2,  at  8 

&  REQUIEM  js? 

(Missa  pro  defunctis)  by  Georg  Henschel,  for  chorus,   solo  singers, 
and  orchestra,  a  choir  of  boys  assisting 

SOLO  SINGERS 

Miss  HELEN    HENSCHEL  Mr.  ELLISON  VAN   HOOSE 

Miss  PAULINE   WOLTMANN  Mr.  FREDERICK    MARTIN 

Mr.    HENSCHEL  Conducting 


Tickets,  $1.50  each,  on  sale  at  the  Hall. 


MUSICAL   INSTRUCTION. 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 


Miss  HARRIET  S.  WHITTIER, 


Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 
MlSS  GERTRUDE  EDMANDS,  Vocal  Instruction. 

EXETER    CHAMBERS. 

Specialist  in  the  Science  of 

Mr.  CHARLES  B,  STEVENS,  Tone  frod"ctiOD  aM  tlie  Art  of  &mi~ 

mi.  vumiuuw   «,    w'UIlil,M)  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 
(349, 


Mrs.  ANNE  GILBRETH  CROSS, 

TEACHER  OF  THE  PIANOFORTE. 


PIERCE  BUILDING, 

COPLEY    SQUARE, 

BOSTON. 


Hiss  ANNA  MILLER  WOOD, 

HEZZO-CONTRALTO. 


Teaching- room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and   Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


AND  ASSISTANTS. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Yianesi . 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Miss  SUZA  DOANE, 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stuck  en. 


Mason  Touch  and  Technic. 

190  Dartmouth  Street. 


Mr.  OTTO  ROTH, 


VIOLIN    AND    ENSEMBLE 
LESSONS. 

10  ARLINGTON    STREET. 


Miss  JESSIE  DAVIS 


I'u pit  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,   163    Hassachusetts  Avenue. 

(360) 


Mr.  CARLO  BUOHAXICI. 


PIANIST  AND  TEACHER. 

Steinert  Hall  Building. 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5, Thespian  Hall, 

168  Massachusetts   Avenue, 
Boston,   Mass. 


CLARENCE  B,  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  A.  E.  PRESCOTT 


153  TREMONT  STREET. 


"  Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe  V6t6  avec  moi.  Je  lui  ai  donne^  des  lemons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  legons. 
Cela  l'a  mis  en  mesure  de  connaitre  a  fond  ma  m^thode. 
Je  peux  done  recommander  mon  e^eve,  Mr.A.E.  Pres- 
cott. C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  le* 
diffeVents  r^gistres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  3i  Aout,  iqoi. G.  SRRIGLIA. 


Sig.  AUGUSTO  VANNINI, 


Teacher  of  Singing. 


Steinert  Hall. 


J.  D.  BUCKINGHAM. 


PIANOFORTE.     Method  of  I.  Phllipp. 

The   most   advanced   technics   of  the 
present  day. 
"  A  teacher  of  the   first   magnitude." — Huneker,   od 
Philipp,  in  Mezzo-tints  in  Modem  Music. 

32  STEINERT  HALL,  BOSTON. 


Mr.  GUSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


TeacherofYiolin.Theory.andComposition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE   LESSONS. 

Pierce  Building, 
Copley  Square,   Boston. 


HEINRICH  SCHUECKER, 

TEACHER  OF  THE  HARP. 

Erard  Harps  for  sale  and  to  let. 
32  Westland  Avenue       -       Boston. 


Miss  MARIE  L.  EVERETT, 

TEACHER   of  SINGING, 

Holds  a  recent  Diplome  SupeVieur 
from  Madame  Marchesi,  Paris. 

COPLEY  SQUARE. 


THE  COPLEY, 


(351) 


Miss  A\NA  JANSEN,  Pianiste, 

PUPIL   OK 

Mme.  Rappoldi,  Dresden.  Sgambati,  Rome. 

Harold  BaUKR,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

Address,  86  Charles  St.,  Boston. 


««  From   Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FR"M     LONDON, 

Specially  authorized  by  the  inventor. 

Investigation  invited.         Studio,  278  Boylston  St. 


Mr.  JACQUES    HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN   C.  MANNING, 
Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 
Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 

Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 

384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1   at  her  residence,  THE    OXFORD. 


Hiss  LUCY  CLARK  ALLEN, 

Pianoforte  lessons  j>  Accompaniments. 

Trinity   Court. 

FREDERICK  N.   SHACKLEY 

(Organist  and  Choirmaster,  Church  of  the  Ascension;, 

Piano,  Organ,  Composition. 

Specialty:    Training  organists  for    practical 
Church  work. 

c   j-        (1900  Washington  St.,  BOSTON. 
Studios:  |12g  Franklin  Street,  ALLSTON. 

Miss    EDITH   E.  TORREY, 

SOPRANO  SOLOIST  AND  TEACHER  OF 
SINGING. 

164  Huntington    Avenue,  Boston. 

Every  day  except  Tuesday  and  Friday. 
Telephone,  Back  Bay  1089-5. 

Hr.  GEORGE   E.   WHITING, 

154  Tremont  Street, 

Boston. 

U.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 

Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts,  Recitals,  and 

Ensemble  flaying. 

7    ADELAIDE    ST.,  JAMAICA    PLAIN. 

Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 

Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 

Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 

TPO  read   Music  like  Print. 

1  The  Vars'  New  Interval  System  of  Sight 
Singing. 

No  Sol-f  aing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mine.  L.  Hamburger,  1'ierce  Bldg.,  Copley  Sq. 

Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 

Studio,  21  Steinert  Building. 

Mrs.  Habel  Mann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR.  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 

(362) 


a 


WEBER 
PIANOS 


Piano-building  as  a  fine  art  has  never  been  more 
highly  exemplified  than  by  our  recent  produc- 
tions. Send  for  description  of  our  new  Style  A 
Grand,  the  most  remarkable  Small  Grand  in 
'volume  and  quality  of  tone  ever  produced  by 
any  maker.     Its  length  is  but  5  feet  4  inches. 


The  Weber  Concert  Grand  will  be  used  exclusively 
by  the  Maurice  Grau  Opera  Company,  Mme.  Roger- 
Miclos,  Kocian,  and  Julie  Geyer  on  their  1 902- 1 903 
transcontinental  tours. 


Tohe  WEBER  PIANO   COMPANY   $ 

108     FIFTH     AVE.,    NEW    YORK     CITY 


Boston    Representative,   George    H.   Champlin    &    Co. 
181    Tremont  Street 


STEINWAY  &  SONS 

Grand  and  Upright  Pianos. 


MANUFACTURERS    BT  APPOINTMENT   TO 

His  Majesty, 

WILLIAM  II., 


His  Majesty, 

NICHOLAS  II., 

CZAR  OF  RUSSIA. 


EMPEROR  OF  GERMANY  AND 
KING  OF  PRUSSIA. 


His  Majesty. 


FRANCIS 
JOSEPH  I.,  v 


EMPEROR   OF 


KING  OF  HUNGARY. 


"•■Their  Royal  Highnesses. 

THE  PRINCE  AND; 
PRINCESS  OF     I 
WALES. 


His  Majesty. 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty. 

ALEXANDRA, 

QUEEl*  OF  GREAT    BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  majesty, 

victoria; 

QUEEN  OF  GREAT  BRITAIN 
and  EMPRESS  OF  INDIA. 


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EDINBURGH. 


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MARIACHRISTINA.J 

QUEEN  REGENT  OF  SRAINJ.     | 


His  Majesty. 

OSCAR  II., 

KING  OF  SWEDEN 

and  NORWAY. 


NORWAY  AND  SWEDEN. 


His  Majesty, 


feffe^  MOUSAFFER-ED-DIN.j  ABDUL  HAMID  II., 

)  M  SHAH  OF  PERSIA.                           SULTAN  OF  TURKEY! 

vi_\.<  , ~.lj££  »NO  their  respective  courts. 

Persia.  illustrated  catalogue  mailed  free  on  application. 


STEIN  WA_Y_PIANOS. 

H.  STEINERT  &   SONS  CO., 

162  to  168  Boylston  Street,   Boston,  Mass. 


PROGRAMME 


wvm 

55     I     33' 


FELIX    FOX 

PIANIST,  TEACHER, 

WRITES        REGARDING        THE 

Mason  &  Hamlin  Pianoforte 


March   i,   1902. 
My  dear  Mr.  Mason: 

Agreeably  to  your  request,  I  send  you  herewith 
the  two  recital  programs.  The  piano  that  you  fur- 
nished me  was  in  every  respect  all  that  could  be 
desired. 

It  gives  me  pleasure  to  express  to  you  my  gratifi- 
cation at  the  constant  improvement  that  I  have  observed 
in  the  Mason  &  Hamlin  piano,  and  as  it  is  to-day  I 
consider  it  an  instrument  of  the  very  first  rank  and  one 
that  fulfils  my  idea  of  what  an  artistic  grand  should  be. 

With  kindest  regards  and  sincere  wishes  for  a  con- 
tinuance of  your  well-merited  success,  I  remain, 

Faithfully  yours, 

IT  MX    FOX. 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY -SECOND  SEASON, 
1902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 


SEVENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      ,H    S    jt    Jt 


FRIDAY  AFTERNOON,  DECEMBER  5, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  DECEMBER  6, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(353) 


ME  SSR  S. 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest    Grand    Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(351 


TWENTY-SECOND  SEASON,  1902-1903. 


Seventh  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  DECEMBER  5,  at  2.30  o'clock. 

SATURDAY  EVENING,  DECEMBER  6,  at  5.00  o'clock. 


PROGRAMME. 


Berlioz    ♦         .        .         .         Overture  to  "The  Fehmic  Judges,"  Op.  3 

(First  time  at  these  concerts.) 
Bach Concerto  in  A  minor,  No.  I,  for  Violin 

I.     Allegro,  ma  non  troppo. 
II.     Andante. 
III.     Allegro  assai. 

(Cadenza  by  Hellmesberger.) 
(First  time  at  these  concerts.) 

Liszt       .        .         .        Symphonic  Poem  No.  2,  "  Tasso :  Lament  and 

Triumph " 

Beethoven       .        Symphony  No.  3,  in  E-f lat  major,  **  Eroica/'  Op.  55 

I.     Allegro  con  brio. 
II.     Marcia  funebre  :  Adagio  assai. 

III.  Scherzo  :  Allegro  vivace. 
Trio. 

IV.  Finale:  Allegro  molto. 


SOLOIST : 

Mr.  FRANZ  KNEISEL. 


There  will  be  an  intermission  of  ten  minutes  before  the  Symphony. 


There  will  he  no  Public  Rehearsal  and  Concert  next  week. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.—  Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  doe»  not  ob- 
struct »uch  view,  may  be  worn. 

Attest:  J.  M.  GALVIN,  City  Clerk. 

(35*) 


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Overture  to  "  The  Fehmic  Judges  " Hector  Berlioz. 

(Bom  at  La  Cote  Saint -Andre,  Dec.  n,  1803;  died  at  Paris,  March  9,  1869.) 

Some  time  after  his  arrival  at  Paris  in  182 1,  Berlioz  became  acquainted 
with  a  young  man  named  Humbert  Ferrand,  and  loved  him  his  life  long. 
Ferrand  was  a  zealous  Catholic,  who  believed  in  legitimate  monarchy. 
Berlioz  was  sceptical,  a  passionate  admirer  of  the  first  Napoleon,  liberal 
in  politics  as  well  as  literature,  a  sworn  foe  to  the  Bourbons.  But  the  two 
young  men  were  one  in  their  enthusiasm  for  art  and  their  disdain  of  the 
commonplace. 

Ferrand  had  just  written  a  "grand  heroic  scene  with  chorus,"  inspired 
by  the  Greek  revolution.  Berlioz  set  music  to  it ;  and  Berlioz  was  eager  to 
write  an  opera  entitled  "  Les  Francs-Juges,"  with  a  text  which  had 
more  or  less  to  do  with  the  "  Vehm-gericht,"  a  text  versified  by  his  dear 
friend  Ferrand. 

The  Vehmic,  or  Fehmic,  or  Femic,  Tribunal  was  a  strange,  irregular,  and 
fear-compelling  institution,  peculiar  to  Germany,  which  flourished  especially 
in  Westphalia  from  1 150  to  1568.  Civil  cases  were  tried  before  it  openly, 
but  crimes  such  as  heresy,  witchcraft,  and  murder  were  tried  at  night  and 
with  blood-curdling  rites.  Each  member  was  sworn  to  conceal  the  pro- 
ceedings "from  wife  and  child,  father  and  mother,  sister  and  brother,  fire 
and  wind,  from  all  that  the  sun  shines  on  and  the  rain  wets,  and  from  every 
being  between  heaven  and  earth."  The  symbols  of  authority  were  a  coil 
of  ropes  and  a  naked  sword.  For  an  account  of  the  probable  origin, 
the  duties,  the  power,  and  the  ending  of  this  tribunal,  see  Sir  Francis 
Palgrave's  "  Rise  and  Progn  ss  of  the  English  Commonwealth " ;  Sir 
Walter  Scott's  "  Anne  of  Geierstein,"  chapter  xx.  and  notes  ;  and  the 
article  in  volume  nine  of  the  Encyclopaedia  Britannica,  in  which  German 
writers  on  the  "Vehm-gericht"  are  cited. 


THE  MANAGEHENT  OF  THE 


NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

ANNOUNCES  THE  ENGAGEMENT  OF 

Mme.  Antoinette  Szumowska 


AND 


Mrs.  Henry  M.  Rogers 
MR.    CEORC    HENSCHEL 

will  teach  — until  March,   1903  —  EXCLUSIVELY  in  the  Conservatory. 

Particulars  and  terms  (for  one  or  any  number  of  lessons)  may  be 

had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(357) 


^T.  §V<tthtf xt  &  jiatxs 


SOLE    MAKERS   OF 


The  Ballard  Safety  Riding 
Habit 


Successful  in  every  particular. 

Endorsed  by  Hunters  and  Park  Riders  alike. 

Our  large  stock  of  London  Riding  Cloths,  of  which  we  are 
direct  importers,  in  point  of  quality  is  not  surpassed  in  this 
country. 

256  BOYLSTON  STREET,  BOSTON 


^i^C^otKJeuiUL 


The  first  mention  by  Berlioz  of  this  opera  was  in  the  spring  of  1828, 
when  he  was  working  furiously.  On  May  26,  1828,  he  gave  a  concert  in 
the  hall  of  the  Paris  Conservatory.  The  programme  was  made  up  of  the 
overture  "  Waveriey,"  *  composed  in  1827  or  1828;  the  overture  to 
"  Les  Francs-Juges  "  and  an  air  and  trio  with  chorus  ,"  Melodie  Pastorale," 
from  the  same  opera;  the  "Scene  Grecque, "  referred  to  above  and  com- 
posed in  1825  or  1826. 

On  the  original  programme  was  "La  Mort  d'Orpbee,"  written  in  compe- 
tition for  the prix  de  Rome  in  1827,  which,  on  account  of  its  difficulty,  was 
thrown  out  by  the  judges,  Cherubini,  Paer,  Lesueur,  Berton,  Boieldieu, 
Catel.  Berlioz  intended  that  this  sub-title  should  be  added :  "  Piece 
declared  unplayable  by  the  Academy  of  Fine  Arts  of  the  Institute  and 
performed  on  the  ...  of  May,  1828."  Alexis  Dupont,  who  was  to  have  sung 
it,  was  hoarse,  and  the  "  Resurrexit"  from  the  "  Messe  Solennelle  "  (tried 
in  1824  at  Saint  Roch ;  revised  and  performed  at  Saint  Roch,  1825; 
again  revised  and  performed  at  Saint-Eustache  in  1827)  was  substituted. 
The  "  Marche  Religieuse  des  Mages,"  composed  in  1828,  was  also  per- 
formed. The  solo  singers  were  Gilbert  Duprez,  later  one  of  the  most  dis- 
tinguished tenors  of  the  nineteenth  century  (his  voice  at  that  time  was 
weak  and  sweet);  Louise  Marie  Caroline  Lebrun  (1807-65),  a  second 
prize  of  the  Conservatory;  and  Pierre  Ferdinand  Prevot  (1800-79),  a 
first  prize  of  the  Conservatory  and  a  member  of  the  Opera  from  1824  to 
1857.     Bloc,  of  the  Nouveautes,  conducted. 

We  are  concerned  now  only  with  the  performance  of  the  excerpts  from 
"  Les  Francs-Juges.''     Berlioz  wrote  to  Ferrand  an  account  of  the  concert. 

"  The  second  part  began  with  the  overture  to  '  Les  Francs-Juges.'  I 
must  tell  you  what  happened  at  the  first  rehearsal  of  this  piece.  Scarcely 
had  the  orchestra  heard  that  fright-inspiring  solo  of  trombone  and  ophi- 

*The  overture  "  Waverley  "  was  played  in  Boston  on  Dec.  13.  1851,  at  a  concert  of  the  Musical  Fund 
Society.     The  music  was  procured  for  the  society  by  Jonas  Chickering. 


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cleide,  which  goes  with  your  words  for  Olmerick  in  the  third  act,  when 
a  violinist  stopped  and  exclaimed  :  '  Ah  !  ah  !  the  rainbow  is  your  violin- 
bow,  the  winds  play  the  organ,  and  Time  beats  the  measure.'  Thereupon 
the  orchestra  hailed  with  applause  an  idea  which  it  had  not  even  under- 
stood ;  it  stopped  playing  to  applaud.  The  day  of  the  concert  this  intro- 
duction produced  a  stupefying  and  terrible  effect,  hard  to  describe.  I  was 
near  the  drummer.  He  grasped  one  of  my  arms  with  all  his  might,  and 
he  could  not  help  exclaiming  convulsively  at  intervals,  '  Superb  !  My  dear 
man,  it  is  sublime  !  It  is  frightful !  It  is  enough  to  frighten  one  out  of 
his  senses  ! '  With  my  other  hand  I  was  pulling  madly  a  lock  of  my  hair. 
I  came  near  screaming,  forgetting  it  was  my  work:  'How  monstrous, 
colossal,  horrible  it  is !'.-..  A  member  of  the  Ope'ra  said  the  night  of  the 
rehearsal  that  this  effect  in  the  overture  was  the  most  extraordinary  thing 
he  had  heard  in  his  life.  '  Oh !  after  Beethoven,  you  mean,'  said  an- 
other. '  After  nothing,'  he  answered.  '  I  defy  any  one  to  find  a  more 
terrible  idea  than  that.'  " 

Berlioz  was  praised  by  musicians  and  critics.  "  Fe'tis  himself  .  .  .  an- 
nounced my  beginning  of  a  career  as  a  true  event."  "  But  was  this  ru- 
mor," Berlioz  asks  in  his  memoirs,  "enough  to  attract  the  attention  of 
Miss  Smithson  in  the  intoxication  of  her  triumphs  ? " 

The  other  excerpts  from  "  Les  Francs-Juges  "  were  "  Invocation  to 
Sleep"  (Duprez)  ;  and  the  "  Melodie  Pastorale,"  which  was  ruined  in  per- 


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formance  by  the  inadequateness  of  the  soprano  and  the  bass  of  the  trio 
and  the  neglect  of  the  chorus  to  enter. 

Berlioz  kept  hurrying  Ferrand  for  the  rest  of  his  libretto.  On  April  9, 
1829,  there  was  a  copy  of  the  poem  ready  for  the  jury  of  the  Opera. 
Berlioz  was  sure  of  success  :  "  It  is  superb  ;  there  are  sublime  things  in  it. 
What  a  poet  you  are  !  The  finale  of  the  gypsies  (Act  I.)  is  a  masterpiece ; 
I  do  not  believe  that  such  an  original  and  well-written  libretto  has  ever  been 
presented  to  the  jury." 

The  jury  refused  this  libretto.  Only  the  gypsy  scene  had  pleased  all 
the  members.     The  libretto  as  a  whole  was  "long  and  obscure.'' 

Then  Berlioz  dreamed  of  a  performance  of  Conrad's  air  in  concert. 
Nothing  came  of  it.  In  1830  Haizinger,*  tenor  of  a  German  opera  com- 
pany then  visiting  Paris,  asked  Berlioz  if  there  was  a  part  that  fitted  his 
voice  in  the  opera ;  and  he  spoke  of  a  translation  of  the  libretto,  and  that 
he  should  study  the  music  at  Carlsruhe,  and  bring  out  the  opera  there  on 
the  night  of  his  benefit.  Berlioz  was  delighted.  "  I  must  finish  the 
music,  and  in,a  few  months  I  shall  go  to  Carlsruhe." 

He  did  not  go  to  Carlsruhe.     AsJ>rix  de  Rome  he  went  to  Rome. 

*  Anton  Haizinger,  celebrated  operatic  tenor,  born  at  Wilfersdorf,  1796,  died  at  Vienna  in  1869.  A 
teacher  at  Vienna,  he  studied  under  Salieri,  sang  at  the  Theater  an  der  Wien,  and  was  afterward  engaged  for 
his  life  at  Carlsruhe.  He  sang  as  "  guest"  at  London  as  well  as  at  Paris.  Chorley  saw  him  in  "  Fidelio  " 
with  Schroder-Devrient  at  London  in  183 1  :  "The  tenor  who  played  >  ith  her,  Herr  Haitzinger  (sic) ,  a  man 
of  great  German  reputation,  was  a  meritorious  musician,  with  an  ungainly  presence  and  a  disagreeable,  throaty 
voice  —  an  actor  whose  strenuousness  in  representing  the  hunger  of  the  imprisoned  captive  in  the  dungeon 
trenched  closely  on  burlesque.     How  he  patted  his  stomach,  I  well  remember." 

FROM  WILD  HORSES. 


Eight  hours  in  twenty-four  are  passed 
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The  "bed"  means  the  mattress.  It 
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fied by  colors,  cleaned,  sterilized,  and 
then  spun  into  a  rope,  being  boiled  and 
dried,  to  set  the  curl.  After  this  it  is 
picked  and  ready  for  use. 

Such  hair  costs  us  from  35  to  45  cents 
a  pound,  but  it  lasts  a  lifetime,  and  only 
needs  to  be  "  opened  out "  once  in  half 
a  dozen  years.  It  easily  lasts  a  quarter 
of  a  century.  We  buy  enormous  quanti- 
ties, and  sell  it  very  close  to  cost. 

When  any  mattress  is  offered  at  less  than  our  figures,  it  is  not  pure  horsehair, 
but  is  adulterated  with  goat  or  hog  hair,  costing  si\  rents  a  pound.  Insist  upon 
genuine  South  American  horse-hair,  and  you  are  bound  to  find  our  price  the 
lowest.     Our  hygienic  bedding  department  is  worthy  of  your  inspection. 


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In  1833  he  was  still  working  on  the  opera,  which,  he  wrote  Ferrand,  was 
always  on  his  table.  In  1836  he  was  rewriting  portions  of  the  score,  and 
debating  whether  it  would  not  be  better  if  an  air  written  for  tenor  should 
be  sung  by  Corne'lie  Falcon.* 

In  a  letter  dated  Sept.  20,  1838,  Berlioz  named  scenes  from  "  Les  Francs- 
Juges  "  that  he  had  burned  with  other  works,  and  later  in  his  Memoirs 
he  said :  "  My  score  was  condemned  to  an  obscurity  from  which  it  never 
emerged.  Only  the  overture  has  seen  the  light.  I  have  used  here  and 
there  the  best  ideas  of  this  opera  and  developed  them  in  later  composi- 
tions;  the  rest  of  it  will  probably  meet  the  same  fate  or  be  burned." 


* 
*  * 


Now  between  183 1  and  1835,  probably  in  1833,  Berlioz  and  Ferrand 
tried  to  turn  "  Les  Francs-Juges "  into  an  opera  in  one  act.  They  still 
thought  of  the  Ope'ra.  The  manuscript  libretto  of  this  arrangement  —  "  Le 
Cri  de  guerre  du  Brisgaw,"  "  intermede  en  une  acte  "  — is  in  the  National 
Library,  Paris.  The  singers  were  to  be  Adolphe  Nourrit,  the  famous  tenor 
(1802-39),  Lenor ;  Dabadie  (1797-1853),  for  whom  Rossini  wrote  the 
part  of  William  Tell,  Conrad  ;  Dupont,  the  Woodlander  ;  Julie  Aimee  Dorus 
Gras,  born  Vansteenkiste  (1805-96),  the  Gypsy;  Constance  Jawureck 
(1803-58),  Nise;  Mme.  Mori,  Mery;  Prosper  Ddrevis  (1808-80)  and 
Eugene  Massol  (1802-87),  gypsies. 

Gypsies  and  shepherds  meet  in  a  wild  ravine.  There  is  inevitably  a 
chorus,  and  there  is  dancing.  A  stranger,  named  now  Lenor  and  then  Obald, 
like  Hood's  Usher,  sits  remote  from  all,  a  melancholy  man.  Nise  and  a 
young  gypsy  question  him.     The  "  Pastoral  Melody  "  is  sung  by  trio  and 

*The  ill-starred  Marie  Cornelie  Falcon  (1814-97) ,  who  created  the  part  of  Valentine  in  "Les  Hugue- 
nots," was  the  great  dramatic  soprano  of  the  Opera.  She  made  her  d^but  there  in  183 1,  after  taking  the 
highest  prizes  in  the  Conservatory.  She  suddenly  lost  lier  voice  toward  the  end  of  1837,  when  she  was  only 
twenty-three  years  old.  Her  story,  at  which  Chorley  hints  in  his  memorable  description  of  her  ("  Music  and 
Manners  in  France  and  Germany,"  London,  1844,  vol.  i.  pp.  1S8,  189),  is,  perhaps,  the  saddest  in  the  history 
of  opera.     Her  name  is  still  giveu  by  the  French  to  dramatic  sopranos:  thus  Rose  Caron  is  "  a  Falcon." 


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chorus.  Obald  at  last  speaks.  He  tells  how  Olmerick,  King  of  Brisgaw, 
murdered  his  brother  Venceslas  to  gain  the  throne  ;  the  murdered  left  a 
son  loved  by  Ame'lie  ;  the  tyrant  has  carried  off  the  girl  and  exiled  his 
nephew.  "  You  know  all ;  the  son  of  Venceslas,  'tis  I !  Fury  and  Ven- 
geance !  "  The  chorus  falls  to  dancing.  Obald  sings  the  "  Invocation  to 
Sleep."  Conrad,  dressed  as  a  Fehmic  Judge,*  enters  at  midnight,  and 
tells  his  friend  Obald  that  he  has  been  chosen  among  all  the  Judges  to 
stab  Olmerick  and  annihilate  "  the  odious  tribunal  of  the  Fehmic  Judges." 
They  sing  a  duet,  "  Noble  Friendship."  Peasants  and  gypsies  enter,  and 
sing  for  a  finale  :  "  To  arms  !  O  Lenor,  guide  our  footsteps.  People, 
warriors,  our  swords  thirst  for  the  fight." 

The  four  pieces  of  music  in  orchestral  score  that  accompany  this 
libretto  are  without  reference  to  this  "  Cri  de  guerre  du  Brisgaw  "  :  they 
are  from  the  original  version  of  "  Les  Francs-Juges,"  in  which  the  tenor 
hero  was  named  Arnold.  The  name  was  no  doubt  changed  after  the 
performance  of  "  William  Tell  "  (1829).  The  directions  give  some  hints 
as  to  the  character  of  the  original  libretto.  A  drawbridge  is  lowered,  and 
the  chorus  trembles  at  the  approach  of  Olmerick  with  Christiern.  The 
chorus  sings  of  the  tyrant  "  loved  by  heaven,"  but  "  with  an  accent  of 
shame  and  fear,  as  if  their  mouths  refused  to  utter  a  wish  that  is  so  far 
from  their  hearts."  There  is  a  duet  for  the  tyrant  (bass)  and  Christiern 
(tenor), —  a  violent  piece,  loved  by  the  Berlioz  of  1828  because  it  was  "dic- 
tated by  the  flames  of  hell,"  to  use  his  own  language.  He  found  it  "  terribly 
frightful,"  and  that  "women  would  scream"  when  they  heard  it.  There 
is  a  "  ferocious  "  chorus,  sung  by  the  Fehmic  Judges,  "  in  a  line  facing  the 
public  and  near  the  footlights."  Here,  as  in  the  hair-raising  duet,  the 
three  trombones  are  apart  from  the  orchestra,  and  the  drums  are  covered 

*  According  to  Scott  the  "Free  Fehmic  Judges"  were  "muffled  in  black  cloaks,  like  mourners  at  a 
funeral,  or  the  Black  Friars  of  Saint  Francis's  Order,  wearing  their  cowls  drawn  over  their  heads  so  as  to 
conceal  their  features." 


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with  thick  cloth.  Then  there  is  this  note  of  Berlioz  :  "  No.  3,  song  of  the 
murderer  of  Olmerick,  who  is  hidden  with  his  young  son  in  the  Black 
Forest,  on  a  cold  winter's  night ;  the  song  is  accompanied  by  moans  of 
the  north  wind,  and  is  often  interrupted  by  the  child's  wail :  '  Father,  I  am 
cold.'  The  father  will  always  answer  this  complaint  by  reciting  the  De 
Profundis.  Death  of  the  two  ;  arrival  of  monks  who  carry  off  the  bodies  ; 
finale,  chorus  of  folk,  finishing  in  major  with  an  explosion  and  the  themes 
of  the  coda  of  the  overture." 

*  # 

We  have  seen  how  fond  Berlioz  was  of  this  work.  He  wrote  in  1829  ; 
"  Nothing,  I  swear  to  you,  nothing  is  so  '  terribly  frightful '  as  my  overture 
to  '  Les  Francs-Juges.'  ...  It  is  a  hymn  to  despair,  but  the  most  despair- 
ing despair  that  one  can  imagine,  horrible  and  tender.  Habeneck,  who 
conducted  my  immense  orchestra,  is  frightened  to  death  by  it.  They  have 
never  seen  anything  so  difficult ;  but  it  also  appears  that  they  do  not  find 
it  bad,  because  they  fell  upon  me  after  the  end,  not  only  with  furious 
applause,  but  with  cries  almost  as  terrifying  as  those  of  my  orchestra.  O 
Ferrand,  Ferrand,  why  are  you  not  here  ?  .  .  .  I  have  made  a  big  drum 
solo  pianissimo  in  '  Les  Francs-Juges.'  Intonuere  cavae  gemitiimque  dededere 
cavernae.  Yes,  it  is  frightful  !  All  that  my  heart  holds  of  rage  and  tender- 
ness is  in  this  overture.     O  Ferraud  !  " 

And  yet  it  is  a  curious  fact  that  this  overture  was  not  one  of  the  com- 
poser's parade-pieces  in  his  concerts  given  in  Germany,  Austria,  and 
Russia. 

#  * 

The  overture  is  scored  for  2  flutes  (both  interchangeable  with  piccolos), 
2  oboes,  2  clarinets,  2  ophicleides,  2  bassoons,  double-bassoon,  4  horns,  3 
trumpets,  3  trombones,  2  kettle-drums,  big  drum,  cymbals,  "at  least  15  first 
violins,  15  second  violins,  10  violas,  12  violoncellos,  9  double-basses." 

The  overture  begins  adagio  sostenuto,  F  minor,  2-2.     After  the  intro- 

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ductory  theme  (violins),  the  famous  passage  in  D -flat  major  for  brass  and 

bassoons  is  introduced.     The  second  part  of  the  overture,  allegro  assai, 

2-2,  begins  in  F  minor  with  a  passionate  first  theme.     The  second  theme, 

in  A-flat  for  violins,  is  in  strong  contrast.     Some  writer  many  years  ago 

asserted  that  this  theme  is  what  is  called  in  Germany  eine  Mordgeschichte, 

and  that  it  resembles  closely    a  German    melody,   "  Heinrich  schlief   bei 

seiner  neu  Vermahlten."  *     There  enters  a  striking  ascending  passage  in 

half  notes  for  the  bassoon,  against  the  first  theme  in  the  strings  and  the 

second  theme  in  the  wood-wind.     Then  soon  follow   singular  pages,  with 

this  introductory  note  :  "  Flutes  and  clarinets  should  be  gently  melancholy, 

while  the  strings,  rude  and  savage,   should  not  cover    the    flutes."     And 

there  is  a  shuddering,  long-continued  tremolo  of  violas  (later  with  'cellos) 

pianissimo.     Flute  and  oboes  sustain  chords  against  a  persistently  broken 

accompaniment  of  strings.     Pianissimo  blows  on  the  big  drum.     There  is 

a  return  of  the  second  theme  in  E-flat.     A  long  crescendo  is  begun  by  the 

'cellos,  leads  to  a  return  of  the  second  theme  in  F  major.     The  ascending 

passage,  at  first  given  to  bassoons,  comes  back   with    tremendous   force 

(brass,  wood-wind,  first  violins,  'cellos,  and  double-basses),  with   running 

counterpoint  in  second  violins  and  violas." 

This  overture,  dedicated  "  To  my  friend  Girard,"  f  was  played  at  a  concert 

of  the   Philharmonic   Society  of  New  York  as  early  as  March   7,  1846. 

The  first  performance  in  Boston  was  on  Feb.  14,  1866,  at  a  concert  of  the 

Orchestral  Union  under  Mr.  Zerrahn. 

# 
*  # 
There  were  learned  analyses  of  this  overture  written  in  Germany  fifty 

years  or  so  ago.     One  analyst  saw  "the  defendant  led  with  bandaged  eyes 

*  It  is  n:  t  at  all  probable  that  Berlioz  knew  this  German  tune  when  he  wrote  the  overture.  Ado'phe 
Jullien  says  the  phrase  was  taken  from  the  second  of  the  quintets  for  flute  and  strings  written  by  Berlioz  a'  his 
home  before  he  went  to  Paris ;  that  the  theme  had  pleased  his  father,  who  was  a  severe  cntic  of  anything  done 
by  his  son. 

t  Was  this  Narcisse  Girard  (1797-1860),  violinist,  teacher  at  the  Conservatory,  conductor  at  the  Op^ra- 
Comique,  Opt'ra,  and  of  the  Conservatory  Concerts? 

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before  the  judges  in  a  gloomy  place  at  midnight  to  hear  the  terrible  sen- 
tence. The  criminal  does  not  breathe ;  the  bandage  is  removed ;  he 
trembles, —  a  psychological  passage,  the  truth  of  which  no  one  can  judge 
who  has  not  observed  a  culprit  before  a  tribunal  or  placed  himself  in  a 
like  position."  (This  reminds  one  of  Artemus  Ward's  remark  to  the  audi- 
ence in  a  lecture  at  Egyptian  Hall  in  London  :  ':  Those  of  you  who  have 
been  in  Newgate  — ")  "  He  prays  for  mercy.  The  chorus  thunders 
'  No ! '     At  last,  affrighted  and  exhausted,  he  succumbs." 


Concerto  in  A  minor,  for  Violin       .     .     Johann  Sebastian  Bach. 

(Born  at  Eisenach,  March  21,  1685;  died  at  Leipsic,  July  28,  1750.) 

This  concerto  was  written  probably  during  Bach's  stay  at  Cothen 
(1717-23),  whither  he  was  called  from  Weimar  to  be  chapel-master  to 
Prince  Leopold,  of  Anhalt-Cothen.  The  prince  was  then  nearly  twenty- 
four  years  old,  an  amiable  young  man,  who  played  the  violin,  the  viol  da 
gamba,  and  the  harpsichord.  He  had  an  agreeable  bass  voice,  and  of 
him  Bach  said :  "  He  loved  music,  he  was  well  acquainted  with  it,  he 
understood  it." 

Bach  was  interested  in  the  violin  before  he  dwelt  in  Cothen.  He  began 
to  study  it  with  his  father,  Johann  Ambrosius,  who  died  in  1695  ;    and  in 


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1703,  as  court  musician  in  the  private  orchestra  of  Prince  Johann  Ernst, 
brother  of  the  reigning  Duke  of  Weimar,  he  was  for  some  months  first 
violinist,  until  he  went  to  Arnstadt,  to  be  organist  of  the  new  church.  Dur- 
ing his  stay  at  Weimar  (1708-17),  if  Forkel  is  to  be  believed,  Bach 
arranged  for  the  harpsichord  sixteen  of  Vivaldi's  violin  concertos,  for  the 
organ,  four  violin  concertos  of  the  same  master ;  and  Bach's  concerto  in 
A  minor  for  four  harpsichords  is  an  arrangement  of  Vivaldi's  concerto  in 
B  minor  for  four  solo  violins.  For  the  concertos  of  Italian  composers 
were  then  the  best,  and  it  was  the  fashion  to  transcribe  them  for  keyed 
instruments.  Walther  transcribed  concertos  by  Albinoni,  Manzia,  Gentili, 
Torelli,  Taglietti,  Gregori ;  and  Bach  took  themes  and  sometimes  bor- 
rowed more  extensively  from  Legrenzi  and  Albinoni,  as  well  as  from 
Vivaldi.* 

Up  to  the  middle  of  the  seventeenth  century,  music  for  the  solo  violin 
was  almost  wholly  composed  of  dance  tunes,  as  courantes,  gaillardes, 
pavanes,  etc.  These  pieces  were  called  indifferently  by  the  name  of 
"simfonia,"  "capricio,"  "fantasia,"  "toccata,"  "canzone,"  "ricercare." 

,  *Antonio  Vivaldi>  violinist,  composer,  sumamed  "The  Red  Priest,"  was  born  at  Venice  in  the  latter 
naif  of  the  seventeenth  century.  The  son  of  a  violinist  of  St.  Mark's  Church,  he  was  for  some  years  chapel- 
master  to  the  Landgraf  Philipp  of  Hesse-Darmstadt.  In  1713  he  returned  to  Venice  ;  he  was  made  director  of 
if  yonservatorio  della  Pieta,"  and  he  died  in  1743.  He  was  so  devout  that  a  rosary  was  in  his  hand  except 
when  he  was  writing  operas.  It  is  true  he  wrote  at  least  thirty-one  of  such  worldly  works.  Vet  once,  obsessed 
by  a  musical  idea,  he  left  the  altar,  went  to  the  sacristy  to  note  the  theme,  then  returned  to  finish  the  mass; 
tor  this  he  was  haled  before  the  Inquisition,  judged  a  little  flighty,  and  prohibited  from  celebrating  the  mass. 
He  published  twelve  trios,  eighteen  violin  sonatas,  "  Estro  Poetico  "  (twelve  coucertos  for  four  violins,  two 
violas,  cello,  and  organ-bass),  and  sixty-odd  concertos  of  various  sorts.  Among  his  pieces  is  one  in  which  he 
attempted  to  paint  in  tones  the  colors  of  the  rainbow.  Tommaso  Albinoni,  of  Venice  (1674-1745),  fecund 
writer  of  operas  and  pieces  for  instruments.  Luigi  de  Manzia  was  in  service  at  Diisselfdorf  about  1650. 
Giorgio  Gentili,  first  violin  of  the  ducal  chapel  of  Venice  was  bom  in  that  city  about  1668.  Giuseppe 
lorelh,  called  the  founder  of  the  "concerto  grosso,"  born  at  Verona,  was  appointed  violinist  of  the  St. 
Petromus  Church  at  Bologna  in  16S5,  and  in  1703  concert-master  to  the  Markgraf  at  Ansbach,  where  he  died 
in  1708.  Giulo  Taglietti,  born  at  Brescia  about  1660,  was  master  of  the  College  of  Saint  Anthony.  Giov. 
Lorenzo  Gregori,  violinist  and  composer  of  the  seventeenth  century,  in  the  service  of  the  Republic  of  Lucca. 
Giovanni  Legrenzi,  born  about  1625  at  Clusone,  died  at  Venice  in  1690,  organist  at  Bergamo,  then  director  of 
the  "  Conservatory  dei  Mendicanti "  and  chapel-master  of  St.  Mark's  at  Venice.  He  wrote  much  church  and 
instrumental  music  and  seventeen  operas,  and  enlarged  and  varied  the  orchestration  of  accompaniment  more 
than  any  man  of  his  period. 


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The  first  five  names  were  applied  especially  to  instrumental  pieces ;  the 
two  last  were  given  to  pieces  written  for  voices  or  instruments,  sometimes 
to  pieces  written  for  both.  "  Ricercare  "  soon  disappeared;  then  "  can- 
zone "  also  vanished.  "  Toccata  "  was  soon  applied  only  to  pieces  for 
keyed  instruments ;  and  toward  the  second  half  of  the  sixteenth  century 
"  simfonia  "  designated  an  instrumental  ritornello  or  an  overture.  Toward 
1650  the  word  "sonata"  took  the  special  meaning  of  an  instrumental 
piece  accompanied  by  the  organ  or  harpsichord,  or  even  other  instruments. 
Brossard  (1660-1730)  thus  defined  the  "chamber  sonata":  "Chamber 
sonatas  are  properly  suites  of  several  little  pieces  to  which  one  can  dance ; 
these  pieces  are  in  the  same  key ;  this  kind  of  sonata  begins  as  a  rule 
with  a  prelude  or  little  sonata  which  serves  as  an  introduction  to  the  other 
pieces  ;  then  come  the  allemande,  the  pavane,  the  courante,  and  other 
dances,  or  serious  airs  ;  then  follow  jigs,  passacaglias,  gavottes,  menuets, 
chaconnes,  and  other  gay  airs ;  these  are  all  of  the  same  tonality  or  mode, 
and  played  in  sequence  they  form  the  '  sonata  da  camera.'  "  Furthermore, 
the  sonata  absorbed  the  rights  of  |he  "  capricio  "  and  the  "fantasia." 

Composers  gradually  gave  to  instruments  the  expressive,  emotional 
melody  that  had  hitherto  been  given  to  drama  or  cantata.  These  pieces 
of  a  higher  melodic  character  appeared  at  first  to  be  suited  to  the  dignity 
of  church  service.  The  bass  was  written  for  the  organ ;  and  these  pieces, 
played  in  church,  were  called  by  the  name  of  "  musica  di  chiesa,"  as  con- 


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THE  WOUNDED  DOVE.     By  A.  Boucher. 


(375) 


trasted  with  "  musica  di  camera,"  which  was  still  composed  chiefly  of 
dance  tunes.  The  distinction  was  not  long  observed ;  and,  at  the  time 
when  Brossard  wrote,  the  Italians  confounded  the  two  kinds,  enriched 
chamber  music  by  the  use  of  formulas  supposed  to  be  peculiar  to  the 
church,  and  also  introduced  into  sacred  music  the  rhythm  of  the  dance 
and  the  passion  of  the  playhouse. 

Toward  1660  the  cornets  —  obsolete  wind-instruments  of  wood  or  ivory, 
straight  or  curved,  which,  according  to  Artusi  (1600),  imitated  closely  the 
human  voice  —  and  trombones  gave  way  in  Italian  orchestras  to  violins. 
The  string  quartet  began  to  take  its  rightful  place.  Legrenzi,  Vitali,  Maz- 
zonini,  were  helpful  in  establishing  this  change ;  but  chamber  music  owed 
still  more  to  Giovanni  Bassani,  born  in  1657  at  Padua,  violinist,  chapel- 
master  at  Bologna  and  Ferrara,  at  which  last-named  place  he  died  in 
1716.  Michelletti  published  his  "  Simfonie  et  Concerti  a  Quatro  "  and  in 
1698  his  "Concerti  Musicali."  Torelli,  however,  was  the  first  to  establish 
the  form  of  the  violin  solo  of  the  grand  style,  and  he  opened  the  way  to 
Arcangelo  Corelli  (1653-17 13),  the  pupil  of  Bassani,  and  the  father  of 
modern  violinists  and  composers  for  the  violin. 

(There  is  dispute  concerning  certain  details  in  the  history  of  the  develop- 
ment of  chamber  music.  I  have  followed  Lavoix,  the  younger,  in  his 
"  Histoire  de  1' Instrumentation  "  (Paris,  1878),  a  work  that  cannot  be  too 
highly  praised ;  and  in  some  instances  I  have  used  his  very  language.) 

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Of  these  concertos  by  Bach,  his  biographer,  Spitta,  wrote :   "  According 
to   rule,  a    tutti    subject    and    a    solo    subject  were  placed    side   by  side, 
and    the   solo  instrument  and  the  tutti  instruments  vied  with  each  other 
in  producing  the  greatest  amount  of  material  from  their  respective  sub- 
jects.    The    principal    key  and    those    nearest   to   it  were    the    fields    on 
which    these    contests  were    alternately  displayed ;    when    the    disputants 
returned  to  their  original   position,  the  combat  was   over.     According  to 
the   quality  of   tone   of    the   contrasting  instruments,  the  one  theme  was 
heavy  and  firm,  and    the  other  light  and    pliable.     But   there    were   also 
cases  in  which  one  chief   subject  was  considered  sufficient.     Then  it  was 
given  out  by  the  tutti   and  taken   up  and  worked  out  by  the  solo  instru- 
ment.    When  strictly  carried  out,  this  plan  gave  the  work  a  rather  poor 
effect ;  but,  when   the  composer  possessed  the   power  of   inventing  and 
devising  episodes,  he  might   take  a  phrase  of  the  tutti  subject,  and,  by 
making  new  matter  out  of  it  for  the  solo  instrument,  give  the  form  a  par- 
ticular charm.     The  feeling  of  dramatic  contrast   between   two  individu- 
alities  was,   however,  much   weakened    by  this   method :    the  form  more 
strictly  belonged  to  the  realm  of  pure  music.     But  it  was   just  this  which 
chiefly   interested    Bach, —  the    purely    musical    duality,   its    contrasts,  its 
combinative  fertility,  and  the  impulse  given  to  episodic  development  by 
its  antagonisms.  .  .  .  Thus  it  happens,  too,  in  his  concertos,  that  the  tutti 
passage    comprises    all    the    material  for   the  solo    subjects.     The    effec- 
tiveness   of     this    departure    from    the    rule    of    formation    depends    on 
the  way  in    which    the    instruments   are    treated.     This  is  especially  the 
case    with    the    violin    concertos.     Here,    where    the    solo   violin    is    set 
against    the    string-band     completed    by    the    harpsichord,    the    contrast 
of    the    two    bodies  of   sound    is,   of    course,  natural  and  obvious.     The 
class  of  work  had  a  great  interest  for  Bach,  as  will  be  easily  understood, 


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288    Boylston  Street 


OLD  VIOLINS. 


M  r.  ( )i  ivKit  offers  his 

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after  his  thorough  study  of  the  structure  of  Vivaldi's  concertos.  We 
posse-s  ihree  concertos  in  their  original  shape,  and  three  only  in  a  later 
remodelled  form  for  clavier  with  instrumental  accompaniment.  Out  of 
the  three  original  ones  two  have  been  treated  in  the  same  way.  These 
rearrangements  were  made  in  Leipsic,  to  judge  from  the  nature  of  the 
autographs.  We  have  no  direct  evidence  that  the  originals  are  of  the 
Cothen  time,  but  we  conclude  this  to  be  the  case  from  a  series  of  other 
instrumental  concertos,  to  which  these,  with  their  far  simpler  construction, 
form  the  natural  stepping-stones.  It  is  also  probable  from  the  official 
post  held  by  Bach  at  Cothen.  .  .  .  The  middle  movement  of  the  A  minor 
concerto  has,  what  is  seldom  found  with  such  definiteness  in  the  adagios, 
a  heavy  tutti  subject  contrasted  with  a  light  figure  for  the  solo  instrument ; 
the  organism  is  built  on  the  interchange  of  these,  without  becoming  a 
strict  violin  cantilena." 


# 

*  # 


This  Concerto  in  A  minor,  according  to  Bach's  own  description,  is  a 
"  Concerto  a  violino  certato,  due  violini,  una  viola,  obligati,  e  basso  con- 
tinue"* The  parts  are  in  the  Royal  Library  of  Berlin.  The  concerto 
begins  in  A  minor,  2-4,  without  indication  of  pace,  and  is  in  the  conven- 
tional form  of  the  period.  The  solo  violin  frankly  begins  with  the  accom- 
paniment. The  second  movement  is  an  Andante,  C  major,  4-4,  in  which 
the  solo  violin  with  its  embroidery  has  more  of  the  virtuoso  character 
The  third  and  last  movement  is  an  Allegro  assai,  A  minor,  9-8.  Bach  also 
arranged  this  concerto  for  harpsichord  and  strings,  and  the  tonality  is  G 
minor. 

When  Felix  Berber  f  played  this  concerto  at  the  Gewandhaus,  Nov  6, 
1902,  Dr.  Heuss,  the  critic  of  the  Signa/e  wrote:  "That  the  managers  of 
the  Gewandhaus  have  not  yet  decided  to  use  the  aid  of  the  harpsichord  in 
the  performance  of  orchestral  music  of  this  period  may  be  again  cited  as 
an  instance  of  the  unprogressive  tendencies  of  our  leading  concert  insti- 
tution "  Mr.  Kneisel,  appreciating  the  thinness  of  the  accompaniment, 
has  filled  and  strengthened  this  accompaniment  where  there  is  need  of 
such  support.  The  cadenza  introduced  in  the  third  movement  is  by 
Joseph  Hellmesberger,  the  elder,  of  Vienna  (1828-93). 

*  "  Continue, "  or  " basso  continuo," or  "basso  continuato,"  was  a  name  given  to  the  figured  instrumental 
bass  voice,  which  was  introduced  in  Italy  shortly  before  1600.  From  this  tigured  bass  the  modern  accom- 
paniment was  gradually  developed.—  Hugo  Ruvtann. 

t  Felix  Berber,  bom  at  Jena,  March  11,  1871,  studied  at  the  conservatories  of  Dresden  and  Leipsic.  He 
was  in  London  in  1889,  concert-master  at  Magdeburg  (1891-96),  and  in  1898  he  was  appointed  concert- 
o)  the  Gewandhaus  Orchestra,  Leipsic. 

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Symphonic  Poem  No.  2,  "  Tasso  :  Lament  and  Triumph." 

Franz  Liszt. 

(Born  at  Raiding,  near  Odenburg,  Hungary,  Oct.  22,  181 1 ;  died  at  Bayreuth, 

July  31,  18S6.) 

This  symphonic  poem  is  a  revision  of  a  "symphonic  prelude"  to 
Goethe's  "  Tasso."  The  prelude  was  written  to  celebrate  in  Weimar  the 
one  hundredth  anniversary  of  Goethe's  birth,  and  it  was  first  performed  in 
the  playhouse,  Weimar,  on  Aug.  28,  1849.  Liszt  also  composed  for  the 
anniversary  the  Goethe  Festival  March,  which  was  rewritten  in  1859,  and 
a  Goethe  Festival  Album,  in  which  he  included  an  arrangement  for  piano- 
forte of  the  Goethe  March,  a  male  chorus,  a  solo  for  baritone,  and  two  or 
three  earlier  compositions.     "Tasso"  was  published  in  1856. 

For  this  symphonic  poem  Liszt  wrote  a  preface  :  — 

"  In  1849  all  Germany  celebrated  brilliantly  the  one  hundredth  anni- 
versary of  Goethe's  birth.  At  Weimar,  where  we  then  happened  to  dwell, 
the  programme  of  the  festival  included  a  performance  of  his  drama 
'  Tasso,'  appointed  for  the  evening  of  August  28.  The  sad  fate  of  the 
most  unfortunate  of  poets  had  excited  the  imagination  of  the  mightiest 
poetic  geniuses  of  our  time  —  Goethe  and  Byron  :  Goethe,  whose  career 
was  one  of  brilliant  prosperity ;  Byron,  whose  keen  sufferings  counter- 
balanced the  advantages  of  his  birth  and  fortune.  We  shall  not  conceal 
the  fact  that,  when  in   1849  we  were  commissioned  to  write  an  overture 


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for  Goethe's  drama,  we  were  inspired  more  directly  by  the  respectful 
compassion  of  Byron  for  the  manes  of  the  great  man  whom  he  invoked 
than  by  the  work  of  the  German  poet.*  At  the  same  time,  although 
Byron  gave  us  the  groans  of  Tasso  in  his  prison,  he  did  not  join  to  the 
recollection  of  the  keen  sorrows  so  nobly  and  eloquently  expressed  in  his 
1  Lamentation  '  the  thought  of  the  triumph  that  awaited,  by  an  act  of 
tardy  yet  striking  justice,  the  chivalric  author  of  'Jerusalem  Delivered.' 

"We  have  wished  to  indicate  this  contrast  even  in  the  title  of  the  work, 
and  we  have  endeavored  to  succeed  in  formulating  this  grand  antithesis  of 
genius,  ill-treated  during  life,  but  after  death  resplendent  with  a  light  that 
dazzled  his  persecutors.  Tasso  loved  and  suffered  at  Ferrara  ;  he  was 
avenged  at  Rome  ;  his  glory  still  lives  in  the  people's  songs  at  Venice. 
These  three  points  are  inseparably  connected  with  his  undying  memory. 
To  express  them  in  music,  we  first  invoked  the  mighty  shadow  of  the  hero, 
as  it  now  appears,  haunting  the  lagoons  of  Venice  ;  we  have  caught  a 
glimpse  of  his  proud,  sad  face  at  the  feasts  in  Ferrara,  where  he  produced 
his  masterpieces ;  and  we  have  followed  him  to  Rome,  the  eternal  city, 
which  crowned  him  with  the  crown  of  glory,  and  glorified  in  him  the 
martyr  and  the  poet. 

"  '  Lamento  e  Trionfo,' —  these  are  the  two  great  contrasts  in  the  fate  of 
poets,  of  whom  it  has  been  justly  said  that,  while  curses  may  weigh  heavily 
on  their  life,  blessings  are  always  on  their  tomb.  In  order  to  give  this 
idea  not  only  the   authority  but  the  brilliance  of  fact,  we  have  borrowed 

♦The  influence  of  Byron  on  romantic  music  has  never  been  thoroughly  discussed.  This  influence  is  in- 
dubitable. It  lives  to-day  in  Russia,  Italy,  and  even  in  Germany.  "  Romanticism  was,  above  all,  an  effect  of 
youth.  .  .  .  Now,  Byron  is  pre-eminently  a  young  men's  poet :  and  upon  the  heroic  boys  of  1S30  —  greedy  of 
emotion,  intolerant  of  restraint,  contemptuous  of  reticence  and  sobriety,  sick  with  hatred  of  the  platitudes  of 
the  official  convention,  and  prepared  to  welcome  as  a  return  to  truth  and  nature  inventions  the  most  extrava- 
gant and  imaginings  the  most  fantastic  and  far-fetched — his  effect  was  little  short  of  maddening.  He  was 
fully  translated  as  early  as  1819-20;  and  the  modern  element  in  Romanticism  —  that  absurd  and  curious  com- 
bination of  vulgarity  and  terror,  cynicism  and  passion,  truculence  and  indecency,  extreme  bad-heartedness  and 
preposterous  self-sacrifice  —  is  mainly  his  work.  You  find  him  in  Dumas's  plays,  in  Musset's  verse,  in  the 
music  of  Berlioz,  the  pictures  of  Delacroix,  the  novels  of  George  Sand.  He  is  the  origin  of  '  Antony  '  and 
'  Rolla,'  of  '  Indiana  '  and  the  '  Massacre  de  Scio,'  of  Berlioz's  '  L61io  '  and  Frederick's  '  Macaire.'  " —  "  A 
Note  on  Romanticism,"  by  II'.  E.  Horfey. 


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even  the  form  from  fact,  and  to  that  end  chosen  as  the  theme  of  "out" 
musical  poem  the  melody  to  which  we  have  heard  the  Venetian  gondoliers 
sing  on  the  lagoons  three  centuries  after  his  death  the  first  strophes  of 
Tasso's  '  Jerusalem  '  "  : 

"  Canto  1'  armi  pietose  e  '1  Capitano, 
Che  '1  gran  Sepoloro  libera  di  Cristo  !"* 

"  The  motive  is  in  itself  plaintive,  of  a  groaning  slowness,  monotonous  in 
mourning ;  but  the  gondoliers  give  it  a  peculiar  coloring  by  drawling  cer- 
tain notes,  by  prolonging  tones,  which,  heard  from  afar,  produce  an  effect 
not  unlike  the  reflection  of  long  stripes  of  fading  light  upon  a  looking-glass 
of  water.  This  song  once  made  a  deep  impression  on  us,  and  when  we 
attempted  to  speak  of  Tasso  our  emotion  could  not  refrain  from  taking  as 
the  text  of  our  thoughts  this  persistent  homage  paid  by  his  country  to  the 
genius  of  whose  devotion  and  fidelity  the  court  at  Ferrara  was  not  worthy. 
The  Venetian  melody  is  so  charged  with  inconsolable  mourning,  with  such 
hopeless  sorrow,  that  it  suffices  to  portray  Tasso's  soul ;  and  again  it  lends 
itself  as  the  imagination  of  the  poet  to  the  picturing  of  the  brilliant  illu- 
sions of  the  world,  to  the  deceitful,  fallacious  coquetry  of  those  smiles 
whose  treacherous  poison  brought  on  the  horrible  catastrophe  for  which 
there  seemed  to  be  no  earthly  recompense,  but  which  was  clothed  event, 
ually  at  the  capital  with  a  purer  purple  than  that  of  Alphonse." 

*  Yet  there  are  some  that  could  easily  spare  the  "  Jerusalem  "  if  they  were  allowed  to  retain  Tasso's  Ode  to 
the  Golden  Age,  even  as  Englished  by  Leigh  Hunt :  "O  bella  eta  de  I' oro  .'",  the  ode  that  begins  :  — 

"  O  lovely  age  of  gold  ! 
Not  that  the  rivers  rolled 

With  milk,  or  that  the  woods  dropped  honey-dew  ; 
Not  that  the  ready  ground 
Produced  without  a  wound, 
Or  the  mild  serpent  had  no  tooth  that  slew  ; 
Not  that  a  cloudless  blue 
Forever  was  in  sight, 
Or  that  the  heaven  which  burns, 
And  now  is  cold  by  turns, 
Looked  out  in  glad  and  everlasting  light; 
No,  nor  that  even  ihe  insolent  ships  from  far 
Brought  war  to  no  new  lauds,  nor  riches  worse  than  war." 


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This  symphonic  poem  was  carefully  revised  by  Liszt  in  1854.  In  the 
Correspondence  of  Liszt  and  von  Bulow,  published  at  Leipsic  in  1898, 
there  are  interesting  pages  concerning  proposed  alterations  and  excisions 
for  performances  under  von  Billow,  who  suggested  the  changes.  The  reason- 
ableness and  the  shrewdness  of  the  proposer  and  the  amiability  of  Liszt 
are  exposed  in  clearest  light  (see  pp.  350,  351,  382-384). 


* 
*  * 


The  poem  is  based  on  two  themes.  The  first  of  these  is  given  out  fortis- 
simo by  'cellos  and  double-basses  in  octaves  at  the  very  beginning,  Lento, 
C  minor,  4-4.  The  commentators  find  the  situation  and  mood  of  the  poet 
thus  strongly  characterized.  Yet  this  theme  is  only  a  fragment  of  the 
chief  theme,  which  is  announced  later.  A  wailing  descending  chromatic 
passage,  and  the  lamentation  swells  to  wild  expressions  of  woe  and  rage, 
Allegro  strepitoso,  4-4.  The  thematic  materials  in  this  second  section  are 
chiefly  those  of  the  first.  The  section  opens  with  the  triplet  figure  of  the 
first  theme,  but  the  figure  is  detached  from  its  connection.  There  is  a 
prolonged  dominant  pedal,  on  which  a  theme  for  strings  rises  through  two 
octaves.  The  wailing  chromatic  passage  returns.  The  lento  recurs  for  a 
few  measures,  and  there  is  a  long  pause. 

Adagio  mesto,  C  minor,  4-4.  Now  enters  the  chief  theme  of  the  poem, 
the  Tasso  theme,  in  minor,  sung  by  the  bass  clarinet,  accompanied  by 
strings,  horns,  and  harp.  This  is  the  song  of  the  gondoliers  to  which 
Liszt  refers  in  the  preface,  the  old  and  mournful  melody  he  had  heard  in 
Venice  when  he  visited  that  city  in  the  late  thirties.*  It  pictures  here  the 
melancholy,  hopeless  Tasso.     The  violins  in  octaves  repeat  the  first  part 

*  Yet  Byron  wrote  in  1817:  — 

"  In  Venice,  Tasso's  echoes  are  no  more, 
And  silent  rows  the  songless  gondolier." 

See  the  long  note  to  this  couplet  in  Murray's  larger  editions  of  Byron's  poems. 


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of  this  theme  over  a  more  fully  scored  accompaniment  and  before  the 
second  part  of  the  melody  appears.  This  second  part,  in  A-flat  major,  is 
given  first  to  'cellos  and  horn,  then  to  the  violins  in  octaves.  There  is  an 
extended  development,  and  the  wailing  descending  chromatic  figure  ap- 
pears amid  tremolos  in  the  strings.  There  is  now  a  change  in  the  breast 
of  the  hero.  He  realizes  his  worth  and  genius.  The  pace  is  quickened, 
and  the  Tasso  motive,  Meno  adagio,  E  major,  4-4,  is  proclaimed  by 
trumpets  and  accompanied  by  energetic  diatonic  and  chromatic  scale 
passages  in  the  strings, —  "  the  veritable  portrait  in  music  of  the  knightly 
singer."  This  proud  and  defiant  passage  is  followed  by  recitative-like 
passage-work  on  the  first  and  tragic  motive  in  wind  instruments  against 
violin  tremolos. 

And  now  there  is  a  new  picture, —  Tasso  at  the  court  of  Ferrara  :  *  Al- 
legro mosso  con  grazia  (quasi  menuetto),  F-sharp  major,  3-4.  This  section 
is  said  to  portray  a  fete  at  the  court.  The  first  theme,  graceful,  elegant,  is 
given  to  two  'cellos,  accompanied  by  the  other  strings ;  the  theme  is  devel- 
oped at  great  length,  and  clad  in  various  orchestral  robes.     Tasso  enters. t 

*At  a  concert  given  in  January,  1856,  in  the  White  Hall  of  the  Palace  at  Berlin,— the  hall  was  lighted 
with  over  two  thousand  candles,  and  there  were  from  twelve  hundred  to  fifteen  hundred  invited  guests, —  the 
King  of  Prussia  spoke  affably  to  Liszt  concerning  his  "Tasso,"  and  said  he  was  especially  struck  by  the 
"  Court  scene,"  to  which  Liszt  might  well  have  answered :  "  Votes  Hes  orfhvre,  monsieur  Josse." 

t "  And  Tasso  is  their  glory  and  their  shame. 
Hark  to  his  strain  !  and  then  survey  his  cell  ! 
And  see  how  dearly  earn'd  Torquato's  fame, 
And  where  Alfonso  bade  his  poet  dwell : 
The  miserable  despot  could  not  queli 


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His  theme  is  given  to  strings,  while  the  menuet  is  continued  by  the  wood- 
wind. Liszt  here  suggests  that  "  the  poet  and  his  surroundings  are  dis- 
tinct," and  states  in  a  foot-note  that  "  the  expression  of  the  orchestra  must 
have  a  double  character :  the  wind  must  be  light  and  careless,  while 
the  strings  must  be  sentimental  and  tender."  These  two  themes  are 
worked  up  together  at  length,  until  there  is  an  ever-quickening  crescendo, 
which  brings  a  return  of  the  allegro  strepitoso  that  followed  the  lento  at 
the  beginning;  and,  as  before,  there  are  eight  measures  of  the  lento 
itself. 

And  now  the  "Triumph  "  :  Allegro  con  molto  brio,  C  major,  2-2.  There 
are  trumpet  calls,  there  are  scale  passages  for  strings.  The  first  theme 
appears,  and  is  developed  elaborately, —  at  first,  piano,  in  the  strings,  then 
in  flutes  and  oboes,  B-flat  major,  then  fortissimo  in  C  major,  and  for  full 
orchestra.  The  second  theme  is  proclaimed  ;  the  pace  grows  faster  and 
faster  until  it  is  quasi  presto  ;  the  blare  of  trumpets  leads  to  moderato 
pomposo,  the  apotheosis  of  the  gondoliers'  song  as  typical  of  Tasso 
crowned  and  exalted.  Pages  of  pomp  and  jubilation,  and  a  stretto,  molto 
animato,  in  which  festival  tumult  is  at  its  height. 


To    this  poem    Liszt  wrote    an    epilogue,  "  Le   Triomphe  funebre    du 


The  insulted  mind  lie  sought  to  quench,  and  blend 
With  the  surrounding  maniacs,  in  the  hell 
Where  he  had  plunged  it.     Glory  without  end 
Scatter'd  the  clouds  away  —  and  on  that  name  attend 

'  The  tears  and  praises  of  all  time  ;  while  thine 
W ould  rot  in  its  oblivion  —  in  the  sink 
Of  worthless  dust,  which  from  thy  boasted  line 
Is  shaken  into  nothing;  but  the  link 
Thou  formest  in  his  fortunes  bids  us  think 
Of  thy  poor  malice,  naming  thee  with  scorn  — 
Alfonso!     How  thy  ducal  pageants  shrink 
From  thee  !  if  in  another  station  born, 
Scarce  fit  to  be  the  slave  of  him  thou  mad'st  to  mourn. 


1  Child c  Harold' 


146  Tremont  Street. 
FRESH,    PURE,    DELICIOUS 

BONBONS  and 
CHOCOLATES. 

Hot   Chocolate   and    Ice=cream 
Soda. 


Miss  GAFFNEY, 

Manicuring,  Shampooinc ,  H  <  i  r 
Dressing,  and  Chiropodg. 
Hygienic  Treatment  oF  Mead,  Face, 
and  Neck. 

AMIRAL  SOAP 

Made  in  France,  for  reducing  corpulency  by 
external  application.  Recommended  and  pre- 
scribed by  the  medical  profession. 

Removing  and  preventing  wrinkles  and  im- 
proving tbe  complexion  by  restoring  muscular 
tone  and  tissue  building,  without  the  use  of 
cosmetics  or  steaming.    Head  treated  for  con- 

f;estion,  falling  hair,  and  to  promote  growth. 
Vill  visit  ladies  at  their  homes. 

Address,  384  BOYLSTON  STREET. 


Testimonials  from   distinguished  men  and 
women  of  Boston. 


(387) 


Tasse."  This  composition  was  suggested  by  a  sunset  during  a  walk  to 
St.  Onofrio.  It  was  written  probably  in  1868,  and  it  was  performed  for 
the  first  time,  according  to  L.  Ramann  and  Arthur  Hahn,  by  the  Phil- 
harmonic Society  of  New  York  in  March,  1877. 


* 
*  * 


"Tasso"  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  bass  clari- 
net, 2  bassoons,  4  horns,  4  trumpets,  3  trombones,  tuba,  kettle  drums, 
snare  drum,  big  drum,  cymbals,  triangle,  harp,  and  strings. 

The  first  performance  in  Boston  was  by  Theodore  Thomas's  orchestra, 
April  5,  1870.  The  first  performance  by  the  Philharmonic  Society  of  New 
York  was  March  24,  i860. 


#  * 


"The  miseries  of  Tasso  arose  not  only  from  the  imagination  and  the 
heart.  In  the  metropolis  of  the  Christian  world,  with  many  admirers  and 
many  patrons, —  bishops,  cardinals,  princes, —  he  was  left  destitute  and 
almost  famished.  .  .  .  He  says  that  he  was  unable  to  pay  the  carriage  of  a 
parcel.  No  wonder,  if  he  had  not  wherewithal  to  buy  enough  of  zucca  for 
a  meal.  Even  had  he  been  in  health  and  appetite,  he  might  have  satisfied 
his  hunger  with  it  for  about  five  farthings,  and  have  left  half  for  supper. 
And  now  a  word  on  his  insanity.  Having  been  so  imprudent  not  only  as 
to  make  it  too  evident  in  his  poetry  that  he  was  the  lover  of  Leonora, 
but  also  to  signify  (not  very  obscuicly)  that  his  love  was  returned,  he 
much  perplexed  the  Duke  of  Ferrara,  who,  with  great  discretion,  sug- 
gested to  him  the  necessity  of  feigning  madness.  The  lady's  honor 
required  it  from  a  brother  ;  and  a  true  lover,  to  convince  the  world,  would 
embrace  the  project  with  alacrity.  But  there  is  no  reason  why  the 
seclusion  should  be  in  a  dungeon,  or  why  exercise  and  air  should  be 
interdicted.     This  cruelty,  and  perhaps  his  uncertainty  of  Leonora's  com- 


It's  a  Fownes* 

That's  all  you 
need  to  know  about 
a  glove 


(318) 


passion,  may  well  be  imagined  to  have  produced  at  last  the  malady  he  had 
feigned.  But  did  Leonora  love  Tasso  as  a  man  would  be  loved  ?  If  we 
wish  to  do  her  honor,  let  us  hope  it :  for  what  greater  glory  can  there  be 
than  to  have  estimated  at  the  full  value  so  exalted  a  genius,  so  affectionate 
and  so  generous  a  heart  ?  " —  Foot-note  to  Walter  Savage  Landor'.s  "  Tasso 
and  Cornelia." 


Symphony  No.  3,  in  E-flat  major,  "  Eroica,"  Op.  55. 

Ludwig  van  Beethoven. 

(Born  at  Bonn,  Dec.  16  (?),  1770;  died  at  Vienna,  March  26,  1827.) 

Anton  Schindler  wrote  in  his  Life  of  Beethoven  (Minister,  1840)  :  "  First 
in  the  fall  of  1802  was  his  [Beethoven's]  mental  condition  so  much  bet- 
tered that  he  could  afresh  take  hold  of  his  long-formulated  plan  and  make 
some  progress  :  to  pay  homage  with  a  great  instrumental  work  to  the  hero 
of  the  time,  Napoleon.  Yet  not  until  1803  did  he  set  himself  seriously  to 
this  gigantic  work,  which  we  now  know  under  the  title  of  '  Sinphonia 
Eroica ' :  on  account  of  many  interruptions  it  was  not  finished  until  the 
following  year.  .  .  .  The  first  idea  of  this  symphony  is  said  to  have  come 
from  General  Bernadotte,  who  was  then  French  Ambassador  at  Vienna, 
and  highly  treasured  Beethoven.  I  heard  this  from  many  friends  of 
Beethoven.  Count  Moritz  Lichnowsky,  who  was  often  with  Beethoven  in 
the  company  of  Bernadotte,  .  .  .  told  me  the  same  story."  Schindler  also 
wrote,  with  reference  to  the  year  1823:  "The  correspondence  of  the 
King  of  Sweden  led  Beethoven's  memory  back  to  the  time  when  the  King, 


HATS     AND     FURS 

PROPER    SHAPES    IN   LADIES'    ROUND 

HATS,  WALKING,  GOLFING,  AND 

HUNTING  HATS.     RICH   FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COHPANY,    -    BOSTON 

(389) 


then  General  Bernadotte,  Ambassador  of  the  French  Republic,  was  at 
Vienna,  and  Beethoven  had  a  lively  recollection  of  the  fact  that  Berna- 
dotte indeed  first  awakened  in  him  the  idea  of  the  '  Sinphonia  Eroica.'" 

These  statements  are  direct.  Unfortunately,  Schindler,  in  the  third  edi- 
tion of  his  book,  mentioned  Beethoven  as  a  visitor  at  the  house  of  Bernadotte 
in  1798,  repeated  the  statement  that  Bernadotte  inspired  the  idea  of  the 
symphony,  and  added  :  "  Not  long  afterward  the  idea  blossomed  into  a 
deed ";  he  also  laid  stress  on  the  fact  that  Beethoven  was  a  stanch  re- 
publican, and  cited,  in  support  of  his  admiration  of  Napoleon,  passages 
from  Beethoven's  own  copy  of  Schleiermacher's  translation  of  Plato. 

Thayer  admits  that  the  thought  of  Napoleon  may  have  influenced  the 
form  and  the  contents  of  the  symphony,  and  that  the  composer  may  have 
based  a  system  of  politics  on  Plato ;  "  but,"  he  adds,  "  Bernadotte  had 
been  long  absent  from  Vienna  before  the  Consular  form  of  government 
was  adopted  at  Paris,  and  before  Schleiermacher's  Plato  was  published  in 
Berlin." 

The  symphony  was  composed  in  1803-1804.  The  story  is  that  the  title- 
page  of  the  manuscript  bore  the  word  "  Buonaparte  "  and  at  the  bottom  of 


THE 


From  all  sides  comes  the  highest  praise  for  the  Apollo  piano 
player.  Singers,  pianists,  organists,  and  orchestral  directors,  all  of 
them  recognized  as  belonging  in  the  ranks  of  the  world's  greatest  ar- 
tists, join  in  paying  hearty  tribute  to  its  beautiful  musical  qualities,  its  fine  con- 
struction, its  responsiveness,  andits  perfect  and  brilliant  execution.      Price, 

$225. 

The  APOLLO  GRAND  (the  largest  piano-player  made)  covers  the  entire 
range  of  a  seven-octave  piano.      Price,   $300. 


120  and   122 

Boylston  St. 


(,W) 


the  page  "  Luigi  van  Beethoven  "  ;  "  and  not  a  word  more,"  said  Ries,  who 
saw  the  manuscript.  "  I  was  the  first,"  also  said  Ries,  "who  brought  him 
the  news  that  Bonaparte  had  had  himself  declared  Emperor,  whereat  he 
broke  out  angrily  :  '  Then  he's  nothing  but  an  ordinary  man  !  Now  he'll 
trample  on  all  the  rights  of  men  to  serve  his  own  ambition  ;  he  will  put 
himself  higher  than  all  others  and  turn  out  a  tyrant ! ' " 

Furthermore,  there  is  the  story  that,  when  the  death  of  Napoleon  at 
St.  Helena  was  announced,  Beethoven  exclaimed,  "  Did  I  not  foresee 
the  catastrophe  when  I  wrote  the  funeral  march  in  the  '  Eroica  '  ?  " 

The  original  score  of  the  symphony  was  bought  in  1827  by  Joseph 
Dessauer  for  three  florins,  ten  kreuzers,  at  auction  in  Vienna.  On  the  title- 
page  stands  :  "  Sinfonia  grande."  Two  words  that  should  follow  immedi- 
ately were  erased.  One  of  these  words  is  plainly  "  Bonaparte,"  and  under 
his  own  name  the  composer  wrote  in  large  characters  with  a  lead-pencil  : 
"  Written  on  Bonaparte." 

Thus  it  appears  there  can  be  nothing  in  the  statements  that  have  come 
down  from  Czerny,  Dr.  Bartolini,  and  others  :  the  first  allegro  describes 
a  sea-fight ;  the  funeral  march  is  in  memory  of  Nelson  or  General 
Abercrombie,  etc.  There  can  be  no  doubt  that  Napoleon,  the  young 
conqueror,  the  Consul,  the  enemy  of  kings,  worked  a  spell  over  Beethoven, 
as  over  Berlioz,  Hazlitt,  Victor  Hugo  ;  for,  according  to  Mr.  W.  E.  Henley's 
paradox  :  although  as  despot,  Napoleon  had  "  no  love  for  new  ideas  and 
no  tolerance  for  intellectual  independence,"  yet  he  was  "the  great  First 
Cause  of  Romanticism." 

The  symphony  was  first  performed  at  a  private  concert  at  Prince  Lob- 
kowitz's  in  December,  1804.  The  composer  conducted,  and  in  the  sec- 
ond half  of  the  first  allegro  he  brought  the  orchestra  to  grief,  so  that  a 
fresh  start  was  made.  The  first  performance  in  public  was  at  a  concert 
given  by  Clement  at  the  Theater  an  der  Wien,  April  7,  1805.  The  sym- 
phony was  announced  as  "  A  new  grand  Symphony  in  D-sharp  by  Herr 
Ludwig  van  Beethoven,  dedicated  to  his  Excellence  Prince  von  Lobko- 
witz."  Beethoven  conducted.  Czerny  remembered  that  some  one  shouted 
from  the  gallery  :  "  I'd  give  another  kreuzer  if  they  would  stop."  Beetho- 
ven's friends  declared  the  work  a  masterpiece.  Some  said  it  would  gain 
if  it  were  shortened,  if  there  were  more  "  light,  clearness,  and  unity." 
Others  found  it  a  mixture  of  the  good,  the  grotesque,  the  tiresome. 

The  symphony  was  published  in  October,  1806.  The  title  in  Italian 
stated  that  it  was  to  celebrate  the  memory  of  a  great  man.  And  there  was 
this  note  :  "  Since  this  symphony  is  longer  than  an  ordinary  symphony,  it 
should  be  performed  at  the  beginning  rather  than  at  the  end  of  a  concert, 
either  after  an  overture  or  an  aria,  or  after  a  concerto.  If  it  be  per- 
formed too  late,  there  is  the  danger  that  it  will  not  produce  on  the  audi- 
ence, whose  attention  will  be  already  wearied  by  preceding  pieces,  the 
effect  which  the  composer  purposed  in  his  own  mind  to  attain." 

(391) 


#  * 

This  symphony  was  performed  in  Boston  for  the  first  time  at  a  concert 
of  the  Musical  Fund  Society,  Mr.  G.  J.  Webb  conductor,  Dec.  13,  185 1. 
The  programme  was  as  follows  :  — 

PART   I. 

1.  Grand  Symphony  No.  3,  "  Eroica  " Bttthoven 

(First  time  in  Boston.) 

PART   II. 

1.  Grand  Overture  to  "  Waverley  " Berlioz 

(First  time  in  Boston.) 

2.  Cavatina,  "Robert,  toi  que  j'aime" Mayerbeer  (sic) 

Mme.  Goria  Botho. 

3.  Fantaisie  pour  la  clarionette,  avec  accompag't  d'orchestra,  "  L'Attente 

et  l'Arrivee"  (sic),  Op.  1S0 C.  G.  Reissiger 

Thomas  Ryan. 

4.  Air  from  "Charles  VI." Halevy 

Mme.  Goria  Botho. 

5.  Grand  Fantaisie  for  the  'Cello,  on  a  theme  from  "  Robert  the  Devil  " 

and  an  original  theme  by  Molique F.  A.  Ktimmet 

Wulf  Fries. 

6.  Overture,  "  II  Barbiere  de  Seviglia" Rossini 

* 

*  * 

The  first  movement,  Allegro  con  brio,  E-flat  major,  3-4,  opens  with  two 
heavy  chords  for  full  orchestra,  after  which  the  chief  theme  is  given  out 
by  the  'cellos.  This  theme  is  note  for  note  the  same  as  that  of  the 
first  measures  of  the  Intrade  written  by  Mozart  in  1786  at  Vienna  for 
his  one-act  operetta,  "  Bastien  et  Bastienne,"  performed  in  1786  at  a 
Viennese  garden-house  (K.  50).  Mozart's  theme  is  in  G  major.  Beet- 
hoven's theme  is  finished  by  the  violins  and  developed  at  length.  There 
is  a  subsidiary  theme,  which  begins  with  a  series  of  detached  phrases  dis- 
tributed among  wood-wind  instruments  and  then  the  violins.  The  second 
theme,  of  a  plaintive  character,  is  given  out  alternately  by  wood-wind  and 
strings.  The  development  is  most  elaborate,  full  of  striking  contrasts, 
rich  in  new  ideas.  The  passage  in  which  the  horn  enters  with  the  first 
two  measures  of  the  first  theme  in  the  tonic  chord  of  the  key,  while  the 
violins  keep  up  a  tremolo  on  A-flat  and  B-flat,  has  given  rise  to  many 
anecdotes  and  provoked  fierce  discussion.     The  coda  is  of  unusual  length. 

The  funeral  march,  Adagio   assai,  C  minor,  2-4,  begins,  pianissimo  e 

(31'2; 


S.    S.    PIERCE    CO. 

IMPORTERS    AND    GROCERS 

BOSTON     BROOKLINE 


We  are  now  displaying  our  Complete  Line  of 

AUTUMN    GLOVES. 

The  styles  and   colors  have  never  been  more 
attractive,  and  the  range  of  prices,  from 

$1.00  to  $2.00, 

Will  meet  the  demand  of  all  wearers  of  gloves. 


Miss  M.  F.  FISK,  144  Tremont  St. 


MR.  FELIX  FOX 

Will  play  at  his  next  recital  the  Prelude,  Op. 
17,  No.  23,  which  we  have  recently  published, 
edited  by  him,  also  the  Prelude  No.  21.  Our 
new  catalogue  has  an  interesting  list  of  new 
compositions  in  all  grades.  A  postal  card  with 
your  address  will  bring  it. 

VERITAS  MARCH 

by  J.  E.  Densmore.  This  year's  Foot-ball 
March,  just  published,  and  already  run  through 
several  editions. 


C.  W.  THOriPSON  &  CO., 

Music  Publishers,  13  West  St. 


u-,  E 


HOLIDAY 

BOOKS 

CALENDARS 

PERIODICALS 


1/1 « 

c/i  > 


CUPPLES  &  SCHOENHOF, 

128  Tremont  St.,  2d  door  north  of  Winter  St., 
over  Wood's  Jewelry  Store.    (Tel.,  Oxford  1099-2.) 

mile.  CAROLINE 

Invites  you  to  inspect  her  foreign  selection 
of 

Hats  and   Bonnets, 

Together  with  her  own  designs.    The  prices 
are  very  reasonable. 

486  Boylston  Street,  Boston. 

In  block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(394) 


sotto  voce,  with  the  theme  in  the  first  violins,  accompanied  by  simple 
chords  in  the  other  strings.  The  theme  is  repeated  by  the  oboe,  accom- 
panied by  wood-wind  instruments  and  strings ;  and  the  strings  give  the 
second  portion  of  the  theme.  A  development  by  full  orchestra  follows. 
The  second  theme  is  in  C  major.  Phrases  are  given  out  by  various  wood- 
wind instruments  in  alternation,  accompanied  by  triplet  arpeggios  in  the 
strings.  This  theme,  too,  is  developed ;  and  there  is  a  return  to  the  first 
theme  in  C  minor  in  the  strings.  There  is  fugal  development  at  length  of 
a  figure  that  is  not  closely  connected  with  either  of  the  two  themes.  The 
first  theme  reappears  for  a  moment,  but  strings  and  brass  enter  fortissimo 
in  A-flat  major.  This  episode  is  followed  by  another ;  and  at  last  the 
first  theme  returns  in  fragmentary  form  in  the  first  violins,  accompanied 
by  a  pizzicato  bass  and  chords  in  oboes  and  horns. 

Scherzo  :  Allegro  vivace,  E-flat  major,  3-4.  Strings  are  pianissimo  and 
staccato,  and  oboe  and  first  violins  play  a  gay  theme  which  Marx  says  is 
taken  from  an  old  Austrian  folk-song.  This  melody  is  the  basic  material 
of  the  scherzo.  The  trio  in  E-flat  major  includes  hunting-calls  by  the 
horns,  which  are  interrupted  by  passages  in  wood-wind  instruments  or 
strings. 

Finale :  Allegro  molto,  E-flat  major,  2-4.  A  theme,  or,  rather,  a  double 
theme,  with  variations ;  and  Beethoven  was  fond  of  this  theme,  for  he  had 
used  it  in  the  finale  of  his  ballet,  "  Die  Geschopfe  des  Prometheus,"  in  the 
Variations  for  pianoforte,  Op.  35,  and  in  a  country  dance.  After  a  few 
measures  of  introduction,  the  bass  to  the  melody  which  is  to  come  is 
given  out,  as  though  it  were  an  independent  theme.  The  first  two  varia" 
tions  in  the  strings  are  contrapuntal.  In  the  third  the  tuneful  second 
theme  is  in  the  wood-wind  against  runs  in  the  first  violins.  The  fourth  is 
a  long  fugal  development  of  the  first  theme  against  a  counter-subject 
found  in  the  first  variation.     Variations  in  G  minor  follow,  and  the  second 


Cocoa  Butter 


WMtalte 


FOR  ROUGH  SKIN  8C 

DRUGGISTS  EVERYWHERE 

or  sekt  upon  turtiPT  or  price  8S3  Brawny  n 


(305; 


theme  is  heard  in  C  major.  There  is  a  new  fugal  development  of  the  first 
theme  inverted.  The  tempo  changes  to  poco  andante,  wood-wind  instru- 
ments play  an  expressive  version  of  the  second  theme,  which  is  developed 
to  a  coda  for  full  orchestra,  and  the  symphony  ends  with  a  joyful  glorifica- 
tion of  the  theme. 

The  symphony  is  scored  for  2   flutes,  2  oboes,  2  clarinets,  2  bassoons, 
3  horns,  2  trumpets,  kettle-drums,  and  strings. 


#  * 


What  strange  and  even  grotesque  "  explanations "  of  this  symphony 
there  have  been  ! 

At  the  second  concert  of  the  Philharmonic  Society  of  New  York,  Feb. 
18,  1843,  tne  following  comments  were  printed  on  the  programme  :  "This 
great  work  was  commenced  when  Napoleon  was  first  Consul,  and  was  in- 
tended to  portray  the  workings  of  that  extraordinary  man's  mind.  In  the 
first  movement,  the  simple  subject,  keeping  its  uninterrupted  way  through 
harmonies  that  at  times  seem  in  almost  chaotic  confusion,  is  a  grand  idea 
of  Napoleon's  determination  of  character.  The  second  movement  is  de- 
scriptive of  the  funeral  honors  paid  to  one  of  his  favorite  Generals,  and  is 
entitled  '  Funeral  March  on  the  Death  of  a  Hero.'  The  winding  up  of  this 
movement  represents  the  faltering  steps  of  the  last  gazers  into  the  grave, 
and  the  listener  hears  the  tears  fall  on  the  coffin  ere  the  funeral  volley  is 
fired,  and  repeated  faintly  by  an  echo.  The  third  movement  (Minuet  and 
Trio)  describes  the  homeward  march  of  the  soldiery,  and  the  Finale  is  a 
combination  of  French  Revolutionary  airs  put  together  in  a  manner  that  no 
one  save  a  Beethoven  could  have  imagined."  And  this  note,  Mr.  Krehbiel 
tells  us,  was  inserted  in  the  programme  for  several,  even  twenty-five,  years 
after. 

Marx  saw  in  the  first  movement  of  the  symphony  the  incidents  of  a 
battle  as  it  is  preconceived  in  the  mind  of  the  conqueror.  The  different 
incidents  are  characterized  by  the  chief  themes  and  their  developments. 
The  ending  w'th  the  return  of  the  first  theme  is  the  triumph  of  the  victor's 
plan.  The  funeral  march  pictures  Night  spreading  her  shade  over  the 
battlefield,  which  is  covered  with  the  corpses  of  those  who  died  for  glory; 
in  the  scherzo  are  heard  the  rejoicings  of  the  soldiery  homsward  bound; 
and  the  finale  is  Peace  consecrating  the  victories  of  the  hero. 

Griepenkerl  preferred  to  see  in  the  fugued  passage  of  the  first  move- 
ment the  entrance  of  the  nineteenth  century. 

Berlioz  insisted  that  there  should  be  no  thought  of  battles  or  trium- 
phant marches,  but  rather  profound  reflections,  melancholy  recollections, 
imposing  ceremonies, —  in  a  word,  the  funeral  oration  over  a  hero. 

Wagner  wrote  :  "  The  designation  '  heroic '  is  to  be  taken  in  its  widest 
sense,  and  in  no  wise  to  be  conceived  as  relating  merely  to  a  military 
hero.     If  we  broadly   connote   by    'hero'    ('  Held11)    the  whole,   the  full- 

(396) 


fledged  man,  in  whom  are  present  all  the  purely  human  feelings  —  of  love, 
of  grief,  of  force  —  in  their  highest  fill  and  strength,  then  we  shall  rightly 
grasp  the  subject  which  the  artist  lets  appeal  to  us  in  the  speaking  accents 
of  his  tone-work.  The  artistic  space  of  this  work  is  filled  with  all  the 
varied,  intercrossing  feelings  of  a  strong,  a  consummate  Individuality,  to 
which  nothing  human  is  a  stranger,  but  which  includes  within  itself  all 
truly  Human,  and  utters  it  in  such  a  fashion  that,  after  frankly  manifest- 
ing every  noble  passion,  it  reaches  a  final  rounding  of  its  nature,  wherein 
the  most  feeling  softness  is  wedded  with  the  most  energetic  force.  The 
heroic  tendency  of  this  art  work  is  the  progress  toward  that  rounding  off  " 
(Englished  by  Mr.  W.  A.  Ellis).  And  Wagner  explained  on  these  lines 
each  movement.  As  the  second  shows  the  "  deeply,  stoutly  suffering 
man,"  so  the  scherzo  reveals  the  "  gladly,  blithely  doing  man  "  ;  while  the 
finale  shows  us  finally  "  the  man  entire,  harmoniously  at  one  with  self,  in 
those  emotions  where  the  Memory  of  Sorrow  becomes  itself  the  shaping- 
force  of  noble  Deeds." 

Nor  should  the  "  rededication  "  of  the  "Eroica''  to  Bismarck  by  von 
Biilow,  cher  unique,  as  Liszt  frequently  called  him,  be  forgotten.  Von 
Biilow  said,  at  a  concert  of  the  Philharmonic  Orchestra  of  Berlin  (May  28, 
1892):  "Yes,  the  hero  was  the  quintessence  of  the  world  to  Beethoven. 
We  cannot  know,  we  cannot  surmise,  what  slumbered  in  his  soul.  Per- 
haps there  slumbered  the  picture  of  the  great  American  citizen,  George 
Washington.  But  he  looked  for  a  hero  of  his  own  time,  a  European 
hero ;  and  his  eyes  fell  on  the  great  star  of  Bonaparte." 

And  there  von  Biilow  might  have  stopped  where  Beethoven  began. 


WILLIAM    C.    CARL 


gives 

instruction 

in  the 

art  of 

Organ 


The  Boston   Symphony 
Orchestra    Programme 

For  the  twenty-four  Boston 
Concerts,  with  Historical  and 
Descriptive  Notes  by  Philip  Hale. 


Jit 


Address :  34  West  12th  Street,  New  York 


Bound   copies  of  the   Programme  for  the 
entire  season  can  be  had  at  $1.50  by  apply- 
•TMaying       ing  before  the  last   concert.     Address    all 
communications  to 


F.  R.  COMEE,  Symphony  Hall,  Boston. 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia  Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(398) 

Newport 

Eighth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  DECEMBER  i%  at  2.30  o'clock. 

SATURDAY  EVENING,  DECEMBER  20,  at  8.00  o'clock. 


PROGRAMME. 

Haydn  ♦        .        .        .        ♦  Symphony  No.  JO,  in  D  major 

Tschaikowsky        .        Concerto  for  Pianoforte,  No.  J,  in  B-flat  minor 
Cesar  Franck  ....      Symphonic  Poem,     Les  Eolides " 

Liszt  .    March  of  the  Holy  Three  Kings,  from  the  Oratorio,  **  Christ  ** 

(First  time.) 

SOLOIST: 
Mr.  HAROLD  RANDOLPH 


STB>IJVE>lCr     HAI.L 

FRENCH  SONG  RECITAL 

BY 

rime.   ALEXANDER=MARIUS 

TUESDAY   EVENING,  DECEMBER  %  at  8.15. 

Tickets,  SI. 00  and  $1.50,  for  sale  at  the  hall,  Students  tickets,  half-price. 

PROQRAM. 


Le  Poeme  de  1' Amour  et  de  la  Mer, 

Ernest  Chausson 


J- 


Nell, 

L'Hermite,  .       .        .A.  Perilhou 

Chanson  a  Danser, 


LesCKmons,!    ■        ■        ■     Ernest  Chausson 


La  pouSsWre  1    Chansons  de 

t  a  p?»i«        '  >  Miakka,    Alexandre  Georges 

La  Parole,       J    W  desire) 

Les  Mains,  )  ,r . 

Mousme.     } Massenet 

En  Sourdine  (Chanson  Grise),     Gabriel  Faure 

Mandoline      ....  C.  Chaniinade 

By  desire  of  Mme.  Carbonel  Chaminade 


PIANOFORTE    RECITAL 

FELIX     FOX 

Assisted   by    Or.     PERCY     GOETSCHIUS,    at    the    organ. 

Thursday  evening, 
December  11,  at  8. 

Theme  and  Variations C.  Chevillard 

Prelude,  Fugue,  and  Variations.    (For  Organ  and  Piano) Cesar  Franck 

Sonata Liszt 

Super  Flumina  Babylonis.    (Pa.  137) Ch.  V.  Alkan 

Ba'rcarolle I.  Philipp 

Prelude,  Op.  17,  No.  23 F.  Blumenfeld 

Three  Etudes Chopin 


Tickets  are  on  sale  at  the  hall. 


The  Mason  &  Hamlin  Pianoforte.    The  Mason  &  Hamlin  Liszt  Organ. 

Miss     AUGUSTA     COTTLOW 

Will  give  a  PIANOFORTE   RECITAL  on  January  seventh  at  eight  o'clock 


Miss    matjd    McCarthy 

Will  give  a  VIOLIN  RECITAL  in  Steinert  Hall  on  Monday  Afternoon,  January  1%  1903 


Miss     MARY     MUI^CHHOFF 

Will  give  a  SONQ   RECITAL  on  Tuesday  Afternoon,  January  20 

Management:    HENRY  WOLFSOHN,   New  York 

(400) 


Saturday  Afternoon,  J  3th  December,  J 902,  at  3, 
FIRST  RECITAL 

HELEN  HOPEKIRK 

PROGRAMME. 

Sonata,  G  minor Schumann 

Impromptu,  A-flat Schubert 

Tableaux  de  Voyage  ...  D'Indy 

(«)? 

(6)  La  Poste 

(c)  Depart  Matutinal 

(d)  Lac  Vert 

(e)  Fete  de  Village 

Mazurka )  _. 

Valse       i  Chopin 

Sonata,  F-sharp  major,  Op.  78 Beethoven 

Deux  Arabesques Debussy 

Fireside  Tales,  Op.  61 MacDowell 

(a)  From  a  German  Forest 

lb)  Of  Salamanders 

Icj   An  Old  Love  Story 

la)  Br'er  Rabbit 

(e)  By  Smouldering  Embers. 


THE    PIANO    IS    A    STEINWAY 

Tickets  (Parterre,  one  dollar;  Balcony,  fifty  cents),  reserved,  on  sale  at  the  Hall. 


FIRST  APPEARANCE  IN  BOSTON 

.  .  .  OF  .  .. 

MARTHA  5.  GIELOW 

The  noted  Author,  Dramatic  Reader,  and  Monologist 

FRIDAY  AFTERNOON,  DECEMBER   12,  at  3  o'clock 

...  IN    A  .  .  . 

RECITAL, 

Of  Selections  from  her  book 

"MAMMY'S   REHINISCENCES  " 

And  from  her  latest  work 

"OLD   PLANTATION    DAYS" 

And  ORIGINAL   MONOLOGUES 


Rev.  Samuel  E.  Herrick,  Boston. 
"  In  these  things  I  hold  Mrs.  Gielow  peerless  among  impersonators  as  they  are  known  to  me. 


Tickets  are  for  sale  at  the  hall 
(401) 


Checkering  fyall 


CHICKERING  HALL,  Wednesday  evening,  December  JO 

at   8.15  o'clock 

SONG  RECITAL  by 

M.    BOZA 

OUMIROFF 

The   Great   Bohemian    Baritone 

Management,  Henry  Wolfsohn  Boston  Direction,  Richard  Heard 

Tickets,  all  seats  reserved,  75  cents,  $1.00,  and  $1.50, 
on  sale  at  the  hall 

Miss  Mary  Phillips  Webster 

WILL     GIVE    HER    CONCERT-LECTURE, 

"The  Evolution  of  the  Pianoforte," 

AT  CHICKERING  HALL,  HUNTINGTON 
AVENUE,  ON  THE  AFTERNOON  OF  SAT- 
URDAY,   DECEMBER  13,  at  three   o'clock. 


The  musical  programme  will  consist  of  compositions  for  the  clavichord,  spinet,  harpsi- 
chord, early  pianoforte,  and  modern  pianoforte,  played  on  instruments  from  the  col- 
lection of  Messrs.  Chickering  &  Sons. 

These  instruments  include  a  valuable  clavichord  and  a  Viennese  pianoforte  of  1S30,  which 
are  recent  acquisitions  and  have  not  been  used  before  in  connection  with  Miss 
Webster's  Concert-lectures. 

Orders  for  reserved  seats,  at  50  cents,  75  cents,  and  $1.00,  may  be  sent  to  fir.  Richard 
Heard,  Chickering  Hall. 


(402) 


Carl    Faeltein's 

THIRD    PIANOFORTE    RECITAL, 
Wednesday  Evening,   December   31,    1902,   at  8  o'clock. 

Programme. 

Andante,  F  major  )  _      , 

Sonata  (Appassionata),  F  minor,  Op.  57  j  -         -         '         Beethoven 

Huntington       Giga  con  Variazioni,  D  minor,  Op.  91,  No.  2    ....  Raff 

Chambers        Nocturne,  B  major,  Op.  9,  No.  3  )  Chomn 

j-j  Ik  Valse,  A-flat  major,  Op.  42  ) " 

Hungarian  Rhapsody,  No.  2,  C-sharp  minor     ....         Liszt 
TICKETS,  $1.00.    J*     J*    &     J*     For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional    and   Amateur   Recitals 

SEATS  420 
APPLY   TO    JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO    ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of   Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

HANS  SCHNEIDER 

TEACHER    OF    PIANOFORTE 

Particular  attention  paid  to  TONE   AND   INTERPRETATION  and  to  the 
NORHAL  TRAINING  of  prospective  piano  teachers. 

Huntington  Chambers,  503. 

Tuesday  Afternoons  2  to  6. 

(403) 


SYMPHONY    SEATS 

Make  most  excellent  CHRISTMAS  GIFTS 
We  have  them  at  prices  ranging  from  $10  to  $30  for 
remainder  of  the  season 


CONNELLY'S  Ticket  Office,  Adams  House. 

'Phone,    Oxford    942. 

MR.  HENRY  LAWRENCE  SOUTHWICK  an- 
nounces his  third  annual  course  of  Interpretative 
Recitals,  to  be  presented  in  Chickering  Hall,  Friday 
evenings  at  eight  o'clock.  The  series  this  year  will  be  devoted 
to  Shakespeare's  English  Historical  Plays. 

Programme. 

December  12 Miss  KATHARINE  OLIVER.     Henry  VIII. 


Tickets  on  sale  at  Chickering  Hall. 


Song  Recital 

Miss  JANET  SPENCER,  Contralto 
Mr.  U.  S.  KERR,  Bass 

CHICKERING  HALL,  DECEMBER  15,  AT  &A5  O'CLOCK 

Compositions  will  be  given  by 

Saint-Saens  Henschel  Chadwick 

Lalo  Schumann 

Reserved  seats,  $1,  on  sale  at  hall  and  at  Schirmer's,  26  West  Street 

MISS    OLIVE    COOK 

Will  give  a  song  recital  in  small  Chickering  Hall,  No.  153  Tremont  Street, 
Tuesday  evening,  December  ninth,  at  eight  o'clock.  Miss  Cook  will  be  assisted 
by 

HRS.  JESSIE    DOWNER   EATON. 

The  programme  will  include  selections  by  Rimsky-Korsakow,  II.  W.  Parker, 
Margaret  Ruthven  Pang,  Mrs.  H.  H.  A.  Beach,  Margaret  Ellis  Mabery,  and 
Chaminade. 

Tickets,  at  one  dollar  each,  are  on  sale  at  Schirmer's,  26  West  Street,  or  may  be 
obtained  by  addressing  Miss  Cook,  9  Pinckney  Street,  Boston 

4Qi) 


m^ttOTHlW 


DeuHHaaaane 


ASTERS  IN  MUSIC  will  be  unlike  any  other 
musical  magazine.  It  will  be  edited  by  Mr. 
Daniel  Gregory  Mason.  Each  monthly  issue, 
complete  in  itself,  will  be  devoted  to  one  of 
the  world's  greatest  musicians,  giving  thirty- 
two  pages  of  engraved  piano  music,  which 
will  comprise  those  compositions  or  move- 
ments that  represent  the  composer  at  his  best,  with  editorial  notes 
suggesting  their  proper  interpretations  ;  a  beautiful  frontispiece 
portrait ;  a  life  ;  and  estimates  of  his  genius  and  place  in  art 
chosen  from  the  writings  of  the  most  eminent  musical  critics. 
The  text  of  Masters  in  Music  will  thus  constitute  an  interest- 
ing and  authoritative  monthly  lesson  in  musical  history;  its 
selections  of  music  will  form  a  library  of  the  world's  musical 
masterpieces,  and  all  at  slight  cost.  Among  the  composers 
to  be  treated  during  the  first  year  are  Mozart,  Chopin,  Gounod, 
Verdi,  Grieg,  Beethoven,  Mendelssohn,  and  others.  The  maga- 
zine will  be  most  attractively  presented  throughout.  The  first 
issue  will  appear  January  i,  1903.  Subscription  price,  $2.00  a 
year.      Single  copies,  20  cents.     :::::::::::: 


SEND    FOR   PROSPECTUS 

WITH     SPECIMEN     PORTRAIT    AND     SAMPLE 

PAGES     OF      MUSIC 


42-C[I)auncii^ttiert^6a5ton 


(405) 


BOSTON    SYHPHONY    HALL 


Handel  and  Haydn  Society 

Eighty-eighth  Season 

Emit  Mollenhauer ,  Conductor  H.  G.  Tucker,  Organist 

A  full  orchestra 


Sunday,  December  21,  1902 

THE    MESSIAH 

Soprano,  Miss  Helen  Henschel 

Alto,  Mrs.  Ernestine  Fish 

Tenor,  Mr.  Glenn  Hall 

Bass,  Mr.  Jos.  Baernstein 

Thursday,  December  25,  1902 

THE    MESSIAH 

Soprano,  Miss  Anita  Rio 

Alto,  Mrs.  Helen  A.  Hunt 

Tenor,  Mr.  Jon  Jackson 

Bass,  Mr.  L.  B.  Merrill 

Sunday,  February  9,  1903 

PARADISE    LOST 

(Th.  Dubois) 
Soprano,  Mme.  Camille  Seygard 

Alto,  Mme.  Louise  Homer 

Tenor,  Herr  Andreas  Dippel 

Baritone,  Sig.  Emilio  de  Gogorza 

Bass,  M.  Marcel  Journet 

Easter  Sunday,  April  12,  1903 

ISRAEL  IN   EGYPT 

Soloists  to  be  announced 


On  Thursday,  Friday,  and  Saturday,  December  4,  5,  and  0,  after  8.30  a.m.,  our  season  ticket- 
holders  of  last  year  can  procure  their  former  seats  at  Symphony  Hall. 

During  the  week  beginning  Monday,  December  8,  after  8.30  a.m  ,  the  sale  of  season  tickets 
will  be  opeu  to  the  public.  The  season  tickets  include  the  choice  of  one  performance  of  the 
M  i  ssi ah,  and  carry  the  right  of  renewal  for  another  season  to  the  same  seats. 

The  price  of  season  tickets  for  four  concerts  will  be  $6  50,  •J5.00,  and  $8.60,  according  to  loca- 
tion.    Sale  at  Symphony  Hall.     Telephone,  Hack  Hay  14'J'_'. 

The  sale  of  single  tickets  for  the  MESSIAH  concerts,  82. 00,  $1.50,  and  $1.00,  will  open  Monday, 
December  15,  at  8.30  a.m.,  at  Symphony  Hall,  and  also  at.  Wrighl  &  Ditson's,  34*  Washington  Bt 

Information  in  regard  to  soloists,  sale  of  tickets,  etc.,  can  be  obtained  by  addressing  the 
Secretary. 

869  Harvard  Street,  Cambridge  WILLIAM   i'.  BRADBURY, 

November  2ti,  l'JO'J  Secretary 

(406) 


Sousa  Mvsic  Festival 


5  Grand  Concerts 

ng^^^^^ggasa-aiB  him      iag»aiii ih  i  iiiB^ai^^^m«nM^^ 

Symphony  Hall,  Sunday  Evening,  December  7 

Tremont  Temple,  Honday  Afternoon,  December  8 

Tremont  Temple,  Tuesday  Afternoon,  December  9 

Tremont  Temple,  Wednesday  Afternoon  and  Evening,  December  10 

Final  Concerts  prior  to  departure  for  Europe  on  Third  Foreign  Tour 

SOUSA 

AND 

HIS 

BAND 


ESTELLE  LIEBLING,  Soprano 

GRACE  COURTNEY  JENKINS, 
Violinist 

ARTHUR  PRYOR,  Trombone 


THE  NEW  HARCH, 


"Imperial    Edward" 

(Dedicated  by  special  permission  to  King   Edward  VII.) 


Prices,  Sunday  night,  December  7,  at  S.15,  50  cents,  75  cents,  and  $1.00. 
Seats  on  sale  at  Symphony  Hall  on  and  after  Monday,  December  I. 
Matinee  prices  at  Tremont  Temple,  50  cents  and  75  cents. 
2,000  reserved  seats  at  Tremont  Temple  at  50  cents  each. 
Evening  prices,  Tremont  Temple,  50  cents,  75  cents,  and  $1.00. 

All  tickets   for  Tremont  Temple   on  sale  at   Box  Office,  Tremont   Temple,  on  and 
after  Monday,  December  i,  at  9  a.m.  daily. 

Boston  Direction,  HEARD  &  WILLIAilS. 

(407) 


SYMPHONY    HALL 
SATURDAY  AFTERNOON,  DECEMBER  6,  AT  3 

SECOND  RECITAL  OF 

KOCIAN 

BOHEMIAN  VIOLIN  VIRTUOSO 

In  conjunction  with 

Miss  JULIE   GEYER,  Solo  Pianoforte 

Mr.  FRANZ   SPINDLER,  Accompanist 

Management  RUDOLPH  ARONSON 

PROGRAfiriE 

i.   CONCERTO,  D  major Paganini 

KOCIAN 

2.  a.   NOVELETTE,  E  major Schumann 

b.  CHANT  POLONAIS Chopin-Liszt 

c.  CSARUAS Joseffy 

Miss  Julie  Geyer 

3.  a.   CANZONETTA D'  Ambrosio 

b.  ROMANCE Svendsen 

c.  SCHERZO-TARANTELLE Wieniawski 

KOCIAN 

4.  RHAPSODIE  No.  12 Liszt 

Miss  Jui. ie  Geyer 

5.  FANTAISIE  BOHEME Sevcik 

KOCIAN 


111!     WEBER   PIAN'M   USED 


CHICKERirNQ    MALL 


Zbe  St  Botolpb  Concert  Company 

ELSA  HEINDL,  Soprano  KARL  ONDRICEK,  Violin 

ALFRED  DE  VOTO,  Piano 

C#e  strongest  and  most  brilliant  concert  company  in 

Uew  England 

For  dates,  terms,  and  all  particulars  address  at  once 
HEARD  &    WILLIAMS,  Chickering  Hall,  Boston 

239   Huntington  Hall  Telephone,  1670  Back  Bay 


MUSICAL   INSTRUCTION. 


VOCAL  INSTRUCTION  and 

Miss  HARRIET  S.  WHITTIER,     ^l^L. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams 


Concert  and  Oratorio. 

Miss  GERTRDDE  EDMANDS,  vocai  instruction. 

EXETER    CHAMBERS. 


Specialist  in  the  Science  of 

Mn  nnADTUO  d   qti?vi?nq     Tone  Production  and  the  Art  of  SiDging. 
Mr.  OHARLhb  B.  blE VhNb,     studio 20  steinert Hall BuiIding< 

Telephone,  1331  Oxford. 


PIERCE  BUILDING, 

Mrs.  ANNE  G1LBRRTH  CROSS,      C0PLEY  square, 

TEACHER  OF  THE  PIANOFORTE.  BOSTON. 


(409) 


Miss  ANNA  MILLER  WOOD, 

HEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera, 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BA5S  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Miss  SUZA  DOANE, 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


Mr,  OTTO  ROTH, 


VIOLIN    AND    ENSEMBLE 
LESSONS. 

10  ARLINGTON    STREET. 


Miss  JESSIE  DAYIS, 


Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,    163    flassachusetts   Avenue. 


Mr.  CARLO  BUONAMIGI, 


PIANIST  AND  TEACHER. 

Steinert  Hall   Building. 


(410) 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Fnsemble. 

Studio  5 Thespian  Hall, 

168   Massachusetts    Avenue, 
Boston,   Mass. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  A,  E.  PRESCOTT 


153  TREMONT   STREET. 


"Jecertifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe  Pete  avecmoi.  Je  lui  ai  donn£  des  lecons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lecons. 
Cela  la  mis  en  mesure  de  connaitre  a  fond  ma  mdthode. 
Je  peux  done  recommander  mon  e^eve,  Mr.A.E.  Prhs- 
COTT.  C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  le» 
differents  registres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  31  Aoilt,  iqoi.      G.  SBRIGLIA. 


Sig.  ADGDSTO  VANNINI, 


Teacher  of  Singing. 

Steinert  Hall. 


J.  D.  BUCKINGHAM. 


PIANOFORTE.     Method  of  I.  Philipp. 

The   most   advanced   technics    of  the 
present  day. 
"  A  teacher  of  the   first   magnitude." —  Huneker,   on 
Philipp,  in  Mezzo-tints  in  Modem  Music. 

32  STEINERT  HALL,  BOSTON. 


Mr.  6DSTAV  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Yioiin,  Theory ,  and  CompositioD 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J,  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS. 

Pierce  Building, 
»  Copley  Square,   Boston. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEHBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 

DAVID   POPPER. 

STUDIO:  171 A    TREHONT  STREET. 


HEINRICH  SCHUECKER, 

TEACHER  OF  THE  HARP. 

Erard  Harps  for  sale  and  to  let. 
32  Westland  Avenue       -       Boston. 


Miss  MARIE   L.  EVERETT, 

TEACHER   of  SINGING, 

Holds  a  recent  Diplome  Supe>ieur 
from  Madame  Marchesi,  Paris. 


THE  COPLEY, 


COPLEY  SQUARE. 


(411) 


Miss  ANNA  JANSEN,  Pianiste, 

PUPIL   OK 

Mme.  Rappoiim.  Dresden.  Scambati,  Rome. 

1 1 ARiii.D  Bauer,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

Address,  86  Charles  St.,  Boston. 


»«  From   Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FR<  >M     li'NUON, 

Specially  authorized  by  the  inventor. 

Investigation  invited.         Studio,  278  Boylston  St, 


Mr.  JACQUES    HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN   C.  MANNING, 
Pianist    arid     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 

Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 
384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1   at  her  residence,  THE    OXFORP. 


fliss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  &  Accompaniments. 

Trinity  Court. 


FREDERICK  N.  SHACKLEY 

(Organist  and  Choirmaster,  Church  of  the  Ascension;, 

Piano,  Organ,  Composition. 

Specialty:    Training  organists  for    practical 
Church  work. 
(1900  Washington  St.,  BOSTON. 
Studios:  J  12g  Franklin  Street,  ALLSTON. 


Miss    EDITH   E.  TORREY, 

SOPRANO  SOLOIST  AND  TEACHER  OF 
SINGING. 

164  Huntington    Avenue,  Boston. 

Every  day  except  Tuesday  and  Friday. 
Telephone,  Back  Bay  1089-5. 


Hr.  GEORGE  E.  WHITING, 

154  Tremont   Street, 

Boston. 


U.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts ,  Recitals,  and 

Ensemble  Play  in  a. 

7    ADELAIDE    ST.,   JAMAICA   PLAIN. 


Mr.  F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing.         ** 

Pierce  Building,  Copley  Square,  Boston. 


Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 

Studio,  21  Steinert  Building. 


Miss   ROSE    STEWART, 

Pupil  of  riARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


TO   read   Music  like  Print. 
The  Vars'  New  Interval  System  of  Sight 

Singing. 

No  Sol-faing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mine.  L.  Hamburger,  Pierce  BIdg.,  Copley  Sq. 


Mrs.  flabel  Mann  Jordan, 

Pupil  of  Silvostri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(412) 


WEBER 
PIANOS 


Piano-building  as  a  fine  art  has  never  been  more 
highly  exemplified  than  by  our  recent  produc- 
tions. Send  for  description  of  our  new  Style  A 
Grand,  the  most  remarkable  Small  Grand  in 
'volume  and  quality  of  tone  ever  produced  by 
any  maker.    Its  length  is  but  5  feet  4  inches. 


The  Weber  Concert  Grand  will  be  used  exclusively 
by  the  Maurice  Grau  Opera  Company,  Mme.  Roger- 
Miclos,  Kocian,  and  Julie  Geyer  on  their  1 902-1903 
transcontinental  tours. 

T5he  WEBER  PIANO   COMPANY 

108     FIFTH    AVE..    NEW    YORK    CITY 

Boston    Representative,   Qeorge    H.   Champlin    &    Co. 
181    Tremont  Street 


STEIN  WAY  &  SONS 

Grand  and  Upright  Pianos. 


MANUFACTURERS  BT  APPOINTMENT  TO 

His  Majesty. 

WILLIAM  II., 


His  Majesty, 

NICHOLAS  II., 

CZAR  OF  RUSSIA. 


EMPEROR  OF  GERMANY  AND 
KING  OF  PRUSSIA. 


His  Majesty, 

FRANCIS 
JOSEPH  I, 

EMPEROR   OF 


Austria.      KING  OF  HUNGARY.  Hungary. 


*Their  Royal  Highnesses, 

THE  PRINCE  AND; 
PRINCESS  OF     I 
WALES. 


His  Majesty, 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty, 

ALEXANDRA, 

QUEEN  OF  GREAT  BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  majesty. 

VICTORIA, 

QUEEN  OF  GREAT  BRITAIN 
AND  EMPRESS  OF  INDIA. 


His  Majesty. 

UMBERTO  I., 

KING  OF  ITALY. 


Her  Majesty, 


Hts  Royal  Highness. 

THE    DUKE  OF 
EDINBURGH. 


ALBERT, 

KING    OF    SAXONY^ 


His  Majesty. 


MARIA  CHRISTINA,]        OSCAR  II., 

QUEEN  REGENT  OF  SPAIN.      1    KING  OF  SWEDEN 

and  NORWAY. 


NORWAY  AND  SWEDE*. 


His  Majesty, 


pljj&!     MOUSAFFER-ED-DIN,!  ABDUL  HAMID  II., 

W'- vjf^ 'M  SHAH  OF  PER5IA-  SULTAN  OF  TURKEY: 


AND  THEIR    RESPECTIVE   COURTS. 
ILLUSTRATED    CATALOGUE   MAILED    FREE    ON  APPLICATION. 


STEINWAY    PIANOS. 


n.  STEINERT  &   SONS  CO., 

162  to  168  Boylston  Street,   Boston,  Mass. 


X. 


BOSTON 

SYAPHONY 

OROIESTRH 


TWENTY- SECOND 
SEASON  ^ 
J902-1903 


PRoGRAttftE 


~  8  s 


HAROLD    BAUER 

To 

New  York,  April  17,  1902. 

Gentlemen, —  In  a  former  letter  to  you  I  expressed  my 
delight  and  satisfaction  with  your  magnificent  pianofortes, 
and  at  the  close  of  this  my  second  American  tour  I  have 
once  more  to  thank  you  and  to  admire  your  untiring  efforts 
to  attain  an  artistic  ideal.  Your  latest  model,  equipped  with 
the  centrifugal  tension  bars,  has  developed  and  intensified 
the  qualities  of  its  precursors,  and  has  surpassed  my  highest 
expectations. 

As  you  know,  I  have  used  these  instruments  under  many 
different  conditions,  in  recital,  with  orchestra,  in  small  and 
in  large  halls,  and  their  adaptability  to  all  requirements  has 
equally  astonished  and  delighted  me.  The  tone  is,  as  always, 
one  of  never-failing  beauty,  the  action  is  wonderful  in  its 
delicacy  and  responsiveness,  and  I  consider  that,  as  an  in- 
strument for  bringing  into  prominence  the  individual 
qualities  of  tone  and  touch  of  the  player,  the  Mason 
&  Hamlin  piano  stands  absolutely  pre-eminent. 

The  vertical  grand  (Style  H)  is  the  only  instrument  of 
its  kind,  as  far  as  I  am  aware,  capable  of  giving  complete 
satisfaction  to  any  one  accustomed  to  play  upon  a  grand, 
and  I  have  no  hesitation  in  saying  that  it  is,  without  excep- 
tion, the  finest  upright  piano  I  have  ever  met  with. 

Permit  me  to  add,  in  conclusion,  that  it  has  been  a 
source  of  personal  gratification  to  me  to  hear  the  favorable 
comments  that  have  been  passed  in  every  instance  upon 
your  instruments,  and  to  find  that  my  opinion,  as  expressed 
last  year,  has  been  echoed  and  confirmed  by  musicians  and 
the  musical  public  throughout  the  country.  1  remain,  gen- 
tlemen, 

Yours  very  truly, 

HAROLD    BAUER. 


New   England    Representatives, 

M.   Steinert  (Si  Sons   Co 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903- 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 


EIGHTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      1*    J*    J*    J* 

FRIDAY  AFTERNOON,  DECEMBER  19, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  DECEMBER  20, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(413) 


ME  S  S  R  S  . 

CHICKERING  &  SOiVS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(414 


TWENTY-SECOND  SEASON,  1902-1903. 


Eighth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  DECEMBER  J9,  at  2.30  o'clock. 

SATURDAY  EVENING,  DECEMBER  20,  at  8.00  o'clock. 


PROGRAMME. 

Haydn  .         .         ♦  Symphony  in  D  major  (B.  &  H.,  No.  JO) 

I.     Adagio. 

Allegro  spiritoso. 
II.     Capriccio :  Largo. 

III.  Menuetto :  Allegretto. 
Trio. 

IV.  Finale  :  Allegro  con  spirito. 

Tschaikowsky    .         .  Concerto  for  Pianoforte,  No.  I,  in  B-flat  minor, 

Op.  23 

I.     Andante  non  troppo  e  molto  maestoso. 
Allegro  con  spirito. 
II.     Andantino  semplice. 
Allegro  vivace  assai. 
III.     Allegro  con  fuoco. 

Cesar  Franck      ....     Symphonic  Poem,  *  The  Aeolidae  " 
Liszt    .   March  of  the  Three  Holy  Kings,  from  the  Oratorio  "  Christus  " 

(First  time.) 


SOLOIST: 

Mr.  HAROLD  RANDOLPH. 


The  Pianoforte  is  a  Stelnway. 


There  will  be  an  intermission  of  ten  minutes  after  the  Symphony. 


The  doors  of  the  half,  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end-  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.         

City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct »uch  view,  may  be  worn. 

Attest:  J.  M.  GALVIN,  City  Clerk. 

(4X5) 


L.  P.  HOLLANDER  &  CO. 
Holiday  Goods 

THE  LARGEST  ASSORTMENT  OF 

Imported  Novelties  and  Useful  Gifts 

THAT  WE  HAVE  EVER  SHOWN 

LEATHER  GOODS  from  Vienna,  Berlin,  and  London.  Most  of  the  things  purchased 
by  us  were  guaranteed  not  to  be  copied  for  other  houses  in  this  country.  In 
Vienna  leather  are  Pocket-books,  Portfolios,  etc.,  reproductions  of  rare  old  museum 
pieces  in  remarkable  colorings. 

FRENCH  JEWELRY.  We  have  received  the  past  week  an  importation  of  Jet  and 
Pearl  COLLARETTES  and  NECK  ORNAMENTS  and  New  Styles  in  HAIR 
ORNAMENTS  and  MUFF  CHAINS. 

FRENCH  AND  AUSTRIAN  CHINA  AND  GLASS.  Vases,  Plates,  Cups  and 
Saucers,  and  Odd  Pieces. 

FRENCH  FANS.  New  designs  in  Spangle  and  Flower  Fans,  also  some  very  choice 
reproductions  of  Old  Watteau  and  Empire  designs.  Flower  Fans  for  Misses  at 
moderate  prices. 

LADIES'  GLOVES.  Large  importation  just  received  in  all  the  newest  colors  for  even- 
ing wear.     LONG   LENGTHS  AND   EXTRA   SIZES  a  specialty. 

Also  MISSES'  and   BOYS'  DANCING  SCHOOL  GLOVES. 


Christmas  Gifts 


Diamonds,  Watches, 
Clocks,  Sterling  Silver, 

Jewelry,  Cut  Glass, 
Bronzes,    Bric=a=Brac 

Arlicies  $1  to  $10  a  Leader.   (&£ 


SMITH, 

PATTERSON 


%M 


»    '\    ■',  \!r     i^(\        Wholesale  ,'-i!>»!/|Wl|.\ 

??$&'&    ^     52  Summer  St.  v  ^MSpS 


Symphony  in  D  major  (B.  &  H.,  No.  10)  ....  Joseph  Haydn. 
(Born  at  Rohrau,  Lower  Austria,  March  31,  1732;  died  at  Vienna,  May  31,  1809.) 
This  symphony  is  the  fifth  of  the  six  written  by  Haydn  for  a  society  in 
Paris  known  as  the  Concert  de  la  Loge  Olympique.  The  symphonies 
were  ordered  in  1784,  when  Haydn  was  living  at  Esterhaz.  Written  during 
1784-89,  they  are  in  C,  G  minor,  E-flat,  B-ftat,  D,  A;  and  they  were  pub- 
lished in  Paris  as  Op.  51,  "  Re'pertoire  de  la  Loge  Olympique." 

Early  in  the  eighteenth  century  there  were  no  performances  at  the  Opera 
on  certain  solemn  days  of  the  Catholic  Church, —  the  Festival  of  the 
Purification  of  the  Virgin,  the  Annunciation,  from  Passion  Sunday  to  the 
Monday  of  Quasimodo  or  Low  Sunday,  Ascension,  Whitsunday,  Corpus 
Christi,  the  Assumption  of  the  Virgin,  the  Day  of  the  Nativity  (September 
8),  All  Saints,  Day  of  the  Conception,  Christmas  Eve,  and  Christmas,  etc. 
In  1725  Anne  Danican  Philidor,  one  of  the  famous  family,  obtained  per- 
mission to  give  concerts  on  those  days.  He  agreed  to  pay  a  yearly  sum  of 
10,000  livres.*  He  also  agreed  that  no  operatic  music  and  no  composition 
of  any  nature  with  French  text  should  be  performed,  but  this  obligation  was 
afttrward  annulled.  Thus  were  the  Conceits  Spirituels  founded.  They 
were  given  in  the  Salle  des  Suisses  at  the  Palace  of  the  Tuileries.  The 
first  was  on  Passion  Sunday,  March  18,  1725  ;  and  the  programme  included 
a  suite  of  airs  for  violin;  a  caprice;  a  motet,  "  Confitebor,"  a  motet, 
"  Cantate  Domino", —  all  by  La  Lande  ;  and  the  concerto,  "  Christmas 
Night,"  by  Corelli.  The  concert  lasted  from  6  p.m.  to  8  p.m.  There  were 
never  more  than  twenty-four  performances  during  the  year.  These  concerts 
were  maintained  and  were  famous  until  1791.  The  most  distinguished 
singers,  as  Farinelli,  Raaff,  Caffarelli,  Agujari,  Todi,  Mara,  violinists, 
oboists,  bassoonists,  and  all  manner  of  players  of  instruments  assisted  in 
solo  performances.     Philidor  gave  up  the  management  in   1728.     There 

*  Some  say  the  sum  was  6,000  livres. 
THE  MANAGEHENT  OF  THE 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

ANNOUNCES  THE  ENGAGEMENT  OF 

Mme.  Antoinette  Szumowska 

AND 

Mrs.  Henry  M.  Rogers 
MR.    CEORC    HENSCHEL 

will  teach  —  until  March,   1903  —  EXCLUSIVELY  in  the  Conservatory. 

Particulars  and  terms  (for  one  or  any  number  of  lessons)  may  be 

had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(417) 


ID.  JBallarb  &  Sons 


STREET  COSTUMES,  GOWNS,  and  COATS, 

USED  BY  US  THIS 
SEASON  AS  MODELS, 

NOW  OFFERED  AT  GREATLY    REDUCED    PRICES, 

$J50  Paris  Gown,  $90  $100  Paris   Coat,  $60 

J  35     *          H        80  90     "          "        50 

125     "          "        75  85  London  *        45 

U5     "          **        65  80        "       "       40 

ETC.  ETC.                  ETC. 

Many  of  the  garments  are  elaborately  made  and  richly 

trimmed. 

» 

256  BOYLSTON  STREET,  BOSTON. 


were  changes  in  the  character  of  the  programmes  and  in  the  place  of  per- 
formance, but  the  fame  of  the  concerts  was  firmly  established.  In  1750 
there  was  a  chorus  of  forty-eight  and  an  orchestra  of  thirty-nine. 

Dr.  Burney  gave  an  amusing  account  of  one  of  these  concerts  which  he 
heard  in  1770  ("The  Present  State  of  Music  in  France  and  Italy,"  pp.  23- 
28).  The  performance  was  in  the  great  hall  of  the  Louvre.  He  disliked 
a  motet  by  La  Lande,  applauded  an  oboe  concerto  played  by  Besozzi,  the 
nephew  of  the  famous  oboe  and  bassoon  players  of  Turin,  disliked  the 
screaming  of  Miss  Delcambre,  approved  the  violinist  Traversa.  "  The 
whole  was  finished  by  '  Beatus  Vir.'  .  .  .  The  principal  counter-tenor  had 
a  solo  verse  in  it  which  he  bellowed  out  with  as  much  violence  as  if  he 
had  done  it  for  life,  while  a  knife  was  at  his  throat.  But  though  this 
wholly  stunned  me,  I  plainly  saw,  by  the  smiles  of  ineffable  satisfaction 
which  were  visible  in  the  countenances  of  ninety-nine  out  of  a  hundred  of 
the  company,  and  heard,  by  the  most  violent  applause  that  a  ravished 
audience  could  bestow,  that  it  was  quite  what  their  hearts  felt,  and  their 
souls  loved.  C'est  superbe  /  was  echoed  from  one  to  the  other  through  the 
whole  house.  But  the  last  chorus  was  a  finisher  with  a  vengeance  !  it 
surpassed  all  clamor,  all  the  noises  I  had  ever  heard  in  my  life.  I  have 
frequently  thought  the  choruses  of  our  oratorios  rather  too  loud  and 
violent ;  but,  compared  with  these,  they  are  soft  music,  such  as  might  sooth 
and  lull  to  sleep  the  heroine  of  a  tragedy." 

The  attack  of  this  orchestra  became  a  tradition.  Parisians  boasted  of 
it  everywhere.  Raaff,  the  tenor,  met  one  in  Munich.  The  Frenchman 
said:  "You  have  been  in  Paris?"  "Yes,"  answered  Raaff.  "Were 
you  at  the  Concert  Spirituel  ? "  "Yes."  "What  do  you  think  about  the 
premier  coup  d'archet  ?  Did  you  hear  the  first  attack  ?  "  "  Yes,  I  heard  the 
first  and  the  last."  "The  last  ?  What  do  you  mean  ? "  "I  mean  to  say, 
I  heard  the  first  and  the  last,  and  the  last  gave  me  the  greater  pleasure." 

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For  this  society  Mozart,  in  1778  and  at  Paris,  composed  a  symphony  in 
D  (K.  297),  which  was  played  here  at  a  concert  of  the  Boston  Symphony 
Orchestra,  Jan.  14,  1899. 

The  success  of  the  Concerts  Spirituels  incited  others  to  rivalry. 

De  La  Haye,  a  farmer-general,  who  in  1770  looked  after  the  excise 
duties  on  tobacco,  and  Rigoley,  Baron  d'Ogny,  who  had  charge  of  post- 
horses  and  the  postal  service,  were  chiefly  instrumental  in  the  establish- 
ment of  the  Concert  des  Amateurs  in  1769.  The  concerts  were  given  in 
the  grand  salon  of  the  Hotel  de  Soubise,  which  then  belonged  to  Charles 
de  Rohan-Rohan,  Prince  of  Soubise  and  d'£pinoy,  peer,  and  Marshal  of 
France,  and  is  now  occupied  by  the  De'pot  des  Archives  Nationales. 
There  were  twelve  concerts  between  December  and  March.  They  were 
subscription  concerts.  Composers  were  paid  five  louis  d'or  for  a  sym- 
phony, distinguished  virtuosos  were  engaged,  and  the  best  players  of  the 
Ope'ra  and  of  the  King's  Music  were  in  the  orchestra  by  the  side  of  capable 
amateurs.  Subscribers  and  orchestra  were  on  most  friendly  terms,  and 
Gossec,  in  the  dedication  of  his  "  Requiem  "  to  the  managers  of  the  Con- 
cert des  Amateurs,  praises  them,  and  thanks  them  for  their  cordiality 
toward  artists :  "  Of  all  the  encouragements  that  you  give  them,  the  most 
powerful,  I  am  not  afraid  to  say,  is  the  noble  distinction  with  which  you 
treat  them.  To  uplift  the  soul  of  an  artist  is  to  work  for  the  enlargement 
of  art.  This  is  something  never  known  by  those  who  usurp  the  title  of 
protectors,  more  anxious  to  buy  the  title  than  to  deserve  it." 


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The  orchestra  of  the  Concert  des  Amateurs  was  the  largest  that  had 
then  been  brought  together  in  Paris.  There  were  forty  violins,  twelve 
'cellos,  eight  double-basses,  and  the  usual  number  of  flutes,  oboes,  clari- 
nets, bassoons,  horns,  and  trumpets.  Symphonies  and  concertos  were  per- 
formed. There  was  no  chorus,  but  there  were  excerpts  from  Italian  and 
French  operas.  Gossec  was  the  first  conductor.  He  was  succeeded  by 
the  Chevalier  de  Saint-Georges.     This  society  was  dissolved  in  17S1. 

It  was  replaced  by  the  Concert  de  la  Loge  Olympique,  which  began  by 
borrowing  at  the  Palais-Royal  the  house,  the  name,  and  the  organization 
of  a  Masonic  society.  Subscribers  were  admitted  only  after  a  rigid  exam- 
ination, and  they  were  admitted  solemnly  at  a  lodge  meeting.  Each 
subscriber  paid  two  louis  a  year,  and  received  a  silver  lyre  on  a  sky-blue 
background,  which  was  worn  to  gain  entrance.  In  1786  the  society  began 
to  give  its  concerts  in  the  Salle  des  Gardes  in  the  Tuileries.  The  Queen 
and  the  Princes  were  often  present,  and  the  subscribers  were  in  grandc 
toilette.  The  musicians  wore  embroidered  coats,  with  lace  ruffles ;  they 
played  with  swords  by  their  side  and  with  plumed  hats  on  the  benches. 
Viotti  often  directed.  The  Bastille  fell  July  14,  1789,  and  in  December  of 
that  year  the  Concert  de  la  Loge  Olympique  ceased  to  exist.  There  was 
to  be  wilder  music  in  Paris,  songs  and  dances  in  the  streets  and  in  the 
shadow  of  the  guillotine. 

Haydn  had  been  known  and  appreciated  in  Paris  for  some  years  before 

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he  received  his  commission  from  the  Concert  de  la  Loge  Olympique. 
A  symphony,  "  del  Signor  Heyden  "  (sir),  was  announced  March  26,  1764, 
by  the  publisher  Venier ;  but  it  is  said  that  Haydn's  symphonic  works  were 
first  made  known  in  Paris  in  1779,  by  Fonteski,  a  Pole  by  birtb,  who  was 
an  orchestral  player.  This  "  symphony  "  published  by  Venier  was  really  a 
quartet,  for  the  term  "sinfonia"  then  was  applied  loosely  to  any  piece  of 
music  in  which  at  least  three  concerting  instruments  were  busied.  Fe"tis 
says  that  the  symphonies  were  first  introduced  by  the  publisher  Sieber  in 
the  Concert  des  Amateurs. 

However  this  may  have  been,  Haydn  wrote  Artaria  (May  27,  1781)  r 
"  Monsieur  Le  Gros,  director  of  the  Concert  Spirituel,  writes  me  much 
that  is  uncommonly  pleasant  about  my  '  Stabat  Mater,'  which  has  been 
performed  there  four  times  with  the  greatest  success.  The  members  of 
the  Society  ask  permission  to  publish  the  same.  They  propose  to  publish 
to  my  advantage  all  my  future  works,  and  they  are  surprised  that  I  am  so 
pleasing  in  vocal  compositions  ;  but  I  am  not  at  all  surprised,  for  they 
have  not  yet  heard  them  ;  if  they  could  only  hear  my  operetta,  '  L'  Isola 
disabitata,'  and  my  last  opera,  'La  fedelta  premiata  ' ;  *  for  I  am  sure 
that  no  such  work  has  yet  been  heard  in  Paris,  and  perhaps  not  in  Vienna. 
My  misfortune  is  that  I  live  in  the  country." 

This  Joseph  Legros  (1739-93)  was  one  of  the  most  famous  high  tenors 
ever  heard  in  France.  He  made  his  debut  at  the  Opera  in  1764.  At  first 
he  was  a  cold  actor ;  but  Gluck's  music  and  theories  of  dramatic  art  taught 
him  the  necessity  of  action,  and  he  was  distinguished  as  Orpheus,  Achilles, 
Pylades,  Atys,  Rinaldo.  He  was  a  good  musician,  and  he  composed.  A 
handsome  man,  he  grew  excessively  fat,  so  that  he  was  obliged  to  leave  the 
stage.  He  directed  the  Concerts  Spirituels  from  1777  to  1791.  Mozart 
had  much  to  say  about  him  in  his  letters  from  Paris.  There  is  a  singular 
story  about  him  in  the  "  Correspondance  Litte'raire "  of  Grimm  and 
Diderot :  "  M.  Legros,  leading  screecher  in  counter-tenor  at  the  Acadd- 
mie  royale  de  Musique,  who,  by  the  way,  is  not  bursting  with  intelligence, 
supped  one  night  with  the  Abbe'  le  Monnier.     They  sang  in  turn,  and  the 

*"L'  Isola  disabitata"  (Ksterhaz,  1779);  "La  fedelta  premiata"  (originally  an  Italian  opera,  but  pro- 
duced in  Vienna,  1784,  as  "  Die  belohnte  Treue  ") . 


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Abbe  said  to  him  with  a  most  serious  air :  '  In  three  months  I  shall  sing 
much  better,  because  I  shall  have  three  more  tones  in  my  voice.'  Legros, 
curious  to  know  how  one  could  extend  his  voice  at  will,  allowed  himself  to 
be  persuaded  that  by  trimming  the  uvula  he  could  give  his  voice  a  higher 
range,  and  make  it  more  mellow  and  agreeable." 

It  was  at  the  concerts  of  the  Loge  Olympique  that  Cherubini  heard  for 
the  first  time  a  symphony  of  Haydn,  and  was  so  affected  by  it  that  he  ever 
afterward  honored  him  as  a  father.  The  French  were  long  loyal  to 
Haydn.  In  1789  a  player  of  the  baryton,  one  Franz,  from  the  orchestra 
at  Esterhaz,  played  with  great  success  at  the  Palais  Royal  pieces  written 
for  that  instrument  by  Haydn.  And  it  should  not  be  forgotten  that 
shortly  before  the  composer's  death  he  was  cheered  by  his  last  visitor,  a 
French  officer,  who  sang  to  him  "  In  Native  Worth  "  ;  that  French  officers 
were  among  the  mourners  at  his  funeral ;  and  that  French  soldiers  were 
among  the  guard  of  honor  around  his  coffin  at  the  Schottenkirche. 

Haydn  gave  the  score  of  his  Paris  symphonies  to  a  Vienna  banker, 
who  paid  him  the  promised  sum  of  600  francs.  After  the  performance  in 
Paris  the  managers  of  the  society  sold  the  right  of  publication  for  1,000 
or  1,200  francs,  and  sent  this  sum  to  the  composer  as  a  token  of  the 
respect  in  which  they  held  him. 

Only  three  of  these  symphonies  bear  a  title  :  the  one  in  C  is  known  as 
"  The  Bear" ;  the  one  in  G  minor  as  "The  Hen  "  ;  the  one  in  B-flat  as 
"The  Queen." 

The  Symphony  in  D  major  is  scored  for  flute,  2  oboes,  2  bassoons,  2 
horns,  2  trumpets,  kettle-drums,  and  strings. 

It  begins  with  an  introductory  Adagio,  3-4,  of  twenty-one  measures. 
Haydn  in  his  first  symphonies  paid  little  attention  to  an  introduction, 
which  was  then  regarded  as  a  means  of  giving  notice  to  the  audience. 
The  Introduction  at  that  time  was  also  supposed  to  give  importance  to 
the  beginning  of  the  Allegro,  "to  make  it  clearer,  more  easily  retained  in 
the  memory."  In  later  years  Haydn  was  more  particular,  and  only  two 
of  his  eighteen  "  grand  symphonies  "  are  without  an  Introduction.  As  a 
rule  these  preliminary  measures  are  in  the  key  of  the  following  Allegro. 
They  are  never  less  than  ten,  and  they  are  never  over  forty.     The  phrases 


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are  generally  short  and  grave,  and  the  Introduction  is  closely  connected 
with  the  Allegro. 

The  Introduction  is  here  followed  by  an  Allegro  spiritoso,  4-4,  which, 
fresh  and  gay,  needs  no  analysis,  and  demands  no  programme.  The 
hearer,  undisturbed,  may  be  left  to  his  own  thoughts.  Yet  Gre'try  wrote  in 
his  curious  "  Me'moires,  ou  Essais  sur  la  Musique  "  (Paris,  1797)  :  "  What 
lover  of  music  has  not  been  seized  with  admiration,  hearing  the  beauti- 
ful symphonies  of  Haydn  !  A  hundred  times  I  have  set  to  them  the  text 
which  they  seem  to  demand.     And  why  not  supply  a  text  ?  "  .  .  . 

The  second  movement  is  :  Capriccio,  Largo,  G  major,  3-4.  Trumpets 
and  drums  are  dropped  from  the  score.  For  a  second  movement  Haydn 
usually  varied  a  theme  or  wrote  an  adagio  cantabile.  Two  of  his  "  slow 
movements,"  however,  are  in  the  form  of  a  romance, —  in  the  symphony 
known  as  '  Roxelane  "  and  in  "  La  Reine."  For  the  "  Military  "  he  wrote 
an  allegretto.  And  what  was  understood  by  a  Capriccio  in  the  eighteenth 
century?  Brossard  thus  defines  it:  "  Capricio  (sic),  that  is  to  say,  Ca- 
price ;  these  are  certain  pieces  in  which  the  composer,  without  binding 
himself  to  a  certain  number  or  class  of  measures,  or  to  any  premeditated 
plan,  feeds  the  fire  of  his  genius.  This  kind  of  composition  is  otherwise 
entitled,  Phantasia,  Preludio,  Ricercata."  Walther  likens  it  to  a  "  Fantai- 
sie "  or  a  "  Boutade,"  written  or  played  according  to  caprice ;  "  this  is 
often  more  agreeable  to  hear  than  something  ordered  and  studied :  if  it 
comes  from  a  free  mind."  He  then  quotes  Brossard,  and  adds  :  "  In 
short :  a  flight  of  fancy,  not  premeditated.  And  fugues  composed  for  the 
harpsichord  but  not  especially  developed  are  also  thus  named."  Johann 
Mattheson,  in  his  "Kern  melodisches  Wissenschaft  "  (Hamburg,  1737), 
groups  together  Boutades,  Capricci,  Toccate,  Preludes,  Ritornelli,  and 
gives  them  the  general  name  "  Fantaisies."  "  Here  is  another  kind  of  — 
shall  I  say,  melodies,  or  musical  whims,  which  are  often  found  in  music 
for  instruments."  Sometimes  they  were  improvised.  "  Often  they  are  set 
down  in  orderly  fashion  on  paper.  They  can  hardly  be  called  by  any  other 
name  than  fortunate  ideas.     Imagination  is  their  chief  characteristic." 

The  trumpets  and  drums  appear  again  in  the  Menuetto,  allegretto,  D 
major,  3-4.     The  Menuetto  is  in  the  familiar  spirit  of  Haydn,  and  there  is 


TO    THE    PROFESSION 

The  increasing  demand  for  GOOD  English  songs,  and  the 
seeming  difficulty  in  procuring  the  same,  compel  us  to"  draw 
the  special  attention  of  the  profession  generally  to  the  fact 
that,  in  addition  to  our  extensive  catalogue,  we  represent  the 
three  leading  catalogues  in  Europe.  We  can  offer  a  variety 
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the  thought  of  rustic  jollity  rather  than  the  grace  of  the  court ;  while  the 
Trio,  also  in  D  major,  is  dainty  in  contrast. 

Finale  :  Allegro  con  spirito,  D  major,  4-4.  Haydn  in  his  earlier  sym- 
phonies adopted  for  the  finale  the  form  of  his  first  movement.  Later  he 
preferred  the  rondo  form,  with  its  couplets  and  refrains,  or  repetitions  of  a 
short  and  frank  chief  theme.  "  In  some  finales  of  his  last  symphonies," 
says  Brenet,  "  he  gave  freer  reins  to  his  fancy,  and  modified  with  greater 
independence  the  form  of  his  first  allegros  ;  but  his  fancy,  always  prudent 
and  moderate,  is  more  like  the  clear,  precise  arguments  of  a  great  orator 
than  the  headlong  inspiration  of  a  poet.  Moderation  is  one  of  the  charac- 
teristics of  Haydn's  genius  ;  moderation  in  the  dimensions,  in  the  sonority, 
in  the  melodic  shape  :  the  liveliness  of  his  melodic  thought  never  seems 
extravagant,  its  melancholy  never  induces  sadness."  In  this  Finale  the 
chief  theme,  a  gay  staccato  figure  for  first  violins,  is  repeated  by  full 
orchestra,  and  after  a  slight  development  the  second  theme  of  short 
phrases  is  introduced.  These  two  themes  are  treated  in  Haydn's  liveliest 
manner. 


Mr.  Harold  Randolph  was  born  at  Richmond,  Va.,  in  1861.  He 
was  educated  musically  at  the  Peabody  Conservatory  of  Music,  Balti- 
more, Md.,  where  Mrs.  Nannetta  Falk-Auerbach  and  Mr.  Carl  Faelten 
taught  him  piano-playing.  His  first  appearance  in  public  as  a  pianist  was 
with  the  Peabody  Symphony  Orchestra  at  Baltimore  in  1885.  He  first 
played  in  Boston  at  a  Kneisel  Quartet  concert,  Feb.  1,  1897  (Brahms's 
Trio  in  B-flat,  for  violin,  'cello,  and  piano)  ;  and  on  February  4  of  the 
same  year  he  played  Beethoven's  Pianoforte  Concerto  in  G  major  with  the 
Boston  Symphony  Orchestra  at  Cambridge.  He  has  played  here  since 
then  with  the  Kneisel  Quartet,  but  this  is  his  first  appearance  in  Boston 
with  the  Symphony  Orchestra. 


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(429) 


Concerto  for  Pianoforte,  No.  i,  in  B-flat  minor,  Op.  23. 

Peter  Tschaikowsky. 

(Born  at  Votkinsk,in  the  government  of  Viatka,  Russia,  May  7,  1840; 
died  at  St.  Petersburg,  Nov.  5-6,  1893.) 

In  1874  Tschaikowsky  was  a  teacher  of  theory  at  the  Moscow  Con- 
servatory. (He  began  his  duties  at  that  institution  in  1866  at  a  salary  of 
S30  a  month.)  In  November  of  1874  he  wrote  to  his  brother  Anatol : 
"  I  am  wholly  absorbed  in  the  composition  of  a  pianoforte  concerto,  and 
I  am  very  anxious  that  Rubinstein  (Nicholas)  should  play  it  in  his  con- 
cert. I  make  slow  progress  with  the  work,  and  without  real  success ; 
but  I  stick  fast  to  my  principles,  and  cudgel  my  brain  to  subtilize  piano- 
forte passages :  as  a  result  I  am  somewhat  nervous,  so  that  I  should 
much  like  to  make  a  trip  to  Kieff  for  the  purpose  of  diversion." 

The  orchestration  of  the  concerto  was  finished  on  Feb.  9,  1875  ;  but 
before  that  date  he  played  the  work  to  Nicholas  Rubinstein.  The  episode 
is  one  of  the  most  singular  in  the  history  of  this  strangely  sensitive  com- 
poser. He  described  it  in  a  letter  written  to  Nadeshda  Filaretowna  von 
Meek,  the  rich  widow  who  admired  Tschaikowsky's  music  so  warmly  that 
in  1877  she  determined  to  give  him  a  sum  of  6,000  roubles  annually,  that 
he  might  compose  without  cark  or  care.  They  never  met.  Never  did 
either  one  hear  the  voice  of  the  other ;  but  they  exchanged  letters  fre- 
quently, and  to  her  Tschaikowsky  poured  out  his  sweet  and  noble  soul. 


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This  letter  is  dated  San  Remo,  Jan.  21,  1878.  It  has  at  last  been  pub- 
lished in  Modest  Tschaikowsky's  Life  of  his  famous  brother. 

"In  December,  1874,  I  had  written  a  pianoforte  concerto.  As  I  am 
not  a  pianist,  I  thought  it  necessary  to  ask  a  virtuoso  what  was  tech- 
nically unplayable  in  the  work,  thankless,  or  ineffective.  I  needed  the 
advice  of  a  severe  critic  who  at  the  same  time  was  friendly  disposed 
toward  me.  Without  going  too  much  into  detail,  I  must  frankly  say 
that  an  interior  voice  protested  against  the  choice  of  Nicholas  Rubinstein 
as  a  judge  over  the  mechanical  side  of  my  work.  But  he  was  the  best 
pianist  in  Moscow,  and  also  a  most  excellent  musician  ;  I  was  told  that 
he  would  take  it  ill  from  me  if  he  should  learn  that  I  had  passed  him  by 
and  shown  the  concerto  to  another ;  so  I  determined  to  ask  him  to  hear 
it  and  criticise  the  pianoforte  part. 

"On  Christmas  Eve,  1874,  we  were  all  invited  to  Albrecht's,  and 
Nicholas  asked  me,  before  we  should  go  there,  to  play  the  concerto  in  a 
class-room  of  the  Conservatory.  We  agreed  to  it.  I  took  my  manuscript, 
and  Nicholas  and  Hubert  came.  Hubert  is  a  mighty  good  and  shrewd 
fellow,  but  he  is  not  a  bit  independent ;  he  is  garrulous  and  verbose  ; 
he  must  always  make  a  long  preface  to  '  yes '  or  '  no ' ;  he  is  not  capable 
of  expressing  an  opinion  in  decisive,  unmistakable  form ;  and  he  is 
always  on  the  side  of  the  stronger,  whoever  he  may  chance  to  be.  I  must 
add  that  this  does  not  come  from  cowardice,  but  only  from  natural  un- 
stableness. 

"I  played  through  the  first  movement.  Not  a  criticism,  not  a  word. 
You  know  how  foolish  you  feel,  if  you  invite  one  to  partake  of  a  meal 
provided  by  your  own  hands,  and  the  friend  eats  and  —  is  silent!     'At 


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least  say  something,  scold  me  good-naturedly,  but  for  God's  sake  speak, 
only  speak,  whatever  you  may  say  ! '  Rubinstein  said  nothing.  He  was 
preparing  his  thunder-storm  ;  and  Hubert  was  waiting  to  see  how  things 
would  go  before  he  should  jump  to  one  side  or  the  other.  The  matter  was 
right  here  :  I  did  not  need  any  judgment  on  the  artistic  form  of  my  work  ; 
there  was  question  only  about  mechanical  details.  This  silence  of  Rubin- 
stein said  much.  'It  said  to  me  at  once :  '  Dear  Friend,  how  can  I  talk 
about  details  when  I  dislike  your  composition  as  a  whole  ? '  But  I  kept 
my  temper  and  played  the  concerto  through.     Again  silence. 

"'Well?'  I  said,  and  stood  up.  Then  burst  forth  from  Rubinstein's 
mouth  a  mighty  torrent  of  words.  He  spoke  quietly  at  first ;  then  he 
waxed  hot,  and  at  last  he  resembled  Zeus  hurling  thunderbolts.  It  ap- 
peared that  my  concerto  was  utterly  worthless,  absolutely  unplayable ; 
passages  were  so  commonplace  and  awkward  that  they  could  not  be 
improved ;  the  piece  as  a  whole  was  bad,  trivial,  vulgar.  I  had  stolen  this 
from  that  one  and  that  from  this  one ;  only  two  or  three  pages  were  good 
for  anything,  while  the  others  should  be  wiped  out  or  radically  rewritten. 
'  For  instance,  that !  What  is  it,  anyhow  ? '  (And  then  he  caricatured  the 
passage  on  the  pianoforte.)  '  And  this  ?  Is  it  possible  ? '  and  so  on,  and 
so  on.  I  cannot  reproduce  for  you  the  main  thing,  the  tones  in  which  he 
said  all  this.  An  impartial  bystander  would  necessarily  have  believed 
that  I  was  a  stupid,  ignorant,  conceited  note-scratcher,  who  was  so  im- 
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"  Hubert  was  staggered  by  my  silence,  and  he  probably  wondered  how 
a  man  who  had  already  written  so  many  works  and  was  a  teacher  of 
composition  at  the  Moscow  Conservatory  could  keep  still  during  such  a 
moral  lecture  or  refrain  from  contradiction, —  a  mora!  lecture  that  no  one 
should  have  delivered  to  a  student  without  first  examining  carefully  his 
work.  And  then  Hubert  began  to  annotate  Rubinstein  ;  that  is,  he  in- 
corporated Rubinstein's  opinions,  but  sought  to  clothe  in  milder  words 
what  Nicholas  had  harshly  said.  I  was  not  only  astonished  by  this 
behavior :  I  felt  myself  wronged  and  offended.  I  needed  friendly  ad- 
vice and  criticism,  and  I  shall  always  need  it ;  but  here  was  not  a  trace 
of  friendliness.  It  was  the  cursing,  the  blowing-up  that  sorely  wounded 
me.  I  left  the  room  silently  and  went  upstairs.  I  was  so  excited  and 
angry  that  I  could  not  speak.  Rubinstein  soon  came  up,  and  called  me 
into  a  remote  room,  for  he  noticed  that  I  was  heavily  cast-down.  There 
he  repeated  that  my  concerto  was  impossible,  pointed  out  many  passages 
which  needed  thorough  revision,  and  added  that  he  would  play  the 
concerto  in  public  if  these  changes  were  ready  at  a  certain  time.  '  I  shall 
not  change  a  single  note,'  I  answered,  '  and  I  shall  publish  the  concerto 
exactly  as  it  now  is.'     And  this,  indeed,  I  did." 

Tschaikowsky  erased  the  name  of  Nicholas  Rubinstein  from  the  score, 
and  inserted  in  the  dedication  the  name  of  Hans  von  Bulow,  whom  he  had 
not  yet  seen  ;  but  Klindworth  had  told  him  of  von  Billow's  interest  in  his 


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works  and  his  efforts  to  make  them  known  in  Germany.  Von  Billow 
acknowledged  the  compliment,  and  in  a  warm  letter  of  thanks  praised  the 
concerto,  which  he  called  the  "  fullest "  work  by  Tschaikowsky  yet  known 
to  him  :  "  The  ideas  are  so  original,  so  noble,  so  powerful  ;  the  details  are 
so  interesting,  and  though  there  are  many  of  them  they  do  not  impair 
the  clearness  and  the  unity  of  the  work.  The  form  is  so  mature,  ripe, 
distinguished  for  style,  for  intention  and  labor  are  everywhere  concealed. 
I  should  weary  you  if  I  were  to  enumerate  all  the  characteristics  of  your 
work,  characteristics  which  compel  me  to  congratulate  equally  the  com- 
poser as  well  as  all  those  who  shall  enjoy  actively  or  passively  (respec- 
tively) the  work." 

For  a  long  time  Tschaikowsky  was  sore  in  heart,  wounded  by  his  friend. 
In  1878  Nicholas  had  the  manliness  to  confess  his  error;  and  as  a  proof 
of  his  good  will  he  studied  the  concerto  and  played  it  often  and  brilliantly 
in  Russia  and  beyond  the  boundaries,  as  at  the  Paris  Exhibition  of  1878. 

Other  works  of  1874-75  by  Tschaikowsky  were  Symphony  No.  3  ; 
"  Se're'nade  Melancolique,"  Op.  26,  for  violin  and  orchestra;  six  piano 
pieces,  Op.  19  ;  six  songs,  Op.  25  ;  six  songs,  Op.  27  ;  six  songs,  Op.  28. 

The  first  performance  of  this  concerto  was   at   Boston,  Mass.,  in  Music 

Hall,  Oct.  25,  1875.     Von  Biilow  was  the  pianist,  and  the  concert  was  the 

fifth  of  his  series.     Mr.  B.  J.  Lang  was  the  conductor.     The  programme 

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Overture,  "  Jessonda" S/>o//r 

Orchestra. 

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Overture,  "  Prometheus  " Beethown 

Orchestra. 

Grand  Fantaisie  (Op.  15)  in  C  major Schubert 

(Arranged  for  piano  and  orchestra  by  Liszt.) 
Hans  von  Bulow. 

Wedding  March Mendelssohn 

Orchestra. 

The  programme  contained  this  astonishing  announcement :  — 

"  The  above  grand  composition  of  Tschaikowsky,  the  most  eminent 
Russian  maestro  of  the  present  day,  completed  last  April  and  dedicated  by 
its  author  to  Hans  von  Biilow,  has  NEVER  BEEN  PERFORMED,  the 
composer  himself  never  having  enjoyed  an  audition  of  his  masterpiece.  To 
Boston  is  reserved  the  honor  of  its  initial  representation  and  the  opportu- 
nity to  impress  the  first  verdict  on  a  work  of  surpassing  musical  interest." 

Von  Biilow  sent  Tschaikowsky  a  telegram  announcing  the  brilliant 
success  of  his  work.  Of  course,  this  news  gratified  the  composer  ;  but 
just  then  he  happened  to  be  very  short  of  money,  and  it  was  not  without 
some  compunction  that  he  spent  it  all  in  answering  the  message. 

The  concerto  was  played  again  at  the  matinee  October  30.  The 
orchestra  during  the  engagement  was  small ;  there  were  only  four  first 
violins.  The  concerto  was  well  received,  and  one  critic  discovered  that 
the  first  movement  was  not  in  "  the  classical  concerto  spirit." 

The  concerto  has  been  played  at  these  concerts  by  Mr.  Lang  (1885), 
Mme.  Hopekirk  (189 1),  Mr.  Sieveking  (1896),  Mr.  Joseffy  (1898),  Mr. 
Slivinski  (1901). 

Von  Biilow  was  an  admirer  of  Tschaikowsky  before  as  well  as  after  he 
played  the  concerto  in  Boston.  In  a  letter  dated  Milan,  May  21,  22, 
1874,  he  spoke  warmly  of  a  string  quartet,  two  symphonies,  some  piano 
pieces,  and  above  all  of  an  "uncommonly  interesting"  overture,  "Romeo 
and  Juliet,"  which  was  "conspicuous  for  originality  and  wealth  of  melody." 
He  hoped  that  Tschaikowsky's  versatility  would  prevent  him  from  shar- 
ing the  fate  of  Glinka,—  neglect  in  foreign  lands.  Four  years  later  von 
Biilow  wrote  from  London  to  the  Signale,  and  after  some  words  about  the 
reception  by  the  London  audience  of  a  set  of  variations  for  piano  by 
Tschaikowsky  (Op.  19,  No.  6)  he  hailed  the  composer  as  a  "  true  tone-poet, 
sit  venia  verbo."  He  spoke  of  the  composer's  wretched  health,  and  then 
said:  "His  new  string  quartet  in  E-flat  minor,  his  second  symphony,  his 
fantaisie,  '  Francesca  da  Rimini,'  have  enchanted  my  somewhat  used-up 
ears  by  their  freshness,  power,  depth,  originality."  Nor  was  von  Biilow 
ever  weary  of  playing  this  same  concerto.  He  as  well  as  Liszt  was 
deeply  interested  in  the  younger  Russians,  and,  as  conductor  of  the 
Meiningen  orchestra,  this  "  Achilles  of  propagandists  "  gave  Russian  con- 

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certs  in  Germany  with  the  hope  of  breaking  down  a  contumacy  that  still 
flourishes  in  certain  parts  of  Germany  (see  Liszt's  letter  to  the  Countess 
Mercy- Argenteau,  Jan.  20,  1885). 

Nor  was  ingratitude  a  characteristic  of  Tschaikovvsky,  who  was  in  turn 
one  of  the  most  lovable  of  men.  In  an  account  of  his  visit  to  Hamburg 
in  1888  he  speaks  of  von  Biilow :  "  He  had  in  time  past  done  me  in- 
valuable service,  and  I  considered  myself  forever  in  his  debt." 

The  first  performance  of  the  concerto  in  Russia  was  by  Kross  at  a 
concert  of  the  Russian  Musical  Society,  St.  Petersburg,  Nov.  1,  1875. 
The  first  performance  in  Moscow  was  Nov.  21,  1875,  when  Serge 
Taneieff,*  the  favorite  pupil  of  Nicholas  Rubinstein  and  Tschaikowsky,  was 
the  pianist. 

Modest  Tschaikowsky  says  nothing  about  the  first  performance  in 
Boston,  but  he  quotes  from  a  letter  written  by  his  brother  to  Rimsky- 
Korsakoff  and  dated  Moscow,  Nov.  12,  1875,  in  which  Peter  mentions 
the  receipt  a  few  days  before  of  a  lot  of  clippings  from  American 
newspapers  sent  by  von  Biilow.  "  The  Americans  think,"  wrote  Peter, 
"  that  the  first  movement  of  my  concerto  '  suffers  in  consequence  of  the 
absence  of  a  central  idea,'  .  .  .  and  in  the  Finale  this  reviewer  has  found 
'  syncopation  in  trills,  spasmodic  pauses  in  the  theme,  and  disturbing  octave- 
passages  ! '  Think  what  healthy  appetites  these  Americans  must  have  : 
each  time  Biilow  was  obliged  to  repeat  the  whole  Finale  of  my  con- 
certo !     Nothing  like  this  happens  in  our  country  !  " 

But  Modest  tells  us  that  the  chief  theme  of  the  first  allegro  is  a  tune 

*Tanfeff's  Symphony  in  C,  No.  i,  and  overture  to  "The  Oresteia  "  have  been  played  here  by  the  Boston 
Symphony  Orchestra. 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUCNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS   CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  Hass. 


that  his  brother  heard  sung  by  a  blind  beggar  at  Kamenka,  and  that  the 
irresistibly  gay  tune  introduced  in  the  lively  episode  of  the  second  move- 
ment is  that  of  a  French  song,  "II  faut  s'amuser,  danser,  et  rire,"  "  which 
brother  Anatol  and  I  in  the  early  seventies  used  continually  to  roll,  and 
hum,  and  whistle  in  memory  of  a  bewitching  singer."  This  last  tune  bears 
a  grotesque  resemblance  in  notation,  rhythm,  and  general  character  to 
that  of  "  The  Irish  Christening,"  by  Dan  Maginnis,  once  a  favorite  come- 
dian at  the  Boston  Theatre. 

The  first  movement  begins  with  a  long  introduction,  Andante  non  troppo 
e  molto  maestoso,  3-4,  which  is  based  and  developed  on  its  own  pecu- 
liar theme.  After  a  short  prelude  in  B-flat  minor  by  full  orchestra  there 
is  a  modulation  to  D-flat  major.  The  stately  theme  is  sung  by  first  violins 
and  'cellos  in  octaves;  wood-wind  and  horns  furnish  a  background,  and 
full  chords  are  swept  by  the  pianist.  The  pianoforte  repeats  and  varies 
the  theme,  which  leads  to  a  cadenza ;  and  after  a  series  of  imitations 
between  pianoforte  and  orchestra  the  great  theme  is  proclaimed  by  all 
the  violins,  violas,  and  'cellos  in  double  octaves.  There  is  a  short  coda. 
Harmonies  in  the  brass  lead  to  the  key  of  B-flat  minor  and  the  main 
body  of  the  first  movement,  Allegro  con  spirito,  4-4.  The  chief  theme 
is  the  beggar  tune  above  mentioned,  a  tune  in  nervous  rhythm,  given 
out  by  the  pianoforte.  The  rhythmic  movement  in  the  course  of  the  dia- 
logue between  solo  instrument  and  orchestra  is  hurried  into  sixteenths. 
Then  follows  an  episode  with  the  second  theme,  an  expressive  melody 
announced  by  wood-wind  and  horns.  A  subsidiary  and  sensuous  theme 
in  A- flat  major  is  whispered  by  the  muted  strings.  The  second  theme 
is  developed  and  led  to  a  mighty  conclusion  in  C  minor.  The  sensuous 
theme  reappears,  is  developed  at  length,  and  there  is  a  return  to  the 
beggar  melody.  In  the  free  fantasia  the  second  theme  is  worked  out  at 
length  to  a  powerful  climax.  The  pianoforte  attacks  a  formidable 
cadenza  on  figures  from  this  theme.  The  sensuous,  caressing  melody 
reappears  near  the  end,  and  swells  to  fortissimo. 

The  second  movement,  Andantino  semplice,  D-flat  major,  6-8,  is  a 
combination  of  slow  movement  and  scherzo.  The  first  theme  is  a  lul- 
laby, sung   by   the    flute  and  repeated  by  the  pianoforte.      The  second 


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(442) 


theme,  chiefly  in  D  major,  is  of  a  curious  pastoral  nature,  and  is  given 
out  by  oboe,  clarinets,  bassoons.  The  first  theme  returns  in  the  'cellos. 
The  second  part  of  the  movement  is  of  scherzo  character.  Violas  and 
'cellos  play  the  "  French  chanson."  After  a  cadenza  of  the  pianoforte 
the  lullaby  melody  returns  in  D-flat  major  and  is  developed. 

The  Finale:  Allegro  con  fuoco,  B-flat  minor,  3-4,  is  a  rondo  on  three 
themes.  After  four  measures  of  orchestral  introduction  the  pianoforte 
announces  the  chief  melody,  a  wild  and  characteristic  Slav  dance.  The 
second  theme  is  also  exceedingly  characteristic.  After  the  exposition  by 
the  orchestra  it  is  developed  for  a  short  time,  and  suddenly  the  third  theme 
(violins)  enters.  After  development  according  to  the  rules  of  the  rondo, 
the  tempo  is  changed  to  allegro  vivo,  and  a  coda  on  the  first  theme  brings 
the  end. 

The  orchestral  part  of  the  concerto  is  scored  for  2  flutes,  2  oboes,  2 
clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones,  a  set  of  3  kettle- 
drums, and  strings. 

"  Les  £olides,"  Symphonic  Poem    .     ., Cesar  Franck. 

(Born  at  Liege,  Dec.  10,  1822;  died  at  Paris,  Nov.  8,  1890.) 

This  symphonic  poem,  written  in  1876,  was  performed  for  the  first  time 
at  a  concert  of  the  Socie'te'  Nationale,  Paris,  May  13,  1877.  Lamoureux 
brought  it  out  at  one  of  his  concerts,  Feb.  26,  1882,  but  it  was  not  favor- 
ably received.  Some  in  the  audience  hissed.  This  embittered  Lamou- 
reux against  "  Pere  Franck,"  as  he  was  nicknamed  affectionately  by  his 
pupils,  and  he  neglected  the  composer  until  Franck  was  dead  and  his 
worth  recognized.  "  Les  bolides"  was  again  played  at  a  Lamoureux  Con- 
cert, Feb.  18,  1894.  The  first  performance  in  the  United  States  was  at 
Chicago  at  a  concert  of  the  Chicago  orchestra,  Theodore  Thomas  con- 
ductor, in  1895.  The  first  performance  in  Boston  was  by  the  Boston 
Symphony  Orchestra,  Feb.  17,  1900. 


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Leconte  de  Lisle  wrote  a  poem  entitled  "  Les  bolides,"  and  Franck's 
piece  is  said  to  have  been  inspired  by  the  opening  lines  :  — 

O  brises  flottantes  des  cieux, 
Du  beau  printemps  douces  haleines, 
<,'ui  de  baisers  capricieux 
Caressez  les  monts  et  les  plaines ; 

Vierges,  filles  d'fiole,  amantes  de  la  paix, 
La  nature  eternelle  a  vos  chansons  s'eveille. 

O  floating  breezes  of  the  skies,  sweet  breaths  of  fair  spring,  who  lip  with  capricious 
kisses  hills  and  plains;  virgins,  daughters  of  yKolns,  lovers  of  peace,  eternal  nature  wakes 
to  your  songs. 

The  symphonic  poem  is  in  one  movement,  Allegretto  vivo,  A  major,  3-8. 
The  pace  slackens  for  a  while  toward  the  end.  The  piece  is  free  in  form. 
The  chief  theme  is  a  short  chromatic  phrase,  from  which  other  melodic 
phrases  of  a  similar  character  are  derived.  The  development  suggests 
the  constant  variation  of  the  chief  thought,  which  is  itself  as  a  mere 
breath ;  and  this  development  is  rich  in  harmonic  nuances.  The  piece 
is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets, 
kettle-drums,  1  cymbal  (struck  with  a  kettle-drum  stick),  harp,  and  strings. 

"  Aiolos  "  means  primarily  easily  turning,  quickly  moving,  hence  (meta- 
phorically) changeful,  shifting,  varied ;  and  the  Greek  adjective  might  with 
peculiar  propriety  be  applied  to  Franck's  chief  theme.  But  Leconte  de 
Lisle's  poem  refers  directly  to  the  daughters  of  .Kolus,  the  god  of  the 
winds,  who  are  singularly  ignored  by  the  majority  of  writers  on  Grecian 
mythology.  Even  among  the  ancients  there  was  dispute  as  to  the  charac- 
ter of  the  father  himself.  The  opinion  of  many  was  summed  up  by  the 
Reverend  Joseph  Spence  in  his  "Polymetis  ;  or,  an  Enquiry  concerning  the 
Agreement  between  the  Works  of  the  Roman  Poets,  and  the  Remains  of 
the  Antient  Artists  :  being  an  Attempt  to  illustrate  them  mutually  from  one 


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(445) 


another"  (London,  1747)  :  "  ^Eolus,  I  have  never  yet  met  with;  either  in 
any  gem,  medal,  picture,  or  releivo,  of  the  antients.  The  poets  you  know" 
—  Ovid,  Virgil,  Valerius  Flaccus,  Juvenal  —  "  describe  him  as  of  an  angry 
temper,  and  rough  look;  setting  in  the  midst  of  a  vast  cave  :  with  his  sub- 
jects fettered,  or  chained  down,  round  about  him.  Virgil,  and  Valerius 
Flaccus  after  him,  give  a  picture  of  yEolus  letting  the  Winds  out  of  this 
their  prison  ;  to  direct  the  storms,  that  are  so  particularly  described  by 
both  of  these  poets.  By  their  joint  account  of  him,  he  seems  to  be  the 
most  of  a  tyrant,  of  any  of  the  gods  ;  or  (to  use  a  word  that  with  the  old 
Romans  was  but  a  little  softer)  the  fittest  king,  for  such  unruly  subjects." 
But  compare  with  this  account  the  more  genial  description  given  by 
Ulysses  to  King  Alcinous  :  "And  we  arrived  at  the  ^olian  island,  and 
here  dwelt  ^Eolus,  son  of  Hippotas,  dear  to  the  immortal  gods,  in  a 
floating  island  ;  but  around  the  whole  of  it  there  is  a  brazen  wall,  not  to 
be  broken  ;  and  a  smooth  rock  runs  up  it ;  and  twelve  children  of  him  are 
born  in  his  palace ;  six  daughters,  and  six  sons  in  full  vigor.  There  he 
gave  his  daughters  to  be  wives  to  his  sons.  They  always  banquet  near 
their  dear  father  and  their  good  mother ;  and  near  them  lie  many  dainties. 
And  the  sweet-odoured  dwelling  sounds  around  the  hall  during  the 
days.*     Here  Ulysses  tarried  a  whole  month,  and  when   he  would  leave, 

*  "  To  the  vEolian  island  we  attain'd, 

That  swum  about  still  on  the  sea,  where  reign'd 
The  God-lov'd  iEolus  Hippotades. 
A  wall  of  steel  it  had ;  and  in  the  seas 


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(446) 


^Eolus  bound  for  him  in  the  bladder  of  a  nine  year  old  ox  "  the  ways  of 
the  blustering  winds." 

Parthenius  of  Nicaea,  a  prolific  poet,  in  one  of  his  thirty-six  love  stories 
that  have  escaped  the  huge  dust-bin  of  Time,  tells  how  Ulysses  was  hospi- 
tably entertained  by  yEolus  on  the  island  of  Meligunis,  now  Lipara,  who 
kept  him  long  for  the  sake  of  talking  about  the  Trojan  War  and  the  dis- 
persion of  the  Grecian  fleet  by  the  tempest.  Nor  was  this  sojourn  un- 
pleasant to  Ulysses,  for  a  daughter  of  JEolus,  named  Polymele,  fell  into 
passionate  love  of  him.  After  the  wily  adventurer  had  left  the  island, 
Polymele  did  nothing  but  weep  and  continually  hold  in  her  bands  and  kiss 
some  presents  which  Ulysses  had  given  her  out  of  the  spoils  of  Troy. 
^Eolus  found  out  the  reason  of  her  sorrow,  and,  wroth,  hated  Ulysses,  upon 
whom  he  loosed  fearful  storms ;  and  he  would  have  punished  Polymele 
severely,  had  not  one  of  his  sons,  Diores,  begged  her  hand  in  marriage,  at 
which  he  was  appeased,  and  he  granted  his  son's  wish. 

Jeremy  Collier  in  his  biographical  sketch  of  yEolus  makes  no  mention 
of  sons  or  daughters  :  "  JEolus,  a  king  of  the  seven  islands  betwixt  Italy 
and  Sicily  called  ALoYisz,  very  Hospitable,  he  taught  his  People  to  use 
Sails,  and  by  observing  the  Fire  or  Smoak  of  Strongyle  (Stromboli)  could 
predict  how  the  Winds  would  blow,  whence  the  Poets  call'd  him  the 
God  of  the  Winds.  He  was  also  a  skilful  Astrologer,  which  contributed 
to  this  Fiction.     There  were  Three  of  this  Name." 


March  of  the  Three  Holy  Kings,  from  the  Oratorio  "  Christus." 

Franz  Liszt. 


(Bom  at  Raiding,  near  Odenburg,  Hungary,  Oct.  22,  181 1 
at  Bayreuth,  July  3.1,  1886.) 


died 


Liszt's  "  Christus,"  entitled  an  oratorio,  is  in  three  parts :  "  Christmas 


A  wave-beat-smooth  rock  moved  about  the  wall. 

Twelve  children  in  his  house  imperial 

Were  born  to  him  ;  of  which  six  daughters  were. 

And  six  were  sons,  that  youth's  sweet  flower  did  bear. 

His  daughters  to  his  sons  he  gave  as  wives  ; 

Who  spent  in  feastful  comforts  all  their  lives, 

Close  seated  by  their  sire  and  his  grave  spouse. 

Past  number  were  the  dishes  that  the  house 

Made  ever  savour  ;  and  still  full  the  hall 

As  long  as  day  shined."  —  George  Cltapntan. 


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Oratorio,"  "  After  Epiphany,"  "  The  Passion  and  Resurrection."  It  is 
not  an  oratorio  in  the  general  acceptation  of  the  term.  Pohl  well  describes 
it  as  "an  artistic  compilation  of  the  Catholic  cult,  as  grouped  in  the  chief 
episodes  in  the  story  of  the  life  and  sufferings  of  Christ,  or  based  on  the 
fundamental  articles  of  faith."  Although  there  are  hymns  that  proclaim 
the  emotions  of  the  Virgin  Mother,  Mary  herself  is  not  introduced  in 
character.  Christ  rebukes  his  disciples  on  the  Sea  of  Galilee,  and  utters 
his  prayer  in  the  Garden  of  Gethsemane.  In  each  instance  He  is  repre- 
sented by  a  solo  voice.  With  these  exceptions  there  is  no  attempt  at 
individualization. 

The  composition  of  Part  I.  is  as  follows  :  (i)  Orchestral  Introduction 
in  two  parts, —  Prophecy  and  Fulfilment;  (2)  Proclamation  of  Christ's 
Birth  and  Angelic  Hymn,  "  Gloria  in  Excelsis " ;  (3)  "  Stabat  Mater 
Speciosa " ;  (4)  Song  of  the  Shepherds  at  the  Manger  (orchestral  pas- 
torale) ;  (5)  Adoration  of  the  Magi,  or  the  March  of  the  Three  Holy 
Kings. 

The  text  is  taken  from  the  Vulgate  and  the  liturgy  of  the  Catholic 
Church. 

"The  Beatitudes  "  (baritone  solo  and  chorus)  in  Part  II.  was  composed 
at  Weimar  in  1853.  Part  I.  and  the  remainder  of  Part  II.  were  composed 
in  1863,  and  Part  III.  in  1865-66.  The  work  was  finished  in  October, 
1866.  "The  Beatitudes  "  was  published  in  1861,  the  Pater  Noster  (Part 
II.)  in  1864,  "  Christus,"  as  a  whole,  in  1872. 

Part  I.  was  performed  at  Vienna  in  1872,  and  Hanslick  wrote  a  bitter 
article  against  it.  The  oratorio  as  a  whole  was  first  performed  at  Weimar, 
May  29,  1873,  in  the  Stadtkirche,  under  the  direction  of  the  composer. 
The  words  of  Christ  were  then  sung  by  R.  Milde,  who  had  previously 
sung  the  solo  part  in  "  The  Beatitudes."  There  were  performances  at 
Budapest   (1873),  Munich    (1879),  Frankfort-on-the-Main  (1880),  Baden- 


It's  a  Fownes' 

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a  glove 


Baden  and  Hamburg  (1881),  Freiburg  and  Berlin  (1882),  and  later  in 
other  cities. 

Part  I.  was  first  performed  in  America  by  the  Oratorio  Society  of  New 
York  under  Dr.  Leopold  Damrosch,  Feb.  27,  1876;  but  the  orchestral 
pastorale,  "  Hirtengesang,"  was  played  at  a  concert  of  the  Philharmonic 
Society  of  New  York,  Jan.  18,  1873.  The  first  performance  of  the  oratorio 
as  a  whole  in  this  country  was  by  the  Oratorio  Society  of  New  York  under 
Walter  Damrosch,  March  3,  1887,  when  the  solo  parts  were  sung  by  Ella 
Earle,  Hattie  J.  Clapper,  Max  Alvary,  and  Max  Heinrich. 

The  March  of  the  Three  Holy  Kings  is  said  to  have  been  suggested  to 
Liszt  by  Stephen  Lothener's  painting  in  distemper,  "  The  Adoration  of  the 
Magi"  (1410),  which  forms  a  portion  of  his  "  Dombild  "  in  the  cathedral 
at  Cologne,  where  the  bejewelled  skulls  of  Gaspar,  Melchior,  and  Balthazar 
are  enshrined. 

The  march  begins  in  C  minor.  The  march  theme,  after  a  few  measures 
of  prelude,  is  introduced  by  the  low  strings  pizzicato,  and  the  effect  is  not 
unlike  that  of  Berlioz's  "  Pilgrim  "  March  in  the  "  Harold  "  Symphony. 
An  episode  in  B  minor  follows,  and  there  is  development  and  then  a 
return  of  the  introductory  march.  And  now  there  is  the  apparition  of  the 
Star.  "  Ecce  stella  quam  viderant  in  Oriente,  antecebat  eos,  usque  dum 
veniens  staret  supra  ubi  erat  puer  "  ("  And,  lo,  the  star,  which  they  saw 
in  the  East,  went  before  them,  till  it  came  and  stood  over  where  the 
young  child  was  "•)  is  the  motto.  Flutes  and  first  violins  sustain  an  A-flat, 
while  oboes  and  clarinets  sing  the  melody,  supported  by  horns,  bass  trom- 
bone, second  violins,  violas,  and  harp.  There  is  a  repetition  in  the 
dominant.  Trumpets  and  horns  lead  in  the  melody,  and  wood-wind  instru- 
ments respond.  There  is  a  return  to  the  key  of  D-flat ;  and  modulations, 
A  major,  C  major,  E  major,  introduce  the  episode  in  B  major,  Adagio 
sostenuto  assai,  which  bears  this  motto  :  "  Apertis  thesauris  suis,  obtulerunt 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COHPANY,    -    BOSTON 

(448) 


Magi  domino  aurum,  thus,  et  myrrham  "  ("  And,  when  they  had  opened 
their  treasures,  they  presented  unto  him  gifts, —  gold  and  frankincense  and 
myrrh "),  'cello  solo  with  accompaniment  of  flutes,  clarinets,  horns,  and 
strings.  There  is  a  return  to  the  Star  episode,  D-flat'  major,  which  is  re- 
peated in  F  major.  A  modulation  to  C  major,  Allegro  un  poco  mosso,  and 
the  second  half  of  the  march  theme  is  developed  with  the  Magi  theme  now 
in  C  major. 

The  march  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2  bas- 
soons, 4  horns,  3  trumpets,  3  trombones,  tuba,  kettledrums,  harp,  and 
strings. 

# 
#  * 

There  are  many  legends  about  this  Star  and  the  Three  Magi.  Accord- 
ing to  Fulgentius  this  star  "  differenced  from  the  other  stars  in  three  things. 
First,  in  situation,  for  it  was  not  fixed  in  the  firmament,  but  it  hung  in  the 
air  nigh  to  the  earth.  Secondly,  in  clearness,  for  it  was  shining  more  than 
the  others.  It  appeared  so  that  the  clearness  of  the  sun  might  not  hurt 
nor  appale  her  light,  but  at  plain  mid-day  it  had  right  great  light  and  clear- 
ness. Thirdly,  in  moving,  for  it  went  alway  before  the  kings  in  manner  of 
one  going  in  the  way,  ne  it  had  none  turning  as  a  circle  turneth,  but  in 
such  manner  as  a  person  goeth  in  the  way.  .  .  .  And  we  ought  to  note 
that  there  be  five  manners  of  stars  that  these  kings  saw.  The  first  is 
material,  the  second  spiritual,  the  third  intellectual,  the  fourth  reasonable, 
the  fifth  substantial." 

The  gifts  were  of  peculiar  significance.     Saint  Bernard  says  they  offered 

A    PERFECT    COMBINATION. 


the  APOLLO   and  the   A.  B.  CHASE  GRAND. 

i&^A^Aa^  -     m  andvoLTn2n  street' 


(460) 


S.    S.    PIERCE    CO. 

IMPORTERS    AND    GROCERS 

BOSTON     BROOKLINE 


(461) 


We  are  now  displaying  our  Complete  Line  of 

AUTUMN    GLOVES. 

The  styles  and   colors  have  never  been  more 
attractive,  and  the  range  of  prices,  from 

$1.00  to  $2.00, 

Will  meet  the  demand  of  all  wearers  of  gloves. 


Miss  M.  F.  FISK,  144  Tremont  St. 


HAVE     YOU    SEEN     THE  CHARMING    LITTLE    MUSICAL 
BOOK, 

-MOMENTS   WITH 
HASTERS  OF  THE 
ORATORIO," 

By   FAY    SIMMONS    DAVIS? 

It  is  beautiful  for  a  Christmas,  Birth- 
day, or  Wedding  Gift.  It  is  a  Little 
Work  of  Reference  and  of  Inspiration. 

On  sale  for  Fifty  Cents  a  copy  by  the 
Publishers, 

C.  W.  THOflPSON  &  CO., 
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AND  ALL  MUSIC  STORES. 


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REDUCTION  SALE. 

Imported  Hats  and  Bonnets. 

Mile.   Caroline, 

486  Boylston  Street,   .     .      Boston. 

Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(452) 


to  Mary  "gold  for  to  relieve  her  poverty,  incense  against  the  stench  of  the 
stable  and  evil  air,  myrrh  for  to  comfort  the  tender  members  of  the  child 
and  to  put  away  vermin."  But  others  say  that  gold  was  for  tribute,  incense 
to  make  sacrifice,  myrrh  for  the  sepulture  of  dead  men  ;  or,  again,  that 
gold  signifieth  love ;  incense,  prayer ;  myrrh,  mortification  of  the  flesh. 

As  the  author  of  the  "Golden  Legend"  tells  us:  "And  the  kings 
when  they  were  admonished  and  warned  by  revelation  in  their  sleep  that 
they  should  not  return  to  Herod,  and  by  another  way  they  should  return 
into  their  country,  lo,  hear  then  how  they  came  and  went  in  their  journey. 
For  they  came  to  adore  and  worship  the  King  of  kings  in  their  proper 
persons  by  the  star  that  led  them,  and  by  the  prophet  that  enseigned  and 
taught  them.  And  by  the  warning  of  the  angel  returned  and  rested  at  their 
death  in  Jesu  Christ.  Of  whom  the  bodies  were  brought  to  Milan,  where 
as  now  is  the  convent  of  the  friars  preachers,  and  now  be  at  Cologne  in 
S.  Peter's  Church,  which  is  the  Cathedral  and  See  of  the  Archbishop." 


* 
#  * 


Of  these  kings  Sir  Thomas  Browne  said :  "  Not  that  they  are  to  be  con- 
ceived potent  monarchs,  or  mighty  kings,  but  toparchs,  kings  of  cities  or 
narrow  territories ;  such  as  were  the  kings  of  Sodom  and  Gomorrah,  the 
kings  of  Jericho  and  Ai,  the  one  and  thirty  which  Joshua  subdued,  and 
such  as  some  conceive  the  friends  of  Job  to  have  been. 

"  But  although  we  grant  they  were  kings,  yet  can  we  not  be  assured 
they  were  three.  For  the  Scripture  maketh  no  mention  of  any  number; 
and  the  number  of  their  presents,  gold,  myrrh,  and  frankincense,  con- 
cludeth  not  the  number  of  their  persons ;  for  these  were  the  commodities 
of  their  country,  and  such  as  probably  the  Queen  of  Sheba  in  one  person 
had  brought  before  unto  Solomon.  So  did  not  the  sons  of  Jacob  divide 
the  present  unto  Joseph,  but  are  conceived  to  carry  one  for  them  all, 
according  to  the  expression  of  their  father:  'Take  of  the  best  fruits  of  the 
land  in  your  vessels,  and  carry  down  the  man  a  present.'  And  therefore 
their  number  being  uncertain,  what  credit  is  to  be  given  unto  their  names, 
Gasper,  Melchior,  Balthazar,  what  to  the  charm  thereof  against  the  falling 
sickness,  or  what  unto  their  habits,  complexions,  and  corporal  accidents, 
we  must  rely  on  their  uncertain  story,  and  received  portraits  of  Cologne." 


COCOA-  CHOCOLATE 

GROCERS      EVERYWHERE. 


(.453, 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia  Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(464) 

Newport 

Ninth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  DECEMBER  26,  at  2.30  o'clock. 

SATURDAY  EVENING,  DECEMBER  27,  at  8.00  o'clock. 


PROGRAMME. 


Horatio  Parker  .         .        .        Concerto  for  Organ  and  Orchestra 

(First  time.) 


Berlioz        .        .         .        Three  Movements  from  **  Romeo  and  Juliet ' 


Brahms '        .  Symphony  No.  1 


SOLOIST: 
Mr.  HORATIO    PARKER. 

(455) 


PIANOFORTE    RECITAL 

AuouiTA   COTTLOW 

Wednesday  Evening,  January  7,  at  8 

PROGRAM 

Prelude  and  Fugue,  D  major  (arranged  for  piano  by  Busoni)       .        .  .       Bach 

Variations  Serieuses Mendelssohn 

Intermezzo,  A-flat  major Brahms 

Rhapsodie,  B  minor Brahms 

Mazourka,  B-flat  major Chopin 

Nocturne,  F-sharp  minor Chopin 

Scherzo,  C-sharp  minor Chopin 

Etude,  G  minor Zarembski 

Etude,  D-flat  major Liszt 

Polonaise,  E  major Liszt 

THE   STEINWAY  PIANO 
Reserved  Seats,  $1.50,  $1.00,  and  $0.75    Tickets  are  for  sale  at  Steinert  Hall  ticket  office 


PIANO  and  VIOLIN   RECITAL 

Thursday,  January  29, 

AT    THREE    P.M. 

Miss    ETHEL    INM  AN  (of  New  York),  Pianist 

Mr.  ISIDOR  SCHNITZLER,  Violinist 

Assisted  by  Mr.  HERBERT  WITHERSPOON,  Basso  Cantante 


Mrs.  Martha  vS.  Gielow 

(OF    ALABAMA) 
Will  give  her  SECOND    RECITAL  of 

Original  Honologues  and  sketches  from 
Old  Plantation  Life 

On  Tuesday  Afternoon,  December  30,  at  3  o'clock,  in  Steinert  Hall 

Tickets,  #1.50,  #1.00,  and  $0.75,  are  for  sale  at  the  hall, 
l'.oylston  Street 

For  engagements,  dates,  and  terms   Mrs.  Gielow  ma\  he  addressed,  i  are  of 
Steinert  Hall,  Boston 

(450; 


Mr.  HENRY  WOLFSOHN,  New  York, 

,  begs  to  announce  a. 

VIOLIN  RECITAL 

Miss  maud6' McCarthy 

on  MONDAY  AFTERNOON, 
JANUARY  19,  at  3  o'clock. 

Reserved  Seats,  $1.50,  $1.00,   and  $0.75. 

Tickets  Tvill  go  on  sale  Monday,  January  5. 

Miss  MARY  MUNCHHOFF 

WILL   GIVE  A 

Song'  Recital 

on  Tuesday  Afternoon,  January  20, 
at  Three,  in 

STEINERT    HALL. 

Reserved  Seats,  $0.75,  $1.00,  $1.50. 
Tickets  will  go  on  sale  at  the  hall  on  Monday,  January  5. 


Management:    HENRY  WOLFSOHN,  New  York 


Mr.  FELIX   FOX 

PIANIST,     TEACHER 

Studio,    17    Steinert    Hall   Building,    Boston. 

Concert  Direction,  Henry  Wolfsohn,  131   East  17th  Street,  New  York. 

(457) 


Cbkkering  lyatt 


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RECITALS 
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(408) 


Carl    Faelten's 

THIRD    PIANOFORTE    RECITAL, 
Wednesday  Evening,   December   31,    190a,  at  8  o'clock. 

Programme. 

Andante,  F  major  )  n     th 

Sonata  (Appassionata),  F  minor,  Op.  57  J 

Huntington       Giga  con  Variazioni,  D  minor,  Op.  91,  No.  2    .         .         .         .  Raff 

Chambers        Nocturne,  B  major,  Op.  9,  No.  3  )  Chopin 

Hall  Valse,  A-flat  major,  Op.  42  J    "        *        *  v 

Hungarian  Rhapsody,  No.  2,  C-sharp  minor     ....         Liszt 
TICKETS,  $L0O.    J*    J*    &    &    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO   LET 

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SEATS  420 

APPLY  TO  JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
—Vocal   Instruction... 

Address,    New    England    Conservatory    of   Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

HANS  SCHNEIDER 

TEACHER    OF    PIANOFORTE 

Particular  attention  paid»[to  TONE   AND   INTERPRETATION  and  to  the 
NORHAL  TRAINING  of  prospective  piano  teachers. 

Huntington  Chambers,  503. 

Tuesday  Afternoons  2  to  6.  » 

(459) 


Symphony  make    Xmas 
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Good  locations  for  remainder  of  season,   from 
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THE 

LO  N  Q  V 

CLUB 


A.   Ma^uakrr,  FluteJ  A.  Hackebarth,  Hom 

P.  Metzger,  Clarinet  H.  Gebhard,  Piano,  and 

A.  Debuchv,  Bassoon  Q.  LONGY,  Oboe 


Next  Concert 

Monday  Evening,  January  5, 

1903 


(460) 


majsttTOiHw 


Diuijftaflasine 


ASTERS  IN  MUSIC  will  be  unlike  any  other 
musical  magazine.  It  will  be  edited  by  Mr. 
Daniel  Gregory  Mason.  Each  monthly  issue, 
complete  in  itself,  will  be  devoted  to  one  of 
the  world's  greatest  musicians,  giving  thirty- 
two  pages  of  engraved  piano  music,  which 
will  comprise  those  compositions  or  move- 
ments that  represent  the  composer  at  his  best,  with  editorial  notes 
suggesting  their  proper  interpretations  ;  a  beautiful  frontispiece 
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chosen  from  the  writings  of  the  most  eminent  musical  critics. 
The  text  of  Masters  in  Music  will  thus  constitute  an  interest- 
ing and  authoritative  monthly  lesson  in  musical  history;  its 
selections  of  music  will  form  a  library  of  the  world's  musical 
masterpieces,  and  all  at  slight  cost.  Among  the  composers 
to  be  treated  during  the  first  year  are  Mozart,  Chopin,  Gounod, 
Verdi,  Grieg,  Beethoven,  Mendelssohn,  and  others.  The  maga- 
zine will  be  most  attractively  presented  throughout.  The  first 
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BOSTON    SYH PHONY    HALL 


Handel  and  Haydn  Society 

Eighty-eighth  Season 

Emil  Mollenhauer,  Conductor  H.  G.  Tucker,  Organist 

A  full  orchestra 


Sunday,  December  21,  1902 

THE    MESSIAH 

Soprano,  Miss  Helen  Henschel 

Alto,  Mrs.  Ernestine  Fish 

Tenor,  Mr.  Glenn  Hall 

Bass,  Mr.  Jos.  Baernstein 

Thursday,  December  25,  1902 

THE    MESSIAH 

Soprano,  Miss  Anita  Rio 

Alto,  Mrs.  Helen  A.  Hunt 

Tenor,  Mr.  Jon  Jackson 

Bass,  Mr.  L.  B.  Merrill 

Sunday,  February  9,  1903 

PARADISE    LOST 

(Th.  Dubois) 
Soprano,  Mme.  Camille  Seygard 

Alto,  Mme.  Louise  Homer 

Tenor,  Herr  Andreas  Dippel 

Baritone,  Sig.  Emilio  de  Gogorza 

Bass,  M.  Marcel  Journet 

Easter  Sunday,  April  12,  1903 

ISRAEL  IN  EGYPT 

Soloists  to  be  announced 


On  Thursday,  Friday,  and  Saturday,  December  4,  5,  and  6,  after  8.30  a.m.,  our  season  ticket- 
holders  of  last  year  can  procure  their  former  seats  at  Symphony  Hall. 

During  the  week  beginning:  Monday,  December  8,  after  8.30  a.m.,  the  sale  of  season  tickets 
will  be  open  to  the  public.  The  season  tickets  include  the  choice  of  one  performance  of  the 
II  i.ssiah,  and  carry  the  right  of  renewal  for  another  season  to  the  same  seats. 

The  price  of  season  tickets  for  four  concerts  will  be  PG.CO,  $5. 00,  and  $3.60,  according  to  loca- 
tion.   Sale  at  Symphony  Hall.    Telephone,  Back  Bay  1492.  — ~ 

The  sale  of  single  tickets  for  the  Mkssiah  concerts,  $2.00,  SI. 50,  and  $1.00,  will  open  Monday, 
December  15,  at  8.30  a.m.,  at  Symphony  Hall,  and  also  at  Wright  &  DitBon's,  344  Washington  St. 

Information  in  regard  to  soloists,  sale  of  tickets,  etc.,  can  be  obtained  by  addressing  the 
Secretary. 

3C9  Harvard  Street,  Camhridge  WILLIAM   V.  BRADBURY, 

November  2G,  1902  Secretary 

(462) 


SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 

70  PERFORMERS.     €Mr.   WILHELM  GERICKE,  Conductor 


Thursday  Evenings 


JANUARY  8 
JANUARY  29 
FEBRUARY  12 


MARCH  12 
APRIL  2 
APRIL  23 


at  7.45 


SOLO  ARTISTS 

MISS  HELEN  HENSCHEL  MR.  CARL  STASNY 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MISS  MAUD  MacCARTHY       MME.  BLOOMFIELD-ZEISLER 
MR.  ADOLF  BAK 

AND    OTHERS    TO    BE   ANNOUNCED. 


TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 

at  the  door. 


(463) 


CHICKERING     HALL 


Monday  Evening,  December  29,  at  8 


The  Kneisel  Quartet 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALWIN    SCHROEDER,  Violoncello 


PROGRAMME, 

Brahms         .        Quintet  for  Two  Violins,  Viola,  Violoncello,  and  Clarinet, 
in  B  minor,  Op.  115 


Volkmar,  Andreue       .  .        Trio  for  Piano,  Violin,  and  Violoncello,  in 

*  F  minor 

(First  time) 

Mozart         ........    Quartet  in  E-flat  major 


ASSISTING    ARTISTS 

fir.  HARK    HAHBOURG  fir.  V.  LEBAILLY 


The  Pianoforte  is  a  Knabe 


Tickets  at  Symphony  Hall  and  at  the  door 


(464) 


The  Boston  Symphony  Orchestra  Programme 

For  the  twenty-four  Boston  Concerts, 
with  Historical  and  Descriptive  Notes 
by  Philip  Hale.  J*  <£  <2*  J&   <£   J*«   Jt 

Bound   copies  of  the   Programme  for  the   entire    season  can    be    had    at 
$1.50  by  applying  before  the  last  concert.     Address  all  communications  to 

F.  R.  COMEE,  Symphony  Hall,  Boston. 


MUSICAL   INSTRUCTION. 


VOCAL  INSTRUCTION  and 

Miss  HARRIET  S.  WHITTIER,     "£Z£?L- 

Exponent  of  the  method  of  the  late  Charles  R.  Adan:< 

Concert  and  Oratorio. 

Miss  GERTRUDE  EDMAHDS,  vocal  instruction 


EXETER    CHAMBERS. 


Specialist  in  the  Science  of 

Mr.  CHARLES  B.  STEVENS,  ToDe  Froducti011  aM  lh  Art  of  mH 

'  Studio  20,  Steinert  Hall  Building. 


Telephone,  1331  Oxford. 


PIERCE  BUILDING, 

Mrs.  ANNE  G1LBRETH  CROSS,      c°pley  square, 

TEACHER  OF  THE  PIANOFORTE.  BOSTON. 


Teaching-room, 

Miss  ANNA  MILLER  WOOD,      pierce  Buildin^ Co^  s<uare- 

flEZZO-CONTRALTO.  Home  Address, 


152  Huntington  Avenue,  Boston. 


(405) 


Miss  LAURA  HAWKINS, 


Pianist  and   Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 

AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


Miss  SUZA  DOANE, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


Mr.  OTTO  ROTH, 


Miss  JESSIE  DAVIS 


Pupil  of  Harold  Bauer. 


VIOLIN    AND    ENSEMBLE 

LESSONS. 

10  ARLINGTON    STREET. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,    163    flassachusetts   Avenue. 


Mr.  CARLO  BUONAMICI, 


PIANIST  AND  TEACHER. 

Steinert  Hall  Building. 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonweal!  h  Avenue. 


(4M) 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5, Thespian  Hall, 

168   Massachusetts    Avenue, 
Boston,   Mass. 


CLARENCE  B.  SHIRLEY, 


TENOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  A.  E.  PRESCOTT 


153  TREMONT  STREET. 


Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe  Vit6  avec  moi.  Je  lui  ai  donne'  des  lecons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lecons. 
Cela  1  a  mis  en  mesure  de  connaitre  a  fond  ma  m^thode 
Je  peux  done  recommander  mon  eleve,  Mr.A.E.  Pres- 
cott. C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  les 
differents  r^gistres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  3i  Aoflt,  iqoi. G.  SBRIGLIA. 


Sig.  ADGOSTO  VANNINI, 


Teacher  of  Singing. 

Steinert  Hall. 


J.  D.  BUCKINGHAM. 


PIANOFORTE.     Method  of  I.  Philipp. 

The    most    advanced   technics    of  the 
present  day. 
"A  teacher  of  the   first   magnitude."— Huneker,   on 
Philipp,  in  Mezzo-tints  in  Modern  Music. 

32  STEINERT  HALL,  BOSTON. 


Mr.  60STAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


TeacherofYiolm.Tlieory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE   LESSONS. 

Pierce  Building, 
Copley  Square,   Boston. 


ARTHHR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEnBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 

DAVID   POPPER. 

STUDIO:  171A    TREHONT  STREET. 


HEINRICH  SCHUECKER, 

TEACHER  OF  THE  HARP. 

Erard  Harps  for  sale  and  to  let. 

32  Westland  Avenue       -       Boston. 


Miss  MARIE  L.  EVERETT, 

TEACHER   of  SINGING, 

Holds  a  recent  Diplome  SupeVieur 
from  Madame  Marchesi,  Paris. 


THE  COPLEY, 


COPLEY  SQUARE. 


(467) 


Miss  ANNA  JANSEN,  Pianiste, 

PUPIL  OF 

Mine.  Rappoldi,  Dresden.  Sgambati,  Rome. 

Harold  Bauer,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

ADDRESS,  86  CHARLES  ST.,  BOSTON. 


"  From  Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FR'iM     LONDON, 

specially  authorized  by  the  inventor. 

Investigation  Invited.        Studio,  278  Boylston  St. 


Mr.  JACQUES    HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN   C.  MANNING, 
Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 

Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

^After  October  15) 
384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber  1   at  her  residence,  THE    OXFORD. 


Hiss  LUCY  CLARK  ALLEN, 

Pianoforte  LessoDs  *  Accompaniments. 

Trinity  Court. 


FREDERICK  N.  SHACKLEY 

(Organist  and  Choirmaster,  Church  of  the  Ascension), 

Piano,  Organ,  Composition. 

Specialty:    Training  organists  for    practical 
Church  work. 

_      ..        (  1900  Washington  St.,  BOSTON. 
Studios:  J  12g  Franklln  Street,  ALLSTON. 


Miss    EDITH   E.  TORREY, 

SOPRANO  SOLOIST   AND  TEACHER  OF 
SINGING. 

164  Huntington   Avenue,  Boston. 

Everv  day  except  Tuesday  and  Friday. 
Telephone,  Kack  Bay  1089-6. 


fir.  GEORGE   E.   WHITING, 

154  Tremont  Street, 

Boston. 


L,.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts ,  Recitals,  and 

Ensemble  l'laying. 

7    ADELAIDE    ST.,  JAMAICA    PLAIN. 


Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL.    BUILDING. 


Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


TO   read   Music  like  Print. 
The  Vars'  New  Interval  System  oi  Sight 
Bingtng. 

No  Sol-faing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mine.  L.  Hamburger,  Pierce  Bldg.,  Copley  Sq. 


Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 

Studio,  21  Steinert  Building. 


Mrs.  /label  Mann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(4C8) 


WEBER 
PIANOS 


Piano-building  as  a  fine  art  has  never  been  more 
highly  exemplified  than  by  our  recent  produc- 
tions. Send  for  description  of  our  new  Style  A 
Grand,  the  most  remarkable  Small  Grand  in 
"volume  and  quality  of  tone  ever  produced  by 
any  maker.     Its  length  is  but  5  feet  4   inches. 


The  Weber  Concert  Grand  will  be  used  exclusively 
by  the  Maurice  Grau  Opera  Company,  Mme.  Roger- 
Miclos,  Kocian,  and  Julie  Geyer  on  their  1902-1903 
transcontinental  tours, 

&he  WEBER  PIANO   COMPANY 

108     FIFTH     AVE.,    NEW    YORK     CITY 

Boston    Representative,   George    H.   Champlin    &    Co. 
181    Tremont  Street 


PLAIN    DEALER,    TUESDAY,    AFRIL    15,    1902.V 


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Yh 


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xV\' 


I  be 


><xX 


V\? 


Ion 


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>;>v<^  A1 


Views  of  the  Great  Pianist 

on  the  Subject  of 

Pianos. 


Declares  That  No   Other 

Piano  Approaches  the 

Steinway. 


NEW  YORK,  April  14.— Josef  Hof- 
mann,  the  great  pianist,  was  asked  today 
by  a  press  representative  his  opinion  as 
to  which  is  the  best  piano,  to  which  ques- 
tion he  replied; 

"There  is  but  one  best  piano,  and  that 
Is  the  Steinway,  and  no  other  piano  ap- 
proaches it.  I  want  to  give  the  greatest 
possible  pleasure  and  satisfaction  to  my 
audience.  By  accomplishing  {hat  I  gain 
the  greatest  reputation,  and, that  is  what 
I  want.  This  end  I  attain  by  using  the 
Steinway.  I  desire  you  to  distinctly  un- 
derstand that  there  is  no  money  consld-' 
eration  whatever  to  influence  me  m  my 
opinion.  There  may  be  some  pianists  who' 
are  paid  for  using  and  praising  the  pianos 
they  play  upon,  but  certainly  I  do  not. 
belong  to  that  class.  Those  who  sell  their 
services  against  their  own  convictions  are 
on  the  downward  path  and  have  nothing 
more  to  lose.  You  have  aeked  me  my 
candid  opinion  about  pianos  for  the  bene- 
,'Bt  of  the  public,  and  I  have  told  you  what 
'^bones^y  think  on  the  subject."  ^ 


Ne\ 


co* 

turn^  ' 
ton, 
to  M/ 


STEINWAY  PIANOS. 


H.  STEINERT  &   SONS   CO., 

162  to   168  Boylston  Street,   Boston,   Mass. 


PRoGRAttttE 


AUGUST    SPANITH 

Pianist,  Teacher,  Critic  (New  York  Staats-Zeitung), 
writes  as  follows  to 

New  York,  December  14,   1902. 

Messrs.  Mason  &   Hamlin, 

Boston,  Mass. 


Gentlemen, —  I  feel  constrained  to  express 
to  you  my  great  admiration  for  the  superior 
qualities  of  your  Pianofortes.  I  have  had 
occasion  recently  to  play  in  public  on  three 
different  specimens  of  your  manufacture,  and 
found  them  all  so  satisfying  that  it  would 
embarrass  me  to  orive  anv  one  of  them  a 
preference. 

The  responsiveness  of  the  action  isunexcelled ; 
and  the  tone,  through  the  power  and  color^  must 
delight  the  most  fastidious  ear. 

Your  Pianofortes  are  not  mere  products  oj 
industry,  but  of  art. 

Sincerely  yours, 

(Signed)  AUGUST  SPANUTH 


New   England    Representatives, 

M.   Steinert  (Si  Sons   Co. 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 


NINTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     J«    J*    j*    jfi 


FRIDAY  AFTERNOON,  DECEMBER  26, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  DECEMBER  27, 

AT  8.00  O'CLOCK. 


Published  by  C  A.  ELLIS,  Manager. 

(469) 


ME  S  S  R  S. 

CHICKERING  &  SONS 

PIANOFORTE    MAKERS 

Invite    Critical    Inspection    of 
Their   Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
*  M  odern  Pr  incipl  es  E  ver  M  ade 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(470) 


TWENTY-SECOND  SEASON,  J902-J903. 


Ninth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  DECEMBER  26,  at  2.30  o'clock. 

SATURDAY  EVENING,  DECEMBER  27,  at  8.00  o'clock. 


PROGRAMME. 

Horatio  Parker       Concerto  in  E-flat  for  Organ  and  Orchestra,  Op.  55 

I.  Allegro  moderate 

II.  Andante. 

III.  Allegretto,  ma  ben  marcato. 

IV.  Allegro  moderato,  molto  risoluto. 

(First  time.) 

Berlioz         •        *       Three  Movements  from  the  Dramatic  Symphony, 
"Romeo  and  Juliet,"  Op.  J 7 

I.     Romeo  alone;  grand  fete  at  Capulet's  house:    Andante  malinconico  e 
sostenuto.     Larghetto  espressivo.     Allegro. 
II.     Love  scene  :  Adagio. 
III.     Queen  Mab,  Scherzo  :  Prestissimo. 
Trio :  Allegretto. 

Brahms         ....        Symphony  in  C  minor,  No.  1,  Op.  6S 

I.     Un  poco  sostenuto. 
Allegro. 
II.     Andante  sostenuto. 

III.  Un  poco  allegretto  e  grazioso. 
L'  istesso  tempo. 

IV.  Adagio. 

Allegro  non  troppo,  ma  con  brio. 


SOLOIST: 
Mr.  HORATIO   PARKER. 


There  will  be  an  intermission  of  ten  minutes  before  the  symphony. 

The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  uHsh  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.         ____^__ 

City  of  Boston,  Revised  Regulation  of  August  5,  1898.—  Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct »uch  view,  may  be  worn. 

7  Attest:  J.  M.  GALVIN,  City  Clerk. 

(471) 


L.  P.  HOLLANDER  &  CO. 

CLEARANCE  SALE 

IN  EVERY  DEPARTMENT 

BEGINS  MONDAY,  DECEMBER  29 


GENUINE  BARGAINS  IN 

LADIES'  GOWNS,  COATS,  FURS,  and  MILLINERY 

UNDERWEAR,  GLOVES,  HOSIERY 

DRESS  GOODS  and  SILKS 

MISSES'  and  CHILDREN'S  DRESSES  and  GARMENTS 

MEN'S  and  BOYS'  CLOTHING,  HATS, 
FURNISHINGS 


Concerto  in  E-flat  for  Organ  and  Orchestra,  Op.  55. 

Horatio  Parker. 

(Born  at  Auburndale,  Mass.,  Sept.  15,  1863;  now  living  in  New  Haven,  Conn.) 

This  concerto  was  begun  in  Munich  and  finished  in  Paris  during  the 
winter  of  1901-1902. 

It  is  scored  for  organ,  4  horns,  2  trumpets,  3  trombones,  tuba,  a  set  of 
3  kettle-drums,  harp.  It  is  dedicated  to  Dr.  George  Robertson  Sinclair.* 
(  The  first  movement,  Allegro  moderato,  E-flat  minor,  3-4,  begins  with  a 
broad  theme  given  to  all  the  strings,  against  sustained  chords  of  the  organ. 
The  contrasted  subject  in  A  major  is  given  to  the  violins,  supported  by 
harp,  and  with  a  flowing  counter  horn  theme.  The  second  subject  is 
given  to  the  organ  solo.  It  leads  to  a  climax  for  the  brass  instruments 
and  the  organ.  An  organ-point  follows,  which  in  turn  leads  to  the  clos- 
ing period  in  E-flat  major.  This  movement  is  condensed  and  firmly  knit. 
After  the  final  appearance  of  the  broad  opening  theme  in  'cellos,  double- 
basses  ///,  and  organ  pedal,  there  is  a  transition  (violins  and  organ)  to 
the  second  movement,  which  is  immediately  connected  with  the  first 
allegro. 

The  second  movement,  Andante,  B  major,  4-4,  is  in  the  character  of  a 
romanza,  and  is  chiefly  for  organ,  solo  violin,  solo  horn,  and  harp. 

The  third  movement,  Allegretto,  ma  ben  marcato,  E  major,  3-8,  is  for 
the  more  delicate  organ  stops,  strings,  and  kettle-drums. 

*George  Robertson  Sinclair,  organist  and  conductor,  was  born  at  Croydon,  England,  Oct.  28,  1863. 
He  studied  at  Dublin  and  at  Tenbury,  and  in  1879  became  assistant  organist  of  Gloucester  Cathedral.  In 
1889  he  was  appointed  organist  and  master  of  the  choristers  of  Hereford  Cathedral.  He  has  conducted  the 
Hereford  Festivals  since  1891,  and  has  been  busy  as  a  leader  of  several  societies  and  as  concert  organist.  In 
July,  1900,  he  was  appointed  conductor  of  the  Birmingham  Festival  Choral  Society.  In  1899  he  received  the 
degree  of  Doctor  of  Music  from  the  Archbishop  of  Canterbury. 

THE  MANAGEflENT  OF  THE 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

ANNOUNCES  THE  ENGAGEMENT  OF 

Mme.  Antoinette  Szumowska 

AND 

Mrs.  Henry  M.  Rogers 
MR.    CEORC    HENSCHEL 

will  teach  —  until  March,   1903  —  EXCLUSIVELY  in  the  Conservatory. 

Particulars  and  terms  (for  one  or  any  number  of  lessons)  may  be 

had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(473) 


Sole  Makers 

of  the 

BALLARD 

SAFETY 

RIDING  HABIT 


V.  BALLARD 
&SONS 

STREET    GOWNS  AND 
COATS 

SPECIAL  NOTICE 

All  remaining  imported 
models  are  now  to  be 
sold  at  very  great  re- 
ductions *H    <M    <M    -<H    'M 


256  BOYLSTON  STREET,  BOSTON 


XcOuT>^M£^ 


\Tiaul 


The  Finale,  Allegro  moderate),  molto  risoluto,  E-flat  major,  2-2,  begins 

with  an  introduction,  in  which  the  organ  after  a  few  measures  of  sustained 

pedal  is  silent  until  it  attacks  an  extended  fugato  (entrance  in  pedal  ff). 

The  short  contrasted  subject  is  in  C  major,  organ  and  strings  (forte)  with 

antiphonal  responsive    chords  in  the  brass    (piano).      The  subjects  are 

developed  separately  and  together.     A  cadenza  for  organ  pedal  introduces 

the  coda,  piu  mosso. 

* 
#  # 

Mr.  Parker  received  his  first  music  lessons  from  his  mother,  Mrs.  Isa- 
bella G.  Parker,  who  was  organist  of  Grace  Church,  Newton.  He  studied 
in  Boston  with  the  late  Stephen  A.  Emery,  John  Orth,  and  George  W. 
Chadwick,  and  was  organist  of  St.  Paul's,  Dedham,  and  St.  John's,  Rox- 
bury.  In  188 1  he  went  to  Munich,  where  he  was  a  pupil  for  three  years 
of  Rheinberger.  He  returned  to  the  United  States  in  1885,  became 
director  of  musical  instruction  in  St.  Paul's  and  St.  Mary's  Schools  and 
organist  of  the  cathedral  at  Garden  City,  Long  Island.  In  1886  he  was 
appointed  organist  of  St.  Andrew's  Church,  Harlem.  In  1888  he  was 
appointed  organist  of  the  Church  of  the  Holy  Trinity,  New  York ;  and 
for  several  years  he  taught  counterpoint  in  the  National  Conservatory  of 
that  city.  He  was  afterwards  called  to  Trinity  Church,  Boston,  as  organist. 
In  1894  he  was  made  Proiessor  of  Music  at  Yale  University.  In  1902 
the  honorary  degree  of  Doctor  in  Music  was  conferred  upon  him  by  the 
University  of  Cambridge,  England. 

His  chief  works  are  as  follows  :  — 

Choral  :  "  King  Trojan,"  cantata  (Munich,  1885),  "  Ballad  of  a  Knight 
and  his  Daughter,"  "23d  Psalm,"  "  Ballad  of  the  Normans"  (1889),  "The 

FOR   EVERY  flUSIC  LOVER. 


Cbe  JMusical  «IorlcL 


A    LIVE 

MAGAZINE. 
The  JANUARY  number  contains  : 
"  Some  Musical  Conditions  in  America,  Past  and  Present "  By  G.  W.  Chadwick 

"  An  Affirmation  of  American  Music  " By  Arthur  Farwell 

"  Why  should  we  not  welcome  New  Music  ?  "    .         .         .         .  By  Henry  T.  Finck 

"  Some  Musical  Events  of  my  Student  Days  " By  Frank  Lynes 

"  The  Simple  Truths  of  Piano  Technique  "         ....      By  Ernest  Hutcheson 
Single  copies,  10  cents.  $1.00  per  year. 

PUBLISHED    BY 

ARTHUR    P.    SCHMIDT, 

BOSTON,  146  Boyleton  Street.  LEIPZIG.  NEW  YORK,  136  Fifth  Avenue. 

For  sale  by  all  Music  Dealers. 

(475) 


Kobolds"  (1891),  "Harold  Harfager,"  "  Hora  Novissima  "  (1893),  "The 
Dream  King  and  his  Love"  (prize  composition,  1893),  "The  Holy  Child," 
Commencement  Ode  for  Yale  University  (1895),  "  Saint  Christopher " 
(1896),  "Adstant  Angelorum  Chori  "  (prize  composition,  1898),  "  A  Wan- 
derer's Psalm:  Cantus  Peregrinus "  (Hereford  Festival,  1900),  Greek 
Ode  for  the  celebration  of  Yale  Bicentennial  (1901),  "A  Star  Song," 
Paderewski  prize  (Norwich  Festival)  1902,  and  minor  works. 

Orchestral  :  Concert  overture  in  E-flat ;  Symphony  in  C  minor  ;  over- 
ture, "  Regulus,"  —  all  of  the  Munich  period;  "Venetian  Overture"; 
Scherzo  in  G  minor ;  overture,  "  Count  Robert  of  Paris " ;  "A 
Northern  Ballad." 

"Cahal  Mor,"  rhapsody  for  baritone  and  orchestra  (1893);  String 
Quartet  in  F ;  Suite  for  pianoforte,  violin,  'cello ;  String  Quintet  in  D 
minor  ;  Suite  for  violin  and  piano  ;  songs  ;  pieces  for  pianoforte  ;  pieces  for 
organ,  etc. 

These  pieces  have  been  performed  at  Symphony  Concerts  in  Boston  : 
"  Cahal  Mor  of  the  Wine-red  Hand  "  (poem  by  James  Clarence  Mangan), 
rhapsody  for  baritone  and  orchestra,  Op.  40,  March  30,  1895,  Max 
Heinrich  baritone,  first  performance ;  "  A  Northern  Ballad,"  for  orches- 
tra, Op.  46,  Dec.  30,  1899. 


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land)  Musical  Festival,  Sept.  14,  1899,  and  the  composer  conducted  the 
performance.  He  was  then  commissioned  to  write  a  work  for  the  Here- 
ford Festival  of  1900,  and  he  conducted  his  "A  Wanderer's  Psalm"  Sep- 
tember 13.  In  1902  a  part  of  his  "  Legend  of  Saint  Christopher"  was  pro- 
duced at  the  Worcester  Festival  (England)  (September  1  o) ;  and  the  whole 
work  was  produced  at  the  Bristol  Festival,  October  9.  "  A  Star  Song ;  or, 
Lyric  Rhapsody,"  poem  by  Henry  Bernard  Carpenter,  was  produced  at  the 
Norwich  Festival,  Oct.  23,  1902. 


Three    Movements    from    the    Dramatic    Symphony,    "  Romeo    and 
Juliet,"  Op.  17 Hector  Berlioz. 

(Born  at  la  Cote-Saint-Andre,  France,  Dec.  1 1,  1803  ;  died  at  Paris,  March  9,  1869.) 
"  Romdo  et  Juliette,"  grand  dramatic  symphony  with  chorus,  text  after 
Shakespeare  by  £mile  Deschamps,  was  sketched  in  1829,  composed  in 
1838,  produced  in  1839,  revised  and  published  as  a  whole  in  1848.  (The 
strophes  of  the  prologue  had  previously  been  published  for  voice  and 
piano.)  A  second  and  revised  edition  was  published  in  1857.  The  work 
is  dedicated  to  Nicolo  Paganini. 


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The  first  performance  was  on  Sunday,  Nov.  24,  1839,  at  tne  Conserva- 
tory, Paris.  Adolphe  Joseph  Louis  Alizard  sang  the  part  of  Friar  Lau- 
rence ;  Alexis  Dupont,  the  scherzetto  of  Queen  Mab ;  and  Mrs.  Wideman, 
the  strophes  of  the  prologue,  in  place  of  Rosine  Stoltz,  who  had  been 
announced,  and  who  sang  at  the  second  performance  on  December  12  of 
the  same  year.     The  composer  conducted. 

Berlioz  called  his  work  a  "grand  symphony  with  chorus";  and  on  Sept. 
22,  1839,  he  wrote  to  his  friend  Ferrand  that  he  had  finished  it :  "It  is 
equivalent  to  an  opera  in  two  acts,  and  will  fill  out  a  concert ;  there  are 
fourteen  movements." 

The  work  is  thus  planned  :  — 

Introduction. 
Combats. —  Tumult. —  Intervention  of  the  Prince:  Allegro  fugato  (B  minor). 

(For  Orchestra  alone.) 

I.     Chorus  with  Contralto  Solo  :    Avec  le  caractere  d'un  recitatif,  mais   a  peu  pres 
m^sure  (B  minor). 
II.     Strophes  for  Contralto:  Andante  avec  solennite  (G  major). 
III.     Scherzetto,   "Queen    Mab,"   for  Tenor  Solo  and   Chorus:    Allegro   leggiero   (F 
major). 

Part  II. 

Romeo  Alone.     Sadness.     Concert  and  Ball.     Grand  Fete  at  Capulet's  House. 

Andante  malinconico  e  sostenuto  (F  major). 

Allegro  (F  major). 

Larghetto  espressivo  (F  major). 

Allegro  (F  major). 

(For  Orchestra  alone.) 


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Part  III. 
Calm  Night.     Capulet's  Garden,  Silent  and  Deserted.     The  Young  Capulets,  come  from 

the  Fete,  pass  by,  and  sing  Snatches  of  the  Dance  Music. 
Male  Double  Chorus  :  Allegretto  (A  major). 
Adagio  (Orchestra  alone)  (A  major). 
Allegro  agitato  (A  major). 

Part  IV. 

Queen  Mab,  or  the  Dream  Fairy. 
Scherzo:  Prestissimo  (F  major). 
Allegretto  (D  minor). 

(For  Orchestra  alone). 

Juliet's  Funeral  Procession. 
Fugued  March  for  Chorus  and  Orchestra:  Andante  non  troppo  lento  (B  minor). 

Romeo  at  the  Tomb  of  the  Capulets. 
Invocation. —  Juliet's  Awakening. —  Delirious  Joy,  Despair;   Last  Death  Agony  of  the 

two  Lovers. 
Allegro  agitato  e  disperato  (E  minor). 
Invocation:  Largo  (C-sharp  minor). 
Allegro  vivace  ed  appassionato  assai  (A  major). 

(For  Orchestra  alone). 

Finale. 
The  Crowd  enters  the  Cemetery. —  Fight  of  Capulets  and  Montagues. —  Recitative  and 

Air  of  Friar  Laurence.     Oath  of  Reconciliation. 
Chorus :  Allegro  (A^minor). 
Recitative  of  Friar  Laurence. 
Air:  Larghetto  sostenuto  (E-flat  major). 
Double  Chorus:  Allegro  (B  minor). 
Oath  :  Andante  un  poco  maestoso  (B  major). 

Berlioz  wrote  as  a  preface  to  the  work  :  "  Although  voices  are  frequently 
employed,  this  is  not  a  concert-opera,  a  cantata,  but  a  symphony  with 
chorus.  If  song  occurs  in  the  beginning,  it  is  for  the  purpose  of  prepar- 
ing the  mind  of  the  hearer  for  the  dramatic  scenes  in  which  sentiments  and 


Keep  Your  Stomach  Well 

Horsford's  Acid  Phosphate  cures  habitual 
stomach  weakness,  improves  the  appetite 
and  digestion,  and  removes  the  cause  of 
headache  and  wakefulness. 


Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


U8'-') 


passions  should  be  expressed  by  the  orchestra.  It  is  moreover  to  intro- 
duce gradually  in  the  musical  development  choral  masses,  whose  too  sud- 
den appearance  would  do  harm  to  the  unity  of  the  composition.  Thus 
the  prologue,  in  which,  after  the  example  of  the  prologue  by  Shakespeare 
himself,  the  chorus  exposes  the  action,  is  sung  by  only  fourteen  voices. 
Later  is  heard,  behind  the  scene,  the  male  chorus  of  Capulets  ;  but  in  the 
funeral  ceremonies  women  and  men  take  part.  At  the  beginning  of  the 
finale  the  two  choruses  of  Capulets  and  Montagues  appear  with  Friar 
Laurence ;  and  at  the  end  the  three  choruses  are  united." 

Romeo  Alone  :  Grand  Fete  at  Capulet's  House. 

Romeo,  as  unbidden  guest,  has  met  Juliet  at  the  ball.  Wildly  in  love, 
he  forgets  his  Rosaline,  whose  charms  are  minutely  catalogued  by  Mer- 
cutio ;  but  knowing  that  Juliet  is  of  the  rival  house,  and  giving  way  to 
despair,  he  seeks  the  solitude  of  the  garden.  After  recitative-like  phrases 
of  the  first  violins  and  interrupting  harmonies  by  the  wood-wind  and  other 
strings,  a  pathetic  theme  is  sung  by  oboe  and  clarinet,  later  by  first 
violins.  This  theme  is  developed  and  interrupted  by  dance  music,  which 
has  already  been  heard  in  the  prologue.  The  tempo  changes  from 
Andante  malinconico  e  sostenuto  to  Larghetto  espressivo,  and  wood  wind 
instruments  sing  the  song  of  Romeo's  love  over  arpeggios  in  the  'cellos. 
Tambourines  give  at  intervals  the  dance  rhythm.  With  the  Allegro  in 
F  major,  2-2,  Romeo  is  again  in  the  ball-room.  The  dance  theme  is 
worked  up  elaborately  to  a  brilliant  pitch.  The  theme  of  the  preceding 
Larghetto  is  used  as  a  counter-subject  by  wood-wind  and  brass.  A 
chromatically  descending  theme  in  half  notes  suddenly  checks  the  gayety 
of  the  throng  and  the  lovers'  rapture.  The  Montague  is  recognized,  but 
Capulet's  words  to  Tybalt  — 

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Sung  by  Madame  Melba 

ROSE  D'AUT.OMNE.      Valse  Lente.    With  French  and  English  Words. 
Music  by  F.  Paolo  Tosti.     Keys,  A-flat,  B-flat.     75  cents. 

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"  I  would  not  for  the  wealth  of  all  this  town, 
Here  in  my  house,  do  him  disparagement"  — 

have  their  way,  and  the  revel  is  resumed,  although  the  voice  of  the  lament- 
ing Romeo  is  heard,  as  he  steals  from  the  fete  to  wait  in  Juliet's  garden. 
A  jubilant  coda  brings  the  close.  The  chromatic  strife-motive  sounds 
ominously  in  the  basses.  The  movement  is  scored  for  piccolo,  2  flutes,  2 
oboes,  2  clarinets,  4  bassoons,  4  horns,  2  trumpets,  2  cornets,  3  trombones, 
2  pairs  of  kettle-drums,  bass  drum,  cymbals,  2  triangles,  2  tambourines, 
2  harp-parts,  strings. 

Capulet's  Garden  :  Love  Scene. 

Berlioz  gave  this  excuse  for  the  employment  of  orchestral  speech  rather 
than  lyrical  declamation  in  this  scene  :  "  If,  in  the  celebrated  scenes  of  the 
garden  and  the  tomb,  the  dialogue  of  the  two  lovers,  the  a  parte  of  Juliet 
and  the  passionate  bursts  of  Romeo,  are  not  sung,  if  the  duets  of  love 
and  despair  are  intrusted  to  the  orchestra,  the  reasons  are  many  and  easily 
understood.  First,  and  this  is  enough  to  justify  the  composer,  the  work 
is  a  symphony  and  not  an  opera.  Secondly,  duets  of  this  kind  have  been 
treated  vocally  a  thousand  times  and  by  the  greatest  masters,  so  it  is  pru- 
dent as  well  as  interesting  to  attempt  another  mode  of  expression.  Again, 
the  sublimity  of  such  love  makes  its  portraiture  so  dangerous  a  task  to  the 
musician  that  he  is  obliged  to  give  to  his  fancy  a  latitude  that  the  precise 
meaning  of  words  to  be  sung  would  not  allow  him,  and  to  seek  the  aid  of 
instrumental  speech,  a  language  richer,  more  varied,  less  fixed,  and  by 
reason  of  its  very  vagueness  immeasurably  more  puissant  in  such  a  case.'' 

The  Adagio,  A  major,  6-8,  begins  dreamily  with  the  strings.  The  pace 
quickens  somewhat  with  the  appearance  of  Juliet  upon  the  balcony.  The 
love  theme  is  sung  by  horn  and  'cellos.  The  first  theme  returns,  but  soon 
the    love  theme  appears,  still    more    expressive,  clearer,    more   sonorous. 

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There  are  rich  and  varied  developments  of  this  love  theme,  and  there  are 
interrupting  free  episodes.  Thus  after  a  short  Allegro  agitato  there  is  a 
broadly  flowing  cantilena.  The  love  theme  is  sung  for  the  third  time,  but 
at  lesser  length,  and  there  is  less  rapturous  hope  in  the  song. 

The  movement  is  scored  for  2  flutes,  oboe,  cor  anglais,  2  clarinets,  4 
bassoons,  4  horns,  strings. 

Scherzo:  "Queen  Mab." 
This  is  a  fantasia  on  Mercutio's  speech  :  — 

"  O,  then,  I  see,  Queen  Mab  hath  been  with  you. 
She  is  the  fairies'  midwife;  and  she  comes 
In  shape  no  bigger  than  an  agate-stone 
On  the  fore-finger  of  an  alderman, 
Drawn  with  a  team  of  little  atomies 
Over  men's  noses  as  they  lie  asleep; 
Her  wagon-spokes  made  of  long  spinners'  legs ; 
The  cover,  of  the  wings  of  grasshoppers ; 
The  traces,  of  the  smallest  spider's  web ; 
The  collars,  of  the  moonshine's  watery  beams  : 
Her  whip,  of  cricket's  bone  ;  the  lash,  of  film  : 
Her  waggoner,  a  small  grey-coated  gnat, 
Not  half  so  big  as  a  round  little  worm 
Prick'd  from  the  lazy  finger  of  a  maid. 
Her  chariot  is  an  empty  hazel-nut, 


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Made  by  the  joiner  squirrel,  or  old  grub, 
Time  out  o'  mind  the  fairies'  coach-makers. 
And  in  this  state  she  gallops  night  by  night 
Through  lovers'  brains,  and  then  they  dream  of  love : 
O'er  courtiers'  knees,  that  dream  on  court 'sies  straight: 
O'er  lawyers'  fingers,  who  straight  dream  on  fees ; 
O'er  ladies'  lips,  who  straight  on  kisses  dream  ; 
Which  oft  the  angry  Mab  with  blisters  plagues, 
Because  their  breaths  with  sweet-meats  tainted  are. 
Sometimes  she  gallops  o'er  a  courtier's  nose, 
And  then  dreams  he  of  smelling  out  a  suit : 
And  sometimes  comes  she  with  a  tithe-pig's  tail 
Tickling  a  parson's  nose  as  'a  lies  asleep, 
Then  he  dreams  of  another  benefice. 
Sometime  she  driveth  o'er  a  soldier's  neck, 
And  then  dreams  he  of  cutting  foreign  throats, 
Of  breaches,  ambuscadoes,  Spanish  blades, 
Of  healths  five  fadom  deep  ;  and  then  anon 
Drums  in  his  ear,  at  which  he  starts,  and  wakes  ; 
And  being  thus  frighted,  swears  a  prayer  or  two, 
And  sleeps  again.     This  is  that  very  Mab, 
That  plats  the  manes  of  horses  in  the  night ; 
And  bakes  the  elf-locks  in  foul  sluttish  hairs, 
Which,  once  untangled,  much  misfortune  bodes. 

True,  1  talk  of  dreams, 
Which  are  the  children  of  an  idle  brain, 
Begot  of  nothing  but  vain  fantasy  ; 
Which  is  as  thin  of  substance  as  the  air; 
And  more  inconstant  than  the  wind,  who  wooes 
Even  now  the  frozen  bosom  of  the  North, 
And,  being  anger'd,  puffs  away  from  thence, 
Turning  his  face  to  the  dew  dropping  South." 


Contents 

for 
January 

190$ 


Georg  Henschel 

Thomas  Tapper 

Israfel 

W.  J.  Henderson 

Henry  T.  Finck 

A.  G.  Salmon 

Percy  Goetschius 


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HOME  LESSONS  IN  MUSIC     .... 

THE  UNMUSICAL  PERSON W.F.Gates 

ENGLISH  VIRGINAL  MUSIC Hcnrv  E.  Krehbiel 

EAR-TRAINING W.J.Baltzell 

Notes  of  the  Music  World.  Significant  Concerts.  New  Books.  New 
Music.  Teachers  Department.  Music  for  Piano  by  Carl  Wilhelm 
Kern,  John  Carver  Alden,  and  Halfdan  Kjerulf.  Songs  by  Paul  Th. 
Miersch,  James  H.  Rogers,  and  Helen  Hopekirk. 


(488) 


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For  the  scherzetto  of  the  prologue,  Deschamps  had  written  this  version  of 
the  exquisite  description,  which  Mercutio  sings  with  a  small  band  of  fol- 
lowers; and  the  orchestral  scherzo  of  Part  I.  was  suggested,  of  course, 
by  .the  same  version.  It  should  be  remembered  that  Deschamps  did  not 
translate  from  Shakespeare ;  he  versified  a  French  text  arranged  by 
Berlioz. 

Mab,  la  messagere 
Fluette  et  legere  ! 
Elle  a  pour  char  une  coque  de  noix 
Que  l'ecureuil  a  faeonnee  ; 
Les  doigts  le  l'arraignee 
Ont  file  ses  harnois. 

Durant  les  nuits,  la  fee,  en  ce  mince  equipage, 
Galloppe  follement  dans  le  cerveau  d'un  page 
Qui  reve  espiegle  tour 
Ou  molle  serenade 
Au  clair  de  lune  sous  la  tour. 
En  poursuivant  sa  promenade 
La  petite  reine  s'abat 
Sur  le  col  bronze  d'un  soldat. 
II  reve  canonnades 
Et  vives  estocades. 
Le  tambour  1  la  trompette  !  il  s'eveille,  et  d'abord 
Jure,  et  prie  en  jurant  toujours,  puis  se  rendort 


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Lt  ronfle  avec  ses  camarades. 
C'est  Mab  qui  fait  ce  bacchanal ! 
C'est  elle  encor  qui,  dans  un  reve,  habille 

La  jeune  fille, 
Et  la  ramene  au  bal. 
Mais  le  coq  chante,  le  jour  brille, 
Mab  fuit  comme  un  eclair 

Dans  l'air. 

And    thus    was   Shakespeare    understood    in     France    even     during    the 
romantic  days.     "  La  jeune  fille  "  —  and  Mab  dressing  her  for  the  ball ! 

Prestissimo:  F  major,  3-8.  Soft  chords  of  the  wood-wind  alternate 
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The  first  trio  in  D  minor  is  supposed  by  some  to  have  reference  to 
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in  the  first  violins,   which    are  divided.     There    are  accompanying    harp 

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harmonics,  and  the  theme  of  the  preceding  prestissimo  appears  as  a 
counter-subject  in  the  violas.  There  is  a  short  transition  to  the  chief 
theme  ('cellos).  The  second  trio,  with  its  horn  fanfares,  may  well  be  an 
allusion  to  the  soldier  who  dreams  of  ambuscadoes,  Spanish  blades,  and 
swears  a  prayer  or  two  at  waking,  and  sleeps  again.  The  original  con- 
clusion of  this  movement  was  thought  to  be  too  abrupt.  Frankowski  * 
persuaded  Berlioz  of  this  in  Vienna,  and  the  composer  wrote  the  coda 
which  now  stands  in  the  published  work,  and  destroyed  the  first. 

The  movement  is  scored  for  piccolo.  2  flutes,  oboe,  cor  anglais,  2  clari- 
nets, 4  bassoons,  4  horns,  2  pairs  of  kettle-drums,  bass  drum,  cymbals,  2 
pairs  of  antique  cymbals,  2  harps,  strings. 


# 

#  * 


Mr.  W.  E.  Henley  sees  in  the  Me'moires  of  Berlioz  the  musician  deliber- 
ately setting  himself  to  win  the  heart  of  posterity.  "  He  believed  in  him- 
self, and  he  believed  in  his  music ;  he  divined  that  one  day  or  another 
he  would  be  legendary  as  well  as  immortal ;  and  he  took  an  infinite  deal 
of  pains  to  make  certain  that  the  ideal  which  was  presently  to  represent 
him  in  men's  minds  should  be  an  ideal  of  which  he  could  thoroughly 
approve.  .  .  .  The  romantiques,  indeed,  were  keen  —  from  Napoleon  down- 
wards —  to  make  the  very  best  of  themselves.  .  .  .  Berlioz,  therefore,  had 
good  warrant  for  his  work.  It  is  more  to  the  point,  perhaps,  that  he 
would  have  taken  it  if  he  had  not  had  it.  And  I  hold  that  he  would  have 
done  well ;  for  (in  any  case)  a  great  man's  notion  of  himself  is,  ipso  facto, 
better  and  more  agreeable  and  convincing,  especially  as  he  presents  it, 
than  the  idea  of  his  inferiors  and  admirers,  especially  as  presented  by 
them.  Berlioz,  it  is  true,  was  prodigal  in  these  Me'moires  of  his  of  wit  and 
fun  and  devilry,  of  fine  humanity  and  noble  art,  of  good  things  said,  and 

•  He  was  a  Polish  violinist  who  lived  for  fome  time  at  Blois,  France,  and   then  accompanied   Krnst,  the 
famous  violinist,  on  his  travels  as  first  violin  in  accompaniment  and  as  private  secretary. 


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great  things  dreamed  and  done  and  suffered  ;  but  he  was  prodigal  of 
invention  and  suppression  as  well,  and  the  result,  while  considerably  less 
veracious,  is  all  the  more  fascinating,  therefor.  One  feels  that  for  one 
thing  he  was  too  complete  an  artist  to  be  merely  literal  and  exact ;  that 
for  another  he  saw  and  felt  things  for  himself,  as  Milton  did  before  him  — 
Milton  in  the  mind's  eye  of  Milton  the  noblest  of  created  things  and  to 
Mr.  Saintsbury  almost  as  unpleasing  a  spectacle  as  the  gifted  but  abject 
Racine  ;  and  for  a  third  that  from  his  own  point  of  view  he  was  right, 
and  there  is  an  end  of  it." 

Berlioz,  a  vital  force  in  music  to-day,  is  fast  becoming  a  legendary  char- 
acter as  a  man.  The  story  of  his  life  is  as  a  volume  of  legends,  and  chief 
among  them  are  the  Paganini  and  the  Smithson  tales.  Did  Paganini, 
beside  himself  with  admiration  at  the  concert  of  Berlioz  in  1838,  send  to 
him  the  next  morning  the  sum  of  20,000  francs,  that  he  might  in 
peace  compose  an  immortal  work, —  this  "  Romeo  and  Juliet"?  Or  was 
Paganini  the  go-between,  and  did  the  money  come  from  Bertin,  of  the 
Journal  des  Debats  ?  Is  the  story  of  "  Henrietta"  Smithson,  as  told  in 
Memoires,  the  true  one  ?  Or  should  it  not  be  corrected  by  extracts 
from  the  letters  of  Berlioz  to  Ferrand,  from  statements  made  by  Edmond 
Hippeau  in  his  "  Berlioz  Intime,"  and  from  the  "  Recollections  "  of  Ernest 
Legouve'  ? 

Harriet  Constance  Smithson,  born  in  Ireland  in  1800  or  1802,  was  seen 
by  Berlioz  at  the  Odeon,  Paris,  Sept.  n,  1827,  after  engagements  in  Ire- 
land and  England.  She  appeared  there  first  as  Ophelia.  Her  success 
was  immediate  and  overwhelming.  She  appeared  as  Juliet  September  15 
of  the  same  year.  Berlioz  saw  these  first  performances.  He  did  not  then 
know  a  word  of  English  :  Shakespeare  was  revealed  to  him  only  through 
the  mist  of  Letourneur's  translation.  After  the  third  act  of  "  Romeo  and 
Juliet^"  he  could  scarcely  breathe  :  he  suffered  as  though  "  an  iron  hand 
was  clutching  "  his  heart,  and  he  exclaimed,  "  I  am  lost."  And  the  story 
still  survives,  in  spite  of  Berlioz's  denial,  that  he  then  exclaimed:  "That 
woman  shall  be  my  wife !  And  on  that  drama  I  shall  write  my  greatest 
symphony."  He  married  her,  and  he  was  thereafter  miserable.  He  wrote 
the  symphony,  and  to  the  end  he  preferred  the  "Love  Scene"  to  all  his 
other  music. 

In  1828  he  spoke  to  Deschamps  about  the  plan  of  the  symphony.  "  We 
planned  out  together,"  says  Deschamps,  "  the  scheme  of  the  musical  and 

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(486) 


poetical  work  :  melodies  and  verses  came  in  a  mass,  and  the  symphony 
appeared  —  ten  years  later."  In  1829  Berlioz  wrote  to  Ferrand,  apropos 
of  a  portion  of  his  cantata  "  Cleopatra  "  :  "  It  is  terrible  ;  it  is  frightful !  It 
is  the  scene  where  Juliet  meditates  on  her  burial  alive  in  the  tomb  of  the 
Capulets,  surrounded  by  the  bones  of  her  ancestors,  with  the  corpse  of  Ty- 
balt near  by."  Later  he  told  Mendelssohn  in  Rome  that  he  had  found  the 
subject  of  a  scherzo  in  Mercutio's  description  of  Queen  Mab,  and  in  the 
course  of  an  article  on  music  in  Italy  he  wrote  with  reference  to  Bellini's 
opera :  "  What  a  subject  !  how  everything  is  planned  for  music  !  First 
the  dazzling  ball  at  Capulet's ;  then  the  furious  quarrels  and  fights  in  the 
streets  of  Verona  —  the  inexpressible  night-scene  of  Juliet's  balcony  —  the 
piquant  jests  of  the  careless  Mercutio  —  the  pontifical  Hermit  —  the  fright- 
ful tragedy  —  at  last  the  solemn  moment  of  reconciliation  !  "  Auguste 
Barbier  says  that  Berlioz  asked  him  for  a  libretto,  or  at  least  a  poetic  text, 
for  his  symphony.  There  is  no  doubt  as  to  Berlioz's  determination  to 
write  the  work  inspired  by  the  revelation  of  Shakespeare  through  Miss 
Smithson,  whether  he  shouted  his  resolve  aloud  or  let  it  gnaw  at  his 
brain. 

He  began  to  compose  "  Romeo  and  Juliet "  in  1839,  and  he  tells  us  that 
he  worked  for  seven  months  without  an  interruption  of  more  than  three  or 
four  days  out  of  thirty.  "  What  a  fiery  life  I  lived  during  that  time  !  With 
what  energy  I  swam  in  this  great  sea  of  poetry,  caressed  by  the  wild  breeze 


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ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


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of  fancy,  under  the  hot  rays  of  the  sun  of  love  kindled  by  Shakespeare,  and 
believing  I  had  the  force  to  reach  the  marvellous  isle  where  stands  the 
temple  of  pure  art !  " 

There  were  three  performances  of  the  Symphony  in  November.  There 
were  large  audiences,  and  the  work  at  the  second  and  the  third  performances 
was  more  fully  appreciated  than  at  the  first.  Stephen  Heller  described  in  a 
letter  to  Schumann  the  enthusiastic  scene  at  the  second  concert  and  the 
emotion  of  Berlioz,  and  added  :  "  It  is  a  great  pleasure  for  the  friends  of 
art  to  see  this  progress  of  public  opinion,  and  above  all  the  man  of  genius 
blazing  courageously  a  glorious  path  far  from  the  prosaic  and  vulgar 
roads  of  routine  and  speculation." 

Yet  there  were  dissenting  voices.  Some  attacked  the  form  of  the 
Symphony,  and  one  found  in  the  Queen  Mab  scherzo  only  "  a  queer  little 
noise,  like  that  of  badly  greased  syringes."  The  receipts  of  the  three  per- 
formances amounted  to  13,200  francs.  After  the  expenses  were  paid, 
there  was  the  sum  of  1,100  francs  for  the  composer. 

The  symphony  was  performed  in  Boston  for  the  first  time  Oct.  14,  i88i> 
by  Theodore  Thomas's  orchestra,  assisted  by  a  local  chorus  drilled  by 
J.  B.  Sharland.  The  solo  singers  were  Mrs.  F.  P.  Whitney,  who  was 
called  on  suddenly  to  take  the  place  of  Miss  Cary,  Jules  Jordan,  and 
Georg  Henschel.  The  performance  was  repeated  on  October  15.  But 
the  scherzo,  "  Queen  Mab,"  had  been  played  before  by  Thomas's  or- 
chestra, Nov.  28,  1873.  Mr.  Thomas  produced  the  symphony  in  New 
York  in   1876. 


#  * 


And  Miss  Smithson  ?  Berlioz  married  her  Oct.  3,  1833,  and  Liszt, 
Heine,  and  Ferdinand  Hiller  were  present  at  the  ceremony.  She  was  then 
heavily  in  debt  by  reason  of  an  unfortunate  theatrical  venture ;  and,  as  she 
had  broken  her  leg,  she  walked  with   difficulty  on  the  stage,  and  had  no 


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hope  of  a  further  career.  But  let  Legouve  tell  the  story.  He  knew  them 
well. 

"  What  Berlioz  was  at  twelve,  he  remained  to  the  end.  Always  wounded, 
always  suffering,  though  not  always  dumb.  One  may  easily  imagine  that 
such  a  temperament  did  not  lend  itself  easily  to  the  humdrum  existence  of 
home-life  or  to  conjugal  fidelity;  consequently  his  marriage  with  Miss 
Smithson  was  not  unlike  the  Pastoral  Symphony,  which  opens  with  the 
most  delightful  spring  morning  and  winds  up  with  the  most  terrible  hurri- 
cane. Discord  came  in  a  remarkably  short  time  and  in  a  rather  singular 
form.  When  Berlioz  married  Miss  Smithson,  he  was  madly  in  love  with 
her ;  but  she  herself,  to  use  a  term  which  drove  him  frantic  with  rage, 
'  only  liked  him  well  enough.'  It  was  a  kind  of  namby-pamby  affection. 
Gradually,  however,  their  common  existence  fa  niliarised  her  with  the 
savage  transports  of  her  lion,  the  charm  of  which  b^gan  to  tell  upon  her ; 
in  short,  in  a  little  while,  the  originality  of  her  partner's  mind,  the  mag- 
netic spell  of  his  imagination,  the  magnetic  influence  of  his  heart,  won  upon 
his  apathetic  companion  to  a  degree  such  as  to  transform  her  into  a  most 
affectionate  wife  ;  tender  regard  changed  into  love,  love  into  passion,  and 
passion  into  jealousy. 

"  Unfortunately  it  often  happens  that  man  and  wife  are  like  the  plates 
of  a  pair  of  scales,  they  rarely  keep  balanced  ;  when  the  one  goes  up,  the 
other  goes  down.  Such  was  the  case  with  the  newly  married  couple. 
While  the  Smithson  thermometer  rose,  the  Berlioz  thermometer  fell.  His 
feelings  changed  into  a  sterling,  correct,  and  placid  friendship,  while  at 
the  same  time  his  wife  became  imperiously  exacting,  and  indulged  in  vio- 
lent recrimination,  unfortunately  but  too  justified.  Berlioz,  mixed  up  with 
the  whole  of  the  theatrical  world  in  virtue  of  his  position  as  a  musical 
critic  and  a  composer,  was  exposed  to  temptations  to  which  stronger 
minds  than  his  would  have  yielded.     In  addition  to  this,  his  very  title  of 


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struggling  genius  gave  him  a  prestige  which  easily  changed  his  interpreters 
into  perhaps  '  too  sympathetic  '  comforters.  Madame  Berlioz  became  too 
apt  to  look  in  her  husband's  articles  for  the  traces  of  her  husband's  infidel- 
ity ;  she  even  looked  for  them  elsewhere,  and  fragments  of  intercepted  let- 
ters, drawers  indiscreetly  opened,  provided  her  with  incomplete  revelations, 
which  sufficed  to  put  her  beside  herself,  but  only  partly  enlightened  her.  .  .  . 
Miss  Smithson  was  already  too  old  for  Berlioz  when  he  married  her; 
sorrow  in  her  case  accelerated  the  ravages  of  time  ;  she  grew  visibly 
older  day  by  day  instead  of  year  by  year,  and,  unfortunately,  the  older  she 
grew  in  features,  the  younger  she  grew  at  heart,  the  more  intense  became 
her  love,  and  also  the  more  bitter  she  herself  became,  until  it  was  tort- 
ure to  him  and  to  her,  to  such  a  degree,  in  fact,  that  one  night  their 
young  child,  awakened  by  a  terrible  outburst  of  indignation  and  temper  on 
the  part  of  his  mother,  jumped  out  of  his  bed  and  running  up  to  her  ex- 
claimed, '  Mamma,  mamma,  don't  do  like  Madame  Lafarge.'  * 

"  A  separation  became  inevitable.  She  who  had  been  Miss  Smithson, 
grown  old  and  ungainly  before  her  time,  and  ill  besides,  retired  to  a 
humble  lodging  at  Montmartre,  where  Berlioz,  notwithstanding  his  poverty, 
faithfully  and  decently  provided  for  her.  He  went  to  see  her  as  a  friend, 
for  he  had  never  ceased  to  love  her,  he  loved  her  as  much  as  ever ;  but  he 
loved  her  differently,  and  that  difference  had  produced  a  chasm  between 
them." 

After  some  years  of  acute  physical  as  well  as  mental  suffering,  the  once 
famous  play-actre?s  died,  March  3,  1854.  Berlioz  put  two  wreaths  on  her 
grave,  one  for  him  and  one  for  their  absent  son.  the  sailor.  And  Jules 
Janin  sang  her  requiem  in  a  memorable  feuilleton. 

*The  heroine  of  a  famous  murder  trial  that  shook  Paris. 


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Symphony  in  C  minor,  No.  i,  Op.  68  ....  Johannes  Brahms. 
(Born  at  Hamburg,  May  7,  1833;  died  at  Vienna,  April  3,  1897.) 

Brahms  was  not  in  a  hurry  to  write  a  symphony.  He  heeded  not  the 
wishes  or  demands  of  his  friends,  he  was  not  disturbed  by  their  impa- 
tience. As  far  back  as  1854  Schumann  wrote  to  Joachim  :  "  But  where  is 
Johannes?  Is  he  flying  high  or  only  under  the  flowers?  Is  he  not  yet 
ready  to  let  drums  and  trumpets  sound?  He  should  always  keep  in  mind 
the  beginning  of  the  Beethoven  symphonies  :  he  should  try  to  make  some- 
thing like  them.  The  beginning  is  the  main  thing ;  if  only  one  makes  a 
beginning,  then  the  end  comes  of  itself." 

The  Symphony  in  C  minor  was  first  played  in  public  at  Carlsruhe,  Nov. 
4,  1876.  Kirchner  wrote  Marie  Lipsius  that  Brahms  had  carried  this 
symphony  about  with  him  "  many  years  "  before  the  performance  ;  and 
Kirchner  said  that  in  1863  or  1864  he  had  talked  about  the  work  with 
Clara  Schumann,  who  had  then  showed  him  portions  of  it,  whereas 
"  scarcely  any  one  knew  about  the  second  symphony  before  it  was  com- 
pleted, which  I  have  reason  to  believe  was  after  the  first  was  ended  ;  the 
second  then  was  chiefly  composed  in  1877." 

The  symphony  provoked  heated  discussion.  Many  pronounced  it 
labored,  crabbed,  cryptic,  dull,  unintelligible,  and  Hanslick's  article  of 
1876  was  for  the  most  part  an  inquiry  into  the  causes  of  the  popular  dis- 
like.     He  was  faithful  to  his  master,  as  he  was  unto  the  end.     And  in  the 


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fall  of  1877  von  Biilow  wrote  from  Sydenham  a  letter  to  a  German  music 
journal  in  which  he  characterized  the  Symphony  in  C  minor  in  a  way  that 
is  still  curiously  misunderstood. 

"One  touch  of  nature  makes  the  whole  world  kin."  This  quotation 
from  "  Troilus  and  Cressida"  is  regarded  by  thousands  as  one  of  Shake- 
speare's most  sympathetic  and  beneficent  utterances.  But  what  is  the 
speech  that  Shakespeare  put  into  the  mouth  of  the  wily,  much-enduring 
Ulysses?  After  assuring  Achilles  that  his  deeds  are  forgotten  ;  that  Time, 
like  a  fashionable  host,  "  slightly  shakes  his  parting  guest  by  the  hand," 
and  grasps  the  comer  in  his  arms  ;  that  love,  friendship,  charity,  are  sub- 
jects all  to  "envious  and  calumniating  time,"  Ulysses  says:  — 

"  One  touch  of  nature  makes  the  whole  world  kin, — 
That  all,  with  one  consent,  praise  new-born  gauds, 
Though  they  are  made  and  moulded  of  things  past, 
And  give  to  dust,  that  is  a  little  gilt, 
More  laud  than  gilt  o'erdusted." 

This  much  admired  and  thoroughly  misunderstood  quotation  is  in  the 
•  complete  form  of  statement  and  in  the  intention  of  the  dramatist  a  bitter 
gibe  at  one  of  the  most  common  infirmities  of  poor  humanity. 

Ask  a  music-lover,  at  random,  what  von  Biilow  said  about  Brahms's 
Symphony  in  C  minor,  and  he  will  answer  :  "  He  called  it  the  tenth  sym- 
phony." If  you  inquire  into  the  precise  meaning  of  this  characterization, 
he  will  answer  :  "  It  is  the  symphony  that  comes  worthily  after  Beethoven's 
ninth  "  ;  or,  "  It  is  worthy  of  Beethoven's  ripest  years  "  ;  or  in  his  admira- 
tion he  will  go  so  far  as  to  say:  "Only  Brahms  or  Beethoven  could  have 
written  it." 

Now  what  did  von  Biilow  write  ?  "  First  after  my  acquaintance  with  the 
tenth  symphony,  alias  Symphony  No.  1,  by  Johannes  Brahms,  that  is  since 
six  weeks  ago,  have  I  become  so  intractable  and  so  hard  against  Bruch- 


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pieces  and  the  like.  I  call  Brahms's  first  symphony  the  tenth,  not  as 
though  it  should  be  put  after  the  ninth  ;  I  should  put  it  between  the 
second  and  the  '  Eroica.7  just  as  I  think  by  the  first  symphony  shou'd  be 
understood,  not  the  first  of  Beethoven,  but  the  one  composed  by  Mozart, 
which  is  known  as  the  '  Jupiter.'  " 


* 


The  first  performance  in   Boston  was  by  the  Harvard  Musical  Associa- 
tion, Jan.  3,  1878. 


*  * 


The  symphony  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons, 
double-bassoon,  4  horns,  2  trumpets,  3  trombones,  kettle-drums,  strings. 
The  trombones  appear  only  in  the  finale. 

The  first  movement  opens  with  a  short  introduction,  un  poco  sostenuto, 
C  minor,  6-8,  which  leads  without  a  pause  into  the  first  movement  proper, 
allegro,  C  minor.  The  first  four  measures  are  a  prelude  to  the  chief  theme, 
which  begins  in  the  violins,  while  the  introductory  phrase  is  used  as  a 
counter-melody.  The  development  is  vigorous,  and  it  leads  into  the  second' 
theme,  a  somewhat  vague  melody  of  melancholy  character,  announced  by 
wood-wind  and  horns  against  the  first  theme,  contrapuntally  treated  by 
strings.  In  the  development  wind  instruments  in  dialogue  bring  back  a 
fragment  of  this  first  theme,  and  in  the  closing  phrase  an  agitated  figure  in 
rhythmical  imitation  of  a  passage  in  the  introduction  enters.  The  free 
fantasia  is  most  elaborate.  A  short  coda,  built  chiefly  from  the  material 
of  the  first  theme,  poco  sostenuto,  brings  the  end. 

The  second  movement,  Andante  sostenuto,  E  major,  3-4,  is  a  profoundly 
serious  development  in  rather  free  form  of  a  most  serious  theme. 

The   place   of  the  traditional  scherzo  is  supplied  by  a  movement,   un 


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poco  allegretto  e  grazioso,  A-ftat  major,  2-4,  in  which  three  themes  of  con- 
trasted rhythms  are  worked  out.  The  first,  of  a  quasi-pastoral  nature,  is 
given  to  the  clarinet  and  other  wood-wind  instruments  over  a  pizzicato 
bass  in  the  'cellos.  In  the  second  part  of  the  movement  is  a  new  theme 
in  6  8.  The  return  to  the  first  movement  is  like  unto  a  coda,  in  which 
there  is  varied  recapitulation  of  all  the  themes. 

The  finale  begins  with  an  Adagio,  C  minor,  4-4,  in  which  there  are 
hints  of  the  themes  of  the  allegro  which  follows.  And  here  Mr.  Apthorp 
should  be  quoted  :  — 

"  With  the  thirtieth  measure  the  tempo  changes  to  piii  andante,  and  we 
come  upon  one  of  the  most  poetic  episodes  in  all  Brahms.  Amid  hushed, 
tremulous  harmonies  in  the  strings,  the  horn  and  afterward  the  flute  pour 
forth  an  utterly  original  melody,  the  character  of  which  ranges  from  pas- 
sionate pleading  to  a  sort  of  wild  exultation,  according  to  the  instrument 
that  plays  it ;  the  coloring  is  enriched  by  the  solemn  tones  of  the  trom- 
bones, which  appear  for  the  first  time  in  this  movement.  It  is  ticklish 
work  trying  to  dive  down  into  a  composer's  brain,  and  surmise  what 
special  outside  source  his  inspiration  may  have  had  ;  but  one  cannot  help 
feeling  that  this  whole  wonderful  episode  may  have  been  suggested  to 
Brahms  by  the  tones  of  the  Alpine-horn,  as  it  awakens  the  echoes  from 
mountain  after  mountain  on  some  of  the  high  passes  in  the  Bernese 
Oberland.  This  is  certainly  what  the  episode  recalls  to  any  one  who  has 
ever  heard  those  poetic  tones  and  their  echoes.  A  short,  solemn,  even 
ecclesiastical  interruption  by  the  trombones  and  bassoons  is  of  more  thematic 
importance.  As  the  horn-tones  gradually  die  away,  and  the  cloud-like 
harmonies  in  the  strings  sink  lower  and  lower  —  like  mist  veiling  the 
landscape  —  an  impressive  pause  ushers  in  the  Allegro  non  troppo,  ma 
con  brio  (in  C  major,  4-4  time).  The  introductory  Adagio  has  already 
given  us  mysterious  hints  at  what  is  to  come  ;  and  now  there  bursts  forth 


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in  the  strings  the  most  joyous,  exuberant  Volkslied  melody,  a  very  Hymn  to 
Joy,  which  in  some  of  its  phrases,  as  it  were  unconsciously  and  by  sheer 
affinity  of  nature,  flows  into  strains  from  the  similar  melody  in  the  Finale 
of  Beethoven's  ninth  symphony.  One  cannot  call  it  plagiarism  :  it  is  two 
men  saying  the  same  thing." 

This  melody  is  repeated  by  horns  and  wood-wind  with  a  pizzicato  string 
accompaniment,  and  is  finally  taken  up  by  the  whole  orchestra,  fortissimo 
(without  trombones).  The  second  theme  is  announced  softly  by  the 
strings.  In  the  rondo  finale  the  themes  hinted  at  in  the  introduction  are 
brought  in  and  developed  with  some  new  ones.  The  coda  is  based  chiefly 
on  the  first  theme. 

Dr.  Heinrich  Reimann  finds  Max  Klinger's  picture  of  Prometheus  Un- 
bound "  the  true  parallel  "  to  this  symphony. 

Dr.  Hermann  Deiters,  an  enthusiastic  admirer  of  Brahms,  wrote  of  this 
work :  "  The  first  symphony  in  C  minor  strikes  a  highly  pathetic  chord. 
As  a  rule,  Brahms  begins  simply  and  clearly,  and  gradually  reveals  more 
difficult  problems ;  but  here  he  receives  us  with  a  succession  of  harsh  dis- 
cords, the  picture  of  a  troubled  soul  gazing  longingly  into  vacancy,  striving 
to  catch  a  glimpse  of  an  impossible  peace,  and  growing  slowly,  hopelessly 
resigned  to  its  inevitable  fate.     In   the   first  movement  we  have   a  short, 


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essentially  harmonious  theme,  which  first  appears  in  the  slow  movement, 
and  again  as  the  principal  theme  of  the  allegro.  At  first  this  theme 
appears  unusually  simple,  but  soon  we  discover  how  deep  and  impressive  is 
its  meaning  when  we  observe  how  it  predominates  everywhere,  and  makes  its 
energetic  influence  felt  throughout.  We  are  still  more  surprised  when  we 
recognize  in  the  second  theme,  so  full  of  hopeful  aspiration,  with  its  chro- 
matic progression,  a  motive  which  has  already  preceded  and  introduced  the 
principal  theme,  and  accompanied  it  in  the  bass ;  and  when  the  principal 
theme  itself  reappears  in  the  bass  as  an  accompaniment  to  the  second  theme, 
we  observe,  in  spite  of  the  complicated. execution  and  the  pyschic  devel- 
opment, a  simplicity  of  conception  and  creative  force  which  is  surprising. 
The  development  is  carried  out  quite  logically  and  with  wonderful  skill, 
the  recapitulation  of  the  theme  is  powerful  and  fine,  the  coda  is  developed 
with  ever-increasing  power ;  we  feel  involuntarily  that  a  strong  will  rules 
here,  able  to  cope  with  any  adverse  circumstances  which  may  arise.  In 
this  movement  the  frequent  use  of  chromatic  progressions  and  their 
resultant  harmonies  is  noticeable,  and  shows  that  Brahms,  with  all  his 
artistic  severity,  employs,  when  needful,  every  means  of  expression  which 
musical  art  can  lend  him.  .  .  .  The  melodious  Adagio,  with  its  simple 
opening,  a  vein  of  deep  sentiment  running  throughout,  is  full  of  romance  ; 
the  coloring  of  the  latest  Beethoven  period  is  employed  by  a  master 
hand.  To  this  movement  succeeds  the  naive  grace  of  an  allegretto,  in 
which  we  are  again  surprised  at  the  variety  obtained  by  the  simple 
inversion  of  a  theme.  The  last  movement,  the  climax  of  the  work, 
is  introduced  by  a  solemn  adagio  of  highly  tragic  expression.  After  a 
short  pause,  the  horn  is  heard,  with  the  major  third,  giving  forth  the  signal 
for  the  conflict,  and  now  the  allegro  comes  in  with  its  truly  grand  theme. 
This  closing  movement,  supported  by  all  the  power  and  splendor  of  the 
orchestra,  depicts  the  conflict,  with  its  moment  of  doubt,  its  hope  of 
victory,  and  moves  on  before  us  like  a  grand  triumphal  procession.  To 
this  symphony,  which  might  well  be  called  heroic,  the  second  symphony 
bears  the  same  relation  that  a  graceful,  lightly  woven  fairy-tale  bears  to 
a  great  epic  poem." 


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Newport 

Tenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  JANUARY  2,  at  2.30  o'clock. 


SATURDAY  EVENING,  JANUARY  3,  at  8.00  o'clock. 


PROGRAMME. 

Rubinstein Ocean  Symphony 

(Four  movements.) 

Dvorak Inflammatus  from  "  Stabat  Mater  " 

Loeffler Two  Poems  for  Orchestra 

Elg-ar   ..........  Sea  Pictures 

Wagner  Introduction  and  Love  Death  from,  "Tristan  and  Isclde" 


SOLOIST : 
Mme.  KIRKBY-  LUNN. 


1511) 


^'TBJIVK^RT   HJS.J^JL 


Mr.  HENRY  WOLFSOHN,  Ne<w  York, 

begs  to  announce  a. 

VIOLIN  RECITAL 

Miss  maud6' McCarthy 

on  MONDA  Y  AFTERNOON, 
JANUARY  19,  at  3   o'clock. 

Reserved  Seats,  $1.50,  $1.00,   and  $0.75. 

Tickets  "will  go  on  sale  Monday,  January  5. 

PIANO  and  VIOLIN   RECITAL 

Thursday,  January  29, 

AT    THREE    P.M. 

Miss    ETHEL    INMAN  (of  New  York),  Pianist 

Mr.  ISIDOR  SCHNITZLER,  violinist 

Assisted  by  Mr,  HERBERT  WITHERSPOON,  Basso  Cantante 

Miss  MARY  MUNCHHOFF 

WILL   GIVE  A 

Song'  Recital 

on  Tuesday  Afternoon,  January  20, 
at  Three,  in 

STE/NERT    HALL. 

Reserved  Seats,  50.75,  5 1.00,  $1.50. 
Tickets  will  go  on  sale  at  the  hall  on  Monday,  January  5. 

Management:    HENRY  WOLFSOHN,  New  York 
(612) 


■JSTEMIVE^T     HLAJL,!^ 


PIANOFORTE    RECITAL 

Auau«TA    COTTLOW 

Wednesday  Evening,  January  7,  at  8 

PROGRAM 

Prelude  and  Fugue,  D  major  (arranged  for  piano  by  Busoni)  .       Bach 

Variations  Serieuses Mendelssohn 

Intermezzo,  A-llat  major Brahms 

Rhapsodie,  B  minor Brahms 

Maiourka,  B-tfat  major Chopin 

Nocturne,  F-sharp  minor Chopin 

Scherzo,  C-sharp  minor Chopin 

Etude,  G  minor Zarembskl 

Etude,  D-flat  major ,  Liszt 

Polonaise,  E  major Liszt 

THE  STEINWAY  PIANO 
Reserved  Seats,  $1.50,  $1.00,  and  $0.75    Tickets  are  for  sale  at  Steinert  Hail  ticket  office 

Mrs.  Martha  »$.  Gielow 

(OF   ALABAMA) 
Will  give  her  SECOND   RECITAL  of 

Original  Honologues  and  sketches   rom 
Old  Plantation  Life 

On  Tuesday  Afternoon,  December  30,  at  3  o'clock,  in  Steinert  Hall 

Tickets,  #1.50,  #1.00,  and  $0.75,  are  for  sale  at  the  hall, 
162  Boylston  Street 

For  engagements,  dates,  and  terms  Mrs.  Gielow  may  be  addressed,  care  of 
Steinert  Hall,  Boston 


Mr.  FELIX   FOX 

PIANIST,     TEACHER 

Studio,   17    Steinert   Hall  Building,    Boston. 

Concert  Direction,  Henry  Wolfsohn,  131   East  17th  Street,  New  York. 

(513) 


Cbickering  lyall 


For  CONCERTS 
:  RECITALS 
LECTURES 
MEETINGS,  Etc. 


239  Huntington  Avenue  Telephone,  1670  Back  Bay 


SEATING  CAPACITY 
EIGHT  HUNDRED    j* 

Hall  on  the  street  level 

The  most  perfect  modern  system  of  heating  and  ventilation 

The  most  attractive  hall  for  chamber-music  in  America 

For  terms,  dates,  and  all  particulars,  apply  to 

RICHARD  HEARD,  Manager 


(514) 


Carl    Faeuteivs 

THIRD    PIANOFORTE    RECITAL, 
Wednesday  Evening,   December   31,    1902,  at  8  o'clock. 

Programme. 

Andante,  F  major  )  Beethoven 

Sonata  (Appassionata),  F  minor,  Op.  57  ) 

Huntington       Giga  con  Variazioni,  D  minor,  Op.  91,  No.  2    .         .         .         .  Raft 

Chambers        Nocturne,  B  major,  Op.  9,  No.  3  )  ChoDin 

Hall  Valse,  A-flat  major,  Op.  42  J  v 

Hungarian  Rhapsody,  No.  2,  C-sharp  minor     ....         Liszt 
TICKETS,  $1.00.   J*    J*    J*    J*    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 

APPLY  TO  JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

HANS  SCHNEIDER 

TEACHER    OF    PIANOFORTE 

Particular  attention  paid   to  TONE   AMD   INTERPRETATION  and  to  the 
NORHAL  TRAINING  of  prospective  piano  teachers. 

Huntington  Chambers,  503. 

Tuesday  Afternoons  2  to  6. 

(515)  • 


Symphony  make    Xmas 
Seats  CHO,CE  Gifts 

Good  locations  for  remainder  of  season,   from 
SIO  to  $30  each,  at 

CONNELLY'S  TICKET  OFFICE,  Adams  House 
CHICKERING  HALL. 


THE  LONGY   CLUB 

A.  Maquarre,  Flute  A.  Hackebarth,  Hom 

P.  Mbtzger,  Clarinet  Q.  LONQY,  Oboe 

A.  Debuchy,  Bassoon  H.  Gf.bhakd.  Piano 

Monday,  January  5t  at  8 


PROGRAMME. 

J.  RONTGEN.     Serenade,  Op.  J  4,  for  flute,  oboe,  clarinet,  two  horns, 
and  two  bassoons. 

V.  D'INDY.     Fantaisie  sur  des  Themes  Populaires  Francais,  Op.  31, 
for  oboe  and  piano. 

A.  CAPLET.     Suite  Persane,  for  two  flutes,  two  oboes,  two  clarinets, 
two  horns,  and  two  bassoons. 

ASSISTING  ARTISTS. 

Mon».  A.  Brooke,  Flute.  Mons.  A.  Vannini,  Garinet. 

Mons.  C.  Lenom,  Oboe.  Mons.  J.  Helleberg,  Bassoon. 

Mons.  F.  Hein,  Horn. 

(616) 


ASTERS  IN  MUSIC  will  be  unlike  any  other 
musical  magazine.  It  will  be  edited  by  Mr. 
Daniel  Gregory  Mason.  Each  monthly  issue, 
complete  in  itself,  will  be  devoted  to  one  of 
the  world's  greatest  musicians,  giving  thirty- 
two  pages  of  engraved  piano  music,  which 
will  comprise  those  compositions  or  move- 
ments that  represent  the  composer  at  his  best,  with  editorial  notes 
suggesting  their  proper  interpretations  ;  a  beautiful  frontispiece 
portrait ;  a  life  ;  and  estimates  of  his  genius  and  place  in  art 
chosen  from  the  writings  of  the  most  eminent  musical  critics. 
The  text  of  Masters  in  Music  will  thus  constitute  an  interest- 
ing and  authoritative  monthly  lesson  in  musical  history;  its 
selections  of  music  will  form  a  library  of  the  world's  musical 
masterpieces,  and  all  at  slight  cost.  Among  the  composers 
to  be  treated  during  the  first  year  are  Mozart,  Chopin,  Gounod, 
Verdi,  Grieg,  Beethoven,  Mendelssohn,  and  others.  The  maga- 
zine will  be  most  attractively  presented  throughout.  The  first 
issue  will  appear  January  i,  1903.  Subscription  price,  $2.00  a 
year.     Single  copies,  20  cents.    :::::::::::: 


SEND    FOR   PROSPECTUS 

WITH     SPECIMEN     PORTRAIT    AND     SAMPLE 

PAGES      OF      MUSIC 


JBateg  anaGuiluCompan^ob^em 


(617) 


For  the  benefit  of 

The  BOSTON  NURSERY  FOR  BLIND  BABIES 


Dramatic  Reading  of  *  'cMonsieur  ^Beaucaire ' 


BY 


Mrs.  DUNLOP  SMITH 

Tuesday  Evening,  December  30,  1902,  at  8  o'clock 

CHICKERING  HALL 


Tickets,  fifty  cents  and  one  dollar 


PARSIFAL 


On  Tuesday,  January  6,  a  table  d'hote  dinner, 
at  $1.50,  will  be  served  in  Horticultural  Hall 
from  6  to  7.30.  ^  <&  &  jfi  &  &  & 
Tables  may  be  engaged  by  addressing 

C.  W.  CONNORS,  32  FALMOUTH  ST.,  BOSTON 


Mme.  Antoinette  Szvmowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 


(61*) 


SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 

70  PERFORMERS.    8Mr.   WILHELM  GERICKE,  Conductor 


Thursday  Evenings 


JANUARY  8 
JANUARY  29 
FEBRUARY  12 


MARCH  12 
APRIL  2 
APRIL&23 


at  7.45 


SOLO  ARTISTS 

MISS  HELEN  HENSCHEL  MR.  CARL  STASNY 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MISS  MAUD  MacCARTHY        MME.  BLOOMFIELD-ZEISLER 
MR.  ADOLF  BAK 

AND   OTHERS   TO    BE   ANNOUNCED. 


TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 

at  the  door. 


(519) 


CHICKERING     HALL 


15he   KNEISBX 
QUARTET 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALWIN   SCHROEDER,  Violoncello 


Fifth  Concert 
flonday  Evening,  January  26 


At  8 


Programme  to  be  announced 


<f>'l») 


Olive  )Wead, 


VIOLINIST. 


Address  F.  R.  Comee,  Symphony  Hal],  Boston,  or 

N   Vert  i  9  East  I7th  Street'  New  York- 
'  I  6  Cork  Street,  London. 

The  Boston  Symphony  Orchestra  Programme 

For  the  twenty-four  Boston  Concerts, 
with  Historical  and  Descriptive  Notes 
by  Philip  Hale.  <£*  J*  <£  «£   Jt   J*   J* 

Bound  copies  of  the   Programme  for  the  entire   season  can    be   had   at 
$1.50  by  applying  before  the  last  concert.     Address  all  communications  to 

F.   R.  COMEE,  Symphony  Hall,  Boston. 

MUSICAL    INSTRUCTION. 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 


Miss  HARRIET  S.  WHITT1ER, 


Exponent  of  the  method  of  the  late  Charles  R.  Adar 


Concert  and  Oratorio. 

Miss  GERTRUDE  EDMAHDS,  vocai  instruction. 


EXETER    CHAMBERS. 


Specialist  in  the  Science  of 

Mr.  CHARLES  B.  STEVENS,  Tone  Frod°cti0'1  aDd  [it  Art  of  SiDging- 

'  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 
PIERCE  BUILDING, 

Mrs.  ANNE  GILBRETH  CROSS,      COPLE*  square, 

TEACHER  OF  THE  PIANOFORTE.  BOSTON. 

(621) 


Hiss  ANNA  MILLER  WOOD, 

HEZZO-CONTR  A  LTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 

AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching   in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Miss  SUZA  DOANE, 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


Mr.  OTTO  ROTH, 


VIOLIN    AND    ENSEMBLE 
LESSONS. 

10  ARLINGTON    STREET. 


Miss  JESSIE  DAVIS 


Pupil  of  Harold  Bauer. 


Mr,  CARLO  BUONAMICI, 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,    163    flassachusetts   Avenue. 


PIANIST  AND  TEACHER. 

Steinert  Hall  Building. 


(622) 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5, Thespian  Hall, 

168  Massachusetts   Avenue, 
Boston,  Mass. 


CLARENCE  B.  SHIRLEY, 


TE/MOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  A.  E.  PRESCOTT, 

153  TREMONT  STREET. 


"  Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe1  \'eti  avecmoi.  Je  lui  ai  donne1  des  lemons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lecons. 
Cela  l'a  mis  en  mesure  de  connaitre  a  fond  ma  m^thode. 
Je  peux  done  recommander  mon  eJeve,  Mr.A.E.  Pres- 
cott. C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  les 
differents  rt5gistres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  3i  Aout,  iooi. G.  SBRIGLIA. 


Sig.  ADGOSTO  YANNINI, 


Teacher  of  Singing. 

Steinert  Hall. 


J.  D.  BUCKINGHAM. 


PIANOFORTE.     Method  of  I.  Phllipp. 

The   most   advanced   technics   of  the 
present  day. 
"A  teacher  of  the   first   magnitude." — Huneker,   od 
Philipp,  in  Mezzo-tints  in  Modern  Music. 

32  STEINERT  HALL,  BOSTON. 


Mr,  GUSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


TeacherofYiolin.Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

7g  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS. 

Pierce  Building, 
Copley  Square,   Boston. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSErtBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 

DAVID   POPPER. 

STUDIO:  171A    TREHONT  STREET. 

(523) 


HEINRICH  SCHUECKER, 

TEACHER  OF  THE  HARP. 

Erard  Harps  for  sale  and  to  let. 
32  Westland  Avenue       -       Boston. 


Miss  MARIE  L.  EVERETT, 

TEACHER   of  SINGING, 

Holds  a  recent  Diplome  Supe'riem' 
from  Madame  Marchesi,  Paris. 

THE  COPLEY,         COPLEY  SQUARE. 


Miss  A\NA  JANSEN,  Pianiste, 

PUPIL   OF  — 

Mme.  Rappoldi,  Dresden.  Sgambati,  Rome. 

Harold  Bauer,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

ADDRESS,  86  CHARLES  ST.,  BOSTON. 


"  From   Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FROM     LONDON, 

Specially  authorized  by  the  inventor. 

Investigation  invited.       Studio,  278  Boylston  St. 


Mr.  JACQUES   HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN  C.  MANNING, 
Pianist    and    Teacher, 

Studio,  22  Steinert  Hall. 
Afternoons,  1  to  6. 

*  Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 

Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 
384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1  at  her  residence,  THE   OXFORD. 


Hiss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  j.  Accompaniments. 

Trinity  Court. 


Miss    EDITH  E.  TORREY, 

SOPRANO  SOLOIST  AND  TEACHER  OF 
SINGING. 

164  Huntington    Avenue,  Boston. 

Every  day  except  Tuesday  and  Friday. 
Telephone,  Back  Bay  1089-6. 


U.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts,  Meoitals,  and 

Ensemble  JPlayitiy. 

7    ADELAIDE    ST.,  JAMAICA   PLAIN. 


Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


TO  read  Music  like  Print. 
The  Vars'  New  Interval  System  of  Sight 
Singing. 

No  Sol-faing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mme.  L.  Hamburger,  Pierce  Bldg.,  Copley  Sq. 


Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 
Studio,  21  Steinert  Building. 


Mrs.  flabel  Mann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolpb  Suoet,  Boston. 


(624) 


WEBER 
PIANOS8 


Piano-building  as  a  fine  art  has  never  been  more 
highly  exemplified  than  by  our  recent  produc- 
tions. Send  for  description  of  our  new  Style  A 
Grand,  the  most  remarkable  Small  Grand  in 
•volume  and  quality  of  tone  ever  produced  by 
any  maker.     Its  length  is  but  5  feet  4  inches. 


The  Weber  Concert  Grand  will  be  used  exclusively 
by  the  Maurice  Grau  Opera  Company,  Mme.  Roger- 
Miclos,  Kocian,  and  Julie  Geyer  on  their  J 902- f  903 
transcontinental  tours, 

&f>e  WEBER  PIANO   COMPANY   |jj 

108     FIFTH     AVE.,    NEW    YORK     CITY 

Boston   Representative,  George    H.  Champlin    &    Co. 
181    Tremont  Street 


xSS 


c  two  pianos  in  kcp(MISSAus  derOhe's) 
rroom  one  is  an  old  Gepman  instrument  for 
which  she  has  an  affection  because  as  a 
child  she  tool:  lessons  on  it.  1  he  other  J 
is  a  Sleinway  grai?J .  I  have  never  been! 
I  hired  by  any  piano  firnv'she  said  Jjf*^ 
laughingly /and  so  I  am  free  to  choose  the 
piano  I  prefer.  Aid  then  she  swept  over 
the  keys  in  a  fondling"  caressing  way,  and 
I  could  understand  what  Liszt  meant 
when  he  said  she  has  a  toil 
velvet; 

I^S.J-BarTows  iNTke  Critep 

April  1901 


!-■  ■  vnnv  ■     ^r^^- (ZZ—'lLl^.^  I 


STEIN  WAY  PIANOS 


A\.  STEINERT  &   SONS  CO. 

162  to  I6S  Boglston  stiver,  Boston,  Mass. 


PRoGR7W\n 


JOHN   KNOWLES  PAINE 

Professor  of  Music  at  Harvard  University  and  one 

of  America's  foremost  musicians, 

writes  as  follows  to 

Cambridge,   Mass., 

December  29,    1902. 

Messrs.    Mason   &   Hamlin. 

Gentlemen, —  It  gives  me  great  pleasure  to  ex- 
press to  you  my  high  opinion  of  your  pianofortes. 

They  have  won  a  high  place  among  the  fore- 
most instruments  of  the  present  time.  They  are 
prized  for  their  brilliancy  of  tone  and  evenness 
and  lightness  of  action. 

Yours  truly, 

(Signed)     JOHN    K.    PAINE. 


M.   Steinert  (&L  Sons   Co. 

New   England    Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 


TENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      ,*    j*    S    J* 


FRIDAY  AFTERNOON,  JANUARY  2, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  JANUARY  3, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(525) 


MESSRS 


CHICKENING  @>  SONS 

PIANOFORTE     MAKERS 

Tnvite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 


RETAIL     W A R E R O O M S 

791    TREMONT    STREET,    BOSTON 


■  imj 


TWENTY-SECOND  SEASON,  J902-J903. 


Tenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  JANUARY  2,  at  2.30  o'clock. 

SATURDAY  EVENING,  JANUARY  3,  at  8.00  o'clock. 


PROGRAMME. 

Rubinstein    .        .        Symphony  in  C  major,  No.  2,  "Ocean/'  Op.  42 

(Second  version.) 

I.     Moderato  assai. 

III.  Adagio. 

IV.  Allegro. 

VII.     Andante. —  Allegro  con  fuoco. 


Gounod  ....  **  Stances  de  Sapho,"  from  **  Sapho  " 


Loeffler Two  Poems  for  Orchestra 

I.     "  La  Bonne  Chanson  "  (after  Verlaine). 
II.     "  Villanelle  du  Diable"  (after  Rollinat). 

Elgar     .         .  **  Sea  Pictures/'  Two  Songs  frcm  a  Cycle  of  Five  for 

Contralto  and  Orchestra,  Op.  37 

Wagner  .         Introduction  and  "  Love  Death,"  from  **  Tristan  and 

Isolde" 

(Orchestral.) 


SOLOIST : 
Mme.   KIRKBY-  LUNN. 


There  will  be  an  intermission   of   ten  minutes  after  the  Gounod  selection. 


The  door*  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on,  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.  . 

City  of  Boston,  Revised  Regulation  of  August  5,  1808.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest!  J.  M.  GALVIN,  City  Clerk. 


L.  P.  HOLLANDER  &  CO. 


January  Clearance  Sale. 


GREAT  BARGAINS  FOR  MONDAY  IN 

DRESS  GOODS  AND  SILKS, 

MODEL  GOWNS  AND  COATS, 

MILLINERY, 

UNDERWEAR,  Etc. 


Symphony  in  C  major,  No.  2,  "  Ocean,"  Op.  42    .     Anton  Rubinstein. 

(Born  at  Wechwotynez,  near  Balta,  in  Podolia,  Nov.  28,  1829;  died  at  Peterhoff, 
near  St.  Petersburg,  Nov.  20,  1894.) 

This    symphony  has    suffered    sea-changes.     Originally  in  four  move. 

ments :  — 

I.  Allegro  maestoso  in  C  major. 

II.  Adagio  non  tanto  in  E  minor. 

III.  Allegro  in  G  major. 

IV.  Adagio  in  C  minor  ;  Allegro  con  fuoco  in  C  major  : 

it  was  performed  for  the  first  time  at  Konigsberg  in  1857.  The  Phil- 
harmonic Society  of  New  York  played  it  Jan.  7,  187 1.  It  was  performed 
in  Boston  for  the  first  time  at  a  concert  of  the  Harvard  Musical  Associa- 
tion, Feb.  6,  1873. 

Twelve  or  fourteen  years  after  the  first  performance  at  Konigsberg, 
Rubinstein  added  two  movements, — Adagio  in  D  major  and  Scherzo : 
Allegro  in  F  major. 

Mr.  W.  F.  Apthorp  made  a  careful  study  of  the  successive  transforma- 
tions and  performances  of  this  symphony.  It  is  better  therefore  to  use 
his  very  words  than  to  filch  the  result  of  his  labor  or  to  paraphrase  his 
article  with  an  incidental  and  careless  acknowledgment. 

"The  symphony  was  given  in  this  extended  shape"  —  with  the  two 
additional  movements  —  "  by  Theodore  Thomas's  orchestra,  Rubinstein 
conducting,  in  New  York  on  March  31,  1873;  and  at  a  special  concert 
given  by  Rubinstein  with  the  old  symphony  orchestra  of  the  Harvard 
Musical  Association  in  Tremont  Temple,  Boston,  on  May  21,  1873.  That 
the  composer  had  not  then  quite  made  up  his  mind  as  to  the  exact  position 
of  the  new  movements  in  the  work  is  evident  from  a  comparison  of  the 
New  York  and  Boston  programmes.  In  New  York  Rubinstein  gave  the 
new  Scherzo  as  the  third  movement,  and  the  new  Adagio  as  the  fourth ; 
in  Boston  he  gave  the  new  Adagio  as  the  second  movement,  and  the  new 
Scherzo  as  the  fifth.  He  also  made  some  changes  in  the  tempo-marking. 
On  the  New  York  programme  the  original  Adagio  non  tanto  was  set  down 

THE  MANAGEriENT  OF  THE 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

ANNOUNCES  THE  ENGAGEMENT  OF 

Mme.  Antoinette  Szumowska 

AND 

Mrs.  Henry  ML  Rogers 
MIR.    CEORC    HENSCHEL 

will  teach  —  until  March,   1903  —  EXCLUSIVELY  in  the  Conservatory. 

Particulars  and  terms  (for  one  or  any  number  of  lessons)  may  be 

had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(529) 


Sole  Makers 

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as  Andante  assai ;  the  new  Scherzo  as  Allegro  con  fuoco.  On  the  Boston 
programme  the  new  Scherzo  was  set  down  as  Presto.  .  .  .  Somewhat  later 
Rubinstein  added  still  another  movement :  Lento  assai  and  Con  moto 
moderato  in  A  minor,  generally  known  as  'The  Storm.'  The  entire 
symphony,  thus  re-extended,  was  given  in  Berlin  in  1884,  and  by  the 
Boston  Symphony  Orchestra  here  on  Dec.  15,  1894.  I  believe  Rubinstein 
himself  never  heard  a  complete  performance  of  the  work  in  its  latest 
shape.  In  the  last  edition  of  the  symphony  the  tempo-marking  of  some  of 
the  movements  is  still  further  changed  ;  it  now  stands  as  follows  :  — 

I.     Moderato  assai  (C  major),  3-2  (original  first  movement). 
II.     Lento  assai  (A  minor),  4-4. 

Con  moto  moderato  (A  minor),  2-2  (latest  addition). 

III.  Andante  (D  major),  3-4  (first  addition). 

IV.  Allegro  (G  major),  2-4  (original  third  movement). 
V.     Andante  (E  minor),  8-8  (original  second  movement). 

VI.     Scherzo:  Allegro  (F  major),  3-4.  v 

Trio  :  Moderato  assai  (B-flat  major),  2-2  (first  addition). 
VII.     Andante  (C  minor),  8-8. 

Allegro  con  fuoco  (C  major),  2-2  (original  fourth  movement)^" 

# 
#    * 

Some  have  insisted  that  this  symphony  is  programme-music  in  the  pano- 
ramic sense.  Ambros  speaks  of  it  in  connection  with  Beethoven's  "  Pas- 
toral," likens  the  Sailors'  Dance,  the  original  Scherzo,  in  G  major,  to  the 
"  Peasants'  Merry-making,"  and  the  final  choral  to  the  "  Glad  and  Grate- 
ful Feelings  after  the  Storm  "  ;  and  he  alludes  to  the  discretion  shown  by 
Rubinstein  in  leaving  the  storm  to  the  imagination.  And  then  Rubin- 
stein, as  though  in  contradictory  spirit,  buckled  himself  to  the  task  of 
writing  a  Storm  scene. 

Rubinstein  gave  forth  his  ideas  concerning  programme-music  in  his 
little  book,  "  A  Conversation  on  Music,"  which  was  Englished,  most 
curiously  Englished,  by  Mrs.  John  P.  Morgan.  Her  version  may  well  be 
compared  to  the  translation  by  Rosa  Newmarch  of'..  Belter's  Life  of 
Brahms,  from  which  I  quoted  in  the  last  programme-book.  Each  abounds 
in  passages  remarkable  for  misconception  or  expression.  Rubinstein  is 
asked  whether  he  is  an  advocate  of  programme-music.  He  replies  :  —  I 
use  Mrs.  Morgan's  version  — 


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"The  Rose  and  the  Gardener.'' 

Bisesa's  Song,  "  Come  back  to  me,  Beloved." 

"  If  Love  were  what  the  Rose  is." 

"  Ashes  of  Roses." 

The  lyrics  of  this  little  volume  of  songs  have 
been  chosen  with  rare  good  taste  from  widely 
different  sources,  and  the  composer  has  given 
skilfully  written  and  appropriate  music  to 
each.  They  are  published  in  a  convenient  and 
attractive  form,  with  a  cover  design  illustrat- 
ing the  Kipling  poem. 


ARTHUR   P.  SCHMIDT, 

BOSTON,  LEIPZIG.        NEW  YORK, 

146  Boylston  Street.  136  Fifth  Avenue. 


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How  to  Sing        .... 
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Reminiscences      ....       1.50 
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M.  MARCHESI. 

Ten  Singing  Lessons  .         .         .        1.50 
HENRY    LAHEE. 

The  Organ  and  its  Masters  .       1.60 

All  music  performed  at  these  concerts  con- 
stantly on  hand. 


CHARLES  W.  HOriEYER  &  CO. 

165  TREflONT  STREET, 

BOSTON. 


(631) 


"Not  altogether.  I  am  in  favor  of  the  to-be-divined  and  poetized,  not  of 
the  given  programme  of  a  composition.  I  am  convinced  that  every  composer 
writes,  not  merely  notes  in  a  given  key,  a  given  tempo,  a  given  rhythm  ;  but, 
on  the  contrary,  encloses  a  mood  of  the  tone,  that  is,  a  programme  in  his 
composition,  in  the  rational  hope  that  the  interpreter  and  hearer  may  ap- 
prehend it.  Sometimes  he  gives  his  composition  a  general  name,  that  is, 
•a  guide  for  interpreter  and  hearer,  and  more  than  this  is  not  necessary,  for 
a  detailed  programme  of  emotion  is  not  to  be  reproduced  in  words.  Thus 
I  understand  programme  music,  not,  however,  in  the  sense  of  the  reflected 
tone-painting  of  certain  things  or  events  ;  the  latter  is  admissible  only  in 
the  sense  of  the  naive  or  comic." 

# 
#  # 

The  symphony  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2 
bassoons,  4  horns,  2  trumpets,  3  trombones,  bass  tuba,  kettle-drums, 
strings. 

The  slow  movement,  Moderato  assai  in  C  major,  3-2,  begins  with  a 
tremolo  of  violins  and  violas,  against  which  the  flute  gives  the  first  theme. 
The  development  is  short.  The  contrasting  theme  is  more  agitated. 
Fragments  of  the  first  theme  reappear  ;  the  theme  is  at  last  given  out 
fortissimo  by  the  full  orchestra,  and  the  theme  is  now  fully  developed. 
The  second  theme  is  in  E  minor;  arpeggio  phrases  of  the  first  violins 
are  answered  by  more  song-like  phrases  of  the  clarinet.  The  development 
is  short,  but  the  free  fantasia  is  long.  The  first  section  is  dramatic,  the 
second  is  more  contrapuntal.  In  the  coda  there  is  a  new  working-out  of 
the  first  and  second   themes  together  ;  the  first  theme  is  proclaimed   by 


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full  orchestra,  there  is  a  rhythmic  variation,  and  there  is  a  gentle  re- 
minder of  the  second  theme  in  strings  and  flute. 

The  slow  movement  (No.  2  of  the  first  version)  is  in  E  minor,  8-8. 
The  first  theme  is  sung  by  violins  and  violas  over  an  accompaniment  of 
divided  'cellos.  The  second  theme,  in  G  major,  enters  as  a  duet  between 
flutes  and  violas,  accompanied  by  arpeggios  in  the  violins. 

The  fourth  movement  (No.  3  of  the  first  version),  an  allegro  in  G  major, 
2-4,  is  a  rough  jolly  scherzo,  familiarly  known  as  "  Sailors'  Dance."  The 
first  theme  is  given  out  fortissimo  by  'cellos  and  basses.  The  second 
theme,  C  major,  is  given  out  by  the  'cellos  against  syncopated  triplet 
figures  in  violins  and  violas. 

The  seventh  movement  (Finale  of  the  first  version)  begins  with  a  slow 
introduction,  Andante  in  C  minor,  8-8,  which  abounds  in  reminiscences  of 
the  original  second  movement.  A  recitative  for  two  clarinets  is  devel- 
oped into  a  contrapuntal  accompaniment  to  a  choral.  The  cantus  firmus 
is  sung  by  the  wood-wind. 

The  chief  part  of  the  movement,  Allegro  con  fuoco,  C  major,  2-2,  is  in 
sonata  form.  The  first  theme,  given  out  by  the  strings,  is  developed  at 
length  by  the  full  orchestra.  The  tuneful  second  theme,  G  major,  is 
sung  by  violins.  The  second  part  of  the  movement  is  dramatic  rather 
than  contrapuntal.  The  third  begins  with  the  return  of  the  first  theme  in 
C  major,  and  there  is  obedience  to  the  law  and  the  prophets;  but  the 
development  of  the  second  theme  is  different  from  that  in  the  first  part  of 
the  movement ;  there  is  an  acceleration  to  the  coda,  and  the  choral  of  the 
introduction  is  then  given  out  in  full  harmony  by  wind  instruments  against 
a  contrapuntal  bass. 

CONCERNING  WALLS 

AT  PAINE'S. 


It  has  always  been  assumed  that  the  dealer  in 
Wall  Paper  must  be  something  of  a  hypocrite. 
You  may  have  noticed  how  closely  his  taste  al- 
ways coincides  with  yours.  He  rarely  tells  you 
that  your  choice  is  abominable.  He  is  there  to 
sell  papers  and  not  to  do  missionary  work. 

But,  on  the  other  hand,  it  is  a  great  advantage 
for  you  to  have  the  guidance  of  a  decorator  in 
such  matters,  especially  if  it  costs  you  nothing 
extra.  And  that  is  the  great  argument  for  buy- 
ing your  wall  papers  of  us.  You  deal  with  a 
"  salesman  "  who  is  a  decorator. 

He  thinks  and  plans  how  you  can  harmonize 
your  papers  with  your  rugs,  laces,  draperies,  and 
portieres.     This  is  just  what  we  do  for  you. 

Remember,  we  sell  all  these  articles  of  furnish- 
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Mme.  Kirkbv  Lunn  was  born  at  Manchester,  England.  She  studied 
singing  there  with  J.  W.  Greenwood,  with  Visetti  at  the  Royal  College  of 
Music,  London,  where  she  won  the  All  England  Scholarship,  and  later 
with  Jacques  Bouhy,  of  Paris.  Her  first  appearance  in  London  was  as 
Margaret  in  a  performance  of  Schumann's  "  Genoveva,"  given  by  the 
Royal  College  of  Music  at  Drury  Lane  Theatre,  Dec.  6,  1893,  the  first 
performance  of  the  opera  on  any  stage  in  England.  On  March  2,  1896, 
she  created  the  part  of  Nora  in  Villiers  Stanford's  "  Shamus  O'Brien," 
produced  at  the  Ope'ra  Comique,  London.  She  then  joined  the  Carl  Rosa 
Opera  Company.  In  1897  (Oct.  23)  she  created  the  part  of  Eila  in 
Hamish  MacCunn's  opera,  "  Diarmid,"  produced  by  the  Carl  Rosa  Com- 
pany at  Covent  Garden  Theatre.  She  was  the  Brangane  in  the  first  per- 
formance of  "Tristan  and  Isolde"  in  English  (Liverpool,  April  15,  1898). 
On  May  8,  1902,  as  a  member  of  the  Royal  Opera,  Covent  Garden,  she 
appeared  as  Ortrud  ;  but  she  had  sung  minor  parts  in  the  same  company 
a  season  or  so  before.  She  has  sung  the  chief  mezzo-soprano  as  well  as 
contralto  parts  in  current  repertory  operas,  and  has  also  sung  in  oratorio 
and  concert.  In  1899  she  was  married  to  Mr.  W.  J.  K.  Pearson,  of 
London. 

Her  first  appearance  in  this  country  was  at  New  York,  Dec.  26,  1902, 
when  she  sang  in  "  The  Messiah  "  in  the  afternoon  and  as  Ortrud,  in 
"Lohengrin,"  at  the  Metropolitan  House  at  night. 


"Stances  de  Sapho,"  from    "  Sapho  "     ....     Charles  Gounod. 

(Born  at  Paris,  June  17,  1818  ;  died  there  Oct.  18,  1893.) 
"  Sapho,"  an  opera  in  three  acts,  text  by  £mile  Augier,  music  by 
Gounod,  was  performed  for  the  first  time  at  the  Ope'ra,  Paris,  April  16, 
185 1.  Pauline  Viardot  created  the  part  of  the  heroine,  and  Miss  Poinsot, 
Gueymard,  Marie,  Bre'mond,  respectively,  the  parts  of  Glycere,  Phaon, 
Alcee,  Pythe'as. 

The  drama  is  on  the  island  of  Lesbos,  at  Mytilene,  where  Pittacus  is 
tyrant.  There  is  a  conspiracy  against  him,  and  among  the  conspirators  is 
Phaon,  loved  passionately  by  Sappho,  the  famous  poetess,  and  Glycera,  a 

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courtesan.  Pytheas  loves  the  latter,  and  would  fain  rid  himself  of  his  rival. 
He  and  Glycera  contrive  a  plot  by  which  Phaon  is  obliged  to  leave  the 
island.  The  political  conspiracy  is  discovered,  and  the  betrayed  curse 
Sappho,  whom  they  accuse  of  denouncing  them.  Heartbroken  by  the  re- 
proaches of  Phaon,  she  takes  her  lyre,  sings  her  last  song,  "O  ma  Lyre 
Immortelle,"  and  throws  herself  into  the  sea. 

Ah !  oui,  je  me  rappelle.  Tout  ce  qui  M'attachait  a  la  vie  est  brise.  II  ne  me  reste 
plus  que  la  nuit  cternelle,  pour  reposer  mon  cceur,  de  douleur  epuise. 

O  ma  lyre  immortelle, 

Qui  dans  les  tristes  jours, 

A  tous  mes  maux  fidele, 

Les  consolais  toujours. 

En  vain  ton  doux  murmure 

Veut  m'aider  a  souffrir. 

Non  tu  ne  peux  guerir 

Ma  derniere  blessure : 

Ma  blessure  est  au  cceur. 

Sen]  le  trepas  peut  finir  ma  douleur. 

Adieu  !  flambeau  du  monde, 

Descends  au  sein  des  nots. 

Moi,  je  descends  sous  l'onde, 

Dans  l'eternel  repos. 

Le  jour  qui  doit  eclore 

Phaon  luira  pour  toi, 

Mais  sans  penser  a  moi. 

Tu  reverras  Taurore. 

Ouvere  toi,  gouffre  amer. 

Je  vais  dormir  pour  toujours  dans  la  mer. 

Ah  !  yes,  now  I  remember.  All  ties  that  to  this  life  e'er  enchained  me  are  broken  ;  and 
now  eternal  night  alone  to  me  remaineth,  to  rest  my  weary  heart  from  its  grief  and  its 
woe. 

()  my  dear  harp  immortal, 

Who  in  my  saddest  day 

With  thy  sweet  tones  consoling 

Could  chase  my  grief  away, 

All  vainly  now  hast  sounded 

To  assuage  my  deep  pain  : 


Keep  Your  Stomach  Well 

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stomach  weakness,  improves  the  appetite 
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headache  and  wakefulness. 


Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


(538) 


Thou  canst  not  heal  again. 

To  the  heart  am  I  wounded, 

Joy  for  me  is  no  more  : 

Sorrow  is  mine  till  my  sad  life  is  o'er. 

Farewell,  thou  torch  of  heaven, 
Still  light  the  sea's  calm  breast, 
While  'neath  the  wave  descending 
I  seek  eternal  rest. 
Bright,  rosy  light  of  morning 
Will  soon  arrive  for  thee. 
Ah,  think  no  more  of  me, 
For  thee  sweet  joy  is  dawning. 
Yawning  gulf,  open  wide  ! 
I  soon  shall  sleep  evermore 
'neath  the  tide. 

( Translation  by  M.  J.  Barnett.) 

The  opera  was  performed  nine  times  in  185 1.  In  1858  it  was  reduced 
to  two  acts.  Mine.  Artot  then  sang  the  part  of  Sappho,  but  only  ten  per- 
formances were  given.  The  opera  in  four  acts,  with  text  revised  by 
Augier  and  with  additional  music  by  Gounod,  was  produced  on  April  2, 
1884.  Mme.  Krauss  was  the  Sappho,  and  for  the  first  time  Pittacus 
(impersonated  by  Plangon)  appeared  on  the  stage.  There  were  twenty- 
nine  performances  that  year. 

Other  stage  works  with  Sappho  as  heroine  :  "  Saffo,"  Mayr  (Venice, 
1794);  Duca  Riario-Sforza  (Florence,  1820);  Pacini  (Naples,  1840); 
Ferrari  (Venice,  1841);  ballet  by  Brambilla  (Milan,  18 19);  "II  Salto  di 
Leucade,"  Mosca  (Naples,  18 12);  ballet,  "Sappho,"  Mazzinghi  (about 
1800);  "IlSaut  de  Leucade,"  Legat  de  Furcy  (about  1790);  operetta, 
Diacche  (Paris,  1872);  "  Sapho,"  J.  P.  E.  Martini  (Paris,  1794);  Reicha 
(Paris,  1822);  Bernard  van  Bree  (Amsterdam,  1834);  Kanne  (about 
1820);  ballet,  "Sappho  von  Mytilene,"  J.  N.  Hummel  (about  1820); 
"  Phaon,"  Piccini  (Choisy,  1778).  There  are  cantatas,  as  by  Beaulieu 
(Paris,  1813),  and  Louis  Lacombe  (Paris,  1878);  overtures,  as  by  Gold- 
mark;  solo  scene  with  orchestra  by  Randegger  (London,  1875),  etc. 

Pacini's  "  Saffo  "  was  produced  here  at  the  Howard  Athenaeum  by  the 
Havana  Opera  Company,  May  4,  1847,  witn  Tedesco,  Sofie  Marini, 
Perozzi,  and  Bataglini  as  the  chief  singers;  and  it  was  given  in  Boston  as 
late  as  i860  (May  29),  with  Gazzaniga  as  the  heroine. 

Latest  Musical  Sensations  from  Paris 


"  Extase."     Valse  Lente    . 

"Tout  Passe."     Valse  Langoureuse 

"  Valse  Folle."  . 

"  Nuages  Roses."     Valse 

««  Les  Soldats  qui  passent."     March 


By  L.  Renaud 

By  R.  Berger 

By  I.  Caryll 

By  R.  Berger 

By  P.  Mario  Costa 
(Composer  of  the  famous  "  A  Frangesa.") 


BOOSCY  &  CO.,  9  East  17th  St.,  New  York  City 

(539) 


Two  Poems  for  Orchestra  (MSS.)   .     .     :  Charles  Martin  Loeffli-.r. 
(Born  at  Miihlhausen-i-R  (Alsace),  Germany,  Jan.  30,  1S61  ;  now  living  in  Boston.) 

These  two  "  Poems  "  were  written  by  Mr.  Loeffler  at  Dover,  Mass.,  dur- 
ing the  summer  of  1901.  They  were  performed  for  the  first  time  by  the 
Boston  Symphony  Orchestra,  April  12,  1902,  at  Boston. 

The  first,  which  may  be  called  an  Idyll,  is  a  musical  paraphrase  of  the 
fifth  poem  in  Paul  Verlaine's  "  La  Bonne  Chanson."  * 

Avant  que  tu  ne  t'en  ailles, 
Pale  etoile  du  matin, 

—  Mille  cailles 
Chantent,  chantent  dans  le  thym. — 

Tourne  devers  le  poete, 

Dont  les  yeux  sont  pleins  d'amour, 

—  L'alouette 
Monte  au  ciel  avec  le  jour. — 

Tourne  ton  regard  que  noie 
L'aurore  dans  son  azur; 

—  Quelle  joie 

Parmi  les  champs  de  ble  mur !  — 

Puis  fais  luire  ma  pensee 
La-bas, —  bien  loin,  oh,  bien  loin  ! 

—  La  rosee 
Gaiment  brille  sur  le  foin. — 

Dans  le  doux  reve  ou  s'agite 
Ma  mie  endormie  encor  .  .  . 

—  Vite,  vite, 

Car  voici  le  soleil  d'or. — 

Before  you  fade  and  disappear,  pale  morning  star — a  thousand  quails  ball  in  the 
thyme  — 

Turn  toward  the  poet,  whose  eyes  brim  with  love —  the  lark  mounts  skyward  with  the 
day  — 

*The  original  title  of  Mr.  Loeffler's  tone-poem  "La  Lonne  Chanson''  was  "  Avant  que  tu  net'en  ailles." 

Attractive  Novelties 

In  Lamps  and  Shades,  Gas  and  Electric 

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Photograph  Frames 
DeskWaresFans 
&  Opera  Glasses 
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(641) 


Turn  your  face  which  the  dawn  drowns  in  its  blue- — what  joy  among  ripe  wheat- 
fields  I  — 

Make  my  thought  shine  yonder  —  far  off,  O  so  far! — The  dew  shines  brightly  on 
the  hay  — 

In  the  sweet  dream  wherein  my  love  still  sleeping  stirs  —  Quick.be  quick;  for,  lo, 
the  golden  sun. 

As  this  exquisite  poem  of  Verlaine  is  a  theme  with  interruptions,  so  Mr. 
Loeffler's  paraphrase  may  be  described  as  variants  of  a  theme,  with  corre- 
sponding interruptions.  The  first  verse  is  treated  as  a  prelude,  Poco 
adagio.  There  are  suggestions  of  the  fading  star  (harp  harmonics,  de- 
scending string  progressions,  glockenspiel).  The  chief  theme  is  given  to 
the  horn.  An  Allegro  follows  ;  but  with  "  Quelle  joie  "  there  is  a  return  to 
the  idyllic  mood,  and  there  is  a  slow  movement  given  to  the  strings.  The 
idea  of  the  sparkling  dew  is  accentuated  by  the  use  of  antique  cymbals. 
As  the  longing  of  the  poet  is  more  impatient,  so  the  chief  theme  is  more 
and  more  agitated,  and  the  full  orchestra  is  used  in  the  painting  of  the 
daily  miracle. 

The  poem  is  scored  for  3  flutes  (one  interchangeable  with  piccolo),  2 
oboes,  cor  anglais,  2  clarinets,  bass  clarinet,  3  bassoons,  4  horns,  2  trum- 
pets, 3  trombones,  tuba,  kettle-drums,  cymbals,  antique  cymbals,  glockep- 
spiel,  harp,  strings. 

* 

The  second  poem,  a  Presto  or  Prestissimo,  was  inspired  by  Maurice 
Roliinat's  "  Villanelle  du  Diable,"  dedicated  to  The'odore  de  Banville. 


L'Enfer  brule,  brule,  brule. 
Ricaneur  au  timbre  clair, 
Le  Diable  rode  et  circule. 


Hell's  a-burning,  burning,  burning, 
Chuckling  in  clear  staccato,  the  Devil, 
prowling,  runs  about. 


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TELEPHONE,  OXFORD  783. 

Depot  for  the  publications  of 

G.    SCHIRMER,   New  York. 


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riakers  and  Importers  of 

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II  guette,  avance  ou  recule 
En  zigzags,  comnie  l'eclair  ; 
L'Enfer  briile,  brule,  bride. 

Dans  le  bouge  et  la  cellule, 
Dans  les  caves  et  dans  l'air 
Le  Diable  rode  et  circule. 

II  se  fait  fleur,  libellule, 
Femme,  chat  noir,  serpent  vert ; 
L'Enfer  bride,  brule,  brule. 

Puis,  la  moustache  en  virgule, 

Parfume  de  vetyver, 

Le  Diable  rode  et  circule. 

Partout  ou  l'homme  pullule, 
Sans  cesse,  ete  comme  hiver, 
L'Enfer  bride,  briile,  bride. 

De  l'alcove  au  vestibule 
Et  sur  les  chemins  de  fer 
Le  Diable  rode  et  circule. 

*C'est  le  Monsieur  noctambule 
Qui  s'en  va,  l'oeil  grand  ouvert. 
L'Enfer  briile,  bride,  bride. 

La,  flottant  comme  une  bulle, 
Ici,  rampant  comme  un  ver, 
Le  Diable  rode  et  circule. 

II  est  grand  seigneur,  crapule, 
Ecolier  ou  magister. 
L'Enfer  brule,  bride,  brule. 

En  toute  ame  il  inocule 
Son  chuchotement  amer : 
Le  Diable  rode  et  circule. 


He  watches,  advances,  retreats  like  zig- 
zag lightning ;  Hell's  a-burning,  burning, 
burning. 

In  dive  and  cell,  underground  and  in  the 
air,  the  Devil,  prowling,  runs  about. 


Now  he  is  flower,  dragonfly,  woman, 
black-cat,  green  snake  ;  Hell's  a-burning, 
burning,  burning. 

And  now,  with  pointed  moustache, 
scented  with  vetiver,  the  Devil,  prowling, 
runs  about. 

Wherever  mankind  swarms,  without 
rest,  summer  and  winter,  Hell's  a-burning, 
burning,  burning. 

From  alcove  to  hall,  and  on  the  rail- 
ways, the  Devil,  prowling,  runs  about. 

He  is  Mr.  Seen-at-Night,  who  saunters 
with  staring  eyes.  Hell's  a-buming,  burn- 
ing, burning. 

There  floating  as  a  bubble,  here  squirm- 
ing as  a  worm,  the  Devil,  prowling,  runs 
about. 

He's  grand  seigneur,  tough,  student, 
teacher.  Hell's  a-burning,  burning,  burn- 
ing. 

He  inoculates. each  soul  with  his  bitter 
whispering :  the  Devil,  prowling,  runs 
about. 


*This  line  recalls  the  beginning  of  James  Albery's  epitaph  written  by  the  unfortunate  playwright   shortly 
before  his  death  :  — 

He  walked  beneath  the  moon  ; 
He  slept  beneath  the  sun. —  Ed. 


Ugt£§ 


tcord 


EDITED     BY    THOMAS    TAPPER 


W^m 


Contents 

for 
January 

1903 


FRONTISPIECE   PORTRAIT Georg  Henschel 

A  WANDERING  CAPELLMEISTER       ....     Thomas  Tapper 

BRAHMA,  SIVA,  AND  VISHNU Israfel 

MUSIC  AND  THE  UNIVERSITIES  .  .  .  .W.J.Henderson 
VENTILATION  AND  MUSIC    ...  .        .      Henry  T.  Finck 

ALEXANDRE  GLAZOUNOW A.  G.  Salmon 

A  NEW  PIANOFORTE  CONCERTO       .        .  .  Percy  Goetschius 

HOME  LESSONS  IN  MUSIC 

THE  UNMUSICAL  PERSON W.  F.  Gates 

ENGLISH  VIRGINAL  MUSIC Henrv  E.  Krehbiel 

EAR-TRAINING W.J.Baltzell 

Notes  of  the  Music  World.  Significant  Concerts.  New  Books.  New 
Music.  Teachers  Department.  Music  for  Piano  by  Carl  Wilhelm 
Kern,  John  Carver  Alden,  and  Halfdun  Kjerulf.  Songs  by  Paul  Th. 
Miersch,  James  H.  Rogers,  and  Helen  Hopekirk. 


©liver  3)itson  <Iompan\\  451  TTClasbimUon  St.,  Boston 


(644) 


Dew  (Uasb  Dress  Goods 


STREET  FLOOR. 
DAVID  and  JOHN  ANDERSON  GINGHAMS. 

Silk  and  Linen  Tissues. 

Fancy  Grenadines. 

Panama  Cloth,  white  and  colors. 

Cotton  Suitings. 

French  Printed  Organdies. 

French  Gazines. 

French  Printed  Batiste  Brillante. 

French  Printed  Batiste  Bulgare. 


if 


SECOND  FLOOR. 

French  Mulls,  Batistes,  Brilliants,  and  Piques. 

English,  French,  and  Austrian  Cheviots,  Canvas,  and  Novelty  Weaves 

in  white. 

French  Printed  Plumetis. 
Embroidered  Muslins  in  single  dress  patterns,  with  trimmings. 
Swiss  Muslins  in  white  and  in  colors. 
Novelty  Cottons  in  both  sheer  and  heavy  goods. 


R.  R.  Stearns  $  Company 


(545) 


WQm 


Shepard  Norwell 
Company 


BOSTON  REPRESENTATIVES 
j&    <^t    j&    FOR  THE    <£    <£    <£ 


(W6) 


II  promet,  traite  et  stipule 
D'un  ton  doucereux  et  fier, 
L'Enfer  bride,  brule,  brule. 

Et  se  moquant  sans  scrupule 
De  l'infortune  qu'il  perd, 
Le  Diable  rode  et  circule. 

II  rend  le  bien  ridicule 
Et  le  vieillard  inexpert. 
L'Enfer  bride,  brule,  brule. 

Chez  le  pretre  et  l'incredule 
Dont  il  veut  l'ame  et  la  chair, 
Le  Diable  rode  et  circule. 

Gare  a  celui  qu'il  adule 

Et  qu'il  appelle  "  mon  cher." 

L'Enfer  bride,  bride,  briile. 

Ami  de  la  tarentule, 

De  l'ombre  et  du  chiffre  impair, 

Le  Diable  rode  et  circule. 

— Minuit  sonne  a  ma  pendule  : 
Si  j'allais  voir  Lucifer?  .  .  . 
L'Enfer  briile,  briile,  brule ; 
Le  Diable  rode  et  circule. 


He  promises,  bargains,  stipulates  in  gen- 
tle or  proud  tones.  Hell's  a-burning,  burn- 
ing, burning. 

Mocking  pitilessly  the  unfortunate  whom 
he  destroys,  the  Devil,  prowling,  runs 
about 

He  makes  goodness  ridiculous  and  the 
old  man  futile.  Hell's  a-burning,  burning, 
burning. 

At  the  home  of  priest  or  sceptic,  whose 
soul  and  body  he  wishes,  the  Devil,  prowl- 
ing, runs  about. 

Beware  of  him  to  whom  he  toadies, 
and  whom  he  calls  "  My  dear  sir."  Hell's 
a-burning,  burning,  burning. 

Friend  of  the  tarantula,  darkness,  the 
odd  number,  the  Devil,  prowling,  runs 
about. 

—  My  clock  strikes  midnight.  If  I 
should  go  to  see  Lucifer  ?  —  Hell's  a-burn- 
ing, burning,  burning ;  the  Devil,  prowling, 
runs  about. 


# 
*   # 


A  "  villanelle  "  is  an  old  form  of  pastoral  poetry  in  which  a  refrain  or 
burden  follows  a  couplet.  It  is  also  a  rustic  dance  accompanied  with  sing- 
ing.    The   term  was  used    sometimes  to   describe   pastoral   compositions 


SHREVE,  CRUMP  8  LOW  CO. 

147  TREMONT  STREET 


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STRIKING  WESTMINSTER. 

WHITTINGTON  AND  ST.  MICHAEL'S  CHIMES. 
ALSO  ON  TUBES. 
CASES  OF  OUR  OWN  DESIGNING. 

MANTEL  AND  CARRIAGE  CLOCKS. 


(547) 


without  words,  and  there  were  variations  on  the  original  subject,  so  that 
the  "  villanella  "  was  not  unlike  the  "  passacaglia."  Randle  Cotgrave,  in 
his  French  and  English  Dictionary  (London,  1673),  defines  "  villanelle  "  as 
"  a  country  daunce,  round,  a  song." 

Rollinat  has  introduced  two  refrains,  which  are  alternated,  and  at  last 
united.  Mr.  Loeffler  has  characterized  each  of  these  burdens  by  a  theme 
which  is  easily  remarked  even  in  all  the  transformations  in  this  fantastical 
piece.  He  illustrates,  not  literally,  but  suggestively,  the  various  couplets. 
Thus,  with  the  verse  that  begins  "  II  est  grand  seigneur,  crapule,"  the  word 
"crapule,"  "tough,"  recalls  to  him  that  terrible  song,  "A  la  Villette."  * 
And  with  the  word  "  magister  "  enters  the  thought  of  the  pedagogue  in 

*  "  A  la  Villette"  is  a  song  by  Aristide  Bruant  (born  in  1S51),  which  was  first  sung  by  him  at  the  old 
Chat  Noir,  Paris,  and  afterward  at  his  own  Mirliton,  on  the  Boulevard  Rochechouart. 

"  II  avait  pas  encor'  vingt  ans, 
I'  connaissait  pas  ses  parents, 
On  l'app'lait  Toto  Laripette, 
A  la  Villette." 

The  poor  girl  that  supported  this  blackguard  Adunis  of  the  slums  describes  bis  charms,  adores  him  even 
for  his  cruelty  toward  her,  describes  their  happiness  before  the  descent  of  the  police,  and  tells  the  story  of 
his  ending  in  these  simple  words  :  — 

"  La  dernier'  fois  que  je  l'ai  vu, 
II  avait  1'  torse  a  moitie  nu, 
Et  le  cou  pris  dans  la  lunette, 
A  la  Roquette." 

The  song  was  sung  in  Boston  by  Yvettc  Guilbert  at  Music  Hall,  Jan.  17,  1896.  "A  la  Villette''  and 
"A  Montpernasse "  are  both  sung  to  the  air  "A  Batignolles,"  which  is  also  the  work  of  the  ingenious 
Bruant. —  Ed. 


NUNNERY   WORK. 

Last  May  we  placed  an  order  with  one  of  the  oldest  nunneries  in  Paris 
for  some  of  its  famous  Hand-made  Underwear.  The  name  of  this  nun- 
nery is  a  synonym  for  the  highest  class  of  needlework  in  France,  and  we 
were  anxious  to  place  some  of  this  work  before  our  customers. 

We  have  now  received  the  goods,  and  they  are  worth  going  a  long 
distance  to  see.  Bear  in  mind  that  they  were  made  expressly  for  us.  To 
place  them  immediately  before  our  patrons,  we  shall  price  them  exceptionally 
low.     Some  of  them  are  marked  actually  cheaper  than  machine-made  goods. 

The  sisters  of  this  nunnery  are  wonderfully  skilful  with  the  needle, 
and  have  a  reputation  all  over  France  for  their  work.  Hand-made  em- 
broidery of  this  character  is  really  stronger  than  machine-made,  and,  best 
of  all,  it  grows  constantly  more  beautiful  as  it  is  worn. 

At  our  low  prices  this  will  be  the  most  notable  sale  of  nunnery-made 
French  Underwear  ever  held  in  Boston,  to  our  knowledge. 

Come  Monday,  if  possible,  before  the  exhibit  is  reduced. 


B,  SOMMER  &  CCX,  46  and  48  WINTER  STREET- 


(548) 


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and  see  that  it  bears  the  well-known  trade-mark 
of  "  La  Belle  Chocolatiere,"  and  the  correct 
name  of  Walter  Baker  &  Co.,  Ltd.  Under  the 
decisions  of  the  United  States  courts,  no  other 
cocoa  or  chocolate  is  entitled  to  be  labelled  or 
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music,  so  there  is  contrapuntal  employment  of  the   famous   Revolutionary 
airs,  "  Ah  !   Ca  ira  "  *  and  "  La  Carmagnole."  t 

■  "  Ca  ira  "  was  hoard  in  the  streets  of  Paris  in  1789,  but  it  first  became  universally  popular  in  the  course 
of  the  following  year.  Michelet  characterized  it  as  "a  levelling  song,"  and  likened  it  to  "  the  / roses  sung  by 
the  pilgrims  that  built  in  revolutionary  spirit  during  the  Middle  Ages  the  cathedrals  of  Chartres  and  Stras- 
bourg.' The  tune  was  a  gay  contre-danse  composed  by  Bicourt,  a  violinist  at  the  Heaujolais  Theatre,  which 
Mane  Antoinette  was  fond  of  playing  on  the  clavecin.  [Some  say  that  Becourt  was  a  drummer  at  the  Opera, 
but  see  F^tis's  "  Biographie  Universelle  des  Muskiens,"  vol.  i.,  article  •'Beo.urt"  Paris.  [866.]  The  story 
is  that  Lafayette  asked  a  wandering  singer,  Ladre,  to  set  words  to  it.  The  song  was  shouted  under  the  win- 
dows of  Versailles  that  dreadful  night  of  Oct.  5-6,  1789,  and  then  it  was  heard  till  the  end  of  the  Keign  of 
Terror.  The  air  also  served  as  a  quickstep  for  the  army  of  the  French  Republic.  The  title  "  Ca  ira"  was 
suggested  by  Benjamin  Franklin,  who,  during  his  stay  in  Paris,  continually  used  the  phrase  ("  It  will  suc- 
ceed') in  connection  with  the  prospects  of  the  American  Revolution.  [See  Weckerlin's  "  La  Chanson  Popu- 
late," pp.  165,  166  (Paris,  i8Sb);  Tiersot's  "  Histoire  de  la  Chanson  Populaire  en  France,"  pp.  338,  280,  281 
(Paris,  1889);  Castil-Blaze's  "Moliere  Musicien,"  vol.  ii.,  pp.  449-451  (Paris,  1852);  Elson's  "National 
Music  of  America  "  (Boston,  1900).]  Nisard,  in  "  Des  Chansons  Populaires  "  (Paris,  1867),  speaks  of  the  "  Ca 
ira,"'  or  "  Le  Carillon  National,"  and  "  La  Carmagnole  "  as  two  songs,  which,  "  worthy  of  the  glorious  days 
of  Athens  and  Rome,  were  sung  round  liberty-trees,  the  guillotine,  and  carts  filled  with  aristocrats  who  were 
carried  '  to  be  shortened.'  The  tunes,  the  refrains,  were  found  to  be  so  perfect  that  all  manner  of  songs  were 
adapted  to  them.     It  seemed  that  they  were  the  highest  forms  of  patriotism  in  the  most  finished,  poetic  form." 

t  The  French  began  to  sing  the  "Carmagnole"  in  1792.  Weckerlin  insists  that  the  tune  was  a  hunting- 
air  of  the  eighteenth  century.  Gretry  declares  that  it  was  brought  from  Marseilles.  Tiersot  says  it  bears  the 
typical  marks  of  folk-origin,  and  was  originally  a  simple  dance  song.  The  Carmagnole  was  first  danced  in 
Paris  about  the  liberty-trees,  and  there  was  then  no  bloody  suggestion.  Some  say  that  the  word  "  Car- 
magnole" was  derived  from  a  small  town  in  Piedmont  taken  by  the  French;  but  the  dance  known  by  this 
name  was  dear  to  the  Parisian  populace  in  1792,  and  Carmagnola  was  taken  by  the  French  in  1796.  "  I  his 
revolutionary  ballad  of  thirteen  verses  was  composed  after  Aug.  10,  1792,  and  is  a  recital  of  the  events  of  that 
day  on  which  the  federes  of  Marseilles  played  such  an  important  part.  These  fidirh  wore  a  vest  known  as 
the  '  Carmagnole?  from  which  costume  the  name  of  the  dance  doubtless  comes.  In  the  ballad  Marie  Antoi- 
nette is  called  '  Madame  V^to.'  The  verses  were  gradually  added  by  the  populace,  according  to  the  political 
events.  The  dance  has  been  truly  described  by  Dickens  in  his  '  Tale  of  Two  Cities.'  where  he  calls  it 
'  fallen  sport.'  The  Carmagnole  was  an  immense  ronde  which  people  sang  while  they  danced;  at  first  they 
turned  slowly,  stamping  their  feet,  then  after  the  refrain  they  went  faster  and  faster.  .  .  .  The  Carmagnole 
meant  a  signal  for  wholesale  murder  and  incredible  atrocities." — "  Dancing"  (Badn  ' 


286  (London,  1895).     The  first  verse  includes  these  lines, — 


iminton  Library;,  pp.  285, 


"Mais  son  coup  a  manque^ 
Grace  a  nos  canonniers." 
These  lines  may  well  determine  the  date  of  this  famous  version ;  for  the  artillery-men   referred   to  were  the 
gunners  from  Marseilles,  whose  action  on  Aug.  10,  1792,  settled  the  fate  of  the  monarchy.     They  had  marChed 
from  the  South  with  the  Carmagnole  on  their  bodies.     And  this  jacket  was  something  like  a  waist-coat  with 
short  skirts.     It  was  made  of  a  black  woollen  stuff  and  adorned  with  many  rows  of  metallic  buttons.     There 
was  also  ,1  •■  (  arinagnole  complete"—  black  woollen  trousers,  a  tricolored  under  waistcoat,  and  tin-  red  cap  ot 
liberty.     A  patriotic  swell  wore  a  Carmagnole  complete  of  silk,  and  the  more  emancipated  of  the  women  wore 
at  least  the  jacket      The  word  "  Carmagnole"  is  found  in   English  and  Scottish  literature  as  a  nickname  for 
a  soldier  in  the  French  Revolutionary  Army,  and  the  term  was  applied  by  Burns  to  the  Devil  as  the  autl 
ruin,  "  that  curst  carmagnole,  auld  Satan."     Furthermore,  the  term  has  been  used  to  designate  " the  bom- 
bastic style  adopted  in  reporting  the  successes  of  the   French   Revolutionary  Army."     The  Carmagnole  was 
danced  and  sung  in  the  nationafconvention,  and  even  in  Notre  Dante.     A  few  years  ago  a  French  legislator, 
James,  got  up  on  a  pot-house  table  and  sang  the  tune  with  wild  fervor.     "  La  Carmagnole,"  epira-comique 
populaire,  music  by  Paul  Fauchey,  was  produced  at  the  Folies-Dramatiques,  Paris,  Dec.  2,  1897. —  En. 

The  fury  of  the  music  dies  with  the  line  "  Et  le  vieillard  inexpert,"  and, 
when  there  is  mention  of  the  priest  and  the  sceptic,  the  organ  enters,  and 


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ecclesiastical  intonation  is  heard  in  warning  (violas).  The  tarantula  natu- 
rally suggests  the  tarantella,  and  "  A  la  Villette  "  in  the  wood-wind  illustrates 
"  De  l'ombre  et  du  chiffre  impair."  'Tis  midnight  :  four  horns  sustain,  and 
harp  and  violas  strike  the  hour.  "  If  I  should  go  to  see  Lucifer  ?  "  The 
oboe  plays  "  A  la  Villette." 

The  second  poem  is  scored  for  3  flutes  (one  interchangeable  with 
piccolo),  2  oboes,  cor  anglais,  2  clarinets,  bass  clarinet,  2  bassoons,  4  horns, 
2  trumpets,  2  cornets-a-pistons,  3  trombones,  tuba,  kettle-drums,  cymbals, 
bell,  organ,  harp,  strings. 


# 
#  * 


Paul  Verlaine  (1844-96),  who  disputes  with  Victor  Hugo  the  honor 
of  being  the  most  illustrious  French  poet  of  the  nineteenth  century,  often 
referred  with  touching  tenderness  to  his  "  Bonne  Chanson."  Thus,  in  his 
lecture  delivered  at  London,  Oxford  University,  and  Manchester  in  1893, 
he  said,  after  a  reference  to  "  Fetes  Galantes  "  :  "A  quite  other  music  is 
heard  in  '  La  Bonne  Chanson,'  really  a  wedding-present,  literally  speaking, 
for  the  tiny  volume  appeared  on  the  occasion  of  a  marriage  which  was 
going  to  take  place,  and  which  took  place  in  1870.  The  author  values  it 
as  perhaps  the  most  natural  of  his  works.  Indeed,  it  was  Art,  violent  or 
delicate,  which  had  affected  to  reign,  almost  exclusively,  in  his  former 
works,  and  it  was  only  from  then  that  it  was  possible  to  trace  in  him  true 
and  simple  views  concerning  nature,  physical  and  moral.  .  .  .  Life  had  its 
way,  and  distress  soon  came,  not  without  his  own  fault,  to  the  household  of 
the  poet,  who  suddenly  threw  up  everything,  and  went  wandering  in  search 
of  unsatisfying  distractions."  (Translation  by  Arthur  Symons,  The  Savoy, . 
London,  April,  1896.) 

And  in  his  "  Confessions  "  the  poet  wrote  :  "  This  '  Bonne  Chanson,'  so 
sincere,  so  amiably,  sweetly,  purely  thought,  so  simply  written." 

Verlaine  has  described  his  sweetheart,  Mathilde  Maute,  the  half-sister 
of  Charles  de  Sivry,  a  conductor  and  composer,  who  died  in  1900  :  — 

"  Small,  slight,  but  with  a  promise  and  a  fear  of  embonpoint ;  a  pretty,  delicate  face  ; 
simple  in  her  dress  and  yet  with  a  touch,  only  a  little  touch  of  coquetry.  A  gentle  face, 
rather  pale,  plump  but  long,  a  nose  a  la  Roxelane—  I  mean  by  this  of  average  size  with 
the  end  prettily  tipped.  The  mouth  smiled,  rose-hued  rather  than  red  —  and  yet  I  like 
red  in  everything  except,  naturally,  in  a  woman's  complexion  and  the  political  opinions  of 
men  —  ignorant  men.  I  see  her  always,  a  picture  of  gray  and  green,  a  soft  green  and  a 
sombre  gray  on  account  of  her  vague  hair,  which  was  now  dark,  now  of  clear  chestnut ; 
nor  could  one  tell  the  color  or  divine  the  instinct  of  her  eyes.  Perhaps  she  was  kindly, 
but  she  was  probably  vindictive  and  capable  of  incurable  grudges.  She  spoke  little,  and 
how  adorable  her  silence  which  allowed  one  to  sympathize  with  her  quick  breathing,  a 
symptom  of  her  frail,  dear  health,  but  pleasure  enlarged  this  breathing ;  and  there  was 
an  almost  imperceptible  palpitation  of  bluish  veins  beneath  the  eyes  and  violet  veins  near 
the  temples.  Her  teeth,  disclosed  by  a  smile  of  innocence,  were  of  alabaster  or  rather 
of  opal,  with  a  strangely  exquisite  transparence  azured.  And  sometimes  she  would  talk 
most  freely  with  the  suspicion  of  a  lisp.  Her  hands  were  little,  as  was  her  forehead 
which  the  lips  could  kiss  quickly  to  pass  elsewhere.  A  woman  like  the  sea,  stormy,  and 
also  gentle  and  cradling." 

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She  came  to  the  little  room  in  the  Rue  Nicolet  to  see  her  brother,  and, 
as  she  was  about  to  leave,  de  Sivry  said :  "  Stop  a  minute.  This  is  a 
poet,  Verlaine,  you  know  him  well."  "  Oh !  I  am  very  fond  of  poets. 
My  brother  has  often  spoken  to  me  about  you,  and  has  read  some  of 
your  verses,  which  are,  perhaps,  too  hard  for  me,  but  they  please  me 
nevertheless." 

In  love  with  Mathilde,  Verlaine  wrote  at  Paris  and  at  Arras  "  La  Bonne 
Chanson."  The  volume  was  published  in  1870.  The  war  had  broken 
out,  and  Victor  Hugo  compared  the  volume  to  "  a  flower  in  a  shell." 
Verlaine  has  told  the  story  of  the  betrothal,  marriage,  divorce,  in  his 
charmingly  naive  "  Confessions  "  (chapters  iv.-xvi.).  It  is  a  singular  tale 
of  affection,  in  which  he  alternately  blames  and  justifies  himself.  Let  us 
state  merely  the  facts  as  told  by  several,  among  them  Charles  Donos,  in 
"Verlaine  Intime." 

The  contract  was  signed  before  the  declaration  of  war.  The  decree  of 
August,  1870,  which  called  to  arms  the  unmarried  of  1844,  1845,  hastened 
the  ceremony.  Louise  Michel,  who  had  taught  Mathilde,  was  at  the 
church  service.  Verlaine  did  not  take  advantage  of  his  marriage :  he  en- 
listed in  the  National  Guard,  and  soon  began  to  indulge  in  his  besetting 
sin, —  drunkenness.  There  were  bitter  words  and  reconciliations.  Once, 
when  he  suffered  military  imprisonment,  Mathilde  rushed  to  see  him  with 
a  meat  pie  made  by  her.  On  his  return  she  asked  him  how  he  liked  it. 
"  Delicious  !  "  "  Yes,"  she  answered,  "  I  have  always  heard  that  a  rat  was 
really  most  excellent  eating."  In  those  days  horse  flesh  was  a  luxury.  But 
again  there  were  cruel  quarrels.  Verlaine  himself  wrote :  "  The  Com- 
mune, when  it  was  supremely  horrible,  drew  me  for  too  short  a  time  from 
this    infernal   existence."     For   Verlaine,  through  friendship,    joined    the 


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GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUGNO, 

THE  GREAT  FRENCH  PIANIST, 

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UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  flass. 


Communists.     He  was   made  director  of  the   Press   Bureau,  and,  to   his 
honor,  he  prevented  a  scheme  for  the  destruction  of  Notre-Dame.     In  the 
fall  of  187 1  husband  and  wife  were  again  in  Paris  after  a  summer  spent  in 
the  country.     Mathilde  was   furiously  jealous,  especially  of  Arthur  Rim- 
baud, the  extraordinary  poet,  then  sixteen  years  old,  ,l  with  the  perfectly 
oval  face  of  an  angel  in  exile."     We  need  not  read  too  closely  this  chap- 
ter.    Verlaine  himself  declares  that  his  wife  was  brutally  unjust,  and  they 
that  wish  to  study  the  problem   may  consult  with  profit  Paterne   Berri- 
chon's  "  La  Vie  de  Jean  Arthur  Rimbaud  "  (Paris,  1898).     The  two  poets 
were  in  Brussels  in  July,  1873.    Verlaine,  drunk  with  absinthe,  was  disput- 
ing with  Rimbaud  in  the  street,  and  in  the  course  of  his  argument  he  shot 
him  in  the  arm.     Verlaine  was  sentenced  to  prison  for  two  years  at  Mons. 
He  has  described  his  life  there    in  '"  Mes    Prisons."     He  had   so  much 
spare  time  that  he  read  in  English  the  plays  and  poems  of  Shakespeare, 
and  one  day  the  superintendent  of  the  jail  brought  him  the  news  that  the 
Tribunal  of  the  Seine  had  granted  a  separation  between  him  and  his  wife. 
Verlaine  immediately  sent  for  the  chaplain,  and  turned  toward  repentance. 
Thereafter  his  life   was   one   strange,  incredible    antithesis.     His    verses 
were  the  passionate  outpourings  of  a   devout  soul,  mystical   in  adoraiion, 
heart-rending  in  mourning  over  sins  ;  and  again  they  were  earthly,  sensual, 
occasionally    pornographic.     He    was    again    in    prison.     He  went  from 
hospital  to   hospital.     By  Mathilde  he  had   a  son,  Georges,  to  whom  he 
addressed  the  final  poem  in  "  Amour."     The  poet  mourns  the  fact  that  he 
is  not  allowed  to  see  this  son,  who  is  far  away;  and  he  then  sends  him,  as 
from  his  death-bed,  these  words :  "  Fear  God,  hate  no  one,  bear  well  your 
name."     And  yet  Verlaine  complained  bitterly  that  he  had  not  been   able 
to    bring    up  his  Georges  as  a  waiter  in  a  cafe,   where    he  would  have 
acquired  a  knowledge  of  the  world  and  grown  rich. 


:-     * 


Maurice  Rollinat  was  born  at  Chateauroux  in  1846.  He  has  written 
three  or  four  volumes,  but  his  famous  book  is  "  Les  Ne'vroses  "  (Paris, 
1883),  which  bears  this  motto  from  the  Book  of  Job:  "I  have  said  to 
corruption,  Thou  art  my  father :  to  the  worm,  Thou  art  my   mother   and 


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my  sister."  He  is  happiest  at  midnight  in  the  dark  graveyard.  Verlaine 
described  him  as  the  first  in  France  to  popularize  Satanism.  He  saw  him 
once,  and  this  poet  of  darkness,  corruption,  and  Satanism  "  had  the  air  of 
a  good  fellow ;  not  a  bit  like  a  vampire." 

There  are  several  references  to  Rollinat  in  the  "  Journal  des  Goncourts." 

"  Hitherto  I  have  enjoyed  Rollinat  only  in  moderation.  I  found  him 
either  too  macabre  or  two  goody-goody.  To-day  I  have  been  impressed 
by  music  that  he  wrote  for  some  poems  of  Baudelaire,  which  is  truly  of  a 
superior  intelligence.  I  do  not  know  how  musicians  rank  him,  but  I  do 
know  that  it  is  music  of  a  poet,  and  music  that  appeals  to  men  of  letters. 
...  He  is  a  strange  fellow,  with  his  appearance  of  a  sickly,  little  peasant, 
his  delicate  and  worried  face,  and  the  constant  nervous  shaking  of  his 
black  hair." 

Edmond  de  Goncourt  described  him  in  1886  :  "  Hair  in  ringlets,  some- 
thing like  the  snaky  hair  of  a  Gorgon's  head,  eyes  deeply  and  mysteri- 
ously set,  the  shadowy  eyes  of  a  Sibyl  by  Michael  Angelo ;  beautiful 
Grecian  lines  in  a  face  of  nervous,  tortured  flesh  that  looks  as  though 
it  had  been  chewed  ;  and  beneath  this  flesh  is  a  brain  that  you  know  is 
haunted  by  outlandish,  perverse,  macabre,  ingenuous  thoughts;  mixt- 
ure of  peasant,  comedian,  child  ;  a  complicated  being,  who  exhales  an 
indisputable  charm,  if  it  were  only  the  charm  of  th's  literary  music  in- 
vented by  him.  He  lives  here  in  a  strange  house  that  gives  the  impres- 
sion of  a  locality  chosen  by  Poe  for  an  assassination,  and  at  the  ba  k  of 
the  house  is  a  room  where  there  are  verses  written  on  death-notices,  a 
bizarre  mistress,  a  dog  that  has  become  mad  because  he  was  beaten  when 
he  behaved  h'mself  and  fed  with  sugar  when  he  had  done  something 
wrong — and  the  poet,  who  smokes  a  death's-head  pipe." 

"1889,  Oct.  10.  Rollinat,  now  in  Pari*,  dined  at  Daudet's.  His  face 
is  young,  rosy,  no  longer  macabre.  He  spoke  with  lyric  enthusiasm  of 
hunting  and  fishing —  of  fishing  in  winter  through  the  ice  — of  an  active 
life  out  of  doors,  which  has  replaced  the  artificial,  unnatural,  shut-up  and 
sleepless  life  of  his  youth,  which  he  believes  would  have  killed  him.  Now 
he  no  longer  writes  at  a  table,  and  if  one  is  brought  to  him,  he  breaks 
it  in  pieces.  He  must  have  wild  roads,  by  the  side  of  the  Creuse  where 
he  speaks  aloud  his  verses.     He  expatiated  on  his  delight  in  solitude,  in 


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a  house  far  removed  from  any  one,  where  at  night,  with  three  dogs  sleep- 
ing each  in  a  room,  he  feels  an  agreeable  shiver  of  fright  as  a  growl,  thrice 
repeated,  announces  some  one  passing  along  the  road."  And  there  was 
talk  of  popularizing  Rollinat's  music  in  parlors,  for  it  had  brought  him  in 
only  174  francs. 

Six  poems  by  Baudelaire  with  music  by  Rollinat  were  published  at  Paris 
in  1882.  In  1S94  Rollinat  told  de  Goncourt  that  he  had  made  a  contract 
with  Engel  to  furnish  him  yearly  half  a  dozen.  He  spoke  of  smearing  fish 
a  la  broche  with  butter,  and  avowed  that  <;  good  eating  had  its  importance." 
The  snow  imprisoned  him  once  in  his  country  place  for  forty  days,  and 
his  sole  distraction  was  voluptuous  cookery.  He  also  said  that  he  made 
the  "carcasse"  of  his  music  before  he  touched  the  piano. 

Verlaine  wrote  :  "  The  friends  of  M.  Maurice  Rollinat  attribute  to  him 
a  genuine  talent  as  a  declaimer  at  the  piano  which  has  not  injured  the 
marketing  of  his  verses."  And  Rollinat's  music  has  been  sung  in  Paris,  as 
by  Delna  and  Georgette  Leblanc  in  1899.  He  has  even  given  recitals, 
but  he  was  not  taken  seriously  by  the  critics.  In  1890  his  music  was 
characterized  as  pretentious  and  empty,  and  in  1899  Mr.  Gauthier-Yillars 
spoke  of  Baudelaire's  Recucillement  idea/,  "  immortal  poems  soiled  by  the 
irresponsible  Rollinat  with  shameful  music."  Poems  by  Rollinat  have 
been  set  to  music  by  Ce'sar  Geloso,  Georges  Hue,  Thome',  and  others. 
However  poor  or  "  ridiculous  "  the  music  of  this  poet  may  be,  there  is  no 
difference  of  opinion  concerning  the  originality,  strength,  and  beauty  dis- 
played in  some  of  his  fantastic  verses.     In  poetry  he  is  a  supreme  virtuoso. 


"Sea    Pictures,"  a  Cycle    of    Five    Songs    for    Contralto  and  Or- 
chestra, Op.  37 Edward  Elgar. 

(Born  at  Broadheath,  near  Worcester,  England,  June  2,  1857  ; 
now  living  at  Malvern.) 
Madam  Lunn  will  sing  only  Nos.  1  and  3. 
These  songs  were  written   for  Clara  Butt,*  and   were  first  sung  by  her 
at  the  Norwich  Festival  of  1899  (October  5). 

*Clara  Butt  sang  in  Boston  at  a  Symphony  Concert,  Oct.  28,  1899,  "  Divinit^s  du  Ftyx,"  from  Gluck's 

"Alceste,"  and  "My  Heart  is  Weary,"  from  "  Nadeshda,''  by  Goring  Thomas.  She  gave  recitals  in 
Association  Hall,  November  23  and  November  28  of  the  same  year.  Born  at  Southwick,  near  Brighton, 
England,  she  sang  in  concert  in  1889,  and  made  her  debut  in  London,  Dec  7,  1892,  in  Sullivan's  "Golden 
Legend."  She  studied  with  Rootham  at  Bristol,  at  the  Royal  College  of  .Music,  London,  with  Bouhy  at 
Paris,  and  in  Berlin  with  Gerster.     She  was  married  to  Mr.  Kennerly  Rumford,  a  baritone.  June  26, 


Hubbell  &  McGowan 

Opposite  Symphony  Hall 

Telephone  orders  will  receive  prompt 

attention  and  delivery 

Telephone,  Back  Bay  2023-4 

Our  prices  on  prescriptions  are  as  low  as 

possible  consistent  with  accuracy  and 

purity  ;  and  bear  in  mind  the  fact, 

we  do  not  substitute 


F 


INEST  STOCKED 
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IN  BOSTON 


HAVE  YOU  A 

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REPAIRING    U.|.MANHlN<r 
ECOVERING  Umbrella  Nfg'r 

ASP£C/ALTy**    CovtR  A  S-mwiu-s) 
12.  WINTER  ST  &OSTOJV 


MILLINERY. 

Miss  M.  E.  Ford, 

Lawrence  Building,  HvA  Tremont  St., 

Importer  and  Designer  of 

HATS    AND    BONNETS. 

Persona]  attention  given  to  Mourning. 

Take  elevator. 


(566) 


IVERS  8  POND 
PIANOS 


SvpEMJTivE  QuAurr. 


Never  in  the  History  of  our  house  Have  our  stand- 
ards been  hig'her,  our  facilities  for  turning'  out  su- 
perior worK  so  adequate,  or  our  experience  so  broad. 
"We  are  devoting'  much  attention  to  small  g'rands  of 
faultless  construction  as  well  as  to  small  uprig'Kts  for 
small  rooms.  "We  rent  superior  pianos,  and  sell  on 
convenient  systems  of  payment.     Catalog'ues  g'ratis. 


•  IVERS   Q  POND    • 

•  PIANO    CO  • 

114BOYLSTON  ST.  BOSTON 


(657) 


i.     SEA    SLUMBER   SONG. 

BY   RODEN    NOEL. 

Sea  birds  are  asleep, 
The  world  forgets  to  weep, 
Sea  murmurs  her  soft  slumber-song 
On  the  shadowy  sand 
Of  this  elfin  land; 
"  I,  the  mother  mild, 
Hush  thee,  O  my  child, 
Forget  the  voices  wild  ! 
Isles  in  elfin  light 
Dream,  the  rocks  and  caves, 
Lulled  by  whispering  waves, 
Veil  their  marbles  bright, 
Foam  glitters  faintly  white 
Upon  the  shelly  sand 
Of  this  elfin  land  ; 
Sea-sound,  like  violins, 
To  slumber  woos  and  wins, 
I  murmur  my  soft  slumber-song, 
Leave  woes,  and  wails,  and  sins, 
Ocean's  shadowy  might 
Breathes  good-night, 
Good-night ! " 

2.     IN    HAVEN    (CAPRI). 

BY    C.   A.    ELGAR. 

Closely  let  me  hold  thy  hand, 
Storms  are  sweeping  sea  and  land  ; 
Love  alone  will  stand. 


Dominion  Line 

EXPRESS    SERVICE 
BOSTON    TO 

Mediterranean, 
Gibraltar,  Algiers, 
Genoa,  Naples,  and 
Alexandria,  Egypt. 


Resumption    of    trips    by  the    mammoth    popular    twin-screw  steamers,    "COM- 
MONWEALTH"  and    "NEW   ENGLAND." 

S.S.  New  England  (11,400  tons)  sails  Jan.  17,  Feb.  28. 
S.S.  Commonwealth  (13,000  tons)  sails  Feb.  14,  Mar.  28. 
Send  for  rates  and  illustrated  booklet. 

Direct    Service  to      AZORES        PONTa"  DELGADA, 

And  through  to  NAPLES  and  GENOA. 
S.S.  Vancouver,  Jan.  10,  Feb.  21.  S.S.  Cambroman,   Jan.  31,  March  13. 

For  rales  and  further  information  apply  to  or  address 


RICHARDS,  MILLS  &  CO.,  77-81  STATE  STREET,  BOSTON 


■I 
Or  any  local  steamship  agent. 

(568) 


Closely  cling,  for  waves  beat  fast, 
Foam-flakes  cloud  the  hurrying  blast ; 
Love  alone  will  last. 

Kiss  my  lips,  and  softly  say : 
"Joy,  sea:s\vept,  may  tade  to-day; 
Love  alone  will  stay." 

3.     SABBATH   MORNING   AT    SEA. 

FROM    A    POEM    BY    MRS.    BROWNING. 

The  ship  went  on  with  solemn  face ; 
To  meet  the  darkness  on  the  deep, 
The  solemn  ship  went  onward. 
I  bowed  down  weary  in  the  place ; 
For  parting  tears  and  present  sleep 
Had  weighed  mine  eyelids  downward. 

The  new  sight,  the  new  wondrous  sight ! 
The  waters  around  me,  turbulent, 
The  skies,  impassive  o'er  me, 
Calm  in  a  moonless,  sunless  light, 
As  glorified  by  even  the  intent 
Of  holding  the  day  glory  ! 

Love  me,  sweet  friends,  this  sabbath  day. 
The  sea  sings  round  me  while  ye  roll 
Afar  the  hymn,  unaltered, 
And  kneel,  where  once  I  knelt  to  pray, 
And  bless  me  deeper  in  your  soul, 
Because  your  voice  has  faltered. 

And  though  this  sabbath  comes  to  me 
Without  the  stoled  minister, 
And  chanting  congregation, 
God's  spirit  shall  give  comfort.     He 
Who  brooded  soft  on  waters  drear, 
Creator  on  creation. 

He  shall  assist  me  to  look  higher, 

Where  keep  the  saints,  with  harp  and  song, 
An  endless  sabbath  morning, 
And,  on  that  sea  commixed  with  fire, 
Oft  drop  their  eyelids  raised  too  long 
To  the  full  Godhead's  burning. 


146  Tremont  Street. 
FRESH,    PURE,    DELICIOUS 

BONBONS  and 
CHOCOLATES. 

Hot   Chocolate   and    Ice-cream 


Soda. 


MISS  GAFFNEY 

384  Boylston  Street. 

Hygienic  Treatment   of  Head, 
Face,  and  Neck. 

Hygienic  Skin  Food  and  Hair  Tonic 
on  sale. 

Removing-  and  preventing  wrinkles  and  im- 
proving the  complexion  by  restoring  muscular 
tone  and  tissue  building,  without  the  use  of 
cosmetics  or  steaming.  Head  treated  for  con- 
gestion, falling  hair,  and  baldness. 

Testimonials  from  distinguished  men  and 
women  of  Boston. 

Manicuring  and  Shampooing. 

AMIRAL  SOAP 

Made  in  France,  for  reducing  corpulency  by 
external  application.  Recommended  and' pre- 
scribed by  the  medical  profession. 


(659) 


4.     WHERE  CORALS   LIE. 
BY    RICHARD   GARNETT. 

The  deeps  have  music  soft  and  low- 
When  winds  awake  the  airy  spry. 

It  lures  me,  lures  me  on  to  go 

And  see  the  land  where  corals  lie. 

By  mount  and  mead,  by  lawn  and  rill. 
When  night  is  deep,  and  moon  is  high, 

That  music  seeks  and  finds  me  still, 
And  tells  me  where  the  corals  lie. 

Yes,  press  my  eyelids  close,  'tis  well : 

But  far  the  rapid  fancies  fly 
To  rolling  worlds  of  wave  and  shell, 

And  all  the  lands  where  corals  lie. 

Thy  lips  are  like  a  sunset  glow, 
Thy  smile  is  like  a  morning  sky, 

Yet  leave  me,  leave  me,  let  me  go. 
And  see  the  land  where  corals  lie. 

5.     THE    SWIMMER. 

FROM   A    POEM    BY   A.    LINDSAY   GORDON. 

With  short,  sharp,  violent  lights  made  vivid, 

To  southward  far  as  the  sight  can  roam, 
Only  the  swirl  of  the  surges  livid, 

The  seas  that  climb  and  the  surfs  that  comb. 
Only  the  crag  and  the  cliff  to  nor'ward, 
And  the  rocks  receding,  and  reefs  flung  forward, 
Waifs  wreck'd  seaward,  and  wasted  shoreward. 
On  shallows  sheeted  with  flaming  foam. 

A  grim,  grey  coast  and  a  seaboard  ghastly, 

And  shores  trod  seldom  by  feet  of  men  — 
Where  the  batter'd  hull  and  the  broken  mast  lie, 
They  have  lain  embedded  these  long  years  ten. 
Love!  when  we  wandered  here  together 
Hand  in  hand  through  the  sparkling  weather, 
From  the  heights  and  hollows  of  fern  and  heather, 
God  surely  loved  us  a  little  then. 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(660) 


The  skies  were  fairer  and  shores  were  firmer  — 
The  blue  sea  over  the  bright  sand  roll'd  ; 

Babble  and  prattle,  and  ripple  and  murmur, 
Sheen  of  silver  and  glamour  of  gold. 

So,  girt  with  tempest  and  wing'd  with  thunder 
And  clad  with  lightning  and  shod  with  sleet, 
And  strong  winds  treading  the  swift  waves  under 

The  flying  rollers  with  frothy  feet. 
One  gleam  like  a  bloodshot  sword -blade  swims  on 
The  sky  line,  staining  the  green  gulf  crimson, 
A  death -strike  fiercely  dealt  by  a  dim  sun 

That  strikes  through  his  stormy  winding-sheet. 

0  brave  white  horses!  you  gather  and  gallop, 
The  storm  sprite  loosens  the  gusty  reins  ; 

Now  the  stoutest  ship  were  the  frailest  shallop 
In  your  hollow  backs,  on  your  high-arched  manes. 

1  would  ride  as  never  a  man  has  ridden 
In  your  sleepy,  swirling  surges  hidden  ; 

To  gulfs  foreshadow'd  through  strifes  forbidden, 
Where  no  light  wearies  and  no  life  wanes. 


This  cycle  was  sung  in  Boston  by  Miss  Louise  Ainsworth,  Oct.  25, 
1900;  by  Miss  Lucie  Tucker,  Feb.  6,  1901  ;  and  by  Mr.  Stephen  Town- 
send,  baritone,  April  15,  1902, —  in  each  instance  with  pianoforte  accom- 
paniment. 

Prelude  and  "Love  Death,"  from  "Tristan  and  Isolde." 

Richard  Wagner. 

(Born  at  Leipsic,  May  22,  1813;  died  at  Venice,  Feb.  13,  1883.) 

The  thought  of  "Tristan  and  Isolde"  was  first  mentioned  by  Wagner 
in  a  letter  to  Liszt  in  the  latter  part  of  1854;  the  poem  was  written  at 
Zurich  in  the  summer  of  1857,  and  finished  in  September  of  that  year ; 


HATS      AND     PURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &   FAIRBANKS   COriPANY,   -    BOSTON 

(561) 


the  composition  of  the  first  act  was  completed  at  Zurich,  Dec.  31,  1857 
(some  say,  only  in  the  sketch) ;  the  second  act  was  completed  at  Venice 
in  March,  1859;  the  third  act  at  Lucerne  in  August,  1859.  The  "action 
in  three  acts  "  was  performed  for  the  first  time  at  the  Royal  Court  Theatre, 
Munich,  June  10,  1865;  the  first  performance  in  America  was  at  the 
Metropolitan  Theatre,  New  York,  Dec.  1,  1886;  the  first  performance  in 
Boston  was  at  the  Boston  Theatre,  April  1,  1895. 

Both  the  Prelude  and  the  Love  Death  were  performed  in  concerts  be- 
fore the  production  of  the  opera  at  Munich.  The  Prelude  was  played  for 
the  first  time  at  Prague,  March  12,  1859,  and  von  Biilow,  who  .conducted, 
composed  a  close  for  concert  purposes.  It  was  stated  on  the  programme 
that  the  Prelude  was  performed  "through  the  favor  of  the  composer." 
The  Prelude  was  also  played  at  Leipsic,  June  1,  1859.  Yet,  when  Johann 
Herbeck  asked  later  in  the  year  permission  to  perform  it  in  Vienna,  Wag- 
ner wrote  him  from  Paris  that  the  performance  at  Leipsic  was  against  his 
wish,  and  that,  as  soon  as  Herbeck  knew  the  piece,  he  would  understand 
why  Wagner  considered  it  unsuitable  for  concert  purposes.  And  then 
Wagner  put  the  Prelude  on  the  programme  of  his  concert  given  in  Paris, 
Jan.  25,  i860. 

Wagner  himself  frequently  conducted  the  Prelude  and  Love  Death,  ar- 
ranged by  him  for  orchestra  alone,  in  the  concerts  given  by  him  in  1863. 


A    PERFECT    COMBINATION. 


the  APOLLO   and  the   A.  B.  CHASE  GRAND. 

i£m^T^^W^  m  &ndsZoTnZn  5treCt' 

(662) 


S.    S.    PIERCE    CO. 

IMPORTERS    AND    GROCERS 

BOSTON    AND    BROOKLINE 


(663) 


Ladies'  White  Glace  Kid  Evening 

GLOVES 

LONG  LENGTHS  AND  EXTRA  SIZES,  WITH  FULL  ARMS 

LOWER  IN  PRICE 
THAN  ELSEWHERE 


Miss  M.  F.  FISK,  144  Tremont  Street 


NEW   SONGS. 

Where  blooms  the  Jasmine  Flower. 

M.  D.  Sparrow    ....     $0.50 
I  Know  not  Why.      'Cello  obligate 

F.  Giorza  King    ....         .50 
Sleepy  Time  Song. 

M.  V.  Anthony    .         .         .         .         .30 
If  to  Wish  and  to  Have. 

Grace  Mayhew     ....         .40 
Swing  High  and  Swing  Low. 

Ruth  Stevens       ....         .30 
Fternal  City.     Sacred  song. 

W.  B.  Fairchild 60 

If  I  were  a  King.     Low  voice. 

F.  H.  Clifford 60 

Also  Parsifal  score  and  various 
arrangements. 

C.   W.  THOHPSON  &  CO., 
13  West  Street,      .     Boston,  ilass. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES   &  SCHOENHOF, 

128  Tremont  St.,  2d  door  north  of  Winter  St.. 
over  Wood's  Jewelry  Store.    (Tel.,  Oxford  low  ■-'.  1 

REDUCTION  SALE. 

Imported  Hats  and  Bonnets. 

Mile.   Caroline, 

486  Boylston  Street,   .     .      Boston. 

Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296-298    Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(6U4) 


# 
#   * 


The  Prelude,  Langsam  unci  schmachtend  (slow  and  languishingly),  in  A 
minor,  6-8,  is  a  gradual  and  long-continued  crescendo  to  a  most  sonorous 
fortissimo;  a  shorter  decrescendo  leads  back  to  pianissimo.  It  is  free  in 
form  and  of  continuous  development.  There  are  two  chief  themes  :  the 
first  phrase,  sung  by  'cellos,  is  combined  in  the  third  measure  with  a  phrase 
ascending  chromatically  and  given  to  the  oboes.  These  phrases  form  a 
theme  known  as  the  Love  Potion  motive,  or  the  motive  of  Longing  ;  for 
commentators  are  not  yet  agreed  even  as  to  the  terminology.  The 
second  theme,  again  sung  by  the  'cellos,  a  voluptuous  theme,  is  entitled 
Tristan's  Love  Glance. 

The  Prelude  is  scored  for  3  flutes  (one  interchangeable  with  piccolo), 
2  oboes,  cor  anglais,  2  clarinets,  bass  clarinet,  3  bassoons,  4  horns,  3 
trumpets,  3  trombones,  tuba,  kettle-drums,  strings. 

Isolde's  Love  Death  is  the  title  given,  as  some  say,  by  Liszt  to  the 
music  of  Isolde  dying  over  Tristan's  body.  This  title  is  also  given  to  the 
orchestral  part  of  the  scene  played  as  concert  music  without  the  voice 
part.  The  music  is  scored  for  the  same  orchestra  as  the  Prelude,  with 
the  addition  of  a  harp. 

Wagner  at  first  intended  that  Therese  Tietjens  (1831-77)  should 
create  the  part  of  Isolde  ;  but,  when  he  engaged  Ludwig  Schnorr  von  Ca- 
rolsfeld  (1836-65)  for  his  Tristan,  he  took  the  tenor's  wife,  Malvina 
Guarrigues,  or  Malwina  Garrigues,  originally  of  a  French  family  and  the 
great-grand-niece  of  David  Garrick.  For  the  singular  silence  of  Wagner 
in  his  writings  concerning  his  first  Isolde,  see  Maurice  Kufferath's  "  Tris- 
tan et  Iseult "  (Paris,  1894),  pp.  61-63.  Wagner  complimented  her  highly 
at  the  time  of  the  performances.  The  fourth  and  last  was  on  July  1,  1865. 
Schnorr  died  at  Dresden,  July  21  of  that  year,  from  the  results  of  a  cold 
contracted  in  the  third  act  of  the  opera.     His  wife  then  left  the  stage. 

The  part  of  Isolde  was  created  at  New  York  by  Lilli  Lehmann,  at  Boston 
by  Rosa  Sucher. 

The  first  performance  of  the  Prelude  and  Love  Death  in  Boston  was  at 
a  Thomas  concert,  Dec.  6,  1871. 


COCOA-  CHOCOLATE 

GROCERS      EVERYWHERE. 


(666) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly 
Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York    Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(506) 

Newport 

Eleventh  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  JANUARY  9,  at  2.30  o'clock. 


SATURDAY  EVENING,  JANUARY   10,  at  8.00  o'clock. 


PROGRAMME. 


Schumann Overture  to  "  Gcnoveva  "    3t7-'2 


Saint-Saens 


Concerto  for  Violoncello     3  7  "3 


Goldmark         .       Chorus  of  Spirits  and  Spirits'  Dance  from  "  Merlin  "    >  (7  to 


Dvorak     .         .        .         Symphony  No.  5  ("From  the  New  World")    *5/-' 


SOLOIST : 


Mr.  ALWIN  SCHROEDER. 


(567) 


Mr.  W.  N.  LAWRENCE  takes  pleasure  in  announcing  a  CONCERT  by 

Mr.    Arnold    DOLMETSCH 

^PMrrie.  Elodie   DOLHETSCH 

On  WEDNESDAY  EVENING,  JANUARY  28,  at  eight  o'clock,  in 

STEINERT  HALL 

Mr.  Dolmetsch  has  devoted  himself  to  the  music  of  by-gone  ages,  playing  it  upon  the 
instruments  for  which  it  was  written. 

He  brings  with  him  a  complete  set  of  these  instruments:  virginals,  clavichord,  double 
harpsichord,  violas  d'amore,  violas  da  gamba,  violone,  lute,  and  cithern.  Upon  these  he 
performs  in  solos  or  in  concerted  music,  assisted  by  Mme.  Elodie  Dolmetsch  and  others. 


SECOND  RECITAL 


HELEN  HOPEKIRK 


SATURDAY  AFTERNOON 
17th  JANUARY,  at  3 


PIANO  and  VIOLIN   RECITAL 

Thursday,  January  29, 

AT    THREE    P.M. 

MlSS     ETHEL     INMAN  (of  New  York),  Pianist 

AND 

Mr.  ISIDOR  SCHNITZLER,  Violinist 

Assisted  by  Mr.  HERBERT  WITHERSPOON,  Basso  Cantantc 

(808) 


PIANOFORTE    RECITAL 

AuauiTA    COTTLOW 

Steinert  Hall,  Wednesday  Evening,  January  7,  at  8 

PROGRAM 

Bach      Prelude  and  Fugue  for  the  Organ,  D  major  (arranged  for  piano  by 

Ferruccio  Busoni) 

Mendelssohn Variations  Serieuses 

Brahms Intermezzo,  A -flat  major 

Brahms Rhapsodie,  B  minor 

Chopin Mazourlta,  K-flat  major 

Chopin  Nocturne,  F-sharp  minor 

Chopin Scherzo,  C-sharp  minor 

Zarembskl Etude,  O  minor 

Liszt Etude,  D-flat  major 

Liszt Polonaise,  E  major 

THE  STEINWAY  PIANO 
Reserved  Seats,  $1.50,  $1.00,  $0.75  Tickets  are  on  sale  at  the  Hall 

VIOLIN  RECITAL 

MAUD   Mac  CART  HY 

Assisted  by  Mr.  FELIX  FOX,  Pianist. 

Mr.  MAX   ZACH,  Accompanist. 

MONDAY  AFTERNOON, 
JANUARY  19,  at  3  o'clock. 

Reserved  Seats,  $1.00  and $1.50.  Tickets  for  sale  at  the  Hall. 

The.  Mason  and  Hamlin  Pianoforte. 

Miss  Mary   MUNCHHOFF 

WILL   GIVE  A 

Song'  Recital 

in  STEINERT    HALL  on 

Tuesday  Afternoon,  January  20,  at  3  o'clock 

Miss  LAURA  HAWKINS  at  the  Piano 

Tickets,  $1.00  and  $1.50,  for  sale  at  the  hall 

The  Steinway  Piano 

(569) 


Cbkkering  Ball 


For  CONCERTS 
RECITALS 
LECTURES 
MEETINGS,  Etc. 

239  Huntington  Avenue  Telephone,  1670  Back  Bay 


SEATING  CAPACITY 
EIGHT  HUNDRED    J> 

Hall  on  the  street  level 

The  most  perfect  modern  system  of  heating  and  ventilation 

The  most  attractive  hall  for  chamber-music  in  America 

For  terms,  dates,  and  all  particulars,  apply  to 

RICHARD  HEARD,  Manager 


(670) 


Carl,    Faeltein's 

FOURTH    PIANOFORTE    RECITAL, 

Wednesday  Evening,  January   ai,    1903,  at  8  o'clock. 

Programme. 

Fantasie,  G  minor,  Op.  77            )  Beethoven 

Sonata,  F-sharp  major,  Op.  78   \  ' 
Huntington       ,« papinons>»  Op.  2 .         .    Schumann 

M  „  Etude  de  Concert,  Op.  23,  No.  1  } 

"aU*  Barcarolle,  No.  5,  A  minor  i Rubinstein 

Valse  from  "  Le  Bal  "  .  ) 

TICKETS,  $1.00.   &     <£    «£*    J*    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 
APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

HANS  SCHNEIDER 

TEACHER    OF    PIANOFORTE 

Particular  attention  paid   to  TONE   AND   INTERPRETATION  and  to  the 
NORflAL  TRAINING  of  prospective  piano  teachers. 

Huntington  Chambers,  503. 

Tuesday  Afternoons  2^to  6. 

(571) 


SYMPHONY  SEATS 

For  SEASON, 

$^i||.00    AND  $^|<»00    AND 

Vr  UPWARD. 


<\INfil  F      REHEARSAL 
OM1ULL,  or    CONCERT, 


UPWARD. 


CONNELLY'S   Ticket  Office,  Adams  House. 

'Phone,  Oxford  942. 


PARSIFAL 


On  Tuesday,  January  6,  a  table  d'hote  dinner, 
at  $1.50,  will  be  served  in  Horticultural  Hall 
from  6  to  7.30.  £>  &  *t*  «s*  •**  &  & 
Tables   may  be   engaged  by  addressing 

C.  W.  CONNORS,   32  FALMOUTH  ST.,  BOSTON 
FULL  LINE  OF  THE  PUBLICATIONS  OF 

The  John  Church  Company, 

Including  the  latest  compositions  of  Chaminade,  Dudley  Buck, 
Ethelbert  Nevin,  Hawley,  De  Koven,  Damrosch,  Arthur  Nevin, 
Arditti,  J.  C.  Bartlett,  Speaks,  Willeby,  and  other  famous  com- 
posers, also  their  celebrated  collections  of 

Oratorio  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 
Opera  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 
Famous  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 

Can  be  found  on  sale  at  the  music  store  of 

C.  W.  THOMPSON   &   CO.,   13  West   Street. 

(072) 


ASTERS  IN  MUSIC  will  be  unlike  any  other 
musical  magazine.  It  will  be  edited  by  Mr. 
Daniel  Gregory  Mason.  Each  monthly  issue, 
complete  in  itself,  will  be  devoted  to  one  of 
the  world's  greatest  musicians,  giving  thirty- 
two  pages  of  engraved  piano  music,  which 
will  comprise  those  compositions  or  move- 
ments that  represent  the  composer  at  his  best,  with  editorial  notes 
suggesting  their  proper  interpretations  ;  a  beautiful  frontispiece 
portrait;  a  life;  and  estimates  of  his  genius  and  place  in  art 
chosen  from  the  writings  of  the  most  eminent  musical  critics. 
The  text  of  Masters  in  Music  will  thus  constitute  an  interest- 
ing and  authoritative  monthly  lesson  in  musical  history;  its 
selections  of  music  will  form  a  library  of  the  world's  musical 
masterpieces,  and  all  at  slight  cost.  Among  the  composers 
to  be  treated  during  the  first  year  are  Mozart,  Chopin,  Gounod, 
Verdi,  Grieg,  Beethoven,  Mendelssohn,  and  others.  The  maga- 
zine will  be  most  attractively  presented  throughout.  The  first 
issue  will  appear  January  i,  1903.  Subscription  price,  $2.00  a 
year.      Single  copies,  20  cents.     :::::::::::: 


SEND    FOR   PROSPECTUS 

WITH     SPECIMEN     PORTRAIT    AND     SAMPLE 

PAGES      OF      MUSIC 


42-C[l)aunc|i^tKrt-6o<5ton 


(573) 


&/>e 


of  Lory 


By  J.  A.  MITCHELL 


"  As  charming  as  was  the  same  author's  '  Amos  Judd.'  " 

—  New  York  Sun. 


"  The  delightful  humor  of  the  unconventional  advent 
of  a  most  conventional  young  woman." — The  Argonaut. 


ures    V<  >?, 


Heads  and  Other  Pictures 

By  CHARLES    DANA    GIBSON 


Copyright,  1899, 
by  Life. 


Hand    Printed 

on 

Japanese  Tissue 

Paper 

Matted  Ready 

for 

Framing 

Price,  $1.00  each 


Copyright.  1893, 
by  Life  Publishing  Co. 

"No;  it  seems  too  real  —  to  be 
—strange 


LIFE   PUBLISHING   COMPANY 

19  and  21  W.  31st  Street,  New  York 

(674) 


SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 

70  PERFORMERS,     fflr.   WILHELM  GERICKE,  Conductor 


Thursday  Evenings 


JANUARY  8 
JANUARY  29 
FEBRUARY  12 


MARCH  12 
APRIL  2 
APRIL  23 


at  7.45 


SOLO  ARTISTS 

MISS  HELEN  HENSCHEL  MR.  CARL  STASNY 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MISS  MAUD  MacCARTHY       MME.  BLOOMFIELD-ZEISLER 
MR.  ADOLF  BAK 

AND    OTHERS    TO    BE    ANNOUNCED. 


"ICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 

at  the  door. 


(576) 


CHICKERING  HALL. 


THE  LONGY   CLUB 

A.  Maouarre,  Flute  A.  Hackebarth,  Horn 

P.  Mhtzger,  Clarinet  Q.  LONQY,  Oboe 

A.  Debuchy,  Bassoon  H.  Gebhard,  Piano 

Monday,  January  5,  at  8 


PROGRAMME. 

J.  RONTGEN.     Serenade,  Op.  \  4,  for  flute,  oboe,  clarinet,  two  horns, 
and  two  bassoons. 

V.  D'INDY.     Fantaisie  sur  des  Themes  Populaires  Francais,  Op.  31, 
for  oboe  and  piano. 

A.  CAPLET.     Suite  Persane,  for  two  flutes,  two  oboes,  two  clarinets, 
two  horns,  and  two  bassoons. 

ASSISTING  ARTISTS. 

Mons.  A.  Brooke,  Flute.  Mons.  A.  Vannini,  Garinet. 

Mons.  C.  Lenom,  Oboe.  Mons.  J.  Helleberg,  Bassoon. 

Mons.  F.  Hein,  Horn. 

CHICKERING     HALL 


QUARTET 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALWIN    SCHROEDER,  Violoncello 


Fifth  Concert 
flonday  Evening,  January  26 


At  8 


Programme  to  be  announced 

(376) 


Olive  JYIead, 


VIOLINIST. 


Address  F.  R.  Comee,  Symphony  Hall,  Boston,  or 

N  Vert  S  9  East  i;th  Street>  New  York- 
'  J  6  Cork  Street,  London. 

The  Boston  Symphony  Orchestra  Programme 

For  the  twenty-four  Boston  Concerts, 
with  Historical  and  Descriptive  Notes 
by  Philip  Hale.  Jt  j&  jt  jt   jt   jt   Jt 

Bound  copies  of  the   Programme  for  the  entire   season  can    be    had    at 
$1.50  by  applying  before  the  last  concert.     Address  all  communications  to 

F.  R.  COMEE,  Symphony  Hall,  Boston. 


MUSICAL    INSTRUCTION. 


VOCAL   INSTRUCTION  and 

Hiss  HARRIET  S.  WHITTIER,     ~^lra. 

Exponent  of  the  method  of  the  late  Charles  R.  Adam;. 

Concert  and  Oratorio. 
HiSS  GERTRUDE  EDMANDS,  Vocal  Instruction. 

EXETER    CHAMBERS. 

Specialist  in  the  Science  of 

li.  CHARLES  B.  STEVENS,  Tone ' rodQCtiOD  an(1  the  Art  of  mu' 

Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 

PIERCE  BUILDING. 

Mrs.  AHNE  G1LBRETH  CROSS,      c°^^  square, 

TEACHER  OF  THE  PIANOFORTE.  BOSTON. 

W7) 


Hiss  ANNA  MILLER  WOOD, 

nEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 

AND,  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  SIgnor  \  ianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BA5S  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Miss  SUZA  DOANE, 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


Mr.  OTTO  ROTH, 


Miss  JESSIE  DAVIS 


l*u  1  > i  1  of  Harold  Bauer. 


Mr.  CARLO  BUONAMICI, 


VIOLIN    AND    ENSEMBLE 
LESSONS. 

10  ARLINGTON    STREET. 


CONCERTS  and    RECITALS. 
...LESSONS.. 

Studio,    163    nassachusetts   Avenue. 


PIANIST  AND  TEACHER. 

Steinert  Hall  Building. 


(tW) 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5, Thespian  Hall, 

168  Massachusetts   Avenue, 
Boston,   Mass. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  A.  E.  PRESCOTT 


153  TREMONT  STREET. 


"  Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe1  l'ete  avec  moi.  Je  lui  ai  donne1  dea  lecons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lecons. 
Cela  l'a  mis  en  mesure  de  connaitre  a  fond  ma  m^tnode. 
Je  peux  done  recommander  mon  e^eve,  Mr.A.E.  Prbs- 
cott.  C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  les 
differents  registres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  31  Aout,  igoi. G.  SBRIGLIA. 


Sift.  ADGUSTO  VANNINI, 


Teacher  of  Singing. 

Steinert  Hall. 


J.  D.  BUCKINGHAM. 


PIANOFORTE.     Method  of  I.  Philipp. 

The    most    advanced    technics    of  the 
present  day. 
"A  teacher   of  the   first    magnitude." — Huneker,   od 
Philipp,  in  J\/ezzo-tints  in  Modern  Music. 

32   STEINERT  HALL,  BOSTON. 


Mr.  GDSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


TeaclierofYiolin,Tlieory,andCompasition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS. 

Pierce  Building, 
Copley  Square,   Boston. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEnBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 

DAVID    POPPER. 

STUDIO:  171 A    TREflONT  STREET. 


(579) 


HEINRICH  SCHUECKER, 

TEACHER  OF  THE  HARP. 

Erard  Harps  for  sale  and  to  let. 

32  Westland  Avenue       -       Boston. 


Miss  MARIE  L.  EVERETT, 

TEACHER   of  SINGING, 

Holds  a  recent  Diplome  SupeVieur 
from  Madame  Marchesi,  Paris. 

THE  COPLEY,         COPLEY  SQUARE. 


Miss  ANNA  JANSEN,  Pianiste, 

PUPIL  OF 

Mme.  Rappoldi,  Dresden.  Sgambati,  Rome. 

Harold  Bauhr,  Paris. 

CONCERTS,  RECITALS,  LESSONS. 

ADDRESS,  86  CHARLES  ST.,  BOSTON. 


«*  From   Brain  to  Keyboard." 

Macdonald  Smith's  System  for  RAPID  Technique. 

Mrs.  Arthur  Crabbe, 

FROM     LONDON, 

Specially  authorized  by  the  Inventor. 

Investigation  Invited.        Studio,  278  Boyliton  St 


Mr.  JACQUES   HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN  C.  MANNING, 
Pianist    and    Teacher, 

Studio,  22  Stelnert  Hall. 
Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 
Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 

384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1  at  her  residence,  THE   OXFORD. 


Hiss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  jt  Accompaniments. 

Trinity  Court. 


Miss    EDITH   E.  TORREY, 

SOPRANO  SOLOIST  AND  TEACHER  OF 
SINOINO. 

164  Huntington   Avenue,  Boston. 

Every  day  except  Tuesday  and  Friday. 
Telephone,  Back  Bay  1089-6. 


U.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts,  Recitals,  and 

Ensemble  rimying. 

7    ADELAIDE    ST.,  JAMAICA   PLAIN. 


Miss   ROSE    STEWART, 

Pupil  of  riARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony. 

154  Tremont  St.,  Boston. 


TO  read  Music  like  Print. 
The  Vars'  New  Interval  System  of  Sight 
Singing. 

No  Sol-faing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mme.  L.  Hamburger,  Pierce  Bldg.,  Copley  Sq. 


Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 
Studio,  21  Steinert  Building. 


Mrs.  /label  Mann  Jordan, 

Pupil  of  gilvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  Su  Botolph  Street,  Boston. 


(BSO) 


IHmcKirkbyCunn 

$    "The  GREAT  ENGLISH  CONTRALTO 


PRAISES  THE 


WEBER  TONE  I 


i 


New  York,  December  18,  1902. 

The  Weber   Piano   Company. 

Gentlemen, —  I  am  more  than  pleased  with 
the  Weber  pianoforte  which  I  use.  Its  sym- 
pathetic singing  quality  and  richness  of  tone 
render  it  invaluable  for  accompaniment  pur- 
poses, whilst  as  a  solo  instrument  it  is  equally 
distinguished. 

(Signed)     LOUIE   KIRKBY   LUNN. 
Boston   Representatives 

George  H.  Champlin  &  Co. 

181  Tremont  Street 


I  In  my  recent  concert  tournee  we 
jcovereDOvcr2zooomile^nd  went 

1  through  nwny  change/  of  cHmatc 
I  from  the  mof  t  {am  cold  to  tro])ic<al  \\$- 
jThe  little  5Mnway(uJ)ri0ht)piano 
did  not  ;how  the  jliWit  change  in 
action,  merhaniym  or  tone  under 
i  the  trying  ordeal ." 

STEIN  WAY  PIANOS 

M.  STEIN  ERT  &  SONS  CO. 

162  to  165  Boijlston  Street,  Boston,  Mass. 


PRoGR7W\E 


fill 


JOHN   KNOWLES  PAINE 

Professor  of  Music  at  Harvard  University  and  one 

of  America's  foremost  musicians, 

writes  as  follows  to 

Cambridge,    Mass., 

December  2.9,    1902. 

Messrs.   Mason   &   Hamlin. 

Gentlemen, —  It  gives  me  great  pleasure  to  ex- 
press to  you  my  high  opinion  of  your  pianofortes. 

They  have  won  a  high  place  among  the  fore- 
most instruments  of  the  present  time.  They  are 
prized  for  their  brilliancy  of  tone  and  evenness 
and  lightness  of  action. 

Yours  truly, 

(Signed)     JOHN    K.   PAINK. 


M.   Steinert  (Si  Sons   Co. 

New   England    Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 


ELEVENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      S    &    J*    j* 


FRIDAY  AFTERNOON,  JANUARY  9, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  JANUARY   10, 

AT  8.00  O'CLOCK. 


Published  by  C  A.  ELLIS,  Manager. 
(681) 


ME  S  S  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 

Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 

Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 

(6*2 


TWENTY-SECOND  SEASON,  1902-1903. 


Eleventh  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  JANUARY  9,  at  2.30  o'clock. 

SATURDAY  EVENING,  JANUARY  J0t  at  8.00  o'clock. 

PROGRAMME. 

Schumann        .....    Overture  to  "Genoveva,"  Op.  81 
Saint-Saens      ♦        .        .  Concerto  in  A  minor,  for  Violoncello,  Op.  33 

.  Allegro  non  troppo. 
Allegretto  con  moto. 
Come  prima. 

Goldmark         .       Chorus  of  Spirits  and  Spirits'  Dance,  from  "  Merlin  " 

(First  time.) 


Dvorak    .  Symphony  in  E  minor,  No.  5, **  From  the  New  World/'  Op.  95 

I.  Adagio:  Allegro  molto. 

II.  Largo. 

III.  Scherzo:  Molto  vivace. 

IV.  Allegro  con  fuoco. 


SOLOIST : 

Mr.  ALWIN  SCHROEDER. 


There  will  be  an  intermission  of  ten  minutes  after  the  Goldmark  selection. 


There  will  be  no  Public  Rehearsal  and  Concert  next  week. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  tbe  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  \  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  ihcre in 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct luch  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 

(583) 


L.  P.  HOLLANDER  &  CO. 

ANNOUNCE    A 

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Fancy  Tailored  Imported  Costumes 

Which  have  been  transferred  from  the  Custom  Department 
to  the  Suit  Department,  on  second  floor. 

FORTY    ORIGINAL    MODELS 

which    have    been    marked    regardless    of    cost,   the  prices 
ranging  from 

$25    to    $50. 


ORDERS  taken  during  January  in  Dressmaking  Department  from 
very  attractive  NEW  MODELS  at  a  marked  reduction  from  our 
usual  prices. 


Overture  to  the  Opera  "  Genoveva,"  Op.  8 i     .     Robert  Schumann. 

(Born  at  Zwickau,  June  8,   1810  ;  died  at  Endenich,  July  29,  1856.) 

"  Genoveva,"  opera  in  four  acts,  text  by  Robert  Reinick  (after  the 
tragedies  by  Hebbel  and  Tieck),  music  by  Robert  Schumann,  was  per- 
formed for  the  first  time  at  Leipsic,  June  25,  1850.  The  chief  singers 
were  Miss  Mayer,  Genoveva ;  Mrs.  Gunther-Bachmann,  Margaretha ; 
Brassin,  Siegfried  ;  Widemann,  Golo. 

As  early  as  1842  Schumann  was  eager  to  compose  an  opera.  He  wrote  : 
"  Do  you  know  what  is  my  morning  and  evening  prayer  as  an  artist  ? 
German  opera.  There  is  a  field  for  work."  He  thought  of  an  opera  to  be 
founded  on  Byron's  "  Corsair,"  and  composed  a  chorus  and  aria.  He 
sought  anxiously  for  a  subject  that  might  inspire  him.  At  last  in  1847  he 
chose  the  legend  of  Genevieve  of  Brabant.  Reinick's  text  did  not  fully 
satisfy  him ;  nor  was  Hebbel  pleased,  although  he  refused  to  help  out  the 
composer.  Schumann  himself  undertook  the  task  of  revision.  Then  there 
was  delay  in  securing  a  performance,  and  at  one  time  Schumann  thought 
of  suing  the  manager  of  the  Leipsic  opera-house.  When  the  opera  was 
produced,  it  was  the  time,  as  Schumann  wrote  to  a  friend,  when  one  pre- 
ferred to  go  into  the  woods  rather  than  the  theatre.  There  were  three 
pertormances,  and  the  opera  was  put  aside.  It  is  occasionally  revived  in 
Germany,  but  it  never  had  an  abiding-place  in  a  repertory. 


# 


The  legend  of  Genevieve  de  Brabant  was  in  detail  told,  so  far  as  litera- 
ture is  concerned,  in  the  Golden  Legend,  in  the  Chronicle  (1472)  of  Mat- 
thias Emmich,  doctor,  of  theology,  and  of  a   Carmelite  monastery  at  Bop- 


the  managehent  of  the 


NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

ANNOUNCES  THE  ENGAGEMENT  OF 

Mme.  Antoinette  Szumowska 

AND 

Mrs.  Henry  M.  Rogers 
MR.    CEORC    HENSCHEL 

will  teach  —  until  March,   1903  —  EXCLUSIVELY  in  the  Conservatory. 

Particulars  and  terms  (for  one  or  any  number  of  lessons)  may  be 

had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(585) 


Sole  Makers 

of  the 

BALLARD 

SAFETY 

RIDING  HABIT 


V.  BALLARD 
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sold  at  very  great  re- 
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(586) 


pard,  and  by  the  Jesuit  Cerisier ;  but  there  were  Complaints  *  founded  on 
the  legend  before  that.  In  the  old  story  Genevieve,  the  daughter  of  the 
Duke  of  Brabant,  and  in  731  wife  of  Sifroy,  Count  of  the  Palatinate,  was 
slandered  foully  by  Golo,  steward  of  the  household,  because  she  had  not 
listened  to  his  amorous  protestations.  She  was  condemned  to  death,  but 
this  mercy  was  shown  her :  she  was  left  to  her  fate  in  the  Forest  of  Ar 
dennes.  There  she  gave  birth  to  a  child.  They  lived  on  roots  and  herbs 
and  the  milk  of  a  hind.  Six  years  afterward  Sifroy,  who  in  the  meantime 
had  found  out  that  Genevieve  was  innocent,  came  upon  her  by  accident 
when  he  was  hunting.  Later  writers  turn  Golo,  the  monster,  into  a  hand- 
some young  man,  much  to  the  regret  of  Heine,  who  deplored  the  disap- 
pearance of  the  old  chap-books,  with  their  abominable  wood  cuts,  which 
were  dear  to  his  childhood. 

In  Schumann's  opera  Siegfried  is  ordered  by  Charles  Martel  to  join 
him  in  war  against  the  infidels.  Siegfried  puts  his  wife  and  all  he  pos- 
sesses under  the  care  of  his  friend  Golo,  farewells  his  wife,  who  falls  into 
a  swoon  ;  and  Golo,  already  in  love  with  her,  kisses  her.  An  old  woman, 
Margaretha,  is  Golo's  mother,  but  he  takes  her  to  be  his  nurse.  Ambitious 
for  him,  she  plots  against  Genoveva,  who  mourns  her  hu-bar,d  and  hears 
with  dismay  and  anger  the  wild  songs  of  the  carousing  servants.  Golo 
brings  news  of  a  great  victory.  She  bids  him  sing,  and  i-he  accompanies 
him  until  he  makes  love  to  her  ;  nor  will  he  leave  her,  till  she  taunts  him 
with  his  birth.  Drago,  the  steward,  tells  him  lhat  the  servants  are  insult- 
ing the  good  name  of  their  mistress.     Golo  says  they  speak  the  truth,  and 

*  A  "  complainte  "  :  a  folk-song  on  some  tragic  event  or  legend  of  devotion.  It  is,  first  of  all,  a  tale.  It 
is  the  type  of  a  serious  or  sad  narration  in  song.     Yet  it  is  not  an  elegy,  a  "  exploration." 


New  Compositions 

by 

FranK  Lynes. 

SONGS. 
Op.  36,  No.  1.    A  Fireside  Song 

No.  2.    The  Faces  on  the  Wall 
PIANO. 
Op.  37,  No.  1.    Nocturne  in  A  . 

No.  2.    Thou  art  mine.     Tran- 
scription       .60 

KEY  CIRCLE  EXERCISES.    Book  I.,  .75 

This  book  is  to  be  used  at  the  beginning  of 
pianoforte  playing  for  technical  study. 

SENT  FREE  :  Catalogue  of  Compositions  by 
Mr.  Lynes,  containing  Portrait  ami  Biog- 
raphy. 


$0.60 
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ARTHUR   P.  SCHMIDT, 

BOSTON,  LEIPZIO.        NEW  YORK, 

146  Boylston  Street.  136  Fifth  Avenue. 


Modern  French  Piano  Music. 

FRANCK,  CESAR. 

Prelude,  Aria,  et  Finale        .         .     $i.8o 
LACOMBE,  PAUL. 

Op.  57.     Intimites        .         .         .1.35 
DUBOIS,  TH. 

Op.  7.     Chorus  and  Dance  of  the 

Elves 50 

DUBOIS,  TH. 

Op.  18.     Scherzo  et  Choral  .         .85 

PIERNE,  GABRIEL. 

Op.  33.     Bagatelle       .         .         .         .75 

All  music  performed  at  these  concerts  con- 
stantly on  hand. 


CHARLES  W.  HOHEYER  &  CO., 

165  TREflONT  STREET, 

BOSTON. 


(587) 


when  Drago  does  not  believe  him  he  tells  him  to  hide  in  Genoveva's  room. 
Margaretha,  listening  at  the  door,  hears  the  talk.  She  informs  Golo  that 
Siegfried,  wounded,  is  at  Strasbou  g;  that  she  has  intercepted  his  letter 
to  the  Countess,  and  is  going  to  Strasbourg  to  nurse  him,  and,  as  nurse,  to 
poison  him.  Then  Golo  summons  the  servants,  and  they  make  their  way 
into  Genoveva's  room,  where  Drago  is  found  behind  the  curtains.  Golo 
puts  a  dagger  into  his  heart,  to  keep  his  tongue  quiet.  Genoveva  is  led  to 
prison. 

Siegfried's  strength  resists  the  poison  of  Margaretha.  Golo  tells  him  of 
Genoveva's  infidelity,  and  the  tortured  Count  determines  to  go  into  the 
wilderness,  but  Margaretha  hands  him  a  magic  looking-glass,  in  which  he 
sees  Genoveva  and  Drago.  Siegfried  commands  Golo  to  avenge  him,  and 
at  that  moment  the  glass  flies  in  pieces  and  Drago's  ghost  enters  and  bids 
Margaretha  to  tell  the  truth. 

Genoveva  is  taken  into  the  wilderness  by  men  hired  to  murder  her. 
Golo,  after  showing  her  Siegfried's  ring  and  sword,  offers  her  life  on  a 
hard  condition.  She  turns  from  him.  He  orders  the  ruffians  to  do  the 
deed.  She  clings  to  the  cross  and  prays.  Siegfried  comes  up  with  the 
penitent  Margaretha.     Golo  rushes  off  and  falls  from  a  rocky  height. 

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*  * 


The  overture  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  2 
valve  horns,  2  plain  horns,  2  trumpets,  3  trombones,  kettle-drums,  strings. 

It  begins  with  an  Introduction,  Langsam  (Slow),  C  minor,  4-4,  which 
opens  with  sombre  chords  of  wood-wind  and  horns  over  a  bass  in  the 
strings  and  a  second  pair  of  horns.  The  first  violins  have  a  waving  figure 
in  sixteenth  notes,  which  is  developed  emotionally.  The  Introduction 
ends  with  a  recitative-like  phrase  for  the  first  violins. 

The  main  portion  of  the  overture,  Leidenschaftlich  bewegt  (Allegro 
appassionato),  C  minor,  2-2,  begins  with  a  passionate  first  theme,  which 
includes  the  lamenting  figure  of  the  preceding  recitative.  The  second 
theme,  E-fiat,  is  a  lively  hunting-call  for  three  horns,  with  a  re-enforcement 
of  trumpets  in  the  last  measure  but  one.  The  second  portion  of  this 
theme  is  a  melodious  phrase  for  the  wood-wind.  This  theme  is  developed 
at  length.  A  figure  borrowed  from  the  slow  introduction  is  used  in  a  suc- 
ceeding episode,  and  with  the  second  theme  is  used  for  the  building  ma- 
terial of  the  free  fantasia.  The  orchestrati  n  of  the  third  part  of  the 
movement  is  much  strengthened.  The  coda  is  built  for  a  long  time  on 
the  second  theme.  Trombones  enter  in  the  apotheosis  with  a  figure  which 
in  its  original  shape  appeared  already  in  the  passage-work  of  the  free 
fantasia.     There  is  a  triumphant  end  in  C  major. 


CONCERNING  WALLS 

AT  PABNE'S. 


It  has  always  been  assumed  that  the  dealer  in 
Wall  Paper  must  be  something  of  a  hypocrite. 
You  may  have  noticed  how  closely  his  taste  al- 
ways coincides  with  yours.  He  rarely  tells  you 
that  your  choice  is  abominable.  He  is  there  to 
sell  papers  and  not  to  do  missionary  work. 

But,  on  the  other  hand,  it  is  a  great  advantage 
for  you  to  have  the  guidance  of  a  decorator  in 
such  matters,  especially  if  it  costs  you  nothing 
extra.  And  that  is  the  great  argument  for  buy- 
ing your  wall  papers  of  us.  You  deal  with  a 
"salesman"  who  is  a  decorator. 

He  thinks  and  plans  how  you  can  harmonize 
your  papers  with  your  rugs,  laces,  draperies,  and 
portieres.      This  is  just  what  we  do  for  you. 

Remember,  we  sell  all  these  articles  of  furnish- 
ing at  Canal  Street  prices. 


PAIINE    FURINITURB    CO. 


RUGS,  DRAPERIES, 

AND  FURNITURE. 


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We  especially  invite  the  critical 
attention  of  artists  and  lovers  of 
the  beautiful  in  pianos  to  our 
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which  represents  the  latest  and 
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of  piano  manufacture 

A  request  by  mail  will  bring  you 
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Albany  and  Wareham  Sts.,  'Boston 


(Ml) 


# 

*   * 


The  overture  to  "  Genoveva  "  was  performed  in  Boston  for  the  first  time 
at  a  concert  of  the  Harvard  Musical  Association,  March  i,  1866. 


Divers  reasons  have  been  given  for  the  failure  of  Schumann's  opera, 
but  two  are  enough :  the  libretto  is  dull ;  Schumann  had  no  stage 
instinct.  He  thought  of  "  The  Nibelungenlied,"  "  Faust,"  "  The  Wart- 
burg  War,"  "  Abelard  and  He'loise,"  "  Mary  Stuart,"  "  Sakuntala,"  and 
others.  A  romanticist,  he  did  not  appreciate,  he  did  not  recognize,  the 
value  of  a  dramatic  subject.  In  his  revision  of  the  text  he  did  not 
individualize  sharply  his  characters :  .  Golo  is  any  ordinary  villain  of 
melodrama,  Genoveva  is  a  good  and  tiresome  person,  Siegfried  is  a 
ninny.  The  music,  however  beautiful  or  noble  it  may  be,  lacks  the  most 
essential  quality  :  it  is  never  dramatic. 

And  what  stage  work  founded  on  this  subject  has  succeeded  ?  There 
is  a  list  of  apparent  importance  :  Haydn's  opera  for  marionettes,  "  Geno- 
veva von  Brabant "  (Esterhaz,  1777);  melodrama,  "  Genoveva  im  Turm," 
Junker  (Dettingen,  1790);  "Genevieve  de  Brabant,"  Alday  (Paris,  1791); 
ballet,  "Genevieve  de  Brabant,"  Piccini  (Paris,  about  1820);  "Genoveva," 
Hiittenbrenner  (Graz,  about  1825)  ;  "Genoveva,"  Huth  (Neustrelitz,  1838); 
"  Genoveffa  del  Brabante,"  Pedrotti  (Milan,  1854);  "Golo,"  Bernhard 
Scholz  (1875);  "Genoveva  de  Brabante,"  Rogel  (Madrid,  1868);  but  they 
are  as  unfamiliar  as  the  plays  by  Blessebois,  La  Chaussee,  and  Cicile,  or 
the  anonymous  tragedy,  "Genevieve,  ou  l'lnnocence  reconnue,"  published 
in  1669,  a  tragedy  with  entertaining  entr'actes,  of  which  the  fourth  is 
worth  quoting :  — 

I.     Saturn,  who  typifies  Sorrow  as  well  as  Time,  seizes  the  hearts  of 


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Genevieve  and  Sifroy  [Siegfried]  and  searches  a  proper  place  to  devour 
them. 

II.  The  Genius  of  Innocence  does  all  that  he  can  to  take  the  hearts 
from  Saturn's  hands ;  but  he  would  not  succeed 

III.  if  four  little  Cupids  in  Diana's  hunting-train  did  not  discover  them 
and  deprive  Saturn  of  his  prey. 

IV.  The  Demon  of  Slander  tries  to  snatch  the  hearts  from  the  Cupids, 
but  they  withstand  him,  and  after  they  have  made  him  suffer  a  part  of 
the  torment  he  so  richly  deserves,  they  send  him  down  to  hell,  and  en- 
deavor to  join  the  hearts  together. 

V.  The  Wood  Nymphs  applaud  them  in  a  chorus  :  — 

Triomphez,  aimables  chasseurs, 
Du  recouvrement  de  ces  coeurs,  etc. 


There  is  one  stage  work  by  which  Genevieve  was  made  famous, —  a  reck- 
less, impudent  parody,  "Genevieve  de  Brabant,"  an  opera-bouffe  in  two 
acts,  text  by  Tre'feu  and  Jaime  the  younger,  music  by  Offenbach,  produced 
at  the  Bouffes-Parisiens,  Paris,  Nov.  19,  1859,  ^th  Miss  Mare'chal  as 
Genevieve,  Leonce  as  §ifroid,  De'sire  as  Golo,  and  Lise  Tautin  as  five 
different  characters.  The  operetta,  extended  to  three  acts  and  with  a 
text  by  Hector  Crdmieux  and  Trefeu,  was  produced  at  the  Menus-Plaisirs, 
Paris,  Dec.  26,  1867,  with  Zulma  Bouffar  as  Drogan,  the  Page;  Miss 
Baudier,  Genevieve  ;  Gourdon,  Sifroy  ;  Bac,  Golo  ;  Lesage,  Charles  Mar- 
tel ;  and  Ginet  and  Gabel  as  the  Gendarmes.  The  censor  objected,  not  to 
the  indecencies  of  the  text,  not  to  the  degradation  of  the  pure  Genevieve 
of  the  old  legend,  but  to  the  duet  of  the  Gendarmes, — 

Proteger  le  repos  des  villes 
Courir  sus  aux  mauvais  garcons, 
Ne  parler  qu'a  des  imbeciles, 


Keep  Your  Stomach  Well 

Horsford's  Acid  Phosphate  cures  habitual 
stomach  weakness,  improves  the  appetite 
and  digestion,  and  removes  the  cause  of 
headache  and  wakefulness. 


Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


(.'.-1, 


^ 


En  voir  de  toutes  les  famous  ; 

Un  peu  de  calme  apres  vous  charme. 

C'est  assez  calme  ici,  sergent ! 

Ah  I  qu'il  est  beau  d'etre  homme  d'arme, 
Mais  que  c'est  un  sort  exigeant !  — 

on  the  ground  that  the  gendarmerie  should  not  be  ridiculed.  Cremieux  had 
a  happy  idea.  He  raised  Grabuge  to  the  rank  of  sergeant.  "This  rank 
is  unknown  in  the  gendarmerie."  The  censor  smiled  ;  and  the  Gendarmes 
were  saved,  to  the  delight  of  the  world. 

Offenbach's  "  Genevieve  de  Brabant "  was  performed  for  the  first  time 
in  Boston  at  the  Globe  Theatre,  April  8,  1873,  with  Aimee  as  Drogan, 
Miss  Bonelli  as  Genevieve,  Juteau  as  Sifroy,  Duschene  as  Charles  Martel, 
Marcas  and  Lecuyer  as  the  Gendarmes.  And  after  Aimee  came  Emily 
Soldene. 


Concerto  for  Violoncello,  in  A  minor,  Op.  $2,- 

Camille  Saint-Saens. 

(Born  at  Paris,  Oct.  9,  1835 ;  still  living  at  Paris.) 

This  concerto  was  composed  in  1872,  and  published  in  1873.  It  was 
first  played  at  a  Conservatory  Concert,  Jan.  19,  1873,  by  Tolbecque,*  to 
whom  the  work  is  dedicated.  The  first  performance  in  Boston  was  by 
Wulf  Fries  at  a  concert  of  the  Harvard  Musical  Association,  Feb.  17, 
1876.  Mr.  Schroeder  played  it  here  at  a  Symphony  Concert,  Nov.  19, 
1898. 

*  Auguste  Tolbecque,  born  at  Paris,  March  30,  1830,  took  the  first  prize  for  violoncello  at  the  Conserva- 
tory in  1849.  He  taught  and  played  at  Marseilles,  returned  to  Paris,  where  he  played  in  the  orchestra  of  the 
Conservatory  and  as  a  member  of  the  Maurin  Quartet.  He  was  much  interested  in  collecting  and  restoring 
old  instruments.  He  wrote  books  about  string  instruments,  criticisms,  and  his  recollections  (1896).  He  also 
was  editor  of  the  Monde  Musical. 

TO    THE    P  ROFESSIO/N 

The  increasing  demand  for  GOOD  English  songs,  and  the 
seeming  difficulty  in  procuring  the  same,  compel  us  to  draw 
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three  leading  catalogues  in  Europe.  We  can  offer  a  variety 
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tion as  in  Europe.  Ask  for  BOOSEV  &  COMPANY'S 
publications,  and,  if  there  is  any  difficulty  in  obtaining  them, 
please  address  direct  to  1 

BOOSEY  &  COMPANY,  9  East  17th  St.,  /New  York 

(595) 


The  concerto  begins  Allegro  non  troppo  in  A  minor,  2-2,  with  the 
announcement  of  a  flowing  theme  by  the  solo  instrument  over  a  tremulous 
accompaniment.  This  theme  is  developed  somewhat  by  the  'cello.  The 
orchestra  develops  it  further  against  a  counter-theme  in  the  'cello,  which 
'takes  up  the  development  again.  The  second  theme,  of  a  more  melodious 
character  (F  major),  is  also  given  to  the  'cello.  There  is  only  a  short 
development.  The  working-out  of  the  first  theme  is  resumed,  first  in  the 
'cello,  then  in  the  orchestra.  A  new  theme  is  introduced  by  way  of 
episode,  allegro  molto,  F  major.  The  two  chief  themes  are  again  used  in 
development.  There  is  a  transition  to  a  new  movement,  Allegretto  con 
moto,  B-flat  major,  3-4,  a  minuet.  The  theme  is  announced  by  muted 
strings,  and  the  solo  'cello  enters  with  another  dance  theme.  These 
themes  are  developed,  the  minuet  in  the  orchestra,  the  slow  waltz  in  the 
'cello.  There  is  a  return  to  the  original  alia  breve  time  and  pace,  and  the 
first  theme  reappears,  but  one  of  its  figures  is  the  foundation  of  a  new 
theme,  which  in  turn  is  developed  and  leads  to  a  finale  on  the  same  theme 
and  a  new  second  theme.  The  first  theme  makes  another  appearance,  as 
does  the  episode.     The  concerto  ends  brilliantly  in  A  major. 

The  orchestral  part  is  scored  for  2  flutes,  2  oboes,  2  clarinets*  2 
bassoons,  2  horns,  2  trumpets,  kettle-drums,  strings. 

Mr.  Schroeder  has  played  as  solo  violoncellist  with  the  Symphony  Orches- 
tra in  Boston :  — 

1891,  Oct.  24.     \rolkmann's  Concerto  in  A  minor,  Op.  33. 

1892,  Nov.  26.  Davidoff's  Concerto  No.  3,  one  movement.  (First  time- 
in  Boston.) 

Attractive  Novelties 

In  Lamps  and  Shades,  Gas  and  Electric 
Reading  Lights 

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ANDIRONS.    FIRE  SETS.    FIRE  SCREENS 

A  large  number  of  new  patterns  in  Wrought  Iron  and  Brass. 

David  R-  Craig, 

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1893-  Nov.  18.     Brahms's  Concerto  in  A  minor,  for  violin  and  violoncello, 
Op.  102.     (With  Mr.  Kneisel.) 

1894,  Feb.  3.     Loeffler's  Fantastic  Concerto.     (MS.     First  time.) 

1895,  March  2.    Dvorak's  "  Waldesruhe  "  and  Julius  Klengel's  Capriccio, 
Op.  8. 

1896,  Dec.  19.     Dvorak's  Concerto  in  B  minor,  Op.  104.     (First  time  in 
Boston.) 

1897,  April  10.    Brahms's  Concerto  in  A  minor,  for  violin  and  violoncello, 
Op.  102.     (With  Mr.  Kneisel,  at  a  concert  in  memory  of  Brahms.) 

1898,  Feb.  12.     Loeffler's  Fantastic  Concerto. 

1898,  Nov.  19.     Saint-Saens's  Concerto  in  A  minor,  Op.  33. 

1900,  Jan.  6.     Dvorak's  Concerto  in  B  minor,  Op.  104. 

1901,  March  9.    d'Albert's  Concerto  in  C  major,  Op.  20.     (First  time  in 
Boston.) 

1902,  Feb.  1.     Brahms's  Concerto  in  A  minor,  for  violin  and  violoncello, 
Op.  102.     (With  Mr.  Kneisel.) 

Chorus  of  Spirits  and  Spirits'  Dance,   from  "  Merlin." 

Carl  Goi.dmark. 

(Born  at  Keszthely,  Hungary,  May  18,  1830;  now  living  at  Vienna.) 

"  Merlin,"  an  opera  in  three   acts,  text  by  Siegfried  Lipiner,  music  by 


WEBER 


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Carl  Goldmark,  was  performed  for  the  first  time  at  Vienna,  Nov.  19,  1886. 
Materna  created  the  part  of  Viviane  ;  Winkelmann,  that  of  Merlin  ;  and 
von  Reichenberg,  that  of  the  Demon.  Wilhelm  Jahn  conducted.  The 
opera  was  performed  in  America  for  the  first  time  at  the  Metropolitan, 
New  York,  Jan.  3,  1887,  with  Lilli  Lehmann  as  Viviane,  Alvary  as  Merlin, 
Miss  Brandt  as  Morgana,  and  Fischer  as  the  Demon.  Mr.  Walter  Danr 
rosch  conducted. 

The  librettist  was  influenced  to  some  extent  by  Immermann's  "  Mer- 
lin "  (1832),  which  was  considered  to  be  rightly  named  "a  mystery"  on 
account  of  metaphysical  as  well  as  dramatic  confusion.  Immermann  said 
Merlin  was  the  tragedy  of  contradiction,  just  as  Dr.  Maginn  held  Romeo 
to  be  the  unlucky,  as  opposed  to  Bottom,  the  lucky  man. 

In  Lipiner's  version  Viviane,  the  orphaned  daughter  of  a  nobleman 
mourning  her  father's  death,  lives  in  the  forest.  She  is  beautiful  and  wild. 
Without  her  knowledge  the  Demon  brings  her  into  the  presence  of  Merlin, 
who  has  just  triumphed  over  the  Saxons  and  convicted  Sir  Bedivere  of 
treason.  Merlin  is  seer  and  magician.  He  has  compelled  the  Demon  to 
fight  on  the  side  of  Christ  by  bewildering  the  heathen  soldiers  with  will-o'- 
the-wisps  and  wrapping  them  in  darkness.  The  Demon,  sore  and  craving 
revenge,  consults  Morgana,  the  mother  of  Merlin,  and  learns  from  her  that 
Merlin's  power  will  come  to  an  end  when  he  falls  victim  to  the  love  of 
woman  :  then  will  his  harp  be  silent.  Merlin  and  Viviane  fall  in  love  with 
each  other.  The  Demon  inspires  her  to  open  Merlin's  temple  ;  he  takes 
from  it  a  magic  veil,  which,  thrown  into  the  air,  remains  suspended  and 
works  a  spell.     The  lovers  in  the  garden  forget  the  world,  until  Lancelot 


HARMONIC  ANALYSIS 

A  COURSE  IN  THE  ANALYSIS   OF  THE  CHORDS  AND  OF   THE   NON-HAR- 
MONIC TONES  TO  BE   FOUND  IN  MUSIC,  CLASSIC  AND  MODERN. 

*By  BENJAMIN  CUTTER. 

PRICE.  POST-PAID,  $1.25 


This  book  is  designed  for  those  who  have  studied  Harmony  and  would  apply  it  in  their 
every-day  musical  life,  in  their  playing  and  in  their  teaching. 

It  is  believed  that  by  a  careful  study  of  thi  book,  one  may  learn  not  only  to  analyze  and 
to  understand  anything  in  the  way  of  harmony  that  he  may  chance  to  meet  in  musical  literature, 
classical  or  modern,  but  —  what  is  far  more  important  — through  his  heightened  powers  of 
comprehension  he  may  be  enabled  to  hear  ivith  greater  understanding,  to  read  at  sight  with 
more  facility  and  to  play  and  sing  ivith  more  intellig, 


OLIVER  DITSON  COMPANY    3   3    BOSTON,  MASS. 

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Embroidered  Muslins  in  single  dress  patterns,  with  trimmings. 
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and  others  rush  in  and  announce  Modred's  treason.  As  Merlin  is  going  to 
the  rescue,  Viviane  throws  over  him  the  magic  veil.  The  garden  vanishes, 
—  as  in  "Parsifal,"  —  and  Merlin  is  seen  chained  to  a  rock  in  a  dreary 
waste.  He  pledges  his  soul  to  the  Demon  to  gain  release.  He  saves 
Arthur,  but  he  is  wounded  and  he  dies.  And  then  Viviane,  warned  by 
Morgana  in  a  dream,  strives  with  the  Demon  for  Merlin's  soul.  She  stabs 
herself,  dies  with  him,  and  thus  puts  the  Demon  to  confusion,  while  Arthur 
and  his  knights  chant  the  redeeming  might  of  love. 


* 


The  excerpt  played  at  this  concert  is  taken  from  the  fifth  scene  of 
the  second  act.  The  stage  setting  represents  Merlin's  Magic  Garden, 
fringed  with  a  grove,  through  which  the  ocean  is  seen.  There  are  trees 
to  the  right,  rose-bushes,  and  a  grassy  seat,  and  in  the  left  foreground  a 
richly  adorned  resting-place.  Viviane  approaches  the  door  of  the  temple, 
and  bids  it  open.  The  Demon  takes  the  veil  from  the  altar.  Viviane 
throws  it  into  the  air,  where  it  remains.  The  Demon  confesses  to  her 
that  he  does  not  understand  the  spell. 

And  then  unseen  spirits  sing :  "  We  come  from  flower-cups,  caves,  glit- 
tering billows,  rustling  breezes  ;  we  follow  the  mighty  Master  Magician 
gladly  to  serve  him." 

A  spring  suddenly  flows  from  among  the  bushes,  rosy  clouds  float  in  on 


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The  articles  have  been  selected  with  the  greatest  care,  the 
whole  have  been  purchased  under  exceptionally  favorable  condi- 
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all  sides,  bushes  part.  From  the  spring,  water-sprites  arise,  green-veiled. 
Spirits  of  air,  robed  in  white,  float  down  from  the  clouds.  Earth-spirits 
wearing  golden  ornaments  come  out  from  rocks  and  the  soil,  and  spirits  of 
the  flowers  appear. 

The  chorus  is  in  E  major.  With  the  beginning  of  the  dances  the  key 
changes  to  B-flat,  Massig,  3-4.  The  dance  is  light  and  graceful.  The 
pace  quickens  for  the  spirits  of  earth.  A  spirit  of  air  breathes  on  an 
aiolian  harp.  There  is  a  return  to  the  first  tempo.  The  tonality,  for  the 
most  part,  alternates  between  G  minor  and  B-flat. 

B  major,  6-4,  Entrance  of  the  Queen  of  the  Mermaids.  Resting  on  a 
flower-decked  shell,  she  is  drawn  by  dolphins,  and  her  attendants  swim 
about  her.  There  are  modulations.  The  mood  becomes  more  tranquil. 
The  unseen  chorus  is  heard  as  before. 

#  * 
It  is  said  that  Goldmark  worked  steadily  on  his  "  Merlin  "  during  the 
years  that  passed  between  its  completion  and  the  production  of  his  "  Die 
Konigin  von  Saba"  (1875),  and  he  is  reported  as  saying:  "I  have  done 
all  that  a  mortal  can  do  to  make  it  a  success."  But  "Merlin"  was 
severely  criticised,  and  the  composer  was  accused  of  helping  himself  too 
freely  from  "Tristan  und  Isolde"  and  from  "  Parsifal."  It  might  be  said 
of  the  second  act  of  "  Merlin  "  that  Tristan  and  Isolde  sing  their  long  love 
duet  in  the  magic  garden  of  Klingsor. 

NUNNERY   WORK. 


Last  May  we  placed  an  order  with  one  of  the  oldest  nunneries  in  Paris 
for  some  of  its  famous  Hand-made  Underwear.  The  name  of  this  nun- 
nery is  a  synonym  for  the  highest  class  of  needlework  in  France,  and  we 
were  anxious  to  place  some  of  this  work  before  our  customers. 

We  have  now  received  the  goods,  and  they  are  worth  going  a  long 
distance  to  see.  Bear  in  mind  that  they  were  made  expressly  for  us.  To 
place  them  immediately  before  our  patrons,  we  shall  price  them  exceptionally 
low.     Some  of  them  are  marked  actually  cheaper  than  machine-made  goods. 

The  sisters  of  this  nunnery  are  wonderfully  skilful  with  the  needle, 
and  have  a  reputation  all  over  France  for  their  work.  Hand-made  em- 
broidery of  this  character  is  really  stronger  than  machine-made,  and,  best 
of  all,  it  grows  constantly  more  beautiful  as  it  is  worn. 

At  our  low  prices  this  will  be  the  most  notable  sale  of  nunnery-made 
French  Underwear  ever  held  in  Boston,  to  our  knowledge. 


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name  of  Walter  Baker  &  Co.,  Ltd.  Under  the 
decisions  of  the  United  States  courts,  no  other 
cocoa  or  chocolate  is  entitled  to  be  labelled  or 
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Nor  was  Riifer's  "Merlin"  (Berlin,  1887)  more  successful.  In  1858 
Liszt  urged  von  Biilow  to  compose  an  opera,  "  Merlin."  "  Vou  will  make 
a  masterpiece.  .  .  .  The  music-drama  is  surely  the  best  place  for  you  to 
display  your  great  and  fine  talents."  Von  Biilow  entertained  the  proposal 
seriously.  In  1858  he  wrote  Pohl  that  he  felt  himself  compelled  "to  pour 
out  his  soul "  in  this  opera ;  that  his  health,  his  life,  depended  on  the 
work.  In  1859  he  complained  that  the  librettist  was  not  ready,  and  that 
he  himself  could  not  compose  until  the  whole  text  was  in  his  hands.  The 
opera  was  never  written. 

It  is  a  singular  fact  that  no  stage  .work  founded  on  a  legend  of  Arthur's 
court,  as  known  generally  to  English  readers,  has  succeeded,  although  there 
have  been  several  attempts:  Bemberg's  "Elaine"  (London,  1892;  New 
York,  1894);  Jonciere's  "Lancelot"  (Paris,  1900);  Max  Vogrich's 
"  Konig  Arthur"  (Leipsic,  1893);  Theodor  Hentschel's  "  Lanzelot " 
(Bremen,  1878),  etc.  Perhaps  Chausson's  posthumous  "  Le  roi  Arthus," 
now  in  rehearsal  at  Carlsruhe,  will  meet  with  more  favor. 

Purcell  wrote  music  for  Dryden's  drama,  "  King  Arthur."  There  are 
cantatas,  as  Swinnerton  Heap's  "  Maid  of  Astolat  "  ;  Corder's  "The  Bridal 
of  Triermain  "  ;  orchestral  pieces,  as  MacDcwell's  "  Lancelot  and  Elaine  "  ; 
Chausson's  "  Viviane  "  ;  Averkamp's  "Elaine  and  Lancelot,"  etc. 

Goldmark's  operas  after  "  Merlin "  are  as  follows :  "  Das  Heimchen 
am  Herd,"  founded  on  Dickens's  "Cricket  on  the  Hearth"  (Vienna, 
1896);  "Die  Kriegsgefangene,"  with  Briseis  as  heroine  (Vienna,  1898); 
"Gotz  von  Berlichingen,"  founded  on  Goethe's  drama  (Budapest,  Dec.  16, 
1902).  This  last  opera  was  to  have  been  produced  at  Vienna,  but  the 
composer  and  the  conductor,  Mahler,  could  not  agree. 


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OLD  VIOLINS. 


Mr.  Oliver  offers  his 

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'cellos,  by  the  old  Italian  and  other  makers, 

also  a  tine  collection  of  old  and  new  artists' 

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etc. 

F.  A.  OLIVER, 

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ENTR'ACTE. 
BERLIOZ:  THE  "GRAND  TRAITEY' 

BY    VERNON    BLACKBURN. 

Among  the  saddest  and  most  hopeless  books  in  the  language  is  Haydon's 
Memoirs.  Its  revelation  of  a  cherished  ideal  of  self  which  was  utterly 
unreasonable,  futile,  and  untrue,  and  of  a  consequent  tragedy  climbing 
towards  the  awful  crisis  when,  as  it  seems,  the  victim  was  suddenly  faced 
by  the  discovery  of  his  own  imposture,  and  in  the  agony  of  realization 
wiped  out  his  life,  is  one  of  those  histories  of  our  kind  of  which  a  man 
makes  haste  to  put  away  the  memories. 

It  is  passing  strange  that  an  examination  of  Berlioz's  "  Grand  Traite' 
d'Instrumentation  et  Orchestration  Modernes  "  should  strongly  recall  that 
great  and  impotent  tragedy.  But  the  reason  lies  in  the  contrast.  Berlioz 
also  was  consumed  with  that  passion  for  self,  was  filled  with  that  triumphant 
belief  and  confidence  in  self,  which  compose  the  grinding  pathos  of  Haydon's 
life.  Like  Haydon  calling  unto  Haydon,  Berlioz  created  an  ideal  Berlioz 
whose  virtues  he  never  ceased  from  celebrating  and  over  whose  perfections 
he  can  never  refrain  from  expressing  a  complete  complacency.  The 
passion  of  the  two  men  was  very  similar,  their  manner  of  assertion  was  the 
same.  Had  it  been  possible  for  Haydon  to  declare  himself  through  the 
medium  of  one  great  work  of  art,  tragedy  there  might  have  been  in  his  life, 
essential  pathos  none.  And  it  is  precisely  this  summing  up  of  self,  this 
justification  of  self,  which  Berlioz  has  contrived  to  effect  in  the  composi- 
tion of  his  "  Grand  Traite'." 

In  the  "  Memoires  "  and  in  the  "  Berlioz  Intime  "  we  have  indeed  a 
Berlioz  and  a  Berlioz  ;  each  is  amusing,  and  each  is  sovereignly  magnifi- 
cent. Each  is,  in  a  sense,  a  veritable  human  being,  although  the  one  is 
used  to  give  the  other  the  lie  direct  with  extreme  frequency.  But  if  you 
desire  to  measure  the  true  genius  of  Berlioz,  the  art  of  his  criticism,  the 
quality  of  his  music,  finally  his  miraculous  instinct  for  orchestration,  it  is 
to  the  "  Grand  Traite' "  that  you  must  go.  The  book  is,  in  the  first  place, 
all  instrumental  music  known  to  him,  in  miniature.  Ranging  from  violins 
to  tomtoms,  including  betwixt  these  extremities  some  sixty  instruments,  he 


KAKAS  BROS:  Fur  Store, 

REMOVED    TO  I    REMOVED    TO 

179  TREMONT  ST.,  *%£zr'  I  179  TREMONT  ST.,  "rsSZT* 
THE  MODEL  FUR  STORE  OF  BOSTON. 

J2JT"  Formerly  34  and  36  Bedford  Street. 
(608) 


expounds,  he  illustrates,  he  rhapsodizes,  he  warns.  For  his  examples  he 
brings  specimens,  selected  (as  one  might  sift  gold  dust  from  a  barrel  of 
sand)  with  the  nicest  sense  of  their  value  and  of  their  bearing  upon  the 
point  at  issue,  from  the  work  of  nearly  every  master  of  music  —  including 
Berlioz.  Here  then  let  us  strike  the  first  personal  note  of  the  book,  its 
imperturbable  and  splendid  pride.  Since  he  did  often  achieve  unique 
effects  by  specialised  instrumentation,  Berlioz  here  stands  side  by  side 
with  other  masters  who  have  also  accomplished  this  achievement.  Here 
are  no  apologetic  notes  which  could  only  charm  this  lofty  impudence  into 
a  vain  humility — of  all  forms  of  humility  the  least  tolerable.  More,  he 
will  have  no  doubts  nor  hesitations  over  his  judgments.  He  passes  the 
great  masters  in  review  with  a  monumental  sense  of  security.  He  domi- 
nates them  with  his  personality.  Not  that  they  seem  thereby  to  be  any 
the  less  great;  but  it  is  Berlioz  who  for  the  moment  is  the  master- 
mage,  the  master-alchemist,  mingling  in  the  crucible  all  these  elemental 
greatnesses  into  a  true  philosopher's  stone  of  orchestration. 

There  is  a  memorable  sentence  near  the  beginning  of  the  "  Me'moires  " 
recording  the  initial  difficulty  which  Berlioz  experienced  in  moulding  the 
combination  of  note  with  note  into  an  expression  of  fit  harmony.  He 
records  the  dry  mechanical  processes  by  which  he  toiled,  until,  on  a 
stroke,  in  a  flash,  the  secret,  the  mystery  of  the  relations  between  the 
notes,  entered  upon  his  mind.     The  "  Grand  Traite' "  is  a  complete  com- 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUGIMO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS   CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  Hass. 


ment  upon  that  singular  experience.  It  reveals  a  wonderful  and  s^perlati'.  e 
intimacy  with  accordant  sound  in  general  - —  may  one  term  it  sound  in  the 
flat? — and  with  sound  specialized  by  instrumentation.  He  does  not  so 
much  labor  over  musical  utterances  decorated  with  the  last  resources  of  a 
complex  and  far-reaching  science, —  he  plays  with  them.  He  plays  with 
them,  indeed,  in  no  spirit  of  frivolity  or  of  irresponsibility;  it  is  a  solemn 
game,  with  puppets  over  whom  he  exercises  an  absolute  control.  He  has 
his  theories,  and  they  are  marshalled  forth  in  defence  or  in  prosecution. 
He  reads  scores,  as  it  were,  with  a  microscope ;  and  you  can  picture  the 
page  of  a  score  —  his  own  or  another's  —  with  a  thread  (out  of  the  plane 
of  the  music)  from  each  note,  the  whole  collection  of  threads  gathered  into 
his  hand. 

Conceive  him  thus  engaged,  for  it  is  time  to  speak  of  his  more  special 
effects ;  gathered  in  a  hand  poised  over  the  page,  he  holds  the  threads 
that  stretch  to  every  note  of  the  score.  It  is  the  score  of  "  Alceste  " : 
"  Apollon  est  sensible  a  nos  ge'missements."  A  tremolo  effect  (/>rh  du 
chevalef)  for  the  violins  needs  illustration.  The  Magian  tightens  the 
threads  that  emerge  from  the  violin  lines,  and  above  the  murmur  of  sound 
and  the  voice  of  the  High  Priest  —  "  qu'inspire  sa  presence  "  —  the  tremolo, 
for  thirty-five  bars,  claims  its  own  magnificent  and  terrible  effects. 

Or  the  flute,  and  the  most  intimate  characteristics  of  the  flute,  require 
explanation  and  example.  It  is  "  Orfeo "  to  which  attention  is  now 
drawn,  the  ballet  of  the  Troubled  Spirit.  By  his  peculiar  emphasis,  his 
comparisons  —  which,  in  the  figure,  I  call  the  tightening  of  the  threads  — 
he  directs  attention  to  the  perfect  and  lovely  appropriateness  of  the  flute 
for  this  ballet.  To  read  the  score  anew  under  the  inspiration  of  Berlioz's 
guidance  is  to  appreciate  with  a  summer  freshness  the  ineffable  beauties 
of  that  noble  melody.  The  flute — the  flute,  and  that  alone,  you  now 
realise  —  can  express  its  fading  and  spiritual  pathos.     And  with  what  new 


DY    ROYAL     APPOINTMENT 
TO    THE    BRITISH    COURT. 


MACKENZIE-JACKSON 

LADIES'  TAILOR 
Glasgow  2J8  Boylston  Street,  Boston  Oban 

(CIO) 


mystery  of  music  are  you  not  made  intimate  by  this  realisation,  what 
mystery  of  quality  in  sound,  what  shining  shadow  of  difference  between 
sound  and  sound,  and  finally  —  what  new  sense  of  emotional  appropriate- 
ness in  the  appreciation  of  these  differences  ?  It  is  Berlioz  who  ac- 
complishes this,  for  whoso  cares  to  acquaint  himself  with  his  genius. 
Therefore  it  is  that  in  this  "  Traite  "  he  achieves  so  surely  the  feat  which 
he  set  out  to  do,  that  he  persuades  you  into  differentiating  the  orchestra 
as  no  other  writer  has  ever  done  before  or  since. 

In  what  quarter,  then,  does  his  personal  power,  his  individual  strength, 
lie  ?  He  owes  it  to  his  divine  instinct,  since  by  no  other  name  can  his 
appreciation  of  orchestral  effects  be  called.  That  appreciation  he  learned 
in  part  by  the  study  of  the  masters,  but  only  in  part.  The  rest  of  him  is 
creator.  Who  (for  example)  but  Berlioz  could  have  suggested  that  won- 
derful effect  for  four  hands  on  the  piano  quoted  in  the  "  Traite',"  from  his 
own  "  Fantaisie  sur  la  Tempete,"  the  piano  arpeggios  rising  to  a  trill  and 
answering  by  descending  arpeggios  on  flutes  ?  Beethoven  had  used  the 
piano  with  something  of  a  fragmentary  tendency  towards  the  same  effect ; 
but  his  treatment  does  not  more  than  suggest  the  passage  from  Berlioz. 

No :  in  instrumentation  Berlioz  is  among  the  creators  of  modern  music. 
His  knowledge,  distilled  quintessentially  into  the  "Traite',''  is  not  only 
splendid,  it  is  gloriously  personal.  It  is  an  easy  enough  feat  to  acquaint 
oneself  with  the  facts,  as  well  as  with  the  spirit  of  the  "  Traite'."  It  is 
passing  easy  to  admire  the  work  and  to  appraise  its  rare  value.  But  only 
in  the  mind  of  one  man  could  the  book  have  its  full  expansion  and  vital- 
ity—  Berlioz  or  another  Berlioz.  For  only  to  him,  whose  instinct  was 
always  with  him,  could  his  sweeping  knowledge  of  the  orchestra  bind  his 
every  fact  into  a  lasting  coherence.  That  is  to  write  a  book  "for  yourself 
and  two  or  three  friends  "  with  a  vengeance  ! 

This,  then,  was  his  own,  his  special  act ;  and  having  this  accomplish- 


WILLIAM  C  CARL 

W.  A.  Moffitt 

SOLO  ORGANIST 

Can  be  secured  for  Recitals  and  the  Inau- 

CHIROPODIST 

guration  of  New  Organs. 

128A  Tremont  Street 

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in  Boston. 

(GU) 


ment  in  so  splendid  a  measure  he  is  ever  found  venting  his  hatred 
for  all  that  is  imposture  in  his  art,  for  all  that  is  shoddy  and  shabby, 
with  the  vehemence  of  a  true  man.  Any  elaboration  of  the  point 
is  beside  the  question  of  the  "  Traitd " ;  but  it  is  interesting  to  note 
how  his  dominant  and  special  art  influenced  and  restrained  all  his 
judgment,  all  his  selections,  all  his  criticisms,  and  all  his  admirations 
which  are  there  set  forth.  Gluck  is  his  dearest  master.  He  is  never 
weary  of  emphasising  his  affection,  his  adoration  for  that  musician ; 
he  selects  from  him  in  generous  abundance  where  Mozart  is  only 
permitted  two  or  three  appearances.  Then,  after  Gluck,  Beethoven  ;  and 
after  Beethoven,  Berlioz.  And  if  it  be  urged  that  it  is  natural  he  should 
resort  to  the  work  of  great  instrumentalists  in  illustration  of  a  treatise 
upon  instrumentation,  and  that  this  fact  scarce  points  to  exclusive  admira- 
tions, it  may  be  answered  that  the  "  Traite' "  has  certainly  developed  out 
of  his  general  judgment  of  music  rather  than  from  an  academic  resolution 
to  write  a  book;  and  therefore  it  is  that  his  selection  is  significant,  for  it 
demonstrates  the  overwhelming  influence  of  this  particular  aspect  of 
musical  art  upon  his  musical  genius.  Melody  was  doubtless  much  to 
him;  but  he  was  "  careless  of  the  single  line."  Times  there  are  when  it 
is  easy  to  note  in  his  scores  that  he  tires  of  his  own  melodies;  of  his 
instrumentation  —  he  gives  one  example  here  with  twenty-nine  different 
instruments  —  never. 

The  "Grand  Traite"  then  —  to  sum  up  —  shows  the  true  power  of  Ber- 
lioz's genius.  It  is  the  text,  the  Holy  Writ  by  which  the  Church  of  his  own 
Music  is  justified,  is  made  great  and  infallible.  In  it  you  have  the  writer, 
nervous,  vehement,  and  lucid  as  air ;  the  admirable  critic,  with  his 
enchanting  intolerances,  his  boundless  admirations  and  enthusiasms  ;  the 
musician  and  the  creator;  finally,  the  man  —  which  is  Hector  Berlioz. 


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possible  consistent  with  accuracy  and 

purity  ;  and  bear  in  mind  the  fact, 

we  do  not  substitute 


F 


INEST  STOCKED 
INEST  LABORATORY 
INEST  DRUG  STORE 

IN  BOSTON 


HAVE  YOU  A 

•"Broker 

REPAIRING    dlAlANNlNfr 
ECOVERING  Umbrella  Nfg'r. 
ASPic/Airy**  Covi«  a.5t»wius) 
asi  winter  Sr  &ostoas 


MILLINERY. 

Miss  M.  E.  Ford, 

Lawrence  Building,  149  A  Tremont  St., 

[mporti  1  .mil  1  (esigner  1  'f 

HATS    AND    BONNETS. 

Personal  attention  given  i<>  Mourning. 

T.ike  elev.Uor. 


(U13) 


IVERS  8  POND 
PIANOS 


Superlative  Qualify. 

Pure  Colonial 

Our    new  'model  -j 
No.  214,   here  pict- 
ured, is  an  excellent 
example  of  the  purer 
period    of    Colonial 
design.    All  carving 
and  relief  ornamen- 
tation    have     been 
omitted,    even    the 
customary      mould- 
ings giving  way   to 
squared  edges. 
Beautifully    figured    South    African    mahogany    in    rich  ' 
antique  coloring  is  employed.      This  and  a  superb  finish 
alone  relieve  the  severity  of  the  design.     The    effect  is 
highly  dignified.     May  we  send  you  a  catalogue  showing 
all  our  designs,  with  explanation  of  our  rental  purchase 
plan, —  buying  a  piano  by  renting  it  ? 


•  IVERS  &  POND    • 

•  PIANO    CO  • 

114  BOYLSTON  ST.  BOSTON 


(613) 


Symphony  in  E  minor,  No.  5,  "From  the  New  World,''  Op.  95. 

Anton  DvorAk. 

(Born  at  Nelahozeves  (Miihlhausen),  near  Kralup,  Bohemia.  Sept.  8,  1841  ; 
now  living  at  Prague.) 

This  symphony  was  performed  for  the  first  time,  in  manuscript,  by  the 
Philharmonic  Society  of  New  York  on  Friday  afternoon,  Dec  15,  1893. 
The  first  performance  in  Boston  was  on  December  30  of  the  same  year. 

The  work  aroused  a  controversy  in  which  there  was  shedding  of  much 
ink.  The  controversy  long  ago  died  out,  and  is  probably  forgotten  even 
by  those  who  read  the  polemical  articles  at  the  time  and  expressed  their 
own  opinions.  The  symphony  remains.  It  is  now  without  associations 
that  might  prejudice.  It  is  now  enjoyed  or  appreciated,  or  possibly  passed 
by,  as  music,  and  not  as  an  exhibit  in  a  case  on  trial. 

Yet  it  may  be  a  good  thing  to  recall  the  circumstances  of  its  origin  ;  and, 
as  Mr.  Henry  E.  Krehbiel  was  deeply  interested  in  the  conception  and 
birth  of  the  symphony,  it  is  better  to  quote  his  words.* 

"Last  spring  the  eminent  Bohemian  composer  published  his  belief  that 
there  was  in  the  songs  of  the  negroes  of  America  '  a  sure  foundation  for  a 
new  National    School  of    Music,'  and    that    an    intelligent    cultivation  of 

*  From  a  little  pamphlet,  "  Antonin  Dvorak's  Quartet  in  F  major,  Op.  96  "  (New  York,  1894). 


Dominion  Line 

EXPRESS   SERVICE 
BOSTON    TO 

Mediterranean, 
Gibraltar,  Algiers, 
Genoa,  Naples,  and 
Alexandria,  Egypt. 


Resumption    of    trips    by    the    mammoth    popular    twin-screw  steamers,    "  COM- 
MONWEALTH"   and  "NEW    ENGLAND." 

s.s.  New  England  (11,400  tons)  sails  Jan.  17,  Ff.r.  28. 
S.S.  Commonwealth  (13,000  tons)  sails  Feb.  14,  Mar.  28. 
Send  for  rates  and  illustrated  booklet. 

Direct    Service    to        AZORES       PONTA'  DELGADA, 

And  through  to  NAPLES  and  GENO  \. 
s.s.  Vancouver,  Jan.  10,  Feb.  21.  S.s.  Cambroman,  I. in.  ji,  March  ia> 

[•'or  rates  and  further  information  applj  t.>  cm  addn 

RICHARDS,  MILLS  &  CO.,  77-81  STATE  STREET,  BOSTON, 

Or  any  local  steamship  agent. 


(014) 


them  on  the  part  of  American  composers  might  result  in  the  creation  of 
an  American  School  of  Composition.  His  utterances  created  a  deal 
of  comment  at  the  time,  the  bulk  of  which  was  distinguished  by  flippancy 
and  a  misconception  of  the  composer's  meaning  and  purposes.  Much  of 
the  American  criticism,  in  particular,  was  based  on  the  notion  that  by 
American  music  Dr.  Dvorak  meant  the  songs  of  Stephen  C.  Foster  and 
other  contributors  to  old-time  negro  minstrelsy,  and  that  the  school  of 
which  he  dreamed  was  to  devote  itself  to  the  writing  of  variations  on  'The 
Old  Folks  at  Home '  and  tunes  of  its  class.  Such  a  blunder,  pardonable 
enough  in  the  popular  mind,  was  yet  scarcely  venial  on  the  part  of  com- 
posers and  newspaper  reviewers  who  had  had  opportunities  to  study  the 
methods  of  Dr.  Dvorak  in  his  published  compositions.  Neither  is  it  credit- 
able to  them,  though  perhaps  not  quite  so  blameworthy,  that  they  have  so 
long  remained  indifferent  to  the  treasures  of  folk-song  which  America  con- 
tains. The  origin  of  that  folk-song  has  little  to  do  with  the  argument,  if  it 
shall  turn  out  that  in  it  there  are  elements  which  appeal  to  the  musical  pre- 
dilections of  the  American  people,  and  are  capable  of  utilization  in  com- 
positions in  the  higher  form.  As  a  matter  of  fact,  that  which  is  most 
characteristic,  most  beautiful,  and  most  vital  in  our  folk-song  has  come 
from  the  negro  slaves  of  the  South,  partly  because  those  slaves  lived  in  the 
period  of  emotional,  intellectual,  and  social  development  which  produces 
folk-song,  partly  because  they  lived  a  life  that  prompted  utterance  in  song, 
and  partly  because  as  a  race  the  negroes  are  musical  by  nature.  Being 
musical  and  living  a  life  that  had  in  it  romantic  elements  of  pleasure  as 
well  as  suffering,  they  gave  expression  to  those  elements  in  songs,  which 


146  Tremont  Street. 
FRESH,    PURE,    DELICIOUS 

BONBONS  and 
CHOCOLATES. 

Hot   Chocolate    and    Ice=cream 


Soda. 


MISS  GAFFNEY 

384  Boylston  Street. 

Hygienic  Treatment   of  Head, 
Face,  and  Neck. 

Hygienic  Skin  Food  and  Hair  Tonic 
on  sale. 

Removing  and  preventing  wrinkles  and  im- 
proving the  complexion  by  restoring  muscular 
tone  and  tissue  building,  without  the  use  of 
cosmetics  or  steaming.  Head  treated  for  con- 
gestion, falling  hair,  and  baldness. 

Testimonials  from  distinguished  men  and 
women  of  Boston. 

Manicuring  and  Shampooing. 

AMIRAL  SOAP 

Made  in  France,  for  reducing  corpulency  by 
external  application.  Recommended  and  pre- 
scribed by  the  medical  profession. 


(615) 


reflect  their  original  nature  as  modified  by  their  American  environment. 
Dr.  Dvorak,  to  whom  music  is  a  language,  was  able  quickly  to  discern  the 
characteristics  of  the  new  idiom  and  to  recognize  its  availability  and  value. 
He  recognized,  too,  what  his  critics  forgot,  that  that  music  is  entitled  to  be 
called  characteristic  of  a  people  which  gives  the  greatest  pleasure  to  the 
largest  fraction  of  a  people.  It  was  therefore  a  matter  of  indifference  to 
him  whether  the  melodies  which  make  the  successful  appeal  were  cause 
or  effect;  in  either  case  they  were  worthy  of  his  attention. 

"  He  has  not  said  these  things  in  words,  but  he  has  proclaimed  them  in 
a  manner  more  eloquent  and  emphatic  :  he  has  composed  a  symphony,  a 
quartet,  and  a  quintet  for  the  purpose  of  exemplifying  his  theories.  The 
symphony  he  wrote  in  New  York,  the  chamber  music  in  Spillville,  la.,  a 
village  which  contains  a  large  Bohemian  population." 


*  * 


It  was  said  by  some  in  answer  to  these  statements  that,  while  the  negro 
is  undoubtedly  fond  of  music,  he  is  not  inherently  musical ;  that  this  has 
been  observed  by  all  careful  observers  of  the  negro  in  Africa,  from  Bosnian 
to  Sir  Richard  F.  Burton,  who  wrote  in  his  chapter,  "  Of  the  Negro's  Place 
in  Nature":*  "The  negro  has  never  invented  an  alphabet,  a  musical 
scale,  or  any  other  element  of  knowledge.  Music  and  dancing,  his  pas- 
sions, are,  as  arts,  still  in  embryo";  that  the  American  negro,  peculiarly 
mimetic,  founded  his  "  folk-songs  "  on  sentimental  ballads  sung  by  the  white 
women  of  the  plantation,  or  on  camp-meeting  tunes  ;  that  he  brought  no 
primitive  melodies  with  him  from  Africa,  and  that  the  "originality"  of  his 

*  Chapter  xix.  of  "  A  Mission  to  Gelele,  King  of  Dahome." 


It's  a  Fownes* 

That's  all  you 
need  to  know  about 
a  glove 


(616) 


"  folk-songs  "  was  misunderstanding  or  perversion  of  the  tunes  he  imitated  ; 
that,  even  if  the  negro  brought  tunes  from  Africa,  they  could  hardly,  even 
after  long  usage,  be  called  "  American  folk-songs,"  any  more  than  the 
tunes  of  the  aboriginal  Indians  or  Creole  ditties  can  be  called  justly 
"  American  folk-songs  "  ;  that  it  would  be  absurd  to  characterize  a  school 
of  music  based  on  such  a  foundation  as  an  "  American  school,";  that,  if 
"  that  music  is  entitled  to  be  called  characteristic  of  a  people  which  gives 
the  greatest  pleasure  to  the  largest  fraction  of  a  people,"  then  German 
folk-songs  are  characteristic  of  the  city  of  New  York,  and  Irish  folk-songs 
are  characteristic  of  the  city  of  Boston. 


* 

*  * 


The  subject,  duly  labelled  and  dated,  now  rests  on  the  shelf,  and  for  some 
time  it  has  not  been  taken  down  and  dusted.  Yet  the  discussion  was  no 
doubt  healthful  and  profitable,  for  without  fierce  discussion  art  is  stag- 
nant. Mr.  MacUowell's  "  Indian "  suite  was  sketched  before  Dvorak's 
symphony  was  announced ;  but  the  controversy  led  to  still  more  careful 
investigation,  especially  into  the  character  of  the  North  American  Indians' 
music.  Mr.  Krehbiel  has  studied  carefully  this  music  and  discussed  it  in 
articles  of  permanent  value.  Mr.  Fillmore,  who  began  like  study  in  1888, 
Miss  Alice  C.  Fletcher,  Mr.  Frederick  R.  Burton,  and  others  have  made 
valuable  contributions  to  this  branch  of  musical  inquiry. 


# 
#  * 


The  symphony  is  scored  for  2   flutes  (one  of  which  is  interchangeable 
with  piccolo),  2  oboes  (one  of  which  is  interchangeable  with  cor  anglais), 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COriPANY,    -    BOSTON 

(C17) 


2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones,  bass  tuba,  kettle- 
drums, cymbals,  and  strings. 

The  first  movement  opens  with  a  short  introduction,  Adagio,  E  minor, 
4-8,  which,  as  all  admit,  is  not  characterized  by  "folk-song."  The 
strings,  pianissimo,  are  promptly  answered  by  the  wood-wind.  There  is 
a  sudden  fortissimo,  in  which  a  figure  in  all  the  strings  is  answered 
by  kettle-drums.  There  is  development,  in  which  the  orchestra  grows 
stronger  and  stronger. 

The  first  portion  of  the  chief  theme  of  the  main  body  of  the  first  move- 
ment, Allegro  molto,  E  minor,  2-4,  is  given  out  by  two  horns  in  unison  ;  the 
second,  by  the  wood-wind.  This  theme  is  developed  at  length,  and  modifi- 
cations suggest  occasionally  a  new  and  contrasting  subject.  Folk-lorists 
have  called  attention  to  the  species  of  syncopation  known  as  the  "  Scotch 
snap,''  that  distinguishes  this  chief  theme,  and  also  pointed  out  the  five- 
note,  or  pentatonic,  scale,  from  which  the  theme  is  derived.  In  a  sub- 
sidiary theme  announced  by  flutes  and  oboes  there  is  a  use  of  the  flat 
seventh,  a  use  that  is  common  to  Oriental  races  as  well  as  the  negro 
of  the  camp-meeting.  The  second  theme,  G  major,  is  given  out  by  the 
flute,  and  was,  no  doubt,  derived  from  the  familiar  melody,  "  Swing  Low, 
Sweet  Chariot."  The  violins  take  up  this  theme.  There  is  some  de- 
velopment, but  less  than  that  of  the  first;  and  there  is  the  traditional 
repeat.  In  the  free  fantasia  the  thematic  material  of  the  first  part  is 
worked  out ;  and  then  there  is  a  return  of  the  first  theme  in  the  tonic  at 

A.  B.  CHASE  PIANO 


BEAUTY,  TONE,  DURABILITY, 

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>o 


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Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN   FUR    GARMENTS, 

THEO.  SCHNEIDER, 

FURRIER, 

296=298    Boylston   Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(i.2(i) 


the  beginning  of  the  third  part,  which  is  in  general  a  regular  reproduction 
of  the  first,  with  changes  of  tonalities.  The  brilliant  coda  is  built  chiefly 
on  the  first  theme. 

In  the  second  movement,  Largo,  D-flat  major,  4-4,  Dvorak  is  said  to  at- 
tempt the  suggestion  of  the  mood  in  the  story  of  Hiawatha's  wooing,  as 
told  by  Longfellow.  The  chief  and  romantic  theme  is  sung  by  the  cor 
anglais  over  a  soft  accompaniment  of  strings.  The  development  is  ex- 
tended. After  the  theme  is  sung  by  two  muted  horns,  there  is  a  change  to 
C-sharp  minor,  un  poco  piii  mosso,  and  a  short  transitional  passage  on  a 
contrasting  theme  leads  to  the  second  theme  in  the  wood-wind  over  a  bass 
in  counterpoint  and  pizzicato.  There  are  several  melodies  in  this  move- 
ment ;  but,  while  the  sentiments  are  diverse,  there  is  no  abruptness  in 
contrast.  There  is  a  return  to  the  first  theme  in  the  cor  anglais.  The 
movement  ends  pianissimo  with  a  chord  in  the  double-basses  alone. 

Third  movement,  Scherzo:  Molto  vivace,  E  minor,  3-4.  It  opens  with  a 
theme,  for  flutes  and  oboes,  which  appears  as  a  rule  in  imitation.  The 
second  theme,  in  E  major,  poco  sostenuto,  also  for  flutes  and  oboes,  is  of 
more  song-like  character.  The  trio,  C  major,  opens  with  a  lively  theme 
for  wind  instruments.  This  is  followed  by  a  second  theme  for  strings.  A 
reminiscence  of  the  opening  theme  of  the  first  movement  is  heard  just 
before  the  trio,  and  also  in  the  coda. 

The  Finale,  Allegro  con  fuoco,  E  minor,  4-4,  opens  with  a  few  intro- 
ductory measures.  The  first  theme  is  given  out  fortissimo  by  horns  and 
trumpets  against  staccato  chords  in  the  rest  of  the  orchestra.  The  devel- 
opment is  first  in  the  strings,  then  in  the  full  orchestra.  After  the  develop- 
ment of  subsidiary  matter  the  clarinet  sings  the  second  theme.  In  the 
development  that  follows  are  recollections  of  the  opening  theme  of  the 
first  movement,  the  cor  anglais  melody  of  the  second,  and  the  opening 
phrase  of  the  scherzo.  There  is  a  tumultuous  coda,  based  on  the  union 
of  the  chief  theme  of  the  first  movement  with  the  first  theme  of  the  finale 


(621) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real  Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly 
Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

Newport 

Twelfth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  JANUARY  23,  at  230  o'clock. 

SATURDAY  EVENING,  JANUARY  24,  at  8.00  o'clock. 


PROGRAMME. 

A.  Arensky         .       Introduction  to  the  Opera,  "  Nal  und  Damajanti  " 

(First  time.) 

U,Vu                                      Solo  Number.  S.    WQJr    ^\MLU&. 

Brahms "  Hungarian  Dances  M 


Mozart Symphony,  **  Jupiter 


Soloist  to  be  announced.^ 


^623) 


Arnold    DOLMETSCH  Assi8tedby 

Mrs.  Elodie  DOLMETSCH 
And  Miss  Mabel  JOHNSTON 

In  a  CONCERT  of  OLD   MUSIC,  played  upon  the  instru- 
ments for  which  it  was  originally  written. 

WEDNESDAY    EVENING,    JANUARY    28,    AT  8 

Tickets,  $1.00,  for  sale  at  the  Hall 

STEINERT    HALL  BOSTON 

Saturday  Afternoon,  January  17,  1903,  at  3 

SECOND  RECITAL 

HELEN  HOPEKIRK 

Miss  BLANCHE  BEST  will  assist  in  the  Variations  for  two  pianos 
PROGRAMME 

Tableaux  de  Voyage    .      .  Vincent  dTndy 


Sonata,  Op.  Si  a         ....     Beethoven 
Das  Lebewohl 
Die  Abwesenheit 
Das  Wiedersehen 

Intermezzo,  A  major,  Op.  nS       .    Brahms 
Caprice,  A  minor     .     Paganini-Schumann 


Variations  for  two  pianos,  E -flat  minor 

Sinding 


b.  La  Poste 

c.  Depart  Matinal 

d.  Lac  Vert 

e.  Fete  de  Village 
/.  Reve 

Deux  Arabesques Debussy 


Two  Mazurkas,  B  minor,  C  major  \ 

Valse Cpn 

Nocturne ) 


8teinway    Piano    need. 

Tickets  (Parterre,  one  dollar  ;  Balcony,  fifty  cents),  reserved,  on  sale  at  the  Hall 

Mrs.  MARTHA  S.  GIELOW 

Reader  and  Monologist 

May  be  engaged  for 
PRIVATE   OR    PUBLIC    RECITALS    BY    ADDRESSING 

STEINERT    HALL,  BOSTON,  MASS. 

(624) 


STEMIVK^T     HAlvIv 

MONDAY   AFTERNOON,    JANUARY    19,   AT    3 

MAUD   Mac  CAR  THY 

VIOLIN     RECITAL 

Assisted    by   FELIX    FOX,  Pianist.     Mr.  MAX  ZACH,  Accompanist 


PROGRAM 

i.  Sonata  in  C  minor,  Op.  30,  No.  2 

Miss  MacCarthy  and  Mr.  Fox 

2.  Concerto  in  B  minor,  Op.  61 

Maud  MacCarthy 

3.  a.  Rhapsodie  in  G  minor 

b.  La  Leggierezza 

Mr.  Fox 

4.  Airs  Russes 

Maud  MacCarthy 


Beethoven 
Saint-Saens 


Brahms 
Liszt 


Wieniawski 


The  Mason  &  Hamlin  Piano'  used 
Reserved  Seats,  $1.00  and  $1.50 


Management  HENRY  WOLFSOHN 
Tickets  are  now  on  sale  at  the  Half 


Tuesday  Afternoon,  January  20,  at  3 

Mary  MUNCHHOFF 

SONO     RECITAL 

Miss  LAURA    HAWKINS,  Pianist 


1.  a.  Zeffiretti         I 
b.  Zittre  nicht    | 

2.  a.  Mondnacht  1 

b.  Marienwiirmchen  | 

c.  Nussbaum  S- 

d.  Wohin 

e.  Liebesbotschaft     J 

3.  a.  Wie  Melodien  zieht  es  mir 
b.  Es  liebt  sich  so  heblich 


PROGRAM 

c.  Im  Kahne 


Mozart 


Schumann 


d.  Standchen 

a.  Madame  Anette 

b.  Dimanche.a  1'Aube  | 

c.  Lullaby  . 

d.  The  Birthday 
Variations 


Grieg 
Strauss 

Ducoudray 

Gahm 
Cotveti 
Proch 


The  Steinway  Piano 

Management  HENRY  WOLFSOHN 
Reserved  Seats,  $1.00  and  $1.50  Tickets  for  sale  at  Steinert  Hall 

Pianoforte  Recital 


Madame  ROGER-MICLOS 

Thursday  Afternoon,  February  5,   at  3 


Management:      L.    M.    RUBEN,    New  York 


The  Weber  Pianoforte  used. 

(625) 


Cbkkering  ggg 

SATURDAY   AFTERNOON,   JANUARY    24,    1903 

AT  THREE  O'CLOCK 

Miss  BEATRICE  HERfORD,  «««*««. 
Mr.  SULLIVA/N  A.  SARGE/NIT,  *»*». 

Benefit  of 

BALDWINSVILLE   HOSPITAL  COTTAGES 


Tickets,  $0  75,  $1 .00,  and  $1.50 
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^HT^VFnTlvTr,    HATT         HUNTINGTON  avenue,  boston 

L/IIIL/JVEkIINU     HALL        Thursday  Evening,  February  5,  at  8 

Miss  ALICE  CUMMINGS, Pianist 
Miss  ANNA  MILLER  WOOD,  Mc "l.^. 

Assisted   by  Mr.  KARL  ONDRICEK,  Violinist 

Sonata  for  Piano  and  Violin,  Op.  48, Smile  Bernard 

(Kirst  time.) 
..        , Holmes,  Chretien,  D'Indy,  H.ilui,  Du  Pare 

I'i  1N0  Soli Rachmaninoff,  Tschaikowski,  Koptiaieff 

Violin  Soli, Dvorak 

Rubinstein,  Rachmaninoff,  TschaHcowsk 

Steinway  l'iano  used 

Tickets,  $1.50  and  $1,  on  sale  after  January  20 
at  Chickering  Hall  and  at  Herrick's. 

(6'26) 


Carl    Faeutepm's 

FOURTH    PIANOFORTE    RECITAL, 
Wednesday  Evening,  January    ai,    1903,   at  8   o'clock. 

Programme. 

Prelude  and  Fugue,  D  major,   Well-tempered  Clavichord, 

Parti Bach 

Sonata,  F-sharp  major,  Op.  78    )  t>      , 

Fantasie,  G  minor,  Op.  77     '       ( -Beethoven 

Huntington      ,  _     .„        „  ~ 

.-,        ,  '  Papillons,    Op.  2  Schumann 

Chambers        -,<     *j     ,    ~  ^ 

._.  <<  Etude  de  Concert,  Op.  23,  No.  1  } 

•  Barcarolle,  No.  5,  A  minor  [ Rubinstein 

Valse  from  "  Le  Bal "  .  ) 

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Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction ... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

rs.  W.  L.  STOVALL 

TEACHER    OF    MUSIC 

DISTINCTIVE  FEATURES:  The  study  of  MUSIC  as  LITERATURE.  The 
Synthetic  and  Analytic  study  of  MUSICAL  FORM.  APPLIED  HARMONY.  EAR 
TRAINING,  including  Musical  Dictation  and  Sight  Singing,  looking  toward  the  ideal, 
—  the  ability  to  hear  mentally  the  printed  page. 

PIANOFORTE    INSTRUCTION 

Descriptive  booklet,  "  New  Ideals  in  the  Study  of  Music,"  will  be  sent  on  application. 

STUDIO,     HUNTINGTON    CHAMBERS 

(627) 


SYMPHONY  SEATS 

For  SEASON, 

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I  Vf  UPWARD. 


0 1 W  01  C      REHEARSAL 

OIHULL,  or    CONCERT, 


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SONG  RECITAL  BY 

Miss  CLARA  M.  DREW,  Contralto 

Assisted  by 

nr.  HENRY  EICHHEIfl,  Violinist,  and  fliss  A.  LOUISE  WOOD,  Accompanist 

Huntington  Chambers  Hall,  30  Huntington  Avenue 


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posers, also  their  celebrated  collections  of 

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Can  be  found  on  sale  at  the  music  store  of 

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(6'J8) 


fltototolte^c 


IfeuiiHaaaHne 


ASTERS  IN  MUSIC  is  unlike  any  other 
musical  magazine.  It  is  edited  by  Mr. 
Daniel  Gregory  Mason.  Each  monthly  issue, 
complete  in  itself,  will  be  devoted  to  one  of 
the  world's  greatest  musicians,  giving  thirty- 
two  pages  of  engraved  piano  music,  which 
will  comprise  those  compositions  or  move- 
ments that  represent  the  composer  at  his  best,  with  editorial  notes 
suggesting  their  proper  interpretations  ;  a  beautiful  frontispiece 
portrait;  a  life;  and  estimates  of  his  genius  and  place  in  art 
chosen  from  the  writings  of  the  most  eminent  musical  critics. 
The  text  of  Masters  in  Music  will  thus  constitute  an  interest- 
ing and  authoritative  monthly  lesson  in  musical  history;  its 
selections  of  music  will  form  a  library  of  the  world's  musical 
masterpieces,  and  all  at  slight  cost.  Among  the  composers 
to  be  treated  during  the  first  year  are  Chopin,  Gounod,  Verdi, 
Grieg,  Beethoven,  Mendelssohn,  and  others.  The  magazine  will 
be  most  attractively  presented  throughout.  Subscription  price, 
$2.00  a  year.     Single  copies,  20  cents.     ::::::::: 


The  January  issue,  which  has  for 
its  subject  Mozart,  is  now  on  sale 
at  the  music    stores       :::::: 


JBfttes(an(j<iuil(i<Iompanij;^ubliji!)er5 
42-C[l)auncii^tKetJ6o<9ton 


(629) 


THE   PINES    OF 
LORY 


By  J.  A.  MITCHELL 


"  As  charming  as  was  the  same  author's  '  Amos  Judd.'  " —  New  York  Sun. 
"  The  delightful  humor  of  the  unconventional  adventures  of  a  most  con- 
ventional young  woman."—  The  Argonaut. 


HEADS     AND     OTHER 
PICTURES 

By  CHARLES    DANA   GIBSON 


Hand    Printed 

on 

Japanese  Tissue 

Paper 

Matted   Ready 

for 

Framing 

Price,  $1.00  each 


«  opj  right,  18'.K), 
bv  Life. 


Copyright,  1893, 
by  Lif e  Publishing  Co. 

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-strange." 


LIFE      PUBLISHING      COMPANY 

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(630) 


SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 

70  <PERFORMERS.     fflr.   WILHELM  GERJCKE,  Conductor 


Thursday  Evenings 


JANUARY  29 
FEBRUARY  12 


MARCH  J  2 
APRIL  2 
APRIL  23 


at  7.45 


SOLO  ARTISTS 

MISS  HELEN  HENSCHEL  MR.  CARL  STASNY 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MISS  MAUD  MacCARTHY        MME.  BLOOMFIELD-ZEISLER 
MR.  ADOLF  BAK 

AND    OTHERS    TO    BE    ANNOUNCED. 


TICKETS  on  sale  at  the   University    Bookstore,    Harvard  Square,  and 

at  the  door. 


(031) 


SYMPHONY    HALL. 
Saturday  morning,  January  17,  at  11, 


CHILDREN'S   MATINEE. 


ILLUSTRATED      LECTURE     BY 

ERNEST   THOMPSON=SETON. 

"The  Indian  as  I  know  him." 


Reserved  seats,  25  cents  and  50  cents. 
Sale  opens  Monday,  January  12. 


CHECKERING     HALL 


The  Kneisel  Quartet 

FRANZ    KNE1SEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALWIN   SCHROEDER,  Violoncello 


Fifth  Concert 
flonday  Evening,  January  26 


At  8 


PROGRAMME 

Mozart        .        .        .       Quartet  in  D  major,  for  Flute,  Violin,  Viola,  and  Violoncello 

BRAHMS         .....           Trio  in  E-tlat  major,  for  Piano,  Violin,  and  Horn 
Beethoven Quartet  in  A  minor,  Op.  13a 


Assisting  Artists 

Mrs.  Thomas  Tapper,  Piano  Mr.  A.  Maquarre,  Flute 

Mr.  A.  Hackebarth,  Horn 

(6tej 


OHve  ]Mead, 


VIOLINIST. 


Address  F.  R.  Comee,  Symphony  Hall,  Boston,  or 

N  v  (9  East  17th  Street,  New  York. 

'  \  6  Cork  Street,  London. 

Mme.  Antoinette  Szumowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 

The  Boston  Symphony  Orchestra  Programme 


For  the  twenty-four  Boston  Concerts, 
with  Historical  and  Descriptive  Notes 
by  Philip  Hale.  **  J*  «*  J*   &   <*   J* 


Bound   copies  of  the   Programme  for  the   entire    season  can    be    had    at 
$1.50  by  applying  before  the  last  concert.     Address  all  communications  to 

F.  R.  COMEE,  Symphony  Hall,  Boston. 

(633) 


MUSICAL   INSTRUCTION. 


Miss  HARRIET  S.  WHITTIER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
J  183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adam*. 


Miss  GERTRUDE  EDMANDS, 


Concert  and  Oratorio. 

Vocal  Instruction, 

EXETER    CHAMBERS. 


Mr.  CHARLES  B,  STEVENS, 


Specialist  in  the  Science  of 
Tone  Production  and  the  Art  of  Singing. 

Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 


Miss  ANNA  MILLER  WOOD, 

flEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and   Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  V  ianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice, 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


Miss  SUZA  DOANE, 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


(•534) 


Hiss  JESSIE  DAVIS, 

Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...  LESSONS ... 

Studio,   163    flassachusetts  Avenue. 


Mr.  CARLO  BUONAMICI, 


PIANIST  AND  TEACHER. 

Steinert  Hall  Building. 


Miss  HARRIET  A.  SHAW, 


HARPIST. 

186  Commonwealth  Avenue. 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5, Thespian  Hall, 

168   Massachusetts   Avenue, 
Boston,  Mass. 


CLARENCE  B.  SHIRLEY, 


TENOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  A.  E.  PRESCOTT 


153  TREMONT  STREET. 


"  Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  pass^  l'etd  avec  moi.  Je  lui  ai  donne  des  lemons 
pendant  ce  temps  d'une  facon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lecons. 
Cela  l'a  mis  en  mesure  de  connaitre  a  fond  ma  me'tnode. 
Je  peux  done  recommander  mon  eJeve,  Mr.  A.E.  Pres- 
cott. C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  les 
differents  r^gistres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  3i  Aout,  iqoi. G.  SBRIGLIA. 


Sig.  AUGUSTO  VANNINI, 


Teacher  of  Singing. 

Steinert  Hall. 


Mr.  GOSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Yiolin,  Theory ,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS. 

Pierce  Building, 
Copley  Square,   Boston. 


(635) 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO   ENSEI1BLE   CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 

DAVID   POPPER. 

STUDIO:  171A    TREHONT  STREET. 


HEINRICH   SCHUECKER,       Miss  MAR,E  L  EVERETT' 

TEACHER   of  SINGING, 


TEACHER  OF  THE  HARP. 

Erard  Harps  for  sale  and  to  let. 

32  Westland  Avenue       -       Boston 


Holds  a  recent  Diplome  Sup^rieur 
from  Madame  Marchesi,  Paris. 


THE  COPLEY, 


COPLEY   SQUARE. 


Mr.  JACQUES   HOFFMANN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN  C.  MANNING, 
F>ianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 

Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 

384  Boylston  Street,  Boston 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1  at  her  residence,  THE   OXFORD. 


Hiss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  j.  Accompaniments. 

Trinity  Court. 


Miss    EDITH   E.  TORREY, 

SOPRANO  SOLOIST  AND  TEACHER  OP 
SINGING. 

164  Huntington    Avenue,  Boston. 

Every  day  except  Tuesday  and  Friday. 
Telephone,  Back  Bay  1069-6. 


U.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concerts,  Recitals,  and 

Ensemble  Playing. 

7    ADELAIDE    ST.,   JAMAICA    PLAIN. 


Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Miss   ROSE    STEWART, 

Pupil  of  riARCHESl. 

VOCAL    INSTRUCTION. 

^EINERT     HALL    BUILDING. 


Mr.  JUNIUS  W.  MILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


TO   read   Music  like  Print. 
The  Vars'  New  Interval  System  of  Sight 
Singing. 

No  Sol-faing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mme.  L.  Hamburger,  Pierce  Bldg.,  Copley  Sq. 


Miss  LOUISE    LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 
Studio,  21  Steinert  Building. 


Mrs.  flabelMann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN.  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(CSC) 


mme.  Kirkby  Dinn 

The  GREAT  ENGLISH  CONTRALTO 
PRAISES  THE 


WEBER  TONE! 


i 


New  York,  December  18,  1902.    M^jj 

The  Weber   Piano   Company. 

Gentlemen, —  I  am  more  than  pleased  with 
the  Weber  pianoforte  which  I  use.  Its  sym- 
pathetic singing  quality  and  richness  of  tone 
^i  render  it  invaluable  for  accompaniment  pur- 
^{|  poses,  whilst  as  a  solo  instrument  it  is  equally  (jjj^ 
distinguished. 

(Signed)     LOUIE   KIRKBY   LUNN, 


Boston   Representatives 


George  H.  Champlin  &  Co. 

181  Tremont  Street  ($3 


JEAP*KESZKL 
LD0UAKD-KE5ZKL 


eyfrf.  ^t€inwdy&5"onS'    re 
....."While  circumstances 

have  sometimes  rendered  the  temporary 
use  of  other  instruments  necepry,  J 
our  preference,  conviction  and 
artistic  judgment  have  been 
||anJ  <are  for  your  superb 
master  works" 


-<^=s 


STEIN  WAY  PIANOS 

M.  SJEINEPT  &l  SOUS  CO. 

162  to  165  Boylston  street,  Boston,  Mass. 


1 


PRoGRTWtE 


Conductor  of  the  Handel  and  Haydn  Society, 
Conductor  of  the  Apollo  Club,  Conductor  of 
the  Boston  Festival  Orchestra,  Musician,  Vio- 
linist, Pianist,  writes  to 

Mason  (El  Hamlin  Co. 

December  12,  1901 
Mason  &  Hamlin  Co. 

Gentlemen, —  The  Grand  pianoforte  of  your  make 
which  I  purchased  of  you  two  years  or  so  ago  has  proven 
itself  a  most  superb  instrument. 

It  stands  remarkably  well,  and,  in  fact,  like  a  Stradi- 
varius  violin,  it  improves  with  age.  I  am  sure  you  are 
to  be  congratulated  on  your  production,  and  I  am  sure  the 
artist  must  be  grateful  to  you  for  your  production.  The 
instruments  you  are  now  producing  are  not  only  fine 
pianofortes,  but  they  are  a  potent  influence  working  for 
the  best  in  the  highest  of  all  the  arts, —  music. 

With  admiration  for  the  loyalty  with  which  you  work 
toward  your  lofty  ideal,  and  with  sincere  wishes  for  vour 
continued  success,  I  am, 

Very  truly  yours, 
(Signed)    KMIL  MOLLENHAUER. 


M.   Steinert  (Si  Sons   Co, 

New   England   Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

TWELFTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      J*    &    jl    # 


FRIDAY  AFTERNOON,  JANUARY  23, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  JANUARY  24, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(637) 


MESSRS. 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 

RETAIL     W A R E R O O M S 

791    TREMONT    STREET,    BOSTON 


(638) 


TWENTY-SECOND  SEASON,  J902-1903. 


Twelfth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  JANUARY  23,  at  2.30  o'clock. 

SATURDAY  EVENING,  JANUARY  24,  at  8.00  o'clock. 


PROGRAMME. 


Arensky     .         .    Intr oduction  to  the  Opera,  "  Nala  and  Damay anti  n 

(First  time.) 

Liszt        Concerto  in  E-flat  major,  No.  J,  for  Pianoforte  and  Orchestra 
Brahms      .        .        .  Hungarian  Dances,  Nos.  \\t  J  2,  J3,  J4,  J5 

(Orchestrated  by  Albert  Parlow.) 


Mozart       .        Symphony  in  C  major  with  Fugue-Finale  ("  Jupiter  ") 

I.  Allegro  vivace. 

II.  Andante  cantabile. 

III.  Menuetto:  Allegretto.     Trio. 

IV.  Finale  :  Allegro  molto. 


SOLOIST: 
Mr.  MARK  HAMBOURG. 


The  Piano  is  a  Knabe. 


There  will  be  an  intermission  of  ten  minutes  before  the  symphony. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  te 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  cavarimg 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  teat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  dee*  aot  ob- 
struct auch  view,  may  be  worn. 

Attest:    J.  M.  GALVIN,  City  Clerk. 

(639) 


L.  P.  HOLLANDER  &  CO. 


GRAND    OPENING    OF 

IMPORTED    WASH    FABRICS. 


French  Muslins. 

Embroidered  Swiss  Muslins. 

French  Dimities. 

Irish  Dimities. 

Scotch  Cheviots. 

French  Percales. 

French  Plumetis. 

French  Embroidered  Muslins. 

Plain  and  Fancy  Batiste. 


French  Piques. 

Silk  and  Linen  Flowered  Grenadines 

Plain  and  Fancy  French  Bareges. 

French  Brilliants. 

French  Embroidered  Linens. 

Fancy  French  Bouclais. 

Linen  Ginghams. 

Linen  Etamine. 

Linen  Canvas. 


Dressmaking  Department. 


We  shall  take  orders  during  the  months  of  JANUARY  and  FEBRUARY 
from  VERY  ATTRACTIVE  NEW  MODELS  in  the  above  materials 
at  a  MARKED  REDUCTION  from  our  usual  prices. 


■St 


\ 


DIAMONDS 

Watches,  Clocks, 

Silverware,  Cut  Glass, 

Fine  Jewelry,  Bric-a-Brac. 

One  of  the  Largest  Assortments 
In  the  Country 

Reliable  Goods 

Prices  Moderate 

SMITH, 
PATTERSON 

C    rr%     Wholesale 
°r    vU.       and  Retail 

52  Summer  St. 


Overture  to  the  Opera,  "  Nala  and  Damayanti." 

Anton  Arensky. 

(Born  at  Nijni  Novgorod,  July  30,  1861;  still  living.) 

The  opera  "Nala  and  Damayanti"  was  written  in  1898.  De  Wassilieff 
wrote  from  St.  Petersburg  to  the  Revue  Internationale  de  Musique  (Paris, 
November,  1898)  that  no  Russian  composer  was  sure  of  a  production  of 
his  opera,  however  excellent  it  might  be,  "for  the  public  of  St.  Petersburg, 
strange  as  it  may  seem,  likes  to  hear  again  that  which  it  already  knows, 
and  the  managers  of  theatres,  even  when  they  are  subsidized,  prefer  sure 
box-receipts  with  an  old  piece  to  the  risk  of  a  new  work, —  even  though  it 
be  a  masterpiece.  We  shall  then  probably  wait  at  St.  Petersburg  as  long 
for  '  The  Betrothed  of  the  Tsar,'  *  the  prologue  of  '  Pskovitaine,'  the 
'  Sarrasin,'  and  '  Nala  and  Damayanti,'  as  we  waited  for  '  Sadko,'  the 
<  Filibustier,'  '  William  Ratcliff.'  " 

The  same  correspondent  wrote  from  St.  Petersburg  in  January,  1899  : 
"The  programme  of  the  fifth  symphony  concert  included  fragments  from 
Cui's  '  Prisoner  of  the  Caucasus,'  Mozart's  symphony  in  D  major,  a  sym- 
phonic poem  by  Liszt,  Arensky'1  s  overture  to  '  Nala  and  Damayanti,' 
Davidoff's  violoncello  concerto,  and  Rimsky-Korsakoff's  '  Spanish  Ca- 
price.' "     Blumenfeld  conducted. 

I  find  no  record  in  European  music  journals  of  1898-1902  of  any 
production  of  "  Nala  and  Damayanti,"  and  only  the  overture  is  included 
with  other  works  of  Arensky  in  Jurgenson's  catalogue.  This,  however, 
does  not  prove  that  there  was  no  production. 

The  story  of  Nala  and  Damayanti  is  an  episode  of  the  Mahabharata, 
one  of  the  two  great  epic  poems  of  the  Hindus,  and  it  is  in  the  sixth 
chapter  of  the  third  book,  or  Vana-parvan.     It  is  not  in  any  way  a  part  of 

*  Rimsky-Korsakoff  wrote  "  The  Betrothed  of  the  Tsar,"  since  performed  in  Russian  cities  and  in  Prague; 
the  prologue  to  his  "  Pskovitaine,"  a  prologue  independent  of  the  opera  ;  and  "  Sadko."  CMsar  Cui  wrote 
the  "  Sarrasin,"  "  Filibustier,"  and  "  William  Ratcliff." 

THE  MANAQEHENT  OF  THE 

NEW  ENGLAND  CONSERVATORY  OF  MDSIC 

ANNOUNCES  THE  ENGAGEMENT  OF 

Mme.  Antoinette  Szumowska 

AND 

Mrs.  Henry  M.  Rogers 
MR.    CEORC    HENSCHEL 

will  teach  —  until  March,   1903  —  EXCLUSIVELY  in  the  Conservatory. 

Particulars  and  terms  (for  one  or  any  number  of  lessons)  may  be 

had  of  the  Registrar  or  from  Mr.  Henschel  personally. 

(641) 


New  Shirt  Waistings. 

Linens,  Piques,  Madras,  Lawns, 
Dimities,  Mercerized  Cheviots, 
Mercerized  Zephyrs,  Wash  Silks, 
Embroidered  Linens    and  Silks. 

We  confidently  offer  these  goods,  as  they  have 
never  been  equalled  in  quality,  coloring,  and 
in  beauty  of  design. 

New  Models  of 
Shirt  Waists,  Stocks,  and  Wash  Suits. 

V.  BALLARD  &   SONS 

256  BOYLSTON  STREET,  BOSTON 


(642) 


the  main  plot  of  the  poem,  but  the  story  is  told  by  a  sage  to  console  King 
Yudhishthira,  who  had  lost  all  he  had  at  a  game  of  chance,  and  lived  as  an 
exile  for  twelve  years  in  a  forest. 

Nala  was  a  king  of  the  choicest  virtues  and  especially  famous  for  his 
skill  in  driving ;  but  he  was  passionately  fond  of  gambling,  and  the  epithet 
"fond  of  dice"  was  fastened  to  him.  In  a  neighboring  country  reigned 
Bhima,  who  had  one  daughter,  Damayanti,  and  she  was  so  wondrous 
beautiful  that  Nala  heard  of  her.  As  he  was  walking  one  day  in  his 
garden,  he  caught  a  swan  that  was  near  him.  The  bird  spoke  in  the 
language  of  men,  and  promised,  if  he  would  free  it,  to  go  to  Damayanti 
and  praise  Nala  before  her.  The  swan  went  to  the  princess,  and  she 
loved  Nala,  who  was  unknown  to  her.  Bhima  saw  his  daughter  pining, 
and,  as  a  remedy,  proclaimed  the  Svayamvara,  the  public  choice  of  a 
husband  by  Damayanti.  Nala  with  all  the  other  princes  of  India  appeared 
as  suitors.  The  gods,  who  had  heard  of  her  beauty,  resolved  to  enter  the 
lists ;  they  met  Nala  on  the  way,  and  begged  him  to  plead  their  cause. 
He  told  them  he  was  in  love  with  her,  but  they  made  him  take  an  oath  to 
deliver  their  message,  and  they  introduced  him  unseen  into  the  palace. 
Damayanti  heeded  not  the  wooing  of  the  gods,  but  confessed  her  love  to 
Nala.  At  the  Svayamvara  she  detected  him,  although  the  gods  had 
assumed  Nala's  form  ■  for  the  gods  had  no  shadow.  Now  Kali,  a  wicked 
god,  Vice  personified,  had  intended  to  honor  Damayanti  with  his  hand ; 
but  he  was  late  and  the  marriage  ceremony  was  over,  so,  jealous,  he 
resolved  to  ruin  Nala.  He  waited  for  twelve  years  ;  at  last  Nala  neglected 
some  petty  ablution,  and  Kali  was  able  to  enter  into  the  body  of  Nala  and 
induce  him  to  play  at  dice  with  his  brother  Pushkara.  The  game  lasted 
many  months.  Nala  lost  his  kingdom  and  all  his  possessions,  and  was 
driven  into  exile  with  Damayanti. 

In  the  forest  Nala,  still  under  the  control  of  Kali,  deserted  his  wife,  who 

THE  MUSICAL  WORLD. 

THE   BEST   WRITERS   AND   BEST   COMPOSERS. 
The  February  number  contains: 


Concerning  Musical  Editors.     By  Arthur  Foote. 
Mily  Balakireff.     By  Rosa  Newmarch. 
Giuseppe  Buonamici.     A  sketch. 
Some  Common  Faults  in  Piano  Practice.      By  T.  P. 

Currier. 
Teachers'  Self-development.     By  Marie  Benedict. 


Elaine.     Valse  lente  for  piano.     By  Paul  Ambrose. 
Dearie.    A  song.     By  Mr».  H.  H.  A.  Beach. 
Ashes  of  Roses.     Song.     By  Arthur  Foote. 
Marche  Imperiale.     Piano.     By  Czibulka. 
Venetian  Barcarolle.     Piano.    By  Carl  Bohm. 


We  want  every  musician  to  know  The  Musical  World,  and  for  a  limited  period  offer 
to  send  the  journal  for  three  months,  to  any  address,  for  25  cents.  Sample  copy, 
10  cents. 

PUBLISHED    BY 


ARTHUR   P.  SCHHIDT, 


146  Boylston  Street,  BOSTON. 


f643) 


after  many  dangers  found  refuge  at  the  court  of  King  Cedi.  Nala  rescued 
a  serpent  from  a  burning  bush.  This  serpent,  a  demigod,  was  grateful, 
and  promised  to  deliver  Nala  from  Kali's  spell.  He  changed  him  into  a 
dwarfish  charioteer,  and  gave  him  a  magic  garment  by  which  he  could 
regaifi  his  own  shape.  Nala  became  the  servant  of  Rituparna,  a  monarch 
famous  as  a  dicer ;  and  Damayanti,  found  by  her  father,  suspected  that 
this  charioteer  was  her  husband.  She  found  a  way  to  tell  Rituparna  that 
on  the  next  day  there  would  be  a  second  Svayamvara  for  her  hand  at  the 
court  of  Bhima.  Rituparna  was  dependent  on  his  charioteer,  whose  skill 
enabled  them  to  make  the  journey  in  one  day.  On  the  road  the  disguised 
Nala  exchanged  his  gift  of  horsemanship  for  the  king's  skill  with  dice. 
As  soon  as  they  reached  the  court,  Nala  resumed  his  own  shape,  took  his 
wife,  sought  out  Pushkara,  resumed  the  game,  and  won  back  his  kingdom. 
He  treated  his  brother  generously,  and  lived  long  and  happily  with  Dama- 
yanti. 

This  story  was  Englished  by  Dean  Milman,  whose  version  was  revised 
by  Monier  Williams.  Sir  Edwin  Arnold  and  Mr.  W.  B.  Yeats  have  written 
poems  based  on  the  legend,  and  there  are  translations  of  the  Sanscrit  text 
into  French,  German,  and  other  languages.  Ferdinand  Hiller  (1811-85) 
wrote  the  music  of  a  cantata  entitled  "  Nala  and  Damayanti  "  (Birmingham 
Festival,  1870). 

The  overture  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  bass 
clarinet,  2  bassoons,  4  horns,  2  trumpets,  3  trombones,  tuba,  kettle-drums, 
triangle,  gong,  cymbals,  big  drum,  small  bells,  piano,  harp,  strings. 

The  first  section  is  Andante  sostenuto,  B  major,  6-8.  The  theme  is 
given  to  harp  and  first  violins.  The  second  violins  have  descending  trills, 
violas  are  divided,  horn  and  'cellos  sustain,  and  bells  and  triangle  mark 

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the  rhythm.  Allegretto,  2-2 :  clarinet  is  answered  by  violas.  Other 
wood-wind  instruments  take  in  turn  the  clarinet  theme,  which  finally  appears 
in  the  strings.  Allegro  moderato  :  chief  theme  at  first  in  bassoon  and 
'cellos.  The  development  includes  fresh  thematic  material.  The  pace 
quickens,  and  there  is  a  crescendo  to  an  allegro,  2-2,  with  theme  in  wind 
instruments  against  figuration  in  strings.  There  is  a  steady  accelerando 
to  presto.  Then  there  is  a  return  to  the  introductory  andante  sostenuto, 
which  is  succeeded  by  the  allegretto,  with  theme  at  first  in  horn  and  first 
violins  and  with  florid  accompaniment  of  piano  and  harp. 


#  # 


Anton  Stepanowitsch  Arensky  was  born  at  Nijni  Novgorod,  July  30, 
186 1.  He  was  the  son  of  a  physician,  and  when  he  was  scarcely  nine 
years  old,  ignorant  of  all  rules,  he  tried  to  write  an  instrumental  quartet. 
He  was  put  to  school  at  St.  Petersburg,  and  afterward  he  entered  the  con- 
servatory of  that  city.  He  was  a  pupil  of  Johansen  and  Rimsky- Korsakoff. 
In  1882  he  left  the  conservatory.  He  made  himself  known  at  once  by  a 
symphony  and  a  pianoforte  concerto  which  were  performed  with  success  at 
St.  Petersburg  and  at  Moscow.  In  1883  he  was  chosen  professor  of  coun- 
terpoint at  the  Moscow  Conservatory.  His  name  does  not  now  appear  in. 
foreign  directories  of  musicians  as  a  conservatory  instructor,  and  I  under- 
stand that  St.  Petersburg  is  now  his  dwelling-place. 

His  chief  works  are  the  operas:  "A  Dream  on  the  Volga"  (1892); 
"Raphael"  (1895);  "The  Spring  of  Bachischissaraii " ;  a  ballet,  "An 
Egyptian  Night";  two  symphonies  ;  violin  concerto  ;  pianoforte  concerto; 
quintet  for  pianoforte  and  strings  ;  string  quartets  ;  pianoforte  trio  ;  suites 


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You  may  have  noticed  how  closely  his  taste  al- 
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for  orchestra  ;  orchestral  suites  :  pieces  for  pianoforte  ;  pieces  for  piano- 
forte and  various  instruments  ;  a  Coronation  cantata  ;  treatises,  etc. 
He  is  now  at  work  on  an  opera  founded  on  Tolstoi's  "  Resurrection." 
His  pianoforte  concerto  was  played  at  a  Symphony  Concert,  for  the  first 
time  in  Boston,  Oct.  14,  1899  (Miss  Katherine  Heymann,  pianist).  The 
pianoforte  trio,  in  D  minor,  written  in  memory  of  Davidoff,  the  'cellist, 
has  been  heard  here  more  than  once  :  it  was  played  by  Messrs.  Siloti, 
Kneisel,  and  Schroeder  at  Mr.  Siloti's  third  recital,  March  12,  1898,  but 
the  first  performance  was  at  a  Kneisel  concert,  Dec.  30,  1895,  when 
Marie  Geselschap  was  the  pianist.  Mr.  Siloti  in  1898  introduced  several 
of  Arensky's  pianoforte  pieces. 


Concerto  in  E-flat  major,  No.  i,  for  Pianoforte  and  Orchfstra. 

Franz  Liszt. 

(Born  at  Raiding,  near  Oedenburg,  Hungary,  Oct.  22,  181 1  ;  died  at 
Bayreuth,  July  31,  18S6.) 

This  concerto  was  composed  probably  in  1848  or  1849.  ^  was  re" 
vised  in  1853  and  published  in  1857.  It  was  performed  for  the  first 
time  at  Weimar  during  the  Berlioz  week,  Feb.  16,*  1855,  when  Liszt  was 
the  pianist  and  Berlioz  conducted  the  orchestra. 

The  first  performance  in  Boston  was  by  Alide  Topp,f  at  an  afternoon 
concert  in  the  first  Triennial  Festival  of  the  Handel  and  Haydn  Society, 
May  9,  1868.  The  first  performance  at  a  concert  of  the  Philharmonic 
Society,  New  York,  was  on  April  20,  1867,  when  S.  B.  Mills  was  the 
pianist. 

*This  date  is  given  by  the  biographers  of  Liszt,  but  the  Neue  Zeitschrift  fur  Musik  (Leipsic,  Feb.  *3, 
1855)  says  that  this  concert  directed  by  Berlioz  was  on  February  17  and  in  honor  of  the  birthday  of  the  Grand 
Princess-Duchess.  The  programme  included  these  pieces  by  Berlioz  :  "  Festat  Capulets  I  louse";  "The 
Captive"  (sung  by  Miss  Genast) ;  "  Mephistopheles'  Invocation  "  (sung  by  von  Mildej :  chorus  of  Sylphs  and 
Gnomes  and  Sylphs'  Dance,  from  "Damnation  of  Faust"  ;  chorus  of  artists,  etc.,  from  "  Bi  Mini" 

(Miss  Woll  as  Ascanio);  and  Liszt's  concerto  (  M  S.),  played  by  the  composer.  The  Revue  et  Gazette  Musi- 
cale  de  Paris  (Feb.  25,  1855)  also  gives  February  17  as  the  date. 

t  Alide  (or  Alida)  Topp  was  a  pupil  of  von  Biilow,  who  wrote  to  Julius  Stern  in  May.  1863,  that  her 
parents  at  Stralsund  were  anxious  for  her  to  take  private  lessons  of  him.     Stern  was  at  the  head  of  a  con- 

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The  concerto  is  dedicated  to  Henri  Litolff,  and  the  orchestral  part  is 
scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2  horns,  2  trumpets,  2 
bassoons,  3  trombones,  kettle-drums,  triangle,  cymbals,  strings. 

The  form  is  free.  A  few  important  themes  are  exposed,  developed,  and 
undergo  many  transformations  in  rhythm  and  tempo. 

The  first  and  leading  theme  is  at  once  given  out  decisively  by  the 
strings,  with  interrupting  chords  of  wood-wind  and  brass.  This  is  the 
theme  to  which  Liszt  used  to  sing,  "  Das  versteht  ihr  alle  nicht !  "  but, 
according  to  von  Biilow  and  Ramann,  "  Ihr  konnt  alle  nichts  !  "  This 
theme  may  be  taken  as  the  motto  of  the  concerto.  The  opening  is 
Allegro  maestoso,  tempo  giusto,  4-4. 

The  second  theme,  B  major,  Quasi  adagio,  12-8,  is  first  announced  by 
muted  'cellos  and  double-basses  and  then  developed  elaborately  by  the 
pianoforte.     There  are  hints  of  this  theme  in  the  preceding  section. 

The  third  theme,  E-flat  minor,  allegretto  vivace,  3-4,  in  the  nature  of  a 
scherzo,  is  first  given  to  the  strings,  with  preliminary  warning  and  answers 
of  the  triangle,  which,  the  composer  says,  should  be  struck  with  delicately 
rhythmic  precision.  The  fourth  theme  is  rather  an  answer  to  the  chief 
phrase  of  the  second  than  an  individual  theme. 

The  scherzo  tempo  changes  to  Allegro  animato,  4-4,  in  which  use  is 
made  chiefly  of  the  motto  theme.  The  final  section  is  an  Allegro  marziale 
animato,  which  quickens  to  a  final  presto. 

servatory  in  Berlin  where  von  Biilow  was  then  engaged  as  a  teacher,  and  by  the  terras  of  contract  von 
Biilow  was  not  allowed  to  give  private  lessons.  Von  Biilow  asked  that  she  might  be  an  exception  to  the 
rule  :  "  I  do  not  think  that  she  now  needs  any  other  instruction  than  mine."  He  prophesied  that  she  would 
bring  him  reputation,  and  said  that  he  would  not  ask  pay  for  the  lessons.  Her  name  was  recorded  in  i  - 
as  a  pupil  oi  Stern's  Conservatory;  and  von  Billow  mentioned  her  in  his  report  as  "  the  most  talented  and 
industrious  pupil  "  he  had  found  in  the  Conservatory.  In  1864  he  wrote  to  Dr.  Gille  :  "  She  is  for  me  what  I  am 
for  Liszt."  She  played  Liszt's  sonata  at  the  Tonkiinstler-Versammlung  of  1864  at  Carlsruhe,  and  Liszt  then 
characterized  her  as  "a  marvel."  Nor  was  he  afraid  to  praise  her  in  his  letters  to  the  Princess  Carolyn;- 
Sayne-Wittgenstein  (vol.  iii.,  pp.  35,  37).  Miss  Topp's  first  appearance  in  Boston  was  at  the  same  Handel 
.mil  Haydn  Festival,  at  an  afternoon  concert,  May  6,  when  she  played  Schumann's  concerto.  Mr.  John  S. 
Dwight  was  moved  to  write  of  her:  "Youth  and  grace  and  beauty,  the  glow  of  artistic  enthusiasm,  blended 
with  the  blush  oi  modesty,  won  quick  sympathy."  She  was,  indeed,  a  beautiful  apparition.  Vet  she  could 
not  persuade  Mr.  Dwight  by  her  performance  that  Liszt's  concerto  was  worth  while,  "  for  anything  mori 
wilful,  whimsical,  oiitrfe,  far-fetched  than  this  composition  is,  anything  more  incoherent,  uninspiring,  frosty 
to  the  finer  instincts,  we  have  hardly  known  under  the  name  of  music.*' 


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Liszt  wrote  at  some  length  concerning  this  concerto  in  a  letter  to 
Eduard  Liszt,*  dated  Weimar,  March  26,  1857  :  — 

"  The  fourth  movement  of  the  Concerto  from  the  Allegro  marziale  cor- 
responds with  the  second  movement,  Adagio.  It  is  only  an  urgent  reca- 
pitulation of  the  earlier  subject-matter  with  quickened,  livelier  rhythm, 
and  contains  no  new  motive,  as  will  be  clear  to  you  by  a  glance  through 
the  score.  This  kind  of  binding  together  and  rounding  off  a  whole  piece 
at  its  close  is  somewhat  my  own,  but  it  is  quite  maintained  and  justified 
from  the  standpoint  of  musical  form.  The  trombones  and  basses  take  up 
the  second  part  of  the  motive  of  the  Adagio  (B  major).  The  pianoforte 
figure  which  follows  is  no  other  than  the  reproduction  of  the  motive  which- 
was  given  in  the  Adagio  by  flute  and  clarinet,  just  as  the  concluding 
passage  is  a  Variante  and  working  up  in  the  major  of  the  motive  of  the 
Scherzo,  until  finally  the  first  motive  on  the  dominant  pedal  B-flat,  with  a 
shake-accompaniment,  comes  in  and  concludes  the  whole. 

"  The  scherzo  in  E-flat  minor,  from  the  point  where  the  triangle  begins, 

1  employed  for  the  effect  of  contrast. 

"  As  regards  the  triangle  I  do  not  deny  that  it  may  give  offence, 
especially  if  struck  too  strong  and  not  precisely.  A  preconceived  disin- 
clination and  objection  to  instruments  of  percussion  prevails,  somewhat 
justified  by  the  frequent  misuse  of  them.  And  few  conductors  are  cir- 
cumspect enough  to  bring  out  the  rhythmic  element  in  them,  without  the 
raw  addition  of  a  coarse  noisiness,  in  works  in  which  they  are  deliberately 
employed  according  to  the  intention  of  the  composer.  The  dynamic  and 
rhythmic  spicing  and  enhancement,  which  are  effected  by  the  instruments 
of  percussion,  would  in  more  cases  be  much  more  effectually  produced 
by  the  careful  trying  and  proportioning  of  insertions  and  additions  of  that 
kind.  But  musicians  who  wish  to  appear  serious  and  solid  prefer  to  treat 
the  instruments  of  percussion  en  canaille,  which  must  not  make  their 
appearance  in  the  seemly  company  of  the  Symphony.  They  also  bitterly 
deplore,    inwardly,   that  Beethoven   allowed  himself  to    be    seduced   into 

*  Eduard  Liszt  was  the  vounger  half-brother  of  Franz  Liszt's  father,  but  Liszt  called  him  cousin  as" well 
as  uncle.  Eduard  became  Solicitor-general  at  Vienna,  where  he  died  Feb.  S,  1879.  Liszt  was  exceedingly 
fond  of  him,  and  in  March,  1867,  turned  over  to  him  the  hereditary  knighthood. 

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using  the  big  drum  and  triangle  in  the  Finale  of  the  Ninth  symphony. 
Of  Berlioz,  Wagner,  and  my  humble  self,  it  is  no  wonder  that  'like  draws 
to  like,'  and,  as  we  are  treated  as  impotent  canaille  amongst  musicians,  it 
is  quite  natural  that  we  should  be  on  good  terms  with  the  canaille  among 
the  instruments.  Certainly  here,  as  in  all  else,  it  is  the  right  thing  to 
seize  upon  and  hold  fast  [the]  mass  of  harmony.  In  face  of  the  most 
wise  proscription  of  the  learned  critics  I  shall,  however,  continue  to 
employ  instruments  of  percussion,  and  think  I  shall  yet  win  for  them  some 
effects  little  known."  (Englished  by  Constant  Bache.) 

This  eulogy  of  the  triangle  was  inspired  by  the  opposition  in  Vienna 
when  Pruckner  played  the  concerto  in  that  city  (season  of  1856-57). 
Hanslick  damned  the  work  by  characterizing  it  as  a  "Triangle  Concerto," 
and  for  some  years  the  concerto  was  therefore  held  to  be  impossible.  It 
was  not  played  again  in  Vienna  until  1869,  when  Sophie  Menter  paid  no 
attention  to  the  advice  of  the  learned  and  her  well-wishers.  Rubinstein, 
who  happened  to  be  there,  said  to  her :  "  You  are  not  going  to  be  so  crazy 
as  to  play  this  concerto  ?  No  one  has  yet  had  any  luck  with  it  in  Vienna." 
Bosendorfer,  who  represented  the  Philharmonic  Society,  warned  her 
against  it.  To  which  Sophie  replied  coolly  in  her  Munich  German  : 
"Wenn  i  dos  nit  spielen  kann,  spiel  i  goar  nit — i  muss  ja  nit  in  Wien 
spielen  "  ("If  I  can't  play  it,  I  don't  play  at  all  —  I  must  not  play  in 
Vienna  ").     She  did  play  it,  and  with  great  success. 

Yet  the  triangle  is  an  old  and  esteemed  instrument.  In  the  eighteenth 
century  it  was  still  furnished  with  metal  rings,  as  was  its  forbear,  the  sis- 
trum.  The  triangle  is  pictured  honorably  in  the  second  part  of  Michael 
Pratoritis'  "Syntagma  musicum "  (Part  II.,  plate  xxii.,  Wolffenbiittel, 
16 18).  Haydn  used  it  in  his  military  symphony,  Schumann  in  the  first 
movement  of  his  B-flat  symphony ;  and  how  well  Auber  understood  its 
charm  ! 

We  read  in  the  Old  Testament  (2  Sam.  vi.  5):  "And  David  and  all 
the  house  of  Israel  played  before  the  Lord  on  all  manner  of  instruments 
made  of  fir  wood,  even  on  harps,  and  on  psalteries,  and  on  timbrels,  and 
on  cornets,  and  on  cymbals";  but  should  not  the  word  "  manghanghim  " 
be  translated  "sistrums,"  not  "cymbals"?     The  sistrum  *  jingled  at  the 

*  For  a  long  and  learned  discussion  whether  the  sistrum  should  be  included  in  the  cymbal  family  see 
F.  A.  Lampe,  "  De  Cymbal  is  veterum"  (I.,  i  c.  21,  Utrecht,  1703). 

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wanton  and  mysterious  feasts  of  Isis  as  well  as  in  the  worship  of  Cybele. 
It  was  believed  that  if  Ceres  were  angry  at  her  priestess  she  struck  her 
blind  with  a  sistrum.  Petronius  tells  us  that  it  had  the  power  of  calming 
a  storm.  Jubas  says  that  the  instrument  was  invented  by  the  Syrians, 
but  Neanthes  prefers  the  poet  Ibycus  as  the  inventor.  Cleopatra  used  to 
wear  the  apparel  of  Isis,  but  is  it  true  that  at  the  battle  of  Actium  she 
cheered  her  men,  by  the  sound  of  the  sistrum,  or  is  Virgil's  line,  "  Regina 
in  mediis  patrio  vocat  agmina  sistro,"  an  unworthy  sneer  at  that  wonder  of 

women  ? 

* 
*  * 

The  concerto  has  been  played  at  these  concerts  by  Adele  Margulies 
(Oct.  17,  1885);  Julia  Rive-King  (Oct.  16,  1886);  Adele  aus  der  Ohe 
(May  21,  1887,  Jan.  16,  1897);  Paderewski  (Nov.  19,  1895).  It  has  been 
played  in  Boston  by  Rosenthal  (his  first  appearance  in  the  United  States, 
Nov.  9,  1888),  d'Albert  (Nov.  30,  1889),  Doerner  (Feb.  18,  1892),  and 
others,  and  even  on  a  Jankd  keyboard  (Mathilde  Riidiger  (Dec.  20,  1893). 

Mr.  Mark  Hambourg  was  born  at  Boguchar- Voronezh,  Russia, 
May  30  (or  June  1,  according  to  some),  1879.  His  father  Michael  gave 
him  his  first  piano  lessons.  The  boy  appeared  for  the  first  time  in  public 
at  London,  July  12,  1890,  when  he  was  announced  as  Max  Hambourg. 
He  played  again  in  London  and  in  the  English  provinces.  "  Stepniak," 
the  Russian  exile,  was  interested  in  him,  and  persuaded  a  Scottish  noble- 
man to  help  the  boy.  In  1892  the  Musical  Times  announced  in  a  review 
of  Max's  concert  (May  17)  :  "The  friends  of  Master  Max  Hambourg  have 
wisely  decided  that  he  shall  be  a  prodigy  no  longer,  and  after  some  fare- 


CATERER 


For  Wedding  Break- 
fasts,   Lunches,    Din- 
ner and  Evening   Parties,    at    short   notice,   with 
the  best  of  material  and  finest  ware. 

Reasonable  prices.  Orders  delivered  in  the 

city  limits,  Roxbury,  and  Brookline. 

25  and  21  Temple  Place      wedding  cake  a  specialty. 

and  33  WeSt  Street.  Telephone,  433  Oxford. 


WjftffllifrlUI^^fftLlIj 


SCHIRMER'S 
MUSIC    STORE 

(The  Boston  Music  Co.) 

AND 

Circulating  Library 
of  Music 

(Circular  sent  on  application), 

26  WEST  STREET. 

TELEPHONE,  OXFORD  783. 
Depot  for  the  publications  of 

G.    SCHIRMER,    New  York. 


JjgjMgfgJHJgJHJBfgjMfg 


'  V^     (Awarded  a  Prize  Medal  and  1  >i- 
plouia  at  the  Vienna   Exposition, 
1888.) 


JACOB  THOMA  &  SON 


nakers  and  Importers  of 

HIGH-GRADE  VIOLINS. 

Repairers  to  tlie 
Boston  Symphony  Orchestra. 

47  Winter  Street,  Boston,  Mass. 


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LYRAPHONE 

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EASTERN  REPRESENTATIVES 


SANDERS  &  STAYMAN  CO. 

13  N.  Charles  Street,  Baltimore 

LINCOLN  &  VANDER  PYL 

211  Tremont  Street,  Boston 

E.  G.  BILLINGS 

34  Snow  Street,  Providence,  R.I. 

E.  E.  MILLER 

71  Fourth  Street,  Troy,  N.Y. 


F.  A.  NORTH  &  CO. 

1308  Chestnut  Street,  Philadelphia 

MARCELLUS  ROPER  CO. 

Worcester,  Mass. 

SANDERS  &  STAYMAN  CO. 

1327  F  Street,  Washington 

EDWARD  MALLY  CO. 

New  Haven,  Conn. 


THE  W.  F.  TWAY  PIANO  COflPANY,  94  Fifth  Avenue,  N.Y. 


Write  for  catalogue 

SMITH    LYRAPHONE   CO.,  ,3"I5i^t5?ore.  mdREET 


(655) 


well  concerts  he  will  retire  for  a  time,  in  order  to  study  under  Mr.  Pade- 
rewski."  But  Mark,  or  Markus,  as  he  was  known  in  Vienna,  studied  under 
Leschetitzki,  and  played  Chopin's  E  minor  concerto  at  a  Philharmonic 
Concert  at  Vienna  in  1895.  He  went  to  Australia,  where  he  gave  con- 
certs, and  early  in  1896  he  saw  London  again.  There  he  gave  recitals 
and  played  with  orchestra.  Since  then  he  has  led  the  life  of  a  wandering 
virtuoso.  His  first  appearance  in  the  United  States  was  in  Boston  at  a 
concert  of  the  Boston  Symphony  Orchestra,  Nov.  4,  1899,  when  he  played 
Rubinstein's  D  minor  concerto.  He  gave  recitals  here  on  November  20 
and  December  2  of  the  same  year.  He  played  at  a  Kneisel  Quartet  con- 
cert, Jan.  29,  1900  (Richard  Strauss's  piano  quartet).  He  returned  to 
this  country  in  the  fall  of  1902,  gave  a  recital  on  November  27,  and  played 
at  a  Kneisel  concert  December  29  (piano  trio  by  Volkmar  Andreae). 


Hungarian  Dances,  Nos.  ii,  12,  13,  14,  15.  Johannes  Brahms. 

Scored  for  orchestra  by  Albert  Parluw, 

(Born  at  Hamburg,  May  7,  1833;  died  at  Vienna,  April  3,  1897  ) 

Brahms  wrote  for  the  pianoforte  (four  hands)  four  sets  of  Hungarian 
dances  which  are  without  opus  number.  Books  I.  and  II.  were  published 
in  1869,  Books  III.  and  IV.  in  1880.  There  have  been  various  arrange- 
ments made  of  them,  among  them  one  for  violin  and  piano,  by  Joachim, 
and  one  from  Nos.  5  and  6,  for  two  voices  and  pianoforte,  by  Pauline 
Viardot. 

Book  I.  (Nos.  1-3)  was  scored  by  Brahms  ;  Book  II.  (Nos.  5-6),  by 
Albert  Parlow  ;  Book  III.  (Nos.  1 1-16),  by  Parlow  ;  Book  IV.  (Nos  17-21), 
by  Anton  Dvorak. 

Parlow  was  born  at  Torgelow,  near  Uckermiinde,  Jan.  1,  18.22  ;  and  he 
died  at  Wiesbaden,  June  27,  1888.  He  was  a  bandmaster,  and  later  in  his 
career  he  conducted  an  orchestra  at  Hamburg. 

ilflNfi^     THAT  I  Andrews,  Addison  F.     "Oh,  fora  DayoFSpring"  .40 

■Vi^cKo       VAb  I  Ashford,  Robert  "Dreamy  Days" .     .     .  .50 

INCjCKS     AKL  I  Berwald,  W.  "Love's  Whispers"  .     .  .50 

INfilNfi    ^    ^^  I  Bullard,  Frederic  Field  "A  Stein  Sony"  .     .     .  .50 

IMVIIMVI                             J    Busch)  Carl                           "Remembrance"        .      .      .40 
^^■^^■"■^^™™"""    Cole,  Rossetter  G.           "Auf  Wiederseh'n    .     .     .40 
Fisher,  Wm.  Arms  "Gae  to  Sleep" 5° 

"  "  "Sweet  is  Tipperary" 5° 

Frey,  Adolf  "A  True  Love  Song" 4° 

Hadley,  Henry  K.    "Der  Asra" 4° 

"  "  "I  Plucked  a  Quill" 4° 

Hammer,  Marie  von"  A  Rose  Once  Grew" 4° 

Hopekirk,  Helen       "O  Can  Ye  Sew  Cushions" , 4 

Hyatt,  N.  Irving      "The  Spring  of  Love" 5° 

Klein,  Bruno  Oscar  "To  the  Woodlark" 5° 

Little,  Alfred  E.        "Absence" 4° 

Manney,  C.  F.  "My  True  Love  Hath  My  Heart" 4° 

Mawson-Marks,  C.  "My  Part  in  Thee" -4° 

"  "  "Twilight  Lullaby"      ...       .4° 

Mayhew,  Grace        "The  Shoogy-Shoo"   ...       -4° 
Miersch,  Paul  "GentlyClose  My  Weary  Eyelids,". 60 

"  "lm  WaKle" 4° 

Norris,  Homer  "Dearie" 4° 

Oliphant,  Sara         "Baloo,  My  Dear" 50 


BOSTON : 
OLIVER  DITSON  COMPANY 

Chas.  H.  Ditsous  Co.,  New  York 
J.  E.  DltSOn  &  Co.,  Philadelphia 


/NEW  LACES. 


Heavy  Cluny  Insertings  with  yak. 

Silk  Fibre  Guipures,  very  brilliant. 

Sets  of  French  Valenciennes,  new  designs. 

Bulgarian  Bands  on  canvas. 

Italian  Lace  Collars,  stole  ends. 

Irish  Lace  Collars,  very  deep. 

Swiss  Laces  and  Applications  from  a  famous  designer. 

Linen  Clunys  and  Antiques. 

Point  Venise  Allovers,  laces  to  match. 

Evening  Robes  of  Silver,  Pailette,  Marquise,  Crepe  de  Chine,  and 

Mousseline  de  Soie. 

Pailette  Godet  Flounces  and  Insets. 

Corsage  Ornaments,  Drops,  and  Garnitures. 

Spangled  Allovers  in  black  and  silver. 

Evening  Tulles,  Gauzes,  Malines,  Paraguay  Laces,  Collars, 

and  Allovers. 

Black  Dress  Nets,  high  lustre  effects. 

Face  Veilings,  some  new,  attractive  meshes. 


<$» 


EMBROIDERED   LINEN   WAISTS. 

Just  received,  our  first  exhibit  of  Butcher's  Linen  Embroid- 
ered "Waists,  unmade,  comprising  white,  white  on  blue,  ecru,  white  on 
tan,  tan  on  blue,  white  with  black  and  white.  Plain  material  for  skirts  if 
desired.  These  waists  are  our  private  designs,  and  cannot  be  duplicated 
in  our  city.     Prices  range  $15.00  to  $22.00. 

Exhibited  first  floor,  Trimming  Department. 


R.  R.  Stearns  *  Company 


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Tasso  Corsets 


(U58) 


These  dances,  for  the  most  part  if  not  all,  are  based  on  dances  by  Hun- 
garian composers,  or  are  paraphrases  of  them.  Brahms  was  accused  of 
taking  unfair  advantage  of  the  wandering  musicians  and  enriching  his 
fame  and  purse  at  their  expense.  He  did  not  think  it  necessary  to  reply  ; 
but  Simrock  made  stir  and  bustle  with  affidavits  and  other  documents, 
as  well  as  protests.  A  foolish  controversy,  for  on  the  title-page  of  the 
pianoforte  version  are  the  words,  "  Arranged  by  J.  Brahms."  The  names 
of  the  composers  of  the  first  ten  dances  were  published  in  the  Al/gemeine 
Mitsikalische  Zeitung  of  1874  (p.  348). 

The  dances  now  chosen  for  performance  are  as  follows  :  — 

No.  11.  D  minor,  poco  andante,  2-4.  Scored  for  2  flutes,  2  oboes,  2 
clarinets,  2  bassoons,  4  horns,  harp,  strings. 

No.  12.  D  minor,  presto,  2-4.  Scored  for  piccolo,  2  flutes,  2  oboes,  2 
clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones,  kettle-drums, 
strings. 

No.  13.  Andantino  grazioso,  D  major,  2-4,  with  a  contrasting  section, 
vivace,  B  minor.  Scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2  bas- 
soons, 4  horns,  2  trumpets,  3  trombones,  harp,  kettle-drums,  strings. 

No.  14.  Un  poco  andante,  D  minor,  2-4.  Scored  for  2  flutes,  2  oboes, 
2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones,  drums,  strings. 

No.  15.  Allegretto  grazioso,  B-flat,  2-4.  Scored  for  piccolo,  flute,  2 
oboes,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones,  kettle- 
drums, strings. 


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For  many  years  we  have  been   the  agents  for  the  sale   of  this  fine 

watch,  and  we  can  recommend  it  as  EQUAL  to  the  best  watch 

made,  and  not  so  expensive.     Chatelaine  Watches 

in  gold,  enamelled,  and  jewelled  cases. 


In  our  ART  rooms  will  be  shown  the  choicest  novelties  from  Paris, 
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147  TREMONT  STREET 


(658) 


ENTR'ACTE. 

THE   NEO-RUSSIAN    SCHOOL    AND    OPERA. 

(Apropos  of  Arensky's  opera-overture.) 

Aristocratic  Russia  was  for  a  long  time  in  the  habit  of  importing  its 
amusements.  Catherine  I.,  extravagantly  fond  of  dancing,  borrowed  from 
Paris  Mile.  Juliette,  a  ballet  dancer,  just  as  Catherine  II.  borrowed  the 
philosopher  Diderot.  There  was  a  Russian  ballet,  "  Baba  Yaga,"  a  comedy 
with  songs  and  dances,  before  there  was  a  Russian  opera.  The  first 
theatre  opened  to  the  public  was  in  the  reign  of  Elisabeth,  and  the  first 
singers  and  orchestra  imported  were  under  the  manager  Locatelli,  not  the 
violinist  of  that  name.  The  history  of  the  ballet  is  associated  closely 
with  that  of  the  opera  in  all  countries,  and  the  story  of  the  ballet  in  Rus- 
sia is  one  of  incredible  extravagance,  scandal,  and  crime;  therefore  of 
genuine  interest. 

The  first  opera  in  Russia  was  in  1735,  and  the  company  was  Italian. 
The  first  opera  with  Russian  libretto  and  sung  by  Russian  singers  dealt 
with  a  Grecian  mythological  subject,  and  the  music  was  by  an  Italian. 
Catherine  II.  longed  for  national  opera.  She  wrote  the  librettos  of  five, 
and  in  the  middle  of  the  eighteenth  century  Russians  did  write  operas. 
They  were  without  flavor  or  beauty.  They  were  in  weak  Italian  style,  and 
not  one  remained  long  in  the  repertory. 

When  Dargomyzski,  Mily  Balakireff,  and  Cesar  Cui  met  with  Rim  ky- 
Korsakoff,  Borodin,  and  Moussorgsky  to  discuss  the  future  of  Russian 
music,  the  following  theories  concerning  opera  were  adopted  by  all  except 
Borodin.  (I  give  them  as  declared  by  Ce'sar  Cui  in  his  "  La  Musique  en 
Russie,"  Paris,  1880.) 

SILK    UNDERWEAR. 

It  is  very  seldom  that  you  hear  of  "  Kayser  "  underwear  selling  under 
price.  Flour,  sugar,  and  a  few  staples  are  never  sacrificed.  Neither  is 
Kayser  underwear :  it  is  as  solid  value  as  wheat. 

We  have  a  small  lot  of  Italian  silk  underwear, —  genuine  Kayser  goods 
of  pure  silk  with  crocheted  trimming,  in  the  very  latest  designs  of  this 
season.  Never  mind  how  we  procured  these  goods :  the  price  alone  is 
important.     We  shall  sell  them  at  sensational  figures : 

$2.50  to  $3.50  Vests  for 

$1.79. 

$1.50  to  $1.75  Vests  for 

89  cents. 

$2.50  to  $3.50  Tights  for 

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opportunity  of  the  entire  year  to  buy  the  best  Silk  Underwear  at  much 
under  its  value. 


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(i)  Dramatic  music  should  always  have  an  intrinsic  value  as  absolute 
music,  without  regard  to  the  libretto.  Composers  thus  had  for  their  chief 
thought  only  pure  melody  and  vocal  virtuosity, —  easy  and  infallible  means 
of  success.  The  most  common  and  naive  trivialities  had  a  reason  for 
existence,  and  that  which  would  have  been  hooted  in  an  orchestral  work 
found  its  way  naturally  into  opera.  The  Italians,  with  a  wondrous  gift  of 
melody,  did  not  even  try  to  conceal  nude  melody  by  any  harmonic  dress. 
By  the  Italians,  of  course,  they  meant  the  Italians  before  the  Verdi  of 
"  Aida,"  "Otello,"  "Falstaff,"  and  the  members  of  the  ultra-modern 
school.  They  looked  at  the  thirty  odd  operas  of  Rossini  and  the  sixty 
odd  operas  of  Donizetti,  and  found  only  one  or  two  types  :  the  rest  was 
merely  repetition.  The  composers  wrote  too  much  ;  they  speculated  on 
the  success  of  singers,  scene  painters,  and  ballets.  But  these  Russians 
thought  that  opera  music,  apart  from  accessories,  should  always  be  genu- 
ine and  beautiful,  rich  and  striking  in  harmonic  progressions  and  instru- 
mental dress.  This  theory  might  seem  to  some  a  stumbling-block. 
Should  there  be  no  episode  of  commonplace  to  relieve  the  tension  of  the 
hearer  ?  No.  These  men  did  not  care  whether  the  audience  were  pleased 
or  displeased.     They  worked  for  an  ideal. 

(2)  Vocal  music  must  be  always  in  perfect  accord  with  the  meaning  of 
the  text.  Each  sentence  should  have  the  one  fitting  and  correct  musical 
declamation.  The  meaning  of  the  text  should  come  out  clearly  in  the 
musical  phrase.  A  psychical  sentiment  can  often  be  expressed  with  more 
depth  and  power  in  music  than  in  words.  One  of  the  chief  means  of 
music  is  to  paint  the  movements  of  the  soul,  the  passions:  speech  defines 
the  aspirations  of  the  soul.  Therefore  the  libretto  should  be  chosen  with 
the  greatest  care. 

(3)  The  arrangement  of  the  scene  should  depend  entirely  upon  the 
situation  in  which  the  characters  are  placed,  as  well  as  on  the  general 
movement  of  the  plot.  There  are  operas  in  which  the  chorus  or  the 
ensemble  wastes  time  without  consideration  of  words  or  action.  A 
catastrophe  is  ready :  immediately  the  characters  stand  in  line  along  the 
footlights,  with  the  chorus  arranged  orderly  at  their  heels,  and  sing  a  long 
set  piece;  after  it  is  finished,  after  the  applause  is  all  over,  the  catastrophe 
takes   place.     If  the  hero  of    a    lyric  scene    is  the  tenor  or  baritone,  he 


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OLD  VIOLINS. 


Mr.  Oliver  offers  his 

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rare    old    violins    and 

'cellos,  by  the  old  Italian  and  other  makers, 

also  a  fine  collection  of  old  and  new  artists 

bows,  Italian  strings,  silver  G's,  Leather  eases, 

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must  first  show  his  talent  in  declamation  :  he  therefore  advances  to  the 
prompter's  box,  and  goes  through  the  recitative ;  then,  to  display  his 
breadth  of  style,  he  sings  an  andante  cantabile ;  but  he  is  also  a  master 
of  rapid  and  florid  passages  :  and  there  is  necessarily  a  fast  movement, 
and  at  the  end  an  impossible  note,  high  or  low,  which  is  held  endlessly. 

This  coterie  waged  war  on  all  such  conventionalities  :  it  believed  that 
there  should  be  a  complete  independence  of  form,  and  that  the  musical 
development  should  be  controlled  by  the  text  or  the  scenic  situation. 
Marches,  characteristic  dances,  an  overture,  entr'actes, —  these  pieces, 
essentially  orchestral,  may  well  be  in  place.  Melody  should  be  used  to 
express  lyrical  emotion  ;  but  one  model  of  melodic  form,  however  suc- 
cessful it  may  be,  should  not  serve  in  several  numbers  of  one  and  the 
same  opera,  because  in  a  lyric  work  there  are  seldom  two  situations 
completely  similar  with  a  text  that  offers  the  identical  suggestions.  And, 
when  a  chorus  is  introduced,  it  should  not  come  forward  as  a  chorus 
merely  for  the  sake  of  contrast  or  to  rest  the  chief  singers  :  the  chorus 
should  be  a  crowd  doing  something,  having  a  determinate  part  in  the 
drama.  Furthermore,  there  should  be  attention  paid  to  the  historical 
period  of  the  drama,  to  local  color ;  in  a  word,  the  time  and  place  as  well 
as  the  characters  should  be  musically  typified. 

One  might  have  replied,  "  But  these  ideas  are  not  very  unlike  the  views 
of  Wagner."  Cui  or  Balakireff  would  have  answered  :  "  The  methods  used 
in  pursuing  the  end  are  very  different.  Wagner  centres  all  the  interest 
in  the  orchestra ;  the  singers  have  only  a  secondary  place.  While  a  theme 
is  exposed  by  the  orchestra,  the  actor  declaims  sections  of  recitative,  which, 
taken  separately,  often  have  little  intrinsic  value  or  real  meaning.  This 
method  is  false.  The  characters  in  the  opera,  not  the  orchestra,  should 
dominate  the  scene.  The  characters  speak  the  text,  which  introduces  the 
music ;  without  them  there  would  be  no  music.  The  audience  sees  and 
hears  them ;  and  they,  not  the  orchestra,  should  have  the  leading  part. 
In  Wagner's  music  the  orchestra  kills  song.  He  makes  every  effort  to 
diminish  the  musical  importance  of  the  characters  in  the  operas.  But  we 
Russians  give,  with  extremely  rare  exceptions,  the  whole  musical  suprem- 
acy to  the  singers,  and  they  have  the  important  themes.  We  believe 
that  the  singers  are  the  true  interpreters  of  the  composer's  ideas.  Further- 
more, to  mark  the  character  of  each  person,  Wagner  clothes  the  singer 
with  a  musical  phrase,  as  with  a  coat,  which  he  always  wears.  But  why 
is  the  poor  fellow  condemned  always  to  the  same  phrase?  We  are  not  so 
miserly.  We  give  as  many  as  the  situations  demand.  We  reserve  the 
right  to  elaborate  these  themes  in  different  ways, —  to  change  rhythm,  color, 
harmony ;  but  unity  is  not  disregarded,  and  the  character  is  portrayed 
more  vividly.  In  addition  to  this,  Wagner  uses  snatches  of  orchestral 
phrases  that  symbolize  persons  like  phrases  to  express  an  idea,  as  '  Ven- 
geance,' a  sword,  etc. ;  and  when  one  of  these  ideas  is   suggested,  even 

KAKAS  BROS:  Fur  Store, 

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179  TREMONT  ST,  *"Z.Z"™n'  I  179  TREMONT  ST.,  *«"AJ5r"' 
THE  MODEL  FUR  STORE  OF  BOSTON. 

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faintly,  the  phrase  appears,  as  though  worked  by  a  spring.  As  though 
each  person  could  not  have  an  opinion  wholly  different,  a  sentiment  far 
removed,  in  considering  the  same  subject !  We  do  not  fall  into  such 
errors,  at  least." 

Operas  by  Cui,  Dargomyzski,  Rimsky- Korsakoff,  and  Moussorgski 
were  the  result  of  these  deliberations. 

Let  us  look  for  a  moment  at  Dargomyzski's  opera,  "The  Stone  Guest." 
The  story  is  Pushkin's  version  of  the  adventures  of  our  old  friend,  Don 
Juan,  the  Spaniard,  who  met  his  death  in  the  indefatigable  pursuit  of  the 
ideal  woman.  There  is  no  need  of  dwelling  on  the  variations  in  the  story. 
For  instance,  Pushkin  makes  Donna  Anna  the  wife  instead  of  the 
daughter  of  the  Commander.  It  is  enough  to  say  that  in  his  music  the 
composer  follows  the  text  without  changing  a  passage  or  rejecting  a  single 
word.  There  is  not  a  concession  to  the  audience  :  not  an  air  or  chorus  is 
introduced  merely  for  the  purpose  of  tickling  the  ear.  Instead  of  set 
tunes  we  find  melodic,  descriptive,  emotional  recitative.  This  opera, 
which  takes  less  than  two  hours  in  performance,  was  orchestrated  after 
the  composer's  death  by  Rimsky-Korsakoff  and  first  performed  in  1872. 
The  public  did  not  know  what  to  make  of  it ;  it  was  so  new,  so  strange. 
It  is  not  an  opera  :  it  is  a  lyric  drama  with  an  intimate  union  of  text  and 
music,  and  the  music  is  fashioned  to  fit  strictly  the  words. 

Borodin,  not  content  with  symphony  or  chamber  music,  as  though  he 
were  a  Frenchman,  looked  forward  to  the  stage  for  greater  fame.  Stassoff 
furnished  him  with  the  scenario  of  a  libretto  founded  on  an  epic  national 
poem, —  the  story  of  Prince  Igor.  This  poem  told  of  the  expedition  of 
Russian  princes  against  the  Polovtsi,  a  nomadic  people  of  the  same  origin 
as  the  Turks,  who  had  invaded  the  Russian  empire  in  the  twelfth  century. 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUGNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS  CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  flass. 


The  conflict  of  Russian  and  Asiatic  nationalities  delighted  Borodin,  and 
he  began  at  once  to  write  his  own  libretto.  He  tried  to  live  in  the  atmos- 
phere and  even  in  the  language  of  the  twelfth  century.  He  read  assid- 
uously the  poems  and  songs  that  had  come  down  from  the  people  of  that 
age ;  he  collected  folk-songs  even  from  Central  Asia  ;  he  introduced  into 
his  book,  after  the  manner  of  Shakespeare,  comic  characters  to  give  con- 
trast to  the  romantic  situations  ;  he  began  to  compose  part  of  the  music, 
when  at  the  end  of  a  year  he  was  seized  with  profound  discouragement. 
His  friends  said  to  him:  "The  time  has  gone  by  to  write  operas  on  his- 
toric or  legendary  subjects ;  it  is  necessary  to-day  to  treat  the  modern 
drama."  When  anyone  deplored  in  his  presence  the  loss  of  so  much 
material,  he  replied  that  this  would  go  into  his  second  symphony.  In 
"  Prince  Igor  "  he  did  not  follow  the  theories  which  had  been  laid  down 
before  him  by  Dargomyzski  and  Cui.  In  a  letter  to  a  friend  he  explained 
his  own  views  concerning  opera:  "I  have  always  disagreed  with  a  great 
number  of  my  friends  concerning  dramatic  music.  Recitative  is  neither 
in  my  nature  nor  in  my  character.  I  am  attracted  rather  by  melody  and 
by  the  cantilena.  I  am  more  and  more  in  favor  of  complete  and  concrete 
forms.  In  opera,  as  in  decorative  art,  details,  minutiae,  are  not  in  place  : 
only  great  lines  are  needed.  Everything  should  be  precise,  clear,  and 
easy  of  performance  from  a  vocal  and  instrumental  point  of  view.  The 
voice  should  take  the  first  place  ;  the  orchestra  should  be  secondary.  I 
do  not  yet  know  how  I  shall  succeed,  but  my  opera  will  be  more  like 
Glinka's  '  Russian  '  than  the  '  Stone  Guest.'  "  He  worked  under  great 
disadvantages.  His  wife,  Catherine  Sergeiewna  Protopopowa,  an  ex- 
cellent pianist,  was  an  invalid,  and  his  own  health  was  wretched.  In 
1877  ne  wrote  as  follows  of  his  dear  child, —  this  opera  :  "  We  old  sinners, 
as  always,  are  in  the  whirlwind  of  life, —  professional  duty,  science,  art. 
We  hurry  on  and  we  do  not  arrive  at  the  goal.  Time  flies  like  an  express 
train.  The  beard  grows  gray,  wrinkles  hollow  themselves  deeper.  We 
begin  a  hundred  different  things.  Shall  we  ever  finish  some  of  them  ?  I 
am  always  a  poet  in  my  soul,  and  I  nourish  the  hope  of  leading  my  opera 
to  the  last  measure,  and  yet  I  often  mock  at  myself.  I  advance  slowly, 
and  there  are  great  gaps  in  my  work." 

He   replied  to  Stassoff,  who  reproached  him  on  account   of  the  abun- 


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LADES'  TAILOR 

Glasgow  218  Boylston  Street,  Boston  Oban 


dance  of  choruses  in  the  opera,  that  choruses  are  constantly  interrupted 
by  recitatives  and  s<flos,  which  are  necessary  to  give  the  singer  rest. 
"  For  the  singer  is  a  human  person  and  not  a  phonograph  or  an  organ 
that  is  wound  up  with  a  key.  A  singer  who  never  leaves  the  stage,  and 
shouts  without  cessation  a  series  of  high  notes,  will  soon  be  destroyed  in 
the  flower  and  glory  of  her  career  if  she  be  not  allowed  an  opportunity  to 
rest."  "  Prince  Igor  "  was  not  performed  until  after  the  death  of  Borodin. 
It  was  finished  by  Rimsky-Korsakoff  and  GlazOunoff,  and  the  opera  was 
performed  at  St.  Petersburg  in  November,  1890.  The  composer  had  no 
illusion  concerning  the  possibility  of  transplanting  this  opera.  He 
himself  said,  "  'Prince  Igor'  is  essentially  a  national  opera,  which  can  be 
of  interest  only  to  us  Russians  who  love  to  refresh  our  patriotism  at  the 
sources  of  our  history,  and  to  see  the  origins  of  our  nationality  live  again 
upon  the  stage." 


The  founders  of  the  neo-Russian  school  agreed,  first  of  all,  that  or- 
chestral music,  as  written  by  Beethoven,  Schumann,  Liszt,  and  Berlioz,  had 
gone  as  far  as  possible.  The  string  foundation  of  Haydn  could  no  longer 
be  a  law  to  them  :  Beethoven  had  introduced  vocal  solos  and  a  chorus 
into  his  ninth  symphony  ;  Schumann  had  added  to  his  "  Rhenish  "  sym- 
phony a  fifth  movement ;  Liszt,  in  his  symphonic  poems,  had  connected  sep- 
arate episodes  into  a  general  ensemble,  and  had  firmly  established  pro- 
gramme music  ;  Berlioz  painted  in  orchestral  colors,  and  had  also  introduced 
vocal  music  into  his  symphonies  or  had  given  an  important  part  to  the 
solo  instrument,  as  to  the  viola  in  "  Childe  Harold."  It  was  impossible  to 
go  further  in  these  directions.  It  was  different  with  opera.  Dramatic 
music  was  still  in  a  transitory  state.  Its  style  was  not  irrevocably 
determined. 

Balakireff  never  wrote  an  opera,  and  his  latest  work  of  importance  is  a 
symphony  (produced  in  1898).  The  operas  of  Moussorgsky — that  wild, 
irregular,  dissipated  genius  — ■  were  put  on  the  stage  through  the  aid  of 
his  colleagues,  and  have  never  crossed  the  frontier.  Rimsky-Korsakoff's 
"May  Night"  has  been  performed  in  a  German  city,— Frankfort  (May 
3,  1900);  and  his  "Betrothed  of  the  Tsar"  at  Prague  (Dec.  4,  1902). 
Operas   by   Cui   have  been  a  little    less    parochial    in    fortune ;  his  "  Le 


WILLIAM  C.  CARL 

W.  A.  Moffitt 

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in  Boston. 

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Filibuster "  was  written  for  the  Opera- Comique,  Paris,  and  produced 
there  Jan.  22,  1894,  probably  as  an  act  of  courtesy* to  Russia,  for  there 
were  only  five  performances.  The  neo-Russian  school  is  known  to  the 
outside  world  by  symphonic  and  chamber  music. 

It  is,  perhaps,  needless  to  remind  the  reader  that  Tschaikowsky  never 
was  a  member  of  this  school, —  that  he  is  regarded  by  the  faithful  as  a  cos- 
mopolite. Arensky,  who  first  leaned  toward  the  ultra-radicals,  came  under 
the  influence  of  Tschaikowsky. 


Symphony  in  C  major,  "Jupiter"  (K.  551). 

Wolfgang  Amadeus  Mozart. 

(Born  at  Salzburg,  Jan.  27,  1756;  died  at  Vienna,  Dec.  5,  1791 . ) 

Mozart  wrote  his  three  greatest  symphonies  in  1788.  The  one  in  E- 
flat  is  dated  June  26,  the  one  in  G  minor  July  25,  the  one  in  C  major 
with  the  fugue-finale,  August  10. 

His  other  works  of  that  year  are  of  little  importance  with  the  exception 
of  a  piano  concerto  in  D  major  which  he  played  at  the  coronation  festivi- 
ties of  Leopold  IT.  at  Frankfort  in  1790.  There  are  canons  and  piano 
pieces,  there  is  the  orchestration  of  Handel's  "  Acis  and  Galatea,"  and 
there  are  six  German  dances  and  twelve  minuets  for  orchestra.  Nor  are 
the  works  composed  in  17S9  of  interest,  with  the  exception  of  the  clarinet 
quintet  and  a  string  quartet  dedicated  to  the  King  of  Prussia.  Again  we 
find  dances  for  orchestra, —  twelve  minuets  and  twelve  German  dances. 

Why  is  this  ?  1787  was  the  year  of  "Don  Giovanni  "  ;  1790,  the  year  of 
"  Cost  fan  tutte."  Was  Mozart,  as  some  say,  exhausted  by  the  feat  of  pro- 
ducing three  symphonies  in  such  a  short  time  ?  Or  was  there  some  reason 
for  discouragement  and  consequent  idleness  ? 

The  Ritter  Gluck,  composer  to  the  Emperor  Joseph  II.,  died  Nov.  15, 


Hubbell  &  McGowan 

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[mpoi in  and  Designer  of 

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IVERS  8  POND 
PIANOS 


Superlative  Qualiiy 

Pure  Colonial 

Our  new  model 
No.  214,  here  pict- 
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1787,  and  thus  resigned  his  position  with  salary  of  2,000  florins.  Mozart 
was  appointed  his  successor,  but  the  thrifty  Joseph  cut  down  the  salary  to 
800  florins.  And  Mozart  at  this  time  was  sadly  in  need  of  money,  as  his 
letters  show.  In  a  letter  of  June,  1788,  he  tells  of  his  new  lodgings,  where 
he  could  have  better  air,  a  garden,  quiet.  In  another,  dated  June  27,  he 
says  :  "  I  have  done  more  work  in  the  ten  days  that  I  have  lived  here  than 
in  two  months  in  my  other  lodgings,  and  I  should  be  much  better  here, 
were  it  not  for  dismal  thoughts  that  often  come  to  me.  1  must  drive  them 
resolutely  away  ;  for  I  am  living  comfortably,  pleasantly,  and  cheaply."  We 
know  that  he  borrowed  from  Puchberg,  a  merchant,  with  whom  he  became 
acquainted  at  a  Masonic  lodge,  for  the  letter  with  Puchberg's  memoran- 
dum of  the  amount  is  in  the  collection  of  Mozart's  letters,  edited  by  Nohl. 

Mozart  could  not  reasonably  expect  help  from  the  Emperor.  The  com- 
poser of  "  Don  Giovanni  "  and  the  "Jupiter"  symphony  was  unfortunate 
in  his  Emperors. 

The  Emperor  Joseph  was  in  the  habit  of  getting  up  at  five  o'clock  ;  he 
dined  on  boiled  bacon  at  3.15  p.m.  ;  he  preferred  water,  but  he  would  drink 
a  glass  of  Tokay ;  he  was  continually  putting  chocolate  drops  from  his  waist- 
coat pocket  into  his  mouth;  he  gave  gold  coins  to  the  poor  ;  he  was  un- 
willing to  sit  for  his  portrait;  he  had  remarkably  fine  teeth;  he  disliked 
sycophantic  fuss;  he  patronized  the  English  who  introduced  horse-racing; 


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and  Michael  Kelly,  who  tells  us  many  things,  says  he  was  "  passionately 
fond  of  music  and  a  most  excellent  and  accurate  judge  of  it."  But  we 
know  that  he  did  not  like  the  music  of  Mozart. 

Joseph  commanded  from  his  composer  Mozart  no  opera,  cantata,  sym- 
phony, or  piece  of  chamber  music,  although  he  was  paying  him  800 
florins  a  year.  He  did  order  dances,  the  dances  named  above.  For  the 
dwellers  in  Vienna  were  dancing  mad.  Let  us  listen  to  Kelly,  who  knew 
Mozart  and  sang  in  the  first  performance  of  "  Le  Nozze  di  Figaro  "  in 
1786:  "The  ridotto  rooms,  where  the  masquerades  took  place,  were  in 
the  palace ;  and,  spacious  and  commodious  as  they  were,  they  were 
actually  crammed  with  masqueraders.  I  never  saw  or  indeed  heard  of 
any  suite  of  rooms  where  elegance  and  convenience  were  more  considered, 
for  the  propensity  of  the  Vienna  ladies  for  dancing  and  going  to  carnival 
masquerades  was  so  determined  that  nothing  was  permitted  to  interfere 
with  their  enjoyment  of  their  favorite  amusement.  .  .  .  The  ladies  of 
Vienna  are  particularly  celebrated  for  their  grace  and  movements  in  waltz- 
ing, of  which  they  never  tire.  For  my  own  part,  I  thought  waltzing  from 
ten  at  night  until  seven  in  the  morning  a  continual  whirligig,  most 
tiresome  to  the  eye  and  ear,  to  say  nothing  of  any  worse  consequences.'' 
Mozart  wrote  for  these  dances,  as  did  Haydn,  Hummel,  Beethoven. 

Thus  was  Mozart  without  true  royal  protection.  He  wrote  Puchberg 
that  he  hoped  to  find  more  patrons  abroad  than  in  Vienna.  In  the  spring 
of  1789  he  left  his  beloved  Constance,  and  made  a  concert  tour  in  hope  of 
bettering  his  fortunes. 

Mozart  was  never  fully  appreciated  in  Vienna  during  his  last  wretched 
yet  glorious  years.  It  is  not  necessary  to  repeat  the  story  of  the  loneliness 
of  his  last  days,  the  indifference  of  court  and  city,  the  insignificant  burial. 
This  lack  of  appreciation  was  wondered  at  in  other  towns.  See,  for 
instance,  Studien  fur  Tonkiinstler  und  Musikfreunde,  a  musical  journal  pub- 


146  Tremont  Street. 
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MISS  GAFFNEY 

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Testimonials  from  distinguished  men  and 
women  of  Boston. 

Manicuring  and  Shampooing. 

AMIRAL  SOAP 

Made  in  France,  for  reducing  corpulency  by 
external  application.  Recommended  and  pre- 
scribed by  the  medical  profession. 


(671) 


lished  at  Berlin  in  1792.  The  Prague  correspondent  wrote  on  Dec.  12, 
1 79 1  :  ';  Because  his  body  swelled  after  death,  the  story  arose  that  he  had 
been  poisoned.  .  .  .  Now  that  he  is  dead  the  Viennese  will  indeed  find  out 
what  they  have  lost.  While  he  was  alive  he  always  had  much  to  do  with 
the  cabal,  which  he  occasionally  irritated  through  his  sans  souci  ways. 
Neither  his  '  Figaro  '  nor  his  '  Don  Giovanni '  met  with  any  luck  at  Vienna, 
yet  the  more  in  Prague.     Peace  be  with  his  ashes  !  " 

As  Mr.  John  F.  Runciman  well  says,  though  perhaps  with  characteristic 
extravagance  :  "  It  may  well  be  doubted  whether  Vienna  thought  even  so 
much  of  Capellmeister  Mozart  as  Leipsic  thought  of  Capellmeister  Bach. 
Bach,  it  is  true,  was  merely  Capellmeister :  he  hardly  dared  to  claim 
social  equality  with  the  citizens  who  tanned  hides  or  slaughtered  pigs.  .  .  . 
Still  he  was  a  burgher,  even  as  the  killers  of  pigs  and  the  tanners  of  hides. 
He  was  thoroughly  respectable,  and  probably  paid  his  taxes  as  they  came 
due.  If  only  by  necessity  of  his  office  he  went  to  church  with  regularity, 
and  on  the  whole  we  may  suppose  that  he  got  enough  of  respect  to  make 
life  tolerable.  But  Mozart  was  only  one  of  a  crowd  who  provided  amuse- 
ment for  a  gay  population  ;  and  a  gay  population,  always  a  heartless  master, 
holds  none  in  such  contempt  as  the  servants  who  provide  it  with  amuse- 
ment. So  Mozart  got  no  respect  from  those  he  served,  and  his  Bohemian- 
ism  lost  him  the  respect  of  the  eminently  respectable.  He  lived  in  the 
eighteenth-century  equivalent  of  a  '  loose  set ' ;  he  was  miserably  poor,  and 
presumably  never  paid  his  taxes ;  we  may  doubt  whether  he  often  went  to 
church  ;  he  composed  for  the  theatre  ;  and  he  lacked  the  self-assertion 
which  enabled  Handel,  Beethoven,  and  Wagner  to  hold  their  own. 
Treated  as  of  no  account,  cheated  by  those  he  worked  for,  hardly  per- 
mitted to  earn  his  bread,  he  found  life  wholly  intolerable,  and  as  he  grew 
older  he  lived  more  and  more  within  himself,  and  gave  his  thoughts  only 
to  the  composition  of  masterpieces.  The  crowd  of  mediocrities  dimly  felt 
him  to  be  their  master,  and  the  greater  the  masterpieces  he  achieved  the 
more  vehemently  did  Salieri  and  his  attendants  protest  that  he  was  not  a 
composer  to  compare  with  Salieri." 

Mozart  in  1788  was  unappreciated  save  by  a  few,  among  whom  was  Freder- 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


ick  William  II. ,  King  of  Prussia  ;  he  was  wretchedly  poor  ;  he  was  snubbed 
by  his  own  Emperor,  whom  he  would  not  leave  to  go  into  foreign,  honorable, 
lucrative  service.     This  was  the  Mozart  of  1788  and  1789. 

We  know  little  or  nothing  concerning  the  first  years  of  the  three  sym- 
phonies. Gerber's  "Lexicon  der  Tonkiinstler"  (1790)  speaks  apprecia- 
tively of  him.  The  erroneous  statement  is  made  that  the  Emperor  fixed 
his  salary  in  1788  at  6,000  florins.  The  varied  ariettas  for  piano  are 
praised  especially,  but  there  is  no  mention  whatever  of  any  symphony. 

The  enlarged  edition  of  Gerber's  work  (18 13)  contains  an  extended 
notice  of  Mozart's  last  years,  and  we  find  in  the  summing  up  of  his  career  : 
"  If  one  knew  only  one  of  his  noble  symphonies,  as  the  overpoweringly 
great,  fiery,  perfect,  pathetic,  sublime  symphony  in  C."  And  this  reference 
is  undoubtedly  to  the  "  Jupiter." 

When  was  the  "Jupiter"  first  played? 

Mozart  gave  a  concert  at  Leipsic  in  May,  1789.  The  programme  was 
made  up  wholly  of  pieces  by  him,  and  among  them  were  two  symphonies 
in  manuscript.  A  story  that  has  come  down  to  us  might  easily  lead  us  to 
believe  that  one  of  them  was  the  one  in  G  minor.  He  also  gave  a  concert 
of  his  own  works  at  Frankfort,  Oct.  14,  1790.  Symphonies  were  played  in 
Vienna  in  1788,  but  they  were  by  Haydn;  and  one  by  Mozart  was  played 
in  1791.     In  1792   a  symphony  by  Mozart  was  played  at  Hamburg. 

These  early  programmes,  even  when  they  have  been  preserved,  seldom 
determine  the  date  of  a  first  performance.  It  was  the  custom  to  print : 
"  Symphonie  von  Wranitzky,"  "  Sinfonie  von  Mozart,"  "  Sinfonia  di 
Haydn."  Furthermore,  it  must  be  remembered  that  "  Sinfonie "  was 
then  a  term  often  applied  to  any  work  in  three  or  more  movements 
written  for  strings,  or  strings  and  wind  instruments. 

It  is  possible  that  the  "Jupiter"  was  performed  at  the  concert  given  by 
Mozart  at  Leipsic.  The  two  symphonies  played  were  "  unpublished."  The 
two  symphonies  that  preceded  the  great  three  were  composed  in  1783  and 
1786.  The  latter  one,  in  D,  was  performed  in  Prague  with  extraordinary 
success.  The  publishers  were  not  slow  in  publishing  Mozart's  composi- 
tions, if  they  were  as  niggardly  as  Joseph  II.  himself.  The  two  sympho- 
nies played  were  probably  of  the  three  composed  in  1788.  Even  this  con- 
clusion is  a  guess. 


RAD! 


M&i 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COflPANY,    -    BOSTON 

(673) 


Nor  do  we  know  who  gave  the  title  "  Jupiter  "  to  this  symphony.  Some 
say  it  was  applied  by  J.  B.  Cramer,  to  express  his  admiration  for  the  lofti- 
ness of  ideas  and  nobility  of  treatment.  Some  claim  that  the  triplets  in 
the  first  measure  suggest  the  thunder-bolts  of  Jove.  Some  think  that  the 
"calm,  godlike  beauty"  of  the  music  compelled  the  title.  Others  are  sat- 
isfied with  the  belief  that  the  title  was  applied  to  the  symphony  as  it  might 
be  to  any  masterpiece  or  any  impressively  beautiful  or  strong  or  big  thing. 
To  them  "Jupiter"  expresses  the  power  and  brilliance  of  the  work. 

The  eulogies  pronounced  by  many  on  this  symphony  are  familiar  to  all, — 
from  Schumann's  "  There  are  things  in  the  world  about  which  nothing  can 
be  said,  as  Mozart's  C  major  symphony  with  the  fugue,  much  of  Shakes- 
peare, and  pages  of  Beethoven,"  to  von  Billow's  "  I  call  Brahms's  first 
symphony  the  tenth,  not  because  it  should  be  placed  after  the  ninth  :  I 
should  put  it  between  the  second  and  the  '  Eroica,'  just  as  I  think  the  first 
not  the  symphony  of  Beethoven  but  the  one  composed  by  Mozart  and 
known  by  the  name  '  Jupiter.'  "  But  there  were  decriers  early  in  the  nine- 
teenth century.  Thus  Hans  Georg  Nageli  (1773-1836)  attacked  this  sym- 
phony bitterly  on  account  of  its  well-defined  and  long-lined  melody,  "  which 
Mozart  mingled  and  confounded  with  a  free  instrumental  play  of  ideas, 
and  his  very  wealth  of  fancy  and  emotional  gifts  led  to  a  sort  of  fermenta- 
tion in  the  whole  province  of  art,  and  caused  it  to  retrograde  rather  than  to 
advance."  He  found  fault  with  certain  harmonic  progressions  which  he 
characterized  as  trivial.  He  allowed  the  composer  originality  and  a  certain 
power  of  combination,  but  he  found  him  without  style,  often  shallow  and 
confused.  He  ascribed  these  qualities  to  the  personal  qualities  of  the  man 
himself:  "He  was  too  hasty,  when  not  too  frivolous,  and  he  wrote  as  he 


A.  B.  CHASE  PIANO 

BEAUTY,  TONE,  DURABILITY, 

all  attained  in  this  celebrated  piano. 
Universally  recognized  as  a  guaran- 
tee of  supreme  excellence    :  :  :  :  :  : 

HE  purchaser  of  every  A.  B.  CHASE  piano  is  assured  that, 
whatever  the  style  he  may  select,  he  will  obtain  an  instrument 
of  unquestioned  worth,  possessing  a  musical  tone  which  for 
purity  and  power  is  unsurpassed  by  any  other  piano,  a  sym- 
pathetic touch  and  action  that  will  be  a  constant  delight,  and  .1 
durability  that  is  unlimited.  A  cordial  invitation  is  extended  U) 
all  persons  to  call  and  examine  this  beautiful  piano  at  our 
spacious  warerooms. 


^g^^M^^j 


120  and    122  Boylston  Street, 


Hoston,  flass. 


(IS74) 


S.    S.    PIERCE    CO. 

IMPORTERS    AND    GROCERS 

BOSTON    AND    BROOKLINE 


(675) 


Ladies'  White  Glace  Kid  Evening 

GLOVES 

LONG  LENGTHS  AND  EXTRA  SIZES,  WITH  FULL  ARMS 

LOWER  IN   PRICE 
THAN  ELSEWHERE 


Miss  M.  F.  FISK,  144  Tremont  Street 


/New  Piano  Music. 


Valse  Lyrique.     Miss  L.  Emery 
Signet  Waltz.      S.  Colburn 
Veritas  March.     J.  H.  Densmore 
Tremolo.     C.  Wieghorst 
Dance.     La  Gaiete.     H.  Gilberte 
Russian  Story.     G.  H.  Wilder 
Isis.     Intermezzo.     J.  R.  Hassler 
Melodie.     H.  P.  Chelius 


C.   W.  THOHPSON  &  CO., 
13  West  Street,      .     Boston,  flass. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 
CUPPLES~&~SCHOENHOF, 

128  Tremont  St.,  2<l  door  north  of  Winter  St., 

over  Wood's  Jewelry  Store.     (Tel.,  Oxford  10'."  ■-'. 

REDUCTION  SALE. 

Imported  Hats  and  Bonnets. 

Mile.   Caroline, 

486  Boylston  Street,   .     .       Boston. 

Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE    IN   FUR     GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296-298    Boylston   Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(070) 


himself  was."  Nageli  was  not  the  last  to  judge  a  work  according  to  the 
alleged  morality  or  immorality  of  the  maker. 

The  Prague  symphony  in  D  major  (1786)  is  without  a  minuet.  So  is 
the  symphony  in  G  major  (1783).  There  were  some  who  thought  in  those 
days  that  a  symphony  worthy  the  name  should  be  without  that  movement. 
Thus  the  learned  Hofrath  Johann  Gottlieb  Carl  Spazier  wrote  a  strong 
protest,  which  appeared  in  the  number  of  the  Musikalisches  Wochenblatt 
after  that  which  contained  the  news  of  Mozart's  death.  Spazier  objected 
to  the  minuet  as  a  destroyer  of  unity  and  coherence.  In  a  dignified  work 
there  should  be  no  discordant  mirth.  Why  not  a  polonaise  or  a  gavotte,  if 
a  minuet  is  allowed  ?  The  first  movement  should  be  in  some  prevailing 
mood,  joyful,  uplifted,  proud,  solemn,  etc.  A  slow  and  gentle  movement 
brings  relief  and  prepares  the  hearer  for  the  finale  or  still  stronger  presen- 
tation of  the  first  mood.  The  minuet  is  disturbing,  it  reminds  one  of  the 
dancr-hall  and  the  misuse  of  music;  and  "when  it  is  caricatured,  as  is 
often  the  case  with  minuets  by  Haydn  and  Pleyel,  it  excites  laughter." 
The  minuet  retards  the  flow  of  the  symphony,  and  it  should  surely  never 
be  found  in  a  passionate  work  or  in  one  that  induces  solemn  meditation. 
Thus  the  Hofrath  Spazier  of  Berlin.  But  the  even  more  learned  Johann 
Mattheson  had  said  half  a  century  before  him  that  the  minuet,  played, 
sung,  or  danced,  produced  no  other  effect  than  a  moderate  cheerfulness. 
Nor  should  it  be  forgotten  that  the  minuet  was  an  aristocratic  dance,  the 
dance  of  noble  dames  with  powder  and  patches  and  of  men  renowned  for 
grace  and  gallantry.  It  was  so  in  music  until  Haydn  gave  it  to  citizens 
and  their  wives  with  loud  laugh  and  louder  heels.  Haydn,  some  say, 
first  introduced  the  minuet  into  the  symphony,  but  this  movement  is  found 
also  in  the  larger  symphonies  of  Gossec,  and  Gossec  wrote  and  published 
symphonies  before  Haydn  had  written  his  first. 

And  now  a  word  about  the  Finale.  The  opening  theme  of  four  meas- 
sures  is  an  old  church  tone  that  has  been  used  by  many, —  Bach,  and  no 
doubt  many  before  him,  Purcell,  Michael  Haydn,  Handel,  Beethoven, 
Croft,  Schubert,  Goss,  Mendelssohn,  Arthur  Sullivan,  etc.  It  was  a  favorite 
theme  of  Mozart.  It  appears  in  the  Credo  of  the  Missa  Brevis  in  F  (1774), 
in  the  Sanctus  of  the  Mass  in  C  (1776),  in  the  development  of  the  first 
movement  of  the  symphony  in  B-flat  (1779),  in  the  development  of  the 
first  movement  of  the  sonata  in  E-flat  for  piano  and  violin  (1785). 


COCOA-  CHOCOLATE 


GROCERS      EVERYWHERE. 

(677) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas      All  materials  of  wear  or  household  use  properly 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(078) 

Newport 

^ 


Thirteenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  JANUARY  30,  at  2.30  o'clock. 

SATURDAY  EVENING,  JANUARY  31,  at  8.00  o'clock. 


PROGRAMME. 


Fibich Overture,  "A  Night  in  Carlstein" 

(First  time.) 

Mackenzie Concerto  for  Violin 


Beethoven Andante  Cantabile 


Tschaikowsky        ........         Suite  No.  3 


SOLOIST: 


Mr.  T.  ADAMOWSKI. 


(67a) 


STEMIVBRT   HALL 


STE1NERT  HALL 

Wednesday  Evening,  January   28,  at  8 

CONCERT   OF   OLD  MUSIC 

On  Ancient  Instruments 

(First  time  in  Boston) 

ARNOLD  DOLMETSCH 

Mrs.  ELODIE  DOLMETSCH 

AND 

Miss  MABEL  JOHNSTON 

Management  W.  N.  Lawrence 

PROGRAMME. 

1.  Canaries  for  the  Lute         .         .         Anon.,  1600 

2.  Song,  accompanied  by  the  Lute, 

"  Have  you   seen  but  a  Whyte 

Lillie  grow  "  .  .      Anon.,c.  1615 

3.  A   Tune  for  the   Cithern,   "  Light 

of  Love "  .  .      Anon.,  c.  1600 

'4.  A  Tune  for  the  Bass  Viol,  "  Heart's 

Ease"  ....      Anon.,  c.  1550 

5.  P'antasie  for  Treble  and  Bass  Viols, 

"  La  Caccia  "  .      Thomas  Morley,  1595 

6.  Two  Pieces  for  the  Virginals: 

I.   "The  Carman's  Whistle,"  Anon.,  c.  1550 
II.   "The    Lark,    with    Divi- 
sions"      .  .  .       Anon.,  c.  1660 

Reserved  Seats,  75c.,  $1.00,  #1.50.      Tickets  for  sale  at  the  hall 


7.  Sonata,  for  the  Viola  d'  Amore 
Attilio  Ariosti,  1715 

8.  Sonata,  for  the  Harpsichord 
I  )omenico  Scarlatti,  1720 

9.  Song,  accompanied  by  the   Harpsi- 
chord, "  Gia  il  Sole  " 

Alessandro  Scarlatti,  c.  1702 

10.  "  Muzette  et   Tambourin,"    for   the 
Harpsichord  .  J.  P.  Rameau,  1727 

11.  Sonata,  for  the  Viola  d'  Amore,  Viola  da 
Gamba,  and  Harpsichord, 

G.  P.  Teleman,  1720 


FIRST    DRAMATIC    RECITAL 

Miss  SAIDEE  VERE  MILNE 

(of  New  York) 

Steinert  Hall,  Wednesday  evening,  February  4 

The  program  will  include  Original  Sketches 

and  Monologues,  also  Selections 

from  Popular  Authors 

Reserved  seats,  $1.00  and  $1.50  Tickets  at  the  hall 

First  appearance  in  Boston  of  the 
Young  Russian-American  Pianist 

ARTHUR    HOCHMANN 

Tuesday  evening,  February  17,  at  8  o'clock 
In  STEINERT  HALL 

Managenn nt.  Miss  A.NNA  Mii.i.ar,  New  Vork,  Brooklyn 

(680) 


SECOND  CHAMBER  CONCERT 


BY     THE 


HOFFMANN    STRING  QUARTET 

Tuesday  evening,  February  JO,  at  8 
Mr.  CARL  STASNY,  Pianist 

PROGRAM 

QUARTET,  B-flat  major Haydn 

TRIO,  Op.  90  (Dumky) Dvorak 

QUARTET,  A  minor,  Op.  41,  No.  i Schumann 

Tickets,  $0.75  and  $1.00,  for  sale  at  the  hall  The  Mason  &  Hamlin  Pianoforte 

STEINERT  HALL,  Thursday  afternoon,  February  5,  1903, 
at  3  o'clock,  ending  at  4.15 

Mme.   ROGER  -MICLOS,  French  Kmist 

Her  first  appearance  in  Boston 

Management,  L.  M.  RUBEN 

Tickets,  $1.00  and  $1.50,  are  now  on  sale  at  the  hall 

The  Weber  Piano  used 


Miss  Elsie  Lincoln  announces  a  series  of  SIX  CONCERTS 
on  SUNDAY  AFTERNOONS  in  Steinert  Hall  for 
the  benefit  of  the  Mount  Pleasant  Home,  Dorchester,  be- 
ginning  next   Sunday,  January  25,  at  4.30  o'clock,  when 

Mr.  FRANCIS  ROGERS 

WILL  GIVE  A 

SONG   RECITAL 


Mrs.    MARTHA    S.  GIELOW,  the  Southern  Author  and  Reader, 

THE   HOFFMANN    STRING    QUARTETTE, 

Mr.  GEORGE   HAMLIN,  Tenor, 

Are  among  the  artists  engaged  for  the  following  concerts. 

The  price  of  the  best  reserved  seats  is  $1.00,  but  tickets  for  the  course  may  be  pur- 
chased for  $5.00  at  the  Steinert  Hall  ticket  office  or  by  addressing  Miss  Lincoln,  The 
Copley,  Boston,  enclosing  check  for  the  number  of  tickets  desired. 

(681) 


CHICKERING     HALL 

SATURDAY   AFTERNOON,   JANUARY    24,    1903 

AT  THREE  O'CLOCK 

Miss  BEATRICE  HERFORD,  ««-«*»»« 
Mr.  SULLIVAN  A.  SARGE/NT,  a***™ 

Benefit  of 

BALDWINSVILLE   HOSPITAL  COTTAGES 


Tickets,  $0.75,  $1.00,  and  $1.50 

Now  on  sale  at  HERRICK'S  and  CHICKERING  HALL 


rHTrupmur    «ATT         HUNTINGTON  avenue,  boston 

l/IliwlVEKllMU    HALL        Thursday  Evening,  February  5,  at  8 

Miss  ALICE  CLMMINGS, Pianist 
Miss  ANNA  MILLER  WOOD, 

Assisted   by  Mr.  KARL  O/NDRICEK,  Violinist 


Mezzo- 

contralto 


Sonata  for  Piano  and  Violin,  Op.  48,  Entile  Bernard 

(First  time.) 

Songs, Holmes,  Chretien,  D'Indy,  Halin,  Du  P.irc 

Piano  Soli,  ...........  Rachmaninoff,  Tschaikowski,  Koptiaieff 

Violin  Soli, DvotAk 

SONGS Rubinstein,  Rachmaninoff,  Tschaikowsky 

Steinway  Piano  used 

Tickets,  $1.50  and  $1,   now  on  sale 
at  Chickering  Hall  and  at  Herrick's. 

(683) 


Care    Faeeteivs 

FIFTH    PIANOFORTE    RECITAL, 

Wednesday  Evening,  Harch    4,    1903,  at  8  o'clock. 

Programme. 

Sonata,  G  major,  Op.  79     )  Beethoven 

Eroica  Variations,  Op.  35   J 

Huntington       Etude,  Op.  25,  No.  6      ) 

Chambers         Mazurka,  Op.  33,  No.  1  > .      Chopin 

Hall.  Valse,  Op.  64,  No.  2       ) 

"  Venezia  e  Napoli "  :  Gondoliera,  Canzone,  e  Tarantelle  .         Liszt 

TICKETS,  $J.OO.    J*     J*    J*    J*    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 
APPLY   TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   I  nstruction ... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

rs.  W.  L.  STOVALL 

TEACHER    OF    MUSIC 

DISTINCTIVE  FEATURES:  The  study  of  MUSIC  as  LITERATURE.  The 
Synthetic  and  Analytic  study  of  MUSICAL  FORM.  APPLIED  HARMONY.  EAR 
TRAINING,  including  Musical  Dictation  and  Sight  Singing,  looking  toward  the  ideal, 
—  the  ability  to  hear  mentally  the  printed  page. 

PIANOFORTE    INSTRUCTION 

Descriptive  booklet, "  New  Ideals  in  the  Study  of  Music,"  will  be  sent  on  application. 

STUDIO,     HUNTINGTON    CHAMBERS 

(683) 


SYMPHONY  SEATS 


For  SEASON, 


#1(V00and        $>i.00ahd 

I  Vr  UPWARD. 


SINGLE 


REHEARSAL 
»  or    CONCERT, 


UPWARD. 


CONNELLY'S   Ticket  Office,  Adams  House. 

'Phone,  Oxford  942 

Olive  JVIead, 

VIOLINIST. 

Address  F.  R.  Comee,  Symphony  Hall,  Boston,  or 

•nj  -it-  (9  East  17th  Street,  New  York. 

'  \  6  Cork  Street,  London. 

FULL  LINE  OF  THE  PUBLICATIONS  OF 

The  John  Church  Company, 

Including  the  latest  compositions  of  Chaminade,  Dudley  Buck, 
Ethelbert  Nevin,  Hawley,  De  Koven,  Damrosch,  Arthur  Nevin, 
Arditti,  J.  C.  Bartlett,  Speaks,  Willeby,  and  other  famous  com- 
posers, also  their  celebrated  collections  of 

Oratorio  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 
Opera  Songs  for  Soprano,  Alto,  Tenor,  and  Buss, 
Famous  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 

Can  be  found  on  sale  at  the  music  store  of 

C.  W.  THOMPSON  &  CO.,  13  West  Street. 

(684) 


m$ttrwfllu0ir 


lleui$aaa» 


ASTERS  IN  MUSIC  is  unlike  any  other 
musical  magazine.  It  is  edited  by  Mr. 
Daniel  Gregory  Mason.  Each  monthly  issue, 
complete  in  itself,  will  be  devoted  to  one  of 
the  world's  greatest  musicians,  giving  thirty- 
two  pages  of  engraved  piano  music,  which 
will  comprise  those  compositions  or  move- 
ments that  represent  the  composer  at  his  best,  with  editorial  notes 
suggesting  their  proper  interpretations  ;  a  beautiful  frontispiece 
portrait ;  a  life  ;  and  estimates  of  his  genius  and  place  in  art 
chosen  from  the  writings  of  the  most  eminent  musical  critics. 
The  text  of  Masters  in  Music  will  thus  constitute  an  interest- 
ing and  authoritative  monthly  lesson  in  musical  history;  its 
selections  of  music  will  form  a  library  of  the  world's  musical 
masterpieces,  and  all  at  slight  cost.  Among  the  composers 
to  be  treated  during  the  first  year  are  Chopin,  Gounod,  Verdi, 
Grieg,  Beethoven,  Mendelssohn,  and  others.  The  magazine  will 
be  most  attractively  presented  throughout.  Subscription  price, 
$2.00  a  year.     Single  copies,  20  cents.     ::::::::: 


The  January  issue,  which  has  for 
its  subject  Mozart,  is  now  on  sale 
at  the  music    stores       :::::: 


42-d()aunrf£tttrt;Ba8ton 


(685) 


THE   PINES    OF 
LORY 

By  J.  A.  MITCHELL 


"  As  charming  as  was  the  same  author's  '  Amos  Judd.'  " —  New  York  Sun. 
"  The  delightful  humor  of  the  unconventional  adventures  of  a  most  con- 
ventional young  woman." — The  Argonaut. 


HEADS     AND     OTHER 
PICTURES 

By  CHARLES    DANA   GIBSON 


Hand    Printed 

on 

Japanese  Tissue 

Paper 

Matted  Ready 

for 

Framing 

l2r*      t2r* 

Price,  $1.00  each 


Copyright,  1899, 
by  Life. 


Ym?g*v¥ 


Copyright,  1893, 
by  Life  Publishing  ('<>. 

"  No ;  it  seems  too  real  —  to  be 
—  strange." 


LIFE      PUBLISHING      COMPANY 

30  West  31st  Street,  New  York 


(086) 


SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 

70  PERFORMERS.     8Mr.   WILHELM  GERICKE,  Conductor 


Thursday  Evenings 


JANUARY  29 
FEBRUARY  J  2 


MARCH  12 
APRIL  2 
APRIL  23 


at  7.45 


SOLO  ARTISTS 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MR.  CARL  STASNI  MME.  BLOOMFIELD-ZEISLER 

MR.  ADOLF  BAK 

AND    OTHERS    TO    BE   ANNOUNCED. 


TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 

at  the  door. 


(687) 


SIG/NOR  AUGUSTO  ROTOLI 

Announces  a  performance  of  his 

FESTIVAL   MASS 

Symphony  Hall  Friday  Evening,  February  20 


Grand  Chorus,  Orchestra  a  capella,  Organ  and  Solo  Quartet 
Also   Miscellaneous  Selections  for  Soloists  and  Chorus 


Soloists  to  be  announced 

Reserved  seats  50c,  $1.00,  and  $1.50 

Mail  orders  accompanied  by  check   and   addressed  L.  H.  Mudgett,  Manager,  Sym- 
phony Hall,  now  being  received. 

Public  box  office  sale  opens  Friday,  February  13,  at  8.30  A.M. 

CHICKERING       HALL 


The  Knelsel  Quartet 

FRANZ    KNEISEL,  1st  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALVVIN    SCHROEDER,  Violoncello 


Fifth  Concert 
flonday  Evening,  January  26 


At  8 


PROORAiVliVIE 

Mozart         .         .         .        Quartet  in  U  major,  for  Flute,  Violin,  Viola,  and  Violoncello 
Brahms         .         ...         .         .  Trio  in  E-rlat  major,  for  Piano,  Violin,  and  Horn 

Beethoven  ........  Quartet  in  A  minor,  Op.  132 


Assisting  Artists 

Mrs.  Thomas  Tapper,  Piano  Mr.  A.  Maquarre,  Flute 

Mr.  A.  Hackebarth,  Horn 

(68R) 


Uhe  Cecilia  Society 

Mr.   B.  J.   LANG,  Conductor 


SYMPHONY    HALL, 

Tuesday,  February  3,  1903,  at  8  P.M. 


The  Death  of  Minnehaha 

AND 

The  Departure  of  Hiawatha 

Coleridge-Taylor 
For  Chorus,  Solo  Singers,  Orchestra,  and  Organ 


Solo  Singers 
Miss  Maud  Reese  Davies,  Mr.  George  Devoll,  Mr.  Stephen  Townsend 

Tickets,  $1.50  each,  on  sale  at  the  hall  on  and  after  Friday,  January  23 


Mme.  Antoinette  Szumowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 


(689; 


MUSICAL    INSTRUCTION. 


Miss  HARRIET  S.  WHITTIER 


VOCAL   INSTRUCTION  and 
SOPRANO   SOLOIST. 
J  183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Hiss  GERTRUDE  EDHANDS, 


Concert  and  Oratorio. 

Vocal  Instruction, 

EXETER    CHAMBERS. 


Mr.  CHARLES  B.  STEYENS, 


Specialist  in  the  Science  of 
Tone  Production  and  the  Art  of  Singing. 

Studio  20,  Steinert  Hall  Building. 


Telephone,  1331  Oxford. 


ANNA  MILLER  WOOD, 

HEZZO-CONTRALTO. 


Miss  LAURA  HAWKINS, 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Slgnor  V  ianesi. 


STEPHEN  TOWNSEHD, 


ARTHUR  BERESFORD, 


Miss  SUZA  DOANE, 

Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching   in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


(690) 


Miss  JESSIE  DAVIS 


1  . 

Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,   163    ilassachusetts  Avenue. 


Mr.  CARLO  BUONAHICI. 


PIANIST  AND  TEACHER. 

Steinert  Hall  Building. 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CHARLES  N.  ALLEN, 


Violin,  Viola,  Ensemble. 

Studio  5, Thespian  Hall, 

168  Massachusetts   Avenue, 
Boston,  Mass. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  A.  E.  PRESCOTT 


153  TREMONT  STREET. 


"  Je  certifie  que  Mr.  A.  E.  Prescott  depuis  quatre 
ans  a  passe1  l'^te'  avec  moi.  Je  lui  ai  donne'  des  lectons 
pendant  ce  temps  d'une  fagon  tres  suivie.  En  outre 
je  lui  ai  permis  d'assister  a  toutes  mes  autres  lecons. 
Cela  l'a  mis  en  mesure  de  connaitre  a  fond  ma  m^tnode. 
Je  peux  done  recommander  mon  eleve,  Mr.A.E.  Pres- 
cott. C'est  un  professeur  intelligent  et  conscien- 
cieux.  II  est  capable  de  bien  poser  une  voix  dans  les 
diffeVents  r^gistres  et  connait  les  principes  dont  je  me 
sers  pour  enseigner  le  chant  et  la  musique." 
Paris,  3i  Aout,  icgi, G.  SBRIGLIA. 


Slg.  ADGOSTO  VANNINI, 


Teacher  of  Singing. 

Steinert  Hall. 


Mr.  GUSTAV  STROBE 

(Member  of  Boston  Symphony  Orchestra) . 


Teacher  of  Yiolin,  Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


J.  ALBERT  JEFFERY, 


PIANOFORTE    LESSONS. 

Pierce  Building, 
Copley  Square,   Boston. 


(691) 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEHBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuo«o, 

DAVID    POPPER. 

STUDIO:  171 A    TREHONT  STREET. 


HEINRICH   SCHUECKER, 

TEACHER  OF  THE  HARP. 

Erard  Harps  for  sale  and  to  let. 
32  Westland  Avenue        -       Boston. 


Miss  MARIE  L.  EVERETT, 

TEACHER   of  SINGING, 

Holds  a  recent  Diplome  SupeVieur 
from  Madame  Marehesi,  Paris. 

THE  COPLEY,         COPLEY  SQUARE. 


Mr.  JACQUES    HOFFMAINN 

(Member  of  the  Boston  Symphony  Orchestra), 

Solo  Violinist  and  Teacher  of  Violin 
and  Ensemble, 

83  GAINSBORO  STREET. 


JOHN  C.  MANNING, 
Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Mr.  ALVAH  GLOVER  SALMON, 

PIANIST. 
Concerts,  Recitals,  Instruction. 

Nevsky  52,  St.  Petersburg. 

(After  October  15) 

384  Boylston  Street,  Boston. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1   at  her  residence,  THE    OXFORD. 


fliss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  jt  Accompaniments. 

Trinity  Court. 


Miss    EDITH   E.  TORREY, 

SOPRANO  SOLOIST  AND  TEACHER  OF 
SINGING. 

164  Huntington    Avenue,  Boston. 

Everv  day  except  Tuesdav  and  Friday. 
Telephone,  Back  Bay  1089  5. 


L.  Willard  Flint, 

Bass  Soloist  and  Voice  Teacher. 

Soloist  with  the  Handel  and   Haydn  Society 
for  two  successive  seasons. 

Steinert  Hall,  Boston. 


Mr.    CARL   BARTH, 
INSTRUCTION  on  VIOLONCELLO 

Concert 8,  Recitals,  and 

Ensetnblt*  l'laying. 

7    ADELAIDE    ST.,   JAMAICA    PLAIN. 


Mr.   F.  W.  WODELL. 

Soloist  and  Director,  Parker  Memorial. 

Lecturer  on  Vocal  Teaching  before  M.  T.  N.  A. 

Author  of  "  Choir  and  Chorus  Conducting." 

Voice  Culture.     Singing. 

Pierce  Building,  Copley  Square,  Boston. 


Mr.  JUNIUS  W.  HILL, 

Piano  and  Harmony, 

154  Tremont  St.,  Boston. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


TO   read   Music  like  Print. 
The  Vars'  New  Interval  System  of  Sight 
Singing. 

No  Sol-faing  by  Letter  or  Number. 

Send  for  Teachers'  Circular  to 
Mine.  L.  Hamburger,  Pierce  Bldg.,  Copley  Sq. 


Miss  LOUISE   LEIMER, 
Concert  and  Oratorio  Soloist. 

VOCAL  INSTRUCTION. 

Studio,  ai  Steinert  Building. 


Mrs.  Habel  /Vlann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(692) 


wSBassMSBm 

MmcKirkbyDinn 

"The  GREAT  ENGLISH  CONTRALTO 
PRAISES  THE 


i 


WEBER  TONE  1 


3 


New  York,  December  18,  1902.    (JL 

The  Weber   Piano    Company. 

i^J  Gentlemen, —  I  am  more  than  pleased  with 

the  Weber  pianoforte  which   I   use.     Its  sym- 
pathetic   singing    quality     and    richness    of  tone 

rij    render    it    invaluable  for  accompaniment   pur- 
poses, whilst  as  a  solo  instrument  it  is  equally    W^^ 
distinguished. 

(Signed)     LOUIE    KIRKBY   LUNN. 


Boston   Representatives 

George  H.  Champlin  &  Co. 

181  Tremont  Street 


vn!Itis\ 

divine.  It  is  th^  finest  in  the 
world. 

From  an  interview  published  in 

Worcester  Spy ,  Sept. 2&,\Qyy 


\       STEINWAY  PIANOS 


A\.  STEINERT  &   SONS  CO. 

162  to  165  Bogiston  Street,  Boston,  Mass. 


w 


PRoGRSiWE 


Conductor  of  the  Handel  and  Haydn  Society, 
Conductor  of  the  Apollo  Club,  Conductor  of 
the  Boston  Festival  Orchestra,  Musician,  Vio- 
linist, Pianist,  writes  to 

Mason  <&,  Hamlin  Co. 

December  12,  1901 
Mason   &  Hamlin   Co. 

Gentlemen, —  The  Grand  pianoforte  of  your  make 
which  I  purchased  of  you  two  years  or  so  ago  has  proven 
itself  a  most  superb  instrument. 

It -stands  remarkably  well,  and,  in  fact,  like  a  Stradi- 
varius  violin,  it  improves  with  age.  I  am  sure  you  are 
to  be  congratulated  on  your  production,  and  I  am  sure  the 
artist  must  be  grateful  to  you  for  your  production.  The 
instruments  you  are  now  producing  are  not  only  fine 
pianofortes,  but  they  are  a  potent  influence  working  for 
the  best  in  the  highest  of  all  the  arts, —  music. 

With  admiration  for  the  loyalty  with  which  you  work 
toward  your  lofty  ideal,  and  with  sincere  wishes  for  your 
continued  success,  I  am, 

Very  truly  yours, 
(Signed)    EMIL  MOLLENHAUKK. 


M.   Steinert   (Si  Sons   Co. 

New    England    Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903- 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

THIRTEENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     jt    &    j*    j* 


FRIDAY  AFTERNOON,  JANUARY  30, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  JANUARY  31, 

AT  8.00  O'CLOCK. 


Published  by  C  A.  ELLIS,  Manager. 

(693) 


MESSRS. 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Ouarter  Grand 

The   Smallest   Grand    Embodying 
Modern  Principles  Ever  Made 


RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(694) 


TWENTY-SECOND  SEASON,  J902-J903. 


Thirteenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  JANUARY  30,  at  2.30  o'clock. 

SATURDAY  EVENING,  JANUARY  3 J,  at  8.00  o'clock. 


PROGRAMME. 


Fibich 


Overture  to  Vrchlicky's  Comedy,  **  A  Night  at 
Karlstein,"  Op.  26 

(First  time.) 


Mackenzie        .        u  Pibroch  n  Suite  for  Violin  and  Orchestra,  Op.  42 


I.     Rhapsody. 
II.     Caprice. 
III.     Dance. 


(First  time  at  these  concerts.) 


Beethoven 


.     Andante  cantabite  from  the  Pianoforte  Trioici 
B-flat  major,  Op.  97 

(Orchestrated  by  Liszt.) 


Tschaikowsky 

I.     FJegie. 

Valse  melancolique. 


Suite  No.  3,  in  G  major,  Op.  55 


II. 
III. 
IV. 


Scherzo:  Molto  vivace. 
Tenia  con  variazioni. 


SOLOIST: 
Mr.  TIMOTHEE  ADAMOWSKI. 


There  will  be  an  intermission  of  ten  minutes  after  the  Beethoven  selection. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 


L.  P.  HOLLANDER  &  CO. 


French  Jewelry 

PEARL    COLLARETTES    and    SINGLE    STRANDS   of 
finest  quality   FRENCH   PEARLS. 

JET  AND  CORAL  Neck  Ornaments. 

FANS 

Choice  collection  of  French  Spangle  and  Empire   Fans. 
Fresh  importations  of 

Ladies'   Evening  Gloves 

Children's     Party     Gloves 


WEDDING  GIFTS. 


Sterling  Silver,  Cut  Glass, 
Bric~a-brac,  Bronzes. 

Diamonds,  Watches,  Clocks,  t 

Reliable  Goods,  Moderate 

Prices.  (7L 

$98$;      'SMITH' 

PATTERSON 

&/1ft     Wholesale  ''P?^J 

^Vf»    and  Retail.  ^  ^fe'ffi&Tty! 

Ifffifc      S^        52  Summer  st-  ^JMeSO 

'■/'■  kP*\  Si.  -'^>-  •      ^ 


Overture  to  "A  Night  at  Carlstein,"  Op.  26.  Zdenko  Fibich. 

(Born  Dec.  21,  1850,  at  Vseboric,  near  Caslau,  Bohemia;  died  at 
Prague,  Oct.  15,  1900.) 

This  overture  to  Jaroslav  Vrchlicky's  *  historical  comedy,  "  Noc  na 
Karlstejne,"  was  written  in  1886. 

Karlstein  is  a  castle  on  a  rock  in  the  middle  of  a  valley  about  eighteen 
miles  from  Prague.  The  corner-stone  was  laid  by  Charles  IV.,  king  of  the 
Romans,  in  1348,  and  the  building  was  completed  in  1357.  Franz  Kugler 
says  that  King  Charles  had  in  mind  an  imitation  of  Montsalvat,  the  temple 
of  the  Holy  Grail,  but  this  statement  is  apparently  without  authority.  The 
castle  had  a  donjon  tower  one  hundred  and  twenty-one  feet  high,  and  there 
were  gorgeous  chapels,  loathsome  dungeons,  and  admirably  equipped 
torture-chambers.  Karlstein  was  the  home  of  the  Bohemian  kings,  and  it 
was  crowded  with  treasures  of  art,  very  few  of  which  now  remain.  The 
Bohemian  crown  was  kept  in  the  Kreuzkapelle  until  it  was  borne  off  to 
Vienna. 

Vrchlicky's  comedy  is  a  romantic  chapter  from  the  life  of  Charles  IV. 
The  story  goes  that  the  king  had  forbidden  all  that  was  feminine  to  enter 
into  Karlstein,  but  his  fourth  wife,  Elisabeth,  daughter  of  the  Duke  of 
Stettin,  loved  him  so  passionately,  and  was  also  so  jealous,  yet  without 
ground,  that  she  found  a  way  to  transgress  the  command. 

The  overture  is  frankly,  clearly  written,  and  it  requires  no  long  analysis. 
It  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  4  horns,  2 
trumpets,  3  trombones,  kettle-drums,  triangle,  strings.  There  is  a  short 
introduction,  andante  maestoso,  3-4,  which  after  a  strongly-rhythmed 
passage  for  full  orchestra  leads  into  the  main  body  of  the  overture,  Alle- 
gro con  cortesia,  3-4.    The  chief  theme  (F  major)  is  developed  elaborately. 

*  Emil  Frida,  who  signs  his  articles  Jaroslav  Vrchlicky,  was  born  in  1853.  Poet,  dramatist,  translator,  he 
is  the  most  prominent  ofCzech  authors.  The  Koerber  ministry  made  him  lately  a  member  of  the  Austrian 
House  of  Peers.     He  wrote  the  libretto  of  Dvorak's  "  St.  Ludmila  "  (1886). 


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Thesecond  theme,  which  first  occurs  in  A  major,  is  said  to  have  national 
characteristics.  Toward  the  end  the  music  is  of  the  apotheosis  order,  and 
the  overture  ends  with  a  repetition  of  the  maestoso  passage  which  closed 
the  introduction.     The  work  is  dedicated  to  Camille  Saint-Saens. 

There  is  an  interesting  study  of  Fibich  as  a  national  composer  by 
Emanuel  Chvala  in  his  "  Ein  Vierteljahrhundert  Bohmischer  Musik" 
(Prague,  1887).  It  is  more  satisfactory  than  that  in  Soubies'  "  Histoire 
de  la  Musique  :  Boheme  "  (Paris,  1898).  Chvala  speaks  of  Fibich  as  a 
broadly  educated  man,  a  neo-romantic,  a  warm  admirer  of  Wagner  and  of 
his  own  great  countryman,  Smetana,  the  father  of  all  modern  Czech  music 
that  is  worthy  the  name.  And  Chvala  intimates  that  after  the  death  of 
Smetana  the  influence  of  Fibich  on  the  younger  composers,  especially  the 
opera- makers,  was  greater  than  that  of  any  of  his  compatriots,  Dvorak 
not  excepted.  See  pages  42-48  of  a  little  book  that  is  indispensable  to 
him  who  would  know  adequately  the  story  of  the  foundation  and  growth 
of  the  modern  Bohemian  school. 


Fibich's  father  was  a  verderer.  The  boy  studied  music  while  he 
was  at  school  in  Vienna  and  Prague,  and  in  his  youth  he  wrote  pieces 
which  determined  his  career,  among  them  songs  and  little  pianoforte 
pieces  —  one  of  which,  "Le  Printemps  "  (1865),  was  published  as  Op.  1  — 
and  a  symphony  in  E-flat.  The  first  movement  of  this  symphony  was 
played  at  a  concert  in  Chrudim,  and  the  fourteen-year-old  boy  conducted 
it.  Fibich  went  to  the  Leipsic  Conservatory  (his  uncle,  Raimund  Drey- 
scholk,  was  a  violin  teacher  there),  and  he  studied  from  1865  to  1867 
under  Moscheles,  Richter,  and  Jadassohn.  There  he  wrote  songs,  piano- 
forte pieces,  and  a  symphony  in  G  minor  (1866),  of  which  only  the 
scherzo,  arranged  for  four  hands,  was  preserved;  and  he  became  an 
ardent  admirer  of  Schumann.  Fibich  spent  a  year  in  Paris,  and  then 
finished  his  studies  with  Vincenz  Lachner  at  Mannheim.  In  1870  he 
was  once  more  at  home.  He  taught  a  year  (1873-74)  at  Wilna,  and  then 
made  Prague  his  abiding-place.  From  1875  to  1878  he  was  second 
conductor  of  the  Czech  theatre,  and  from  1878  to  1881  he  was  chapel- 
master  of  the  Russian  church  in  Prague.     Then   he  retired  into   private 


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For  the  Organ. 

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Op.  17.     Twelve  Church  Pieces, 

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All  music  performed  at  these  concerts  con- 
stantly on  hand. 


CHARLES  W.  HOriEYER  &  CO., 

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BOSTON. 


life  to  devote  himself  to  composition.  In  1899  he  was  appointed  "drama- 
turgist "  to  the  Czech  theatre,  according  to  a  music  lexicon ;  but  Carl 
Ludwig  Richter  in  his  Life  of  Fibich,  published  at  Prague  in  1900,  does 
not  mention  the  appointment.  As  "  dramaturgist "  is  merely  another 
word  for  playwright,  it  would  be  interesting  to  know  just  what  Fibich's 
duties  were  in  this  position. 

Fibich  was  a  voluminous  composer,  and  there  is  a  long  list  of  his  works 
—  six  hundred  and  twenty-two  — ■  in  the  chronological  catalogue  at  the 
end  of  Richter's  Life.     The  chief  works  are  as  follows  : 

Stage  works  :  "  Bukovin,"  opera  (composed  in  1870-71,  performed  at 
Prague  in  1874);  "  Blanik,"  opera  (composed  in  1875-77,  performed  at 
Prague  in  1881);  "Die  Braut  von  Messina"  (composed  in  1883,  per- 
formed at  Prague  in  1884);  melodramatic  trilogy,  "  Hippodamia,"  — 
"  Pelop's  Brautwerbung "  (1890),  "Die  Siihne  des  Tantalus"  (1891), 
"  Hippodamia's  Tod  "  (1892);  "  Der  Sturm,"  opera  founded  on  Shake- 
speare's "  The  Tempest  "  (composed  in  1894,  performed  in  1895)  ;  "  Hedy," 
opera,  founded  on  the  episode  of  Haide'e  in  Byron's  "  Don  Juan  "  (com- 
posed in  1895,  performed  in  1896);  "  Sarka,"  opera  (composed  in  1896, 
performed  in  1897);  "Fall  Arkona's,"  opera,  composed  in  1898,  per- 
formed Nov.  9,  1900,  after  the  composer's  death;  melodramas  and  inci- 
dental music  to  Czech  plays. 

Orchestral  :  Symphonies  :  F  major,  Op.  17  (1883)  ;  E-flat,  Op.  38  (1892). 
Symphonic  poems :  "Othello,"  Op.  6  (1874);  "  Zaboj,  Slavoj,  und  Ludek," 
Op.  37  (1873)  ;  "Toman  und  die  Waldfee,"  Op.  49  (1875)  ;  "  Der  Lenz," 
Op.  13(1881);  "Der  Sturm  "(Shakespeare's  "  Tempest  "),  Op.  46  (1880); 
"  Die  Vigilien,"  Op.  20  (1883)  ;  "  Am  Abend,"  Op.  39  (1893).     Overtures: 


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"  Eine  Nacht  auf  Karlstein,"  Op.  26  (1886)  ;  «  Komensky-Fest  "  overture, 
Op.  34  (1892);  overture  in  E  major  (1872),  "  Lustspiel  "  overture,  D 
major,  Op.  35  (1873);  overture  in  D  minor.  Chamber  music:  pianoforte 
trio  in  F  minor  (1872);  string  quartet  in  A  minor;  pianoforte  quartet 
in  E  minor,  Op.  n  (1874.);  string  quartet  in  G  major,  Op.  8  (1878); 
quintet  in  D  major,  for  pianoforte,  violin,  'cello,  clarinet,  horn,  Op.  42 
(1894);  variations  in  B-flat  major  for  string  quartet  (1883).  Add  can- 
tatas, choruses,  pieces  for  various  instruments,  and  many  songs.  Among 
the  pieces  for  pianoforte,  four  hands,  are  "  Mignons,"  Op.  19  and  48,  and 
a  sonata  in  B-flat  major.  Waltzes  and  suite  for  orchestra  should  also  be 
mentioned. 


"Pibroch"    Suite,  for  Violin    Solo    with    Orchestral   Accompani- 
ment, Op.  42 Alexander  Campbell  Mackenzie. 

(Born  at  Edinburgh,  Aug.  22,  1S47  ;  now  living  in  London.) 

The  "Pibroch"  suite  was  written  by  Mackenzie  in  1889  f°r  tne  Leeds 
Festival  of  that  year;  it  was  completed  on  August  10.  The  first  per- 
formance was  at  the  festival,  October  10,  when  Sarasate  was  the  solo  vio- 
linist and  the  composer  led  the  orchestra. 

Sarasate  brought  the  "  Pibroch  "  to  the  United  States  in  the  season  of 
1889-90.  He  played  it  with  orchestra  in  New  York  at  the  Metropolitan 
Opera  House,  Dec.  5,  1889,  and  later  in  Chicago. 


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He  played  it  in  Boston,  with  pianoforte  accompaniment  (Berth*  Marx, 
pianist),  at  Music  Hall,  May  3,  1890. 

The  suite  is  in  three  movements, —  Rhapsody,  Caprice,  Dance.  The 
accompaniment  is  scored  for  2  flutes  (one  interchangeable  with  piccolo), 
2  oboes,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones,  kettle- 
drums, triangle,  harp,  strings. 

The  Rhapsody  is  in  the  nature  of  a  free  improvisation  for  the  solo  in- 
strument. The  Caprice  is  a  series  of  variations  on  the  tune,  "  Three  Guid 
Fellows,"  and  the  melody  of  a  contrasting  episode  is  of  Mackenzie's  inven- 
tion.    The  chief  theme  of  the  Dance  is  an  authentic  Scottish  melody. 

The  title  of  the  suite  is  a  better  clew  to  the  contents  of  the  work  than 
any  labored  analysis  would  be,  for  the  suite  as  a  whole  is  in  imitation  of 
old  bagpipe  form. 

Now  the  word  "  pibroch,"  or  "  piobaireachd,"  means  pipe-playing.  If 
there  is  speaking  by  the  card,  it  does  not  denote  any  particular  class  of 
tune ;  but  it  is  customarily  applied  to  a  class  that  includes  the  cruin- 
neachadh,  or  tune  of  gathering  ;  the  cumhadh,  or  tune  of  lamentation  ;  the 
failte,  or  tune  of  salutation.  At  least,  such  is  the  classification  given  by 
Mr.  W.  L.  Manson  in  "  The  Highland  Bagpipe  "  (London,  190 1). 

The  pibroch  was  the  special  tune  of  the  Great  Highland  bagpipe.  The 
bagpipe,  in  some  form  or  other,  is  a  most  ancient  instrument,  and  it  was 
known  to  nations  of  the  East  as  well  as  the  West.  There  was  the  piper 
that  played  before  Moses ;  and  worshippers  of  the  instrument,  who  cannot 
even  name  it  without  flushed  cheeks,  insist  that  one  Gillidh  Callum  was 
piper  to  Noah,  and  that  the  patriarch  danced  to  this  music  over  two 
crossed  vine-plants  after  he  had  first  become  acquainted  with  the  juice  of 
the  grape,  and  was  thereby  exhilarated. 

The  Great  Highland  bagpipe  has  a  compass  of  nine  notes,  from  G, 
second  line,  treble  clef,  to  A,  first  ledger  line  above  the  staff.     The  scale 

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is  tempered,  and  the  notes  are  G-natural,  A,  B,  C,  D,  E,  F-sharp,  G-natu- 
ral,  A.     The  reed  is  broader  than  that  of  other  bagpipes. 

No  piper  was  ranked  as  an  expert  unless  he  was  a  good  pibrocli  player, 
unless  he  could  play  an  elaborate  piece,  a  theme  with  variations. 

A  pibroch  is  generally  in  triple  or  quadruple  time  ;  some  are  in  2-4  or 
6-8.  "It  begins  with  the  urlar,  or  groundwork,  of  the  composition  and  its 
doubling.  Then  comes  the  high  A,  or  thumb  variation."  For  a  list  of  the 
succeeding  variations  see  Mr.  Manson's  book.  Then  there  is  a  return  to 
the  groundwork.  The  music  is  not  merely  a  voluntary,  and  the  most  legit- 
imate form  of  tune  is  the  cruinneachadh,  or  gathering ;  but  in  these  degen- 
erate days  the  three  classes  of  tunes  are  treated  as  one. 

Among  the  most  famous  pibrochs  are  "Mac  Common's  Lament" 
(1746)  ;  "  Gillie  Chroist,"  the  war  tune  of  Glengarry  ;  "  Pibroch  of  Donald 
Dhu,"  the  pibroch  of  Donald  the  Black,  which  is  supposed  to  refer  to  the 
expedition  of  Donald  Balloch,  who  in  1431  invaded  Lochaber  (Sir 
\Y alter  Scott  based  his  familiar  verses  on  these  words  of  the  set,  theme  or 
melody,  to  which  the  pipe  variations  are  applied  :  — 

Piobaireachd  Dhonuil  Dhuidh,  piobaireachd  Dhonuil ; 
Piobaireachd  Dhonuil  Dhuidh,  piobaireachd  Dhonuil ; 
Piobaireachd  Dhonuil  Dhuidh;  piobaireachd  Dhonuil ; 
Piob  agus  bratach  air  faiche  Inverlochi. 

The  pipe  summons  of  Donald  the  Black, 
The  pipe  summons  of  Donald  the  Black, 
The  pipe  summons  of  Donald  the  Black. 
The  war-pipe  and  the  pennon  are  on  the  gathering-place  at  Inverlochy) ; 

■'Is  fada  mar  so  tha  sinn"  ;  "Lochaber  no  more,"  piped  at  Highland 
funerals. 

Montaigne  tells  of  a  Frenchman  who  was  affected  grotesquely  and  most 
uncomfortably  by  the  sound  of  the  bagpipe,  but  Sir  Walter  Scott  says  that 
connoisseurs  "affect  to  discover  in  a  well-composed  pibroch  the  imitative 


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sounds  of  march,  conflict,  flight,  pursuit,  and  all  the  '  current  of  a  heady 
fight.'  "  Dr.  Beattie  must  have  been  among  these  courageous  connois- 
seurs :  "  A  pibroch  is  a  species  of  tune,  peculiar,  I  think,  to  the  Highlands 
and  Western  Isles  of  Scotland.  It  is  performed  on  a  bagpipe,  and  differs 
totally  from  all  other  music.  Its  rhythm  is  so  irregular,  and  its  notes,  es- 
pecially in  the  quick  movement,  so  mixed  and  huddled  together,  that  a 
stranger  finds  it  impossible  to  reconcile  his  ear  to  it,  so  as  to  perceive  its 
modulation.  Some  of  these  pibrochs,  being  intended  to  represent  a  battle, 
begin  with  a  grave  motion,  resembling  a  march  ;  then  "gradually  quicken 
into  the  onset ;  run  off  with  noisy  confusion,  and  turbulent  rapidity,  to 
imitate  the  conflict  and  pursuit ;  then  swell  into  a  few  flourishes  of  trium- 
phant joy ;  and  perhaps  close  with  the  wild  and  slow  wailings  of  a  funeral 
procession." 

Yet  the  pibroch  has  been  called  the  voice  of  uproar  and  misrule  as  well 
as  the  music  of  real  nature  and  true  passion.  Dr.  MacCulloch,  a  sour-vis- 
aged  hearer,  described  it  about  1820  as  "a  determined  melody,  whereon, 
such  as  it  is,  are  engrafted  a  series  of  variations  rising  in  difficulty  of  exe- 
cution, but  presenting  no  character,  as  they  consist  of  commonplace,  taste- 
less flourishes,  offensive  to  the  ear  by  their  excess  and  adding  to  the 
original  confusion,  instead  of  embellishing  the  air  which  the  ground  may 
possess.  It  has  neither  time,  rhythm,  melody,  cadence,  nor  accent,  neither 
keynote  nor  commencement  nor  termination,  and  it  can  therefore  regulate 
nothing.  It  begins,  goes  on,  and  ends,  no  one  knows  when  or  how  or 
where,  and  if  all  the  merit  of  the  bagpipe  is  to  depend  on  its  material,  or 
rather  its  marching,  utility,  it  could  not  stand  on  a  worse  foundation." 

On  the  other  hand  Dr.  Johnson,  who  did  not  love  Scotland,  the  Scots,  or 
music,  was  moved  while  on  his  journey  to  the  Hebrides  to  say  at  Slate  that 
he  knew  a  drum  from  a  trumpet,  and  a  bagpipe  from  a  guitar,  and  later  he 
admitted  that  "if  he  had  learnt  music,  he  should  have  been  afraid  he  would 


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have  done  nothing  else  but  play.  It  was  a  method  of  employing  the  mind 
without  the  labor  of  thinking  at  all,  and  with  some  applau.se  from  a  man's 
self."  At  Armidale,  Dunvegan  and  Colonel  Johnson  and  Boswell  had 
the  music  of  the  bagpipe  every  day.  "  Dr.  Johnson  appeared  fond  of  it, 
and  used  often  to  stand  for  some  time  with  his  ear  close  to  the  great 
drone."     A  scene  for  the  historical  painter! 

The  term  pibroch  is  sometimes  applied  figuratively  to  the  bagpipe  itself, 
a  heroic  instrument,  associated  forever  with  heroic  deeds.  Chorley  con- 
ceived that  a  Highlander,  "  one  of  those  grand,  stalwart  practitioners 
whom  we  see  in  that  magnificent  costume  which  English  folks  have  not 
disdained  to  wear  (though  it  is  a  relic  belonging  to  a  peculiar  district) 
would  blow  down,  by  the  force  and  persistence  of  his  drone,  any  rival  from 
Calabria,  or  the  Basque  Provinces,  or  the  centre  of  France,  or  the  Sister 
Island."  The  pipes  have  been  heard  on  battlefields  from  India  to 
Canada,  and  Chorley's  Highlander  was  at  Waterloo  and  immortalized  by 
Victor  Hugo. 

"  The  bagpiper  in  the  centre  of  the  regiment,  while  extermination  was 
all  about  him,  lowered  in  profound  inattention  his  melancholy  eye,  full  of 
the  reflection  of  lake  and  forest,  and  seated  on  a  drum,  his  pibroch  under 
his  arm,  played  mountain  airs.  These  Scotch  died  thinking  of  Ben  Lo- 
thian, as  the  Greeks  remembering  Argos.  The  sabre  of  a  cuirassier  cut 
down  the  bagpipe  and  the  arm  that  carried  it,  and  by  killing  the  piper 
stopped  the  song." 

Sir  Alexander  Campbell  Mackenzie  first  studied  under  his  father,  Alex- 
ander Mackenzie,  composer,  violinist,  conductor.  At  the  age  of  ten  the 
boy  went  to  Sondershausen  and  took  lessons  of  Uhlrich,  violin,  and  Ed. 
Stein,  composition.  In  1861  he  was  a  member  of  the  Ducal  Orchestra. 
In  1862  he  entered  the  Royal  Academy  of  Music,  London,  and  studied 
under  Sainton,  Jewson,  and  Lucas.  After  some  years  of  teaching  at  Edin- 
burgh he  went  to  Florence  to  live  in  1879.  He  returned  to  London,  after 
occasional  visits,  in  1885  to  conduct  the  Novello  oratorio  concerts.  In 
1888  he  was  made  principal  of  the  Royal  Academy  of  Music,  in  1892  he 
was  chosen  conductor  of  the  Philharmonic  Society,  and  in  1S95  he  was 

Attractive  Novelties 

In  Lamps  and  Shades,  Gas  and  Electric 
Reading  Lights 

(Including   some  rare  Oriental  pieces). 


ANDIRONS.    FIRE  SETS.    FIRE  SCREENS, 

A  large  number  of  new  patterns  in  Wrought  Iron  and  Brass. 

David  R*  Craig, 

44    SUMMER    STREET. 

EXCLUSIVE  DESIGNS  IN  LIGHTING  FIXTURES. 

(70S) 


BIGELOW 
KENNARD  8  CO. 

FINE  BRONZES 


by  European  tf  American 

Sculptors. 
Classic  Subjects,  Ancient  & 

Modern. 

5"WASHINGTON  STREET 


(709) 


knighted.  He  has  received  many  honors.  His  chief  works  are  as  fol- 
lows :  — 

Operas:  "  Colomba "  (1883);  "The  Troubadour"  (1886);  "His 
Majesty"  (1897). 

Incidental  Stage  Music:  "  Ravenswood  "  (1890);  "  Marmion  " 
(1891);  "Little  Minister"  (1897). 

Oratorios  and  Cantatas:  "The  Bride"  (1881);  "Jason"  (1882); 
"The  Rose  of  Sharon  "  (1884) ;  "The  Story  of  Sayid  "  (1886);  Jubilee 
Ode  (1887);  "The  New  Covenant"  (1888);  "The  Dream  of  Jubal" 
(1889)  ;  "  The  Cottar's  Saturday  Night  "  (1892) ;  "  Veni,  Creator  Spiritus  " 
(1891);  "  Bethlehem  "  (1894) ;  Coronation  Ode  (1902);  "Reverie  of  the 
East"  (1903). 

Orchestral,  etc.:  Scherzo  (1878);  Two  Scottish  Rhapsodies;  "La 
Belle  Dame  sans  Merci "  (1883);  overtures,  "Cervantes";  "To  a 
Comedy";  "  Tempo  di  Ballo  "  ;  "  Twelfth  Night  "  (1888);  "Britannia" 
(1894);  "  Manfred  "  (three  orchestral  pieces)  ;  Coronation  March  (1902); 
concerto  for  violin  (1885);  Scottish  concerto  for  pianoforte.  He  has 
also  written  a  pianoforte  quartet ;  pieces  for  violin  and  other  instruments  ; 
anthems,  songs,  etc. 

Mr.  Adamowski  has  played  as  solo  violinist  with  the  Symphony  Orches- 
tra in  Boston  :  — 

1885,  March  7.  Saint-Saens's  Concerto,  No.  1,  in  A  major,  Op.  20  (first 
time). 

1886,  Jan.  9.     fimil  Bernard's  Concerto  in  G  major  (first  time). 

1887,  Feb.  5.     Wieniawski's  Concerto  in  D  minor. 


WEBER 


25  and  21  Temple  Place 
and  33  West  Street. 


CATERER 


For  Wedding  Break- 
fasts, Lunches,  Din- 
ner and  Evening  Parties,  at  short  notice,  with 
the  best  of  material  and  finest  ware. 

Reasonable  prices.  Orders  delivered  in  the 

city  limits,  Roxbury,  and  Brookline. 


WEDDING   CAKE    A  SPECIALTY. 

Telephone,  433  Oxford. 


Mj^^iTiiJliMr^JMr^Jl^rr^M 


lE; 


ii 


SCHIRMER'S 

MUSIC    STORE 

(The  Boston  Music  Co.) 

AND 

Circulating  Library 
of   Music 

(Circular  sent  on  application), 

26  WEST  STREET. 

TELEPHONE,  OXFORD  783 

Depot  for  the  publications  of 
G.    SCHIRMER,    New  York. 


1 

1 

i 


m 

1 


ir^Miai^M^JBi  jjjSJlf 


*J  II  ^"'      (Awarded  a  Prize  Medal  and  Di- 
ll fploma  at  the  Vienna   Exposition, 
1888.) 


JACOB  THOMA  &  SON, 

nakers  and  Importers  of 

HIGH-GRADE  VIOLINS. 

Repairers  to  the 
Boston  Symphony  Orchestra. 

47  Winter  Street,  Boston,  Mass. 


(71") 


LYRAPHONE 

The    ONLY    PIAINO=PLAYER    with 
FLEXIBLE  FINGERS  and  HUMAN   TOUCH 


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It  is  more  easily  operated,  and  has  a  greater  range  of  expression 
than  any  other  player.     Call  and  hear  it.    You  will  buy  it. 


EASTERN   REPRESENTATIVES 

SANDERS  &  STAYMAN  CO. 

13  N.  Charles  Street,  Baltimore 

LINCOLN  &  VANDER  PYL 

2J1  Tremont  Street,  Boston 

E.  G.  BILLINGS 

34  Snow  Street,  Providence,  R.I. 

E.  E.  MILLER 

71  Fourth  Street,  Troy,  N.Y. 


F.  A.  NORTH  &  CO. 

1308  Chestnut  Street,  Philadelphia 

MARCELLUS  ROPER  CO. 

Worcester,  Mass. 

SANDERS  &  STAYMAN  CO. 

1327  F  Street,  Washington 

EDWARD  MALLY  CO. 

New  Haven,  Conn. 


THE  W.  F.  TWAY  PIANO  COHPANY,  94  Fifth  Avenue,  New  York. 


SMITH    LYRAPHONE    CO., 


Write  for  catalogue 

13-15     W.  PRATT    STREET 
BALTIMORE,   MD. 


(711) 


1889,  Jan.  5. 

1890,  Jan.  4. 

1891,  Jan.  10. 

1892,  Jan.  30. 

1892,  Nov.  12. 

1893,  Dec.  2. 

1596,  Jan.  1 1. 

1597,  March  1 

1898,  Jan.  15. 
minor,  arranged 

1899,  Feb.  4. 

1900,  March  1 
1900,  Nov.  17. 
1902,  March  8, 


Moszkowski's  Concerto  (first  time). 

Saint-Saens's  Concerto,  No.  3,  in  B  minor  (first  time). 

Wieniawski's  Concerto  in  D  minor. 

Bruch's  Concerto  in  G  minor. 

Ernst's  Concerto  in  F-sharp  minor. 
Tschaikowsky's  Concerto  (Canzonetta  and  Finale). 

Bruch's  Fantasia  on  Scotch  Folk-melodies. 
3.     Lalo's  Symphonie  Espagnole. 

Beethoven's    Romanza  in   F ;  Paganini's  Caprice  in  A 
and  orchestrated  by  Gorski  (the  latter  for  the  first  time). 
Bruch's  Fantasia  on  Scotch  Folk-melodies. 
o.     Lalo's  Symphonie  Espagnole. 

Dvorak's  Concerto  in  A  minor  (first  time). 
Saint-Saens's  Concerto,  No.  3,  in  B  minor. 


Andante    Cantabile    from  the   Pianoforte  Trio   in   B-flat   major, 

Op.  97 Ludwig  van  Beethoven. 

Orchestrated  by  Liszt. 
(Born  at  Bonn,  Dec.  16,  1770;  died  at  Vienna,  March  26,  1827.) 

Beethoven  wrote  this  trio  in  March,  181 1,  and  dedicated  it  to  the  Arch- 
duke Rudolph.  The  first  public  performance  was  at  a  concert  given  by 
Schuppanzigh  at  the  Inn  of  the  Roman  Emperor,  for  a  charitable  pur- 
pose, April  n,  18 1 4.  Beethoven  was  the  pianist,  Schuppanzigh  the  vio- 
linist, and  Linke  the  'cellist. 

The  Sammler  said  of  the  work  itself :  "  The  Trio  is  beautiful  and 
original  in  all  respects,  but  it  is  too  big  and  too  complicated  for  a  concert. 
Stroke  follows  stroke,  and  whoever  is  not  a  connoisseur  will  almost  be 
crushed  by  the  mass  of  beauties." 

Spohr  heard  a  rehearsal  at  Beethoven's  lodging.     He  found  no  pleasure 


tank 


a  copy 


EDITED     BY    THOMAS     TAPPER 


a  year 


Contents 

for 
Tebruary 

190$ 


zms 


FRONTISPIECE   PORTRAIT James  Huneker 

A  WANDERING  CAPELLMEISTER  ....  Thomas  Tapper 
ENGLISH  VIRGINAL  MUSIC  ....        Henry  E.  Krehbiel 

ANTOINE  ARENSKY A.  G.  Salmon 

THE  STERN  CONSERVATORY Jean  P.  Brown 

SUCCESS  IN  MUSIC  TEACHING  ....  Kate  S.  Chittenden 
THE  FAILURE  OF  MUSIC  TEACHING       .       Dr.  Henry  S.  Hanchett 

AMERICAN  VERSATILITY Edith  L.  Winn 

Home  Lessons  in  Music  by  Benjamin  Cutter.  Dr.  Percy  Goetschius, 
A.  L.  Manchester,  and  Thomas  Tapper.  Notes  of  the  Music  World. 
Significant  Concerts.  New  Books.  New  Music.  Teachers  Depart- 
ment. Music  for  Piano,  by  Franz  Schubert,  l-ordyce  Hunter,  and 
Henri  G.  Andres.  Songs  by  Johannes  Brahms,  Harvey  W.  Loomis, 
and  Mary  Knight  Wood. 


OLIVER   DITSON   CO.,   Boston.  C.   H.   DITSON  &  CO.,   New  York. 

J.   E.   DITSON  &  Co.,   Philadelphia. 

H 

(712) 


/NEW  LACES. 


Heavy  Cluny  Insertings  with  yak. 

Silk  Fibre  Guipures,  very  brilliant. 

Sets  of  French  Valenciennes,  new  designs. 

Bulgarian  Bands  on  canvas. 

Italian  Lace  Collars,  stole  ends. 

Irish  Lace  Collars,  very  deep. 

Swiss  Laces  and  Applications  from  a  famous  designer. 

Linen  Clunys  and  Antiques. 

Point  Venise  Allovers,  laces  to  match. 

Evening  Robes  of  Silver,  Pailette,  Marquise,  Crepe  de  Chine,  and 

Mousseline  de  Soie. 

Pailette  Godet  Flounces  and  Insets. 

Corsage  Ornaments,  Drops,  and  Garnitures. 

Spangled  Allovers  in  black  and  silver. 

Evening  Tulles,  Gauzes,  Malines,  Paraguay  Laces,  Collars, 

and  Allovers. 

Black  Dress  Nets,  high  lustre  effects. 

Face  Veilings,  some  new,  attractive  meshes. 


Ǥ* 


EMBROIDERED   LINEN   WAISTS. 

Just  received,  our  first  exhibit  of  Butcher's  Linen  Embroid- 
ered Waists,  unmade,  comprising  white,  white  on  blue,  ecru,  white  on 
tan,  tan  on  blue,  white  with  black  and  white.  Plain  material  for  skirts  if 
desired.  These  waists  are  our  private  designs,  and  cannot  be  duplicated 
in  our  city.     Prices  range  $15.00  to  $22.00. 

Exhibited  first  floor,  Trimming  Department. 


R.  ft  Stearns  $  Company 


(713) 


I 


Shepard  Norwell 
Company 


BOSTON  REPRESENTATIVES 
jf    &    J*    FOR  THE    J*    J*    <£ 


Tatnous 


Tasso  Corsets 

The   Best   French   Corsets 
that   come   to   America.... 


Experienced   Titters   in   .'Attendance 


Winter  Street         Temple  Place 


0  „//«</j 


in  the  composer's  playing.  The  piano  was  badly  out  of  tune,  and  Beet- 
hoven did  not  notice  the  fact,  and  "  on  account  of  his  deafness  there  was 
hardly  a  trace  of  the  virtuosity  that  had  formerly  been  so  admired.  The 
poor  deaf  man  pounded  in  forte  until  the  strings  jingled  and  jangled,  and 
he  played  the  soft  passages  so  gently  that  whole  passages  fell  out,  and  no 
one  could  understand  the  music  unless  he  looked  at  the  notes.  I  felt  a 
mighty  pity  for  so  hard  a  fate." 

Moscheles  was  at  the  concert,  and  wondered  at  the  originality  of  the 
trio.  "  His  playing,  if  I  do  not  take  count  of  his  intelligence,  pleased 
me  less,  for  it  was  wholly  without  purity  and  precision;  still  I  found  many 
traces  of  a  grand  style  which  I  had  already  known  for  a  long  time  by  his 
compositions." 

The  trio  was  played  again  at  a  Schuppanzigh  Quartet  Concert  in  May, 
1 814,  when  Beethoven  appeared  in  public  for  the  last  time  as  a  pianist. 
The  trio  was  published  in  18 16. 


* 

*  # 


Liszt  arranged  the  Andante  cantabile,  ma  pero  con  moto,  D  major,  3-4, 
as  the  Introduction  to  a  cantata  for  the  Beethoven  celebration,  "  Kantate 
zur  Sacular-Feier  Beethoven's,"  at  Weimar,  May  29,  1870.  The  can- 
tata is  for  solo  voices,  chorus,  and  orchestra,  and  is  dedicated  to  the 
Grand  Duchess  Sophie  of  Saxony.  The  text  is  by  Ad.  Stern,  and  the 
music  was  composed  at  Rome  during  the  winter  of  1869-70.  Liszt  had 
already  used  this  Andante  cantabile  in  1845  m  his  Festival  Cantata  for  the 
dedication  of  Beethoven's  statue  at  Bonn  (text  by  O.  L.  B.  Wolff)  ;  but  in 
the  earlier  cantata  the  Andante  is  used  at  the  end  and  as  an  apotheosis. 


SHREVE,  CRUMP  &  LOW  CO. 


DIAMONDS,  GEMS 
PEARL  NECKLETS 
ROPES,   PENDANTS 

STERLING    SILVER 

Latest   Fashions   in    Jewelry 


In  our  ART  rooms  a  very  fine  collection  of  Antiques, 
Old  Imported  Furniture,  Tapestries 


147  TREMONT  STREET 


(715) 


The  Andante  cantabile  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bas- 
soons, 4  horns,  2  trumpets,  3  trombones,  kettle-drums,  harp,  strings. 
There  are  a  few  simple  measure*  of  introduction. 

The  Andante  was  played  here  at  a  Philharmonic  Concert,  Dec.  20,  1882, 
and  at  a  Symphony  Concert,  Nov.  8,  1884;  but  it  was  produced  here  by 
Theodore  Thomas,  Dec.  6,  1872. 


ENTR'ACTE. 

TSCHAIKOWSKY'S  FIRST  LOVE  AND  AMAZING 
MARRIAGE. 

Marguerite  Josephine  De'sire'e  Montagney,  called  Artot,  mezzo-soprano, 
daughter  of  Desire-  Artot,  who  taught  the  horn  at  the  Brussels  Conserva- 
tory, visited  Moscow  in  the  spring  of  186S,  and  Peter  Tschaikowsky 
heard  her,  saw  her,  met  her,  and  madly  loved  her.  She  was  born  at 
Paris  in  1835,  ar>d  was  about  five  years  older  than  her  lover.  A  pupil  of 
Pauline  Viardot,  she  sang  in  concerts  at  Brussels  about  1857,  and  made 
her  de'but  at  the  Ope'ra,  Paris,  as  Fides  in  "  Le  Prophete  "  early  in  1858. 
Her  success  was  immediate  and  great,  but  she  soon  left  the  Opera,  bang 
in  the  French  provinces  and  the  Netherlands,  went  to  Italy  for  further 
study,  was  the  favorite  of  the  Berlin  public  for  five  or  six  years,  sang 
throughout  Germany,  at  Copenhagen,  London,  Warsaw,  St.  Petersburg. 
Her  voice  gained  in  compass  so  that  she  could  sing  such  parts  as 
Valentine  and  Rachel.     She  was  brilliant  in  bravura. 

The  Italian  company  of  which  she  was  a  member  in  Moscow  was,  on 

The  "CLASSIQUE" 

This  celebrated  French  Corset,  acknowledged 

to   be  the  most  perfect  fitting  in  the  world, 

IS  SOLD  IN  BOSTON  EXCLUSIVELY  BY  US. 

It  is  used  by  the  modistes  who  set  the  fashion  in  the  world  of  dress  and 
know  the  correct  result  is  assured  when  the  gown  is  fitted  over  the 
CLASSIQUE.  Only  genuine  whalebone  is  used,  and  the  Corsets  are 
hand-fashioned  by  the  most  skilful  French  makers. 


We  have  received  the  latest  models,  suitable  for  all  figures. 
Prices  from  $5.75  to  $15.00. 

Corset  department  on  first  11 :.  Competent  titters  in  attendance. 


B.  SOMMER  &  CO.,  4-i 


and  46  WINTER   STREET. 
f*t     —————— 


Economical  Housekeepers 


sMf  s§^ 


USE 


WALTER  BAKER'S 

Cocoa  and  Chocolate 


BECAUSE  THEY  YIELD  THE  MOST 
AND     BEST    FOR    THE    MONEY. 


They  can  be  depended  upon  to 
produce  uniform  results.  You 
don't  have  to  experiment  with 
them  to  find  out  what  they  will  do. 

Our  Choice  Recipe  Book  (80 
pages),  sent  free,  will  tell  you  how 
to  make  Wellesley  College,  Vassar 
College,  and  Smith  College  Fudge, 
I  and  a  great  variety  of  Delicious 
Drinks  and  Dainty  Dishes. 


TRADE-MARK. 


Walter  Baker  &  Co.,  Limited, 

established  17S0.  DORCHESTER,  MASS. 

40  Highest  Awards  in  Europe  and  America. 


m 


an; 


the  whole,  a  poor  one,  but  De'sire'e,  with  her  passionate  face  and  gesture 
and  her  then  dramatically  intense  art  in  song  and  action,  captivated  all 
hearers.  Laroche  gives  a  minute  account  of  her  performances.  Her  intona- 
tion was  perfect,  her  vocalization  was  inimitable,  her  voice  had  indescrib- 
able warmth.  She  was  not,  perhaps,  beautiful ;  but  her  skin  was  snow 
white,  her  neck  and  hands  were  exquisitely  shaped;  her  mobile  face 
enchanted  the  beholder  ;  she  was  the  personification  of  grace. 

Peter  would  fain  wed  her,  and  he  wrote  his  father  about  his  purpose. 
Ilja,  the  elder  Tschaikowsky,  a  mining  engineer  in  the  Russian  army  and 
afterward  the  director  of  a  technological  school,  was  a  man  of  unusual 
sweetness  and  nobility  of  character.  He  married  in  1833  for  his  second 
wife  Alexandra  Andreewna  Assier,  the  mother  of  Peter.  She  died  in  1854 
of  the  cholera,  the  disease  that  killed  her  illustrious  son  ;  and,  as  in  his 
case,  death  came  to  her  in  the  bath  prescribed  by  a  physician. 

Peter  wrote  his  father  that  he  met  Desire'e  at  a  supper  on  the  night  of 
her  benefit.  When  she  returned  to  Moscow  in  the  fall,  he  kept  away  from 
her,  but  he  saw  her  by  accident  at  a  party,  and  she  reproached  him  for 
not  calling  on  her.  He  promised  to  visit  her,  but  such  was  his  dread  of 
making  acquaintances  that  he  would  not  have  gone,  had  not  Anton  Rubin- 
stein dragged  him  to  her  rooms.  Then  hardly  a  day  passed  without  an 
invitation  from  her,  and  soon  they  knew  they  loved  each  other.  The 
marriage  was  to  be  in  the  summer  of  1869.  Tschaikowsky  in  his  letters 
mentioned  several  obstacles.  Her  mother  was  opposed  to  the  match,  for 
she  thought  her  daughter  too  young,  and  feared  that  marriage  would 
compel  her  to  remain  in  Russia ;  his  friends  opposed  his  wish,  for  they 
could  not  endure  the  thought  of  seeing  him  the  husband  of  a  prima  donna, 
the  sorry  "husband  of  his  wife,"  and  they  felt  that  his  career  would  be 
ruined.  De'sire'e  would  not  leave  the  stage,  dearly  as  she  loved  him. 
What  should  he  do  ? 

The  father  wrote  a  letter  that  reveals  goodness  of  heart,  romantic  sym- 
pathy, hard  common  sense.  He  first  spoke  of  marriage  as  a  dangerous 
step,  a  question  of  life  or  death,  the  casting  of  a  die.  "  You  love  her  and 
she  loves  you,  and  that  should  settle  the  matter  if —  Oh,  this  cursed  if! 
The  beloved  Desiree  must  in  every  way  be  a  noble  creature,  for  my  son 
Peter  has  given  her  his  love,  and  my  son  has  taste  and  talent  and  would 


Opera  Glasses 

AND 

Lorgnettes 

Charming  Gifts   for  Gentlemen 
and  Ladies 

We  invite  your  critical  inspection 
<-f  our  excellent  line  of  these 
goods  at   most    moderate    prices 

PINKHAM    &    SMITH 

OPTICIANS 
288  Boylston  Street,  Boston 


OLD  VIOLINS. 


Mr.  Oliver  offers  his 

annual     collection    of 

rare    old    violins    anil 

'cellos,  by  the  old   Italian   and  other  makers, 

also  a  tine  collection  of  old  and  new   artists' 

hows,  Italian  strings,  silver  (i's,  leather  eases, 

F.  A.  OLIVER, 

25    Winter    Street, 

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choose  for  a  wife  a  woman  who  possesses  his  own  characteristics."  The 
difference  in  age  should  not  count.  Peter  should  not  listen  to  his  friends  : 
he  should  be  brave  and  believe  in  his  own  talent.  "  If  your  love  is  real 
and  substantial,  everything  else  is  nonsense.  She  would  not  wish  you  to 
play  the  part  of  servant,  and  you  could  compose  even  if  you  accompanied 
her  from  town  to  town.  ...  I  lived  with  your  mother  for  twenty-one  years, 
and  all  that  time  loved  her  with  the  passion  of  youth  and  respected  her 
and  adored  her  as  a  saint.  If  your  desired  one  has  the  character  of  your 
mother  whom  you  so  resemble,  there  should  be  no  talk  of  future  coolness 
and  doubt.  You  know  well  that  artists  have  no  home  ;  they  belong  to  the 
whole  world.  Why  worry  whether  you  live  at  Moscow  or  St.  Petersburg  ? 
She  would  not  leave  the  stage,  nor  should  you  abandon  your  career. 
True,  our  future  is  known  only  to  God  ;  but  why  should  you  foresee  that 
you  will  be  robbed  of  your  career  ?  Be  her  servant,  but  an  independent 
servant.  ...  Do  you  truly  love  her  and  for  all  time  ?  I  know  your  charac- 
ter, my  dear  son,  but,  alas,  I  do  not  know  you,  dear  sweetheart ;  I  know 
your  beautiful  soul  and  good  heart  through  him.  It  might  be  well  for  you 
both  to  test  your  love;  not  by  jealousy — God  forbid!  —  but  by  time. 
Wait  and  ask  each  other,  'Do  I  really  love  him  ?  Do  I  truly  love  her?' 
Will  he  (or  she)  share  with  me  the  joys  and  sorrows  of  life  unto  the 
grave  ?  " 

De'siree  married  in  January,  1869,  at  Warsaw,  the  baritone  Padilla 
y  Ramos,  born  at  Murcia  in  1842.  She  sent  no  word  to  Peter,  who  at 
that  time  was  busied  with  the  production  of  his  first  opera,  "  The 
Voievoda"  (Jan.  30,  1869).  When  he  realized  the  blow,  he  bore  her  no 
malice.     He  wrote  about  a  year  after  her  marriage  :  "  She  is  coming  here 

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and  I  cannot  avoid  meeting  her,  for  soon  after  her  arrival  the  rehearsals 
of  '  Le  Domino  Noir,'  with  recitatives  and  choruses  by  me,  will  begin. 
This  woman  has  cost  me  many  bitter  hours,  and  yet  I  feel  myself  drawn 
toward  her  with  such  inexplicable  sympathy  that  I  begin  to  await  her 
coming  with  feverish  impatience." 

They  met  as  —  friends.  Kaschkin  says  :  "  When  Artot  appeared  again 
on  the  stage  of  the  theatre  I  sat  in  the  pit  next  Tschaikowsky,  who  was 
mightily  excited.  When  she  came  out  he  put  the  opera  glass  to  his  eyes 
and  kept  it  there  during  the  whole  performance ;  but  I  doubt  whether  he 
saw  clearly,  for  tears  kept  pouring  down  his  cheeks." 

Tschaikowsky  saw  her  again.  He  wrote  in  the  diary  of  his  tour  in 
1888  :  "  Among  those  who  were  especially  friendly  to  me  in  Berlin  I  will 
mention  .  .  .  and  finally  Mme.  Artot,  so  well  remembered  by  the  Moscow 
public.  This  talented  singer  had  been  living  for  some  time  in  Berlin, 
where  she  was  particularly  appreciated  and  loved  by  the  court  and  the 
public,  and  where  she  sang  with  great  success  and  also  taught.  I  was 
invited,  together  with  Grieg,  to  spend  an  evening  at  Mme.  Artot's  house  : 
this  evening  is  counted  among  the  most  agreeable  recollections  of  my 
sojourn  in  Berlin.  The  personality  and  the  art  of  this  singer  are  as  be- 
witching as  ever."  Perhaps  Tschaikowsky  had  forgotten  his  letter  to  his 
brother  Anatol,  written  in  December,  1875,  in  which  he  said:  "She  has 
grown  horribly  fat  and  has  wholly  lost  her  voice." 

In  1889  Desiree  with  her  husband  moved  to  Paris. 


Nadesha  Filaretowna  von  Meek,  the  woman  that  admired  Tschaikowsky 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

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and  his  music  beyond  measure,  the  woman  that  made  it  possible  for  him 
to  compose  his  later  and  greater  works  without  the  fear  of  daily  debt  and 
care,  the  woman  that  insisted  they  should  never  meet,  never  talk  together, 

—  and  she  and  Tschaikowsky  never  interchanged  a  word  except  by  letter, 

—  gave  the  composer  in  1877  the  sum  of  3,000  roubles  to  pay  certain 
harassing  debts.  In  June  of  that  year  Peter  wrote  to  his  brother  Anatol 
that  he  was  betrothed,  that  the  wedding  would  be  in  July.  He  inclosed  a 
letter  to  their  father  in  which  he  spoke  of  his  sweetheart  as  "  a  poor  but 
good  and  blameless  maiden,"  who  loved  him  dearly  and  would  make  his 
life  peaceful  and  happy.  His  letter  to  Mrs.  von  Meek,  written  a  few 
days  later,  was  in  a  far  different  vein. 

Tschaikowsky  told  Mrs.  von  Meek  that  he  was  "  most  unexpectedly  be- 
trothed." "  One  day  I  received  a  letter  from  a  maiden  whom  I  have 
known  for  some  time,  and  from  it  I  learned  she  had  long  honored  me  with 
her  love.  This  letter  was  written  so  warmly  and  from  the  heart  that  I 
decided  to  answer  it,  although  in  former  instances  of  a  similar  nature  I 
had  carefully  avoided  doing  so."  As  a  result  of  this  correspondence  he 
visited  the  girl.  "  It  now  seems  to  me  that  a  mysterious  force  drew  me 
to  her."  When  he  saw  her,  he  realized  that  he  did  not  love  her.  He  felt 
for  her  only  sympathy  and  thankfulness.  He  began  to  torture  himself. 
If  he  did  not  love  her,  why  did  he  visit  her  ?  He  did  not  wish  to  make 
her  unhappy,  and  he  feared  that  she  would  make  a  tragic  ending  if  he 
should  tell  her  the  truth.  "  And  so  I  was  in  this  bad  dilemma  :  either 
I  should  regain  my  liberty  at  the  cost  of  a  life,  or  I  should  marry  her." 
He  went  to  her  and  told  her  the  truth.  He  said  he  never  could  love  her. 
He  described  his  character,  his  irritability,  his  mercurial  temperament,  his 
aversion  to  mankind,  the  precariousness  of  his  income.  He  then  asked 
her  if  she  would  be  his  wife.  She  accepted  him  gladly.  Then  he  began 
to  suffer  the  agonies  of  the  damned.  "Is  it  not  natural  that  I  should 
suffer  ?  To  persist  for  thirty-seven  years  in  the  antipathy  born  with  me 
to  the  marriage  state,  and  then,  suddenly,  through  the  might  of  circum- 
stances, to  be  forced  into  wedlock,  without  being  delighted  in  the  slightest 
degree  by  my  bride — this  is  horrible."  He  went  into  the  country  to 
think  it  over.  Nature  and  his  friends,  few  but  dear,  comforted  him.  He 
consoled  himself  with  the  thought  that  no  one  can  withstand  his  fate. 


BY    ROYAL     APPOINTMENT 
TO    THE     BRITISH    COURT. 


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He  described  his  bride  as  follows :  "  Her  name  is  Antonina  Iwanowna 
Mijukowa.  She  is  twenty-eight  years  old  and  very  beautiful.  Her  reputa- 
tion is  spotless.  She  lives  alone  —  from  a  wish  to  be  independent  — 
although  she  has  an  affectionate  mother.  She  is  extremely  poor  and  only 
moderately  educated,  but  she  is  apparently  good  and  affectionate." 

Tschaikowsky's  father  was  much  pleased,  and  wrote  him  lovingly. 
Peter's  letter  to  Mrs.  von  Meek  was  dated  July  30.  He  married  Antonina 
on  July  6  ;  and  Anatol,  his  brother,  was  the  only  relative  that  could  wit- 
ness what  their  brother  Modeste  calls  "  this  insane  marriage." 

Modeste,  in  the  biography  of  his  brother  that  is  now  publishing,  says  he 
has  no  intention  of  telling  all  the  details  of  this  unhappy  episode  in  the 
life  of  an  artist.  "  In  the  first  place  I  cannot  be  as  impartial  as  is  be- 
coming and  necessary  :  I  have  no  hope  of  securing  any  testimony  in  be- 
half of  the  wife ;  and,  again,  I  do  not  wish  to  injure  the  feelings  of  several 
persons  who  are  still  alive.  One  thing  I  do  say  :  from  the  first  days,  yes, 
from  the  first  hours  of  his  wedded  life  Peter  atoned  severely  for  the 
frivolity,  the  folly  of  his  conduct."  But  Peter  had  shown  anything  but 
"  frivolity." 

After  the  marriage  husband  and  wife  went  to  St.  Petersburg,  stayed 
there  a  week,  and  then  returned  to  Moscow.  In  a  letter  to  Mrs.  von 
Meek,  dated  July  15,  Peter  told  her  they  were  to  visit  his  mother-in-law, 
who  lived  in  the  country.  "  I  cannot  yet  tell  exactly  whether  I  am  happy 
or  unhappy.  I  know  this  :  it  is  impossible  for  me  to  work,  and  this  is  the 
symptom  of  a  restless,  abnormal  condition  of  the  mind." 

When  he  came  back  from  the  visit,  it  was  decided  he  should  go  alone 
to  Kamenka  and  then  to  the  Caucasus  for  a  cure.  He  wrote  his  friend  : 
"  I  go  away  soon.  A  few  more  days  and  I  swear  I  should  go  mad."  He 
stopped  at  Kamenka,  where  he  drank  Essentuky  water.  "  Only  time  can 
heal  me,  but  I  am  tranquil,  and  I  begin  to  look  fearlessly  in  the  face  of 
the  future."  But  a  week  or  more  passed  before  he  could  work.  "  Now  I 
am  ashamed  that  I  so  utterly  lost  courage.  Pardon  me  for  causing  you 
so  much  anxiety  and  care."  And  he  added  that  he  would  yet  come  out 
conqueror.  He  took  up  the  orchestration  of  his  fourth  symphony.  His 
other  letters  in  August  contain  much  information  about  his  compositions 
and  nothing  about  his  wife. 


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He  went  back  to  Moscow  early  in  September.  "My  wife  has  done  all 
in  her  power  to  make  me  contented.  My  home  is  cosy  and  pretty. 
Everything  is  clean,  fresh,  and  beautiful."  He  wrote  his  brother  Anatol 
the  same  day  that  his  wife  had  already  known  the  cares  of  housekeeping. 
While  waiting  for  his  return  she  had  twice  changed  cooks.  One  had 
robbed  her. 

Peter  suddenly  fell  sick.  He  pretended  to  receive  a  telegram  which 
called  him  away,  and  on  September  24  he  left  Moscow.  He  was  well-nigh 
mad.  Anatol  met  him  at  the  railway  station  in  St.  Petersburg,  and  hardly 
knew  him,  for  his  face  was  the  face  of  a  stranger.  As  soon  as  Peter 
reached  the  nearest  inn,  he  became  unconscious,  and  he  remained  so  for 
two  days.  The  physicians  urged  a  radical  change.  Anatol  took  his 
brother  to  Berlin. 

Modeste  in  the  course  of  his  story  makes  this  statement :  "  Peter  never 
in  his-life —  hot  at  that  time,  not  later  —  either  by  word  of  mouth  or  by 
letter  —  attributed  the  sad  outcome  of  his  marriage  to  any  fault  of  his  wife. 
...  He  insisted  that  she  had  always  behaved  honorably  and  uprightly  ;  that 
she  had  never  deceived  him."  Peter  in  turn  was  honorable  toward  her, 
and  never  dreamed  of  deceiving  her.  "Only  when  they  were  brought 
close  together  were  they  both  aware  that  between  them  lay  an  abyss  of 
misunderstandings  that  could  never  be  bridged,  that  they  had  wandered  as 
in  a  dream,  that  they  had  unintentionally  deceived  themselves  in  every- 
thing." 

Peter  went  to  Clarens  on  the  Lake  of  Geneva,  and  rented  there  the  Villa 
Richelieu.  He  had  money  enough  for  four  or  six  weeks.  He  was  so 
weak  and  nervous  that  he  shrank  from  going  back  to  Moscow  and  giving 
lessons  at  the  Conservatory.  Yet  he  wished  to  be  sent  as  a  delegate  to 
the  Paris  Expositions,  a  position  for  which  he  was  eminently  unfit.  He 
begged  Nicholas  Rubinstein  to  arrange  his  affairs  at  the  Conservatory. 
Nicholas  wrote  him  a  friendly  letter.  He  said  that  money  which  would 
be  due  him  for  teaching  —  from  1,200  to  1,300  roubles  —  would  be  sent 
him  in  monthly  payments  for  a  year ;  and  he  ended  the  letter  with  these 
words  :  "  Try  to  calm  yourself,  spare  your  health,  fear  nothing.  You  are 
far  too  prominently  placed  as  a  musician  to  be  compromised  by  indifferent 
things." 


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And  then  Mrs.  von  Meek  came  to  the  aid  of  Peter.  She  determined  to 
provide  for  his  material  wants,  and  she  arranged  that  he  should  receive 
from  her  a  yearly  income  of  6,000  roubles.  Her  purpose  was  conveyed 
to  him  in  a  letter  of  rare  delicacy  and  touching  affection. 

At  Clarens  he  gained  strength,  and  he  worked  there  until  the  end  of 
October.  In  November  he  went  to  Paris,  where  he  hoped  to  hear  a 
good  concert  or  some  new  opera.  He  was  there  for  only  a  day  or  two, 
and  was  disappointed  ;  there  was  nothing  at  the  Opera.  There  was  no 
concert.  There  were  three  little  pieces  at  the  Opera-Comique,  and  he  did 
not  caie  to  hear  "  Masset's  {sic)  'Paul  et  Virginie  '  *  at  the  The'atre- 
Lyrique."     Then  he  journeyed  to  Italy. 

The  story  of  Tschaikowsky's  marriage  has  been  told  with  hints  and 
shrugs  and  winks.  Here  is  the  tale  as  told  by  Modeste  Tschaikowsky. 
His  biography  of  Peter  shows  that  the  composer  could  not  have  been 
happy  with  any  woman.  The  words  that  Walter  Pater  put  into  the  mouth 
of  the  woman  who  wrote  in  her  journal  about  Antony  Watteau  may  well 
be  applied  to  Tschaikowsky :  "  He  has  been  a  sick  man  all  his  life.  He 
was  always  a  seeker  after  something  in  the  world  that  is  there  in  no  satisfy- 
ing measure,  or  not  at  all."  Perhaps  Desirde  Artot,  the  singing  woman, 
knew  too  well  the  strange  character  of  her  Russian  lover,  and  therefore 
married  without  regret  the  Spanish  baritone. 

*The  one   hundredth  performance  of  Masse's  "Paul   et    Virginie"  was  given  at  the  Theatre-Lyrique, 
Paris,  Nov.  3,  1877.     Capoul,  the  hero,  was  then  receiving  1,200  francs  for  each  night,  and  Sophie  Heilbron, 
the  heroine,  was  receiving  800  francs.     Messrs.  Noel  and  Stoullig,  at  the    time,  described   the  i-x|  >■: 
each  performance  as  "  enormous." 


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Suite  No.  3,  in  G  major,  Op.  55       ....     Peter  Tschaikowsky. 

(Born  at  Votkinsk,  in  the  government  of  Viatka,  Russia,  May  7,  1840  ; 
died  at  St.  Petersburg,  Nov.  5-6,  1893.) 

This  suite  was  finished  in  July,  1884.  It  was  performed  for  the  first 
time  at  a  concert  of  the  Russian  Music  Society,  Moscow,  Jan.  19,  1885. 

It  was  played  for  the  first  time  in  Boston  at  a  concert  of  the  Boston 
Symphony  Orchestra,  Oct.  17,  1891. 

The  suite  is  scored  for  3  flutes  (one  of  them  interchangeable  with  pic- 
colo), 2  oboes,  cor  anglais,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets, 
3  trombones,  tuba,  a  set  of  3  kettle-drums,  big  drum,  cymbals,  snare-drum, 
tambourine,  triangle,  harp,  strings.  It  is  dedicated  to  Max  Erdmanns- 
doerfer,  who  in  1884-85  was  the  conductor  of  the  Imperial  Russian  Music 
Society,  Moscow. 

This  suite  was  played  for  the  first  time  in  New  York  at  a  Thomas 
Popular  Concert,  Nov.  24,  1885. 

Tschaikowsky  conducted  it  in  New  York  at  the  Music  Festival  in  the 
then  new  Carnegie  Hall,  May  13,  1891. 

The  first  performance  in  St.  Petersburg  was  at  the  fifth  concert  of  the 
Imperial  Society,  led  for  the  occasion  by  von  Biilow,  Jan.  24,  1885.  The 
suite  came  fresh  from  the  publisher  into  rehearsal,  but  two  days  later  von 
Biilow  led  it  without  the  score  "and  with  a  brilliance  that  electrified  the 
audience."     Tschaikowsky  was  present. 

The  suite  is  in  four  movements. 

I.  FJegie.  This  movement  is  in  free  rondo  form.  Andante  molto 
cantabile,  6-8.  The  first  theme,  G  major,  is  given  to  the  first  violins.  This 
theme  is  gentle  and  flowing.  The  second  theme,  E-flat,  2-4,  "  molto  espres- 
sivo  e  con  grandezza,"  played  by  first  violins  and  flutes,  is  more  emotional. 
There  is  an  episode,  piii  mosso,  and  the  theme  is  repeated,  this  time  by 
violas  and  'cellos.     The  first  theme  enters,  now  in  E-flat  (flutes  and  oboes)  ; 


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Testimonials  from  distinguished  men  and 
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strings  are  in  counterpoint ;  and  there  is  a  new  theme  for  the  horns.  There 
is  a  short  development,  which  after  a  stirring  crescendo  ends  fortissimo, 
and  in  the  climax  the  second  theme  enters  with  marked  brilliance.  A  horn- 
call  sounds  a  halt ;  the  gentle  first  theme  is  sung  by  flutes.  Toward  the 
end  the  solo  violin  rises  from  its  fellows  and  above  light  chords  of  the 
wood-wind.     Harp  harmonics  add  to  the  romantic  mood. 


# 


II.  Valse  melancolique.  Iwan  Knorr  in  his  analysis  of  this  suite  com- 
ments on  Tschaikowsky's  predilection  for  the  waltz  form  and  his  choice  of 
the  waltz  rather  than  of  Russian  folk-dances,  generally  in  2-4.  He  speaks 
of  the  cosmopolitanism,  the  universality,  of  the  composer,  and  likens  him 
to  Turgenieff  in  his  position  toward  his  compatriots.  The  comparison  is 
something  more  than  fanciful  :  just  as  Dostoievsky  satirized  Turgenieff 
because  he  was  not  "  national,"  so  the  ultra-radicals,  Rimsky- Korsakoff,  et 
al.t  do  not  recognize  Tschaikowsky  as  a  strictly  Russian  composer.  Haz- 
litt  defined  a  patriot  as  "a  good  hater,"  and  this  extreme  nationalism  of 
the  neo-Russians  might  well  be  called  skew-eyed  parochialism. 

The  waltz,  with  Tschaikowsky,  is  not  an  ordinary,  gay  affair.  Death  often 
is  the  piper,  as  in  the  old  pictures.  Much  of  Tschaikowsky's  festal  music 
is  the  expression  and  expansion  of  Thomas  de  Quincey's  gorgeously  tragic 
page : — 

"  From  all  which  the  reader  may  comprehend,  if  he  should  not  happen 
experimentally  to  have  felt,  that  a  spectacle  of  young  men  and  women  flowing 
through  the  mazes  of  an  intricate  dance  under  a  full  volume  of  music,  taken 
with  all  the  circumstantial  adjuncts  of  such  a  scene  in  rich  men's  halls  — 
the  blaze  of  lights  and  jewels,  the  life,  the  motion,  the  sea-like  undulation  of 
heads,  the  interweaving  of  the  figures,  the  '  anakuklesis,'  or  self-revolving, 
both  of  the  dance  and  the  music,  'never  ending,  still  beginning,'  and  the 
continual  regeneration  of  order  from  a   system  of  motions  which  forever 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


<;28) 


touch  the  very  brink  of  confusion  —  that  such  a  spectacle,  with  such  cir- 
cumstances, may  happen  to  be  capable  of  exciting  and  sustaining  the  very 
grandest  emotions  of  philosophic  melancholy  to  which  the  human  spirit  is 
open.  The  reason  is,  in  part,  that  such  a  scene  presents  a  sort  of  mask 
of  human  life,  with  its  whole  equipage  of  pomps  and  glories,  its  luxury  of 
sight  and  sound,  its  hours  of  golden  youth,  and  the  interminable  revolu- 
tion of  ages  hurrying  after  ages,  and  one  generation  treading  upon  the 
flying  footsteps  of  another ;  whilst  all  the  while  the  overruling  attempers 
the  mind  to  the  spectacle,  the  subject  to  the  object,  the  beholder  to  the 
vision.  And  although  this  is  known  to  be  but  one  phasis  of  life  —  of  life 
culminating  and  in  ascent  —  yet  the  other  (and  repulsive)  phasis  is  con- 
cealed upon  the  hidden  or  averted  side  of  the  golden  arras,  known  but  not 
felt :  or  is  seen  but  dimly  in  the  rear,  crowding  into  indistinct  proportions." 
Allegro  moderato,  3-4,  E  minor.  The  dusky  background  is  formed  by 
chords  of  bassoons  and  clarinets  with  a  'cello  figure,  against  which  violas 
and  then  flutes  lament  with  a  lamentation  which  is  broken  as  by  sighs. 
The  second  section,  G  major,  is  in  clear,  bright  opposition.  The  synco- 
pated chief  theme  is  in  the  strings,  while  flutes  and  clarinets  are  in 
smooth  and  flowing  figuration.  The  first  section  is  repeated  with 
stronger  orchestration.  The  trio,  of  Tschaikowskian,  deliberate  mo- 
notony, follows,  and  there  is  a  repetition  of  the  preceding  themes  with  a 
different  close. 


# 
*  * 


III.  Scherzo,  molto  vivace,  6-8  (2-4).  Trombones  and  pulsatile  in- 
struments are  added  to  the  orchestra.  There  are  two  introductory 
measures  of  wood-wind,  and  the  violins  give  out  the  chief  theme,  which 
is  of  a  tarantella  character.  To  this  theme  in  the  second  section  a  synco- 
pated theme  is  bound  ;  it  is  repeated  several  times  ;  a  great  crescendo  leads 
to  the  return  of  the  first  section,  which  is  connected  closely  with  a  singu- 
lar trio.     This  trio  is  for  the  most  part  in  pianissimo. 


PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,  GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &   FAIRBANKS   COHPANY,    -    BOSTON 

(729) 


There  are  faint  clashes  of  cymbals,  far-off  roll  of  drum, —  snatches  of  a 
march  as  though  borne  by  the  wind  :  a  battle  in  the  distance  and  in  the 
mist.  And  now  fragments  of  the  scherzo  theme  are  heard  ;  there  is  a 
conflict  between  the  irreconcilable  elements.  At  last  the  march  is  hushed, 
and  reckless  gaiety  prevails,  until  the  first  theme  growls  in  the  bass,  and 
with  a  wild  shriek  of  the  orchestra  the  scherzo  is  at  an  end. 


# 
#   # 


IV.  Tema  con  variazioni.  The  simple  theme,  G  major,  2-4,  is  sung  by 
first  violins  with  accompaniment  of  detached  chords. 

Variation  1.  The  theme  is  given  to  all  the  strings  (pizzicato)  in  octaves  ; 
flutes  and  clarinets  are  in  counterpoint  above. 

2.  The  first  and  second  violins  are  as  one  voice,  concertante,  in  rapid 
thirty-second  passages  throughout.  Flutes,  oboes,  clarinets,  bassoons, 
horns,  accompany. 

3.  For  3  flutes,  2  clarinets,  2  bassoons.  The  theme  is  first  played 
as  upper  voice  by  first  flute.  In  the  second  section  the  second  clarinet 
plays  the  continuation  of  the  theme,  which  is  ended  by  the  flute.  The 
other  instruments  are  for  the  most  part  in  elaborate  polyphony. 

4.  For  full  orchestra  (B  minor),  "  pochissimo  meno  animato."  The 
chief  theme  is  now  below  and  now  above.  'Cellos,  clarinets,  and  cor 
anglais  in  unison  give  peculiar  richness  to  the  theme. 

5.  For  flutes,  oboes,  clarinets,  bassoons,  strings.  G  major,  allegro 
vivace,  3-4.  A  fugato,  in  which  the  beginning  of  the  first  and  second  parts 
of  the  theme  serve  as  chief  theme  for  contrapuntal  treatment. 


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6.  Allegro  vivace,  6-8.  Snare-drum  added  to  instruments  in  preced- 
ing variation.  The  theme  is  like  unto  the  tarantella  motive.  The  dance 
is  furiously  loud  until  it  is  interrupted  by  the  solemn  choral  of  the  next 
variation. 

7.  2-4.  Wood-wind  instruments  play  the  theme  transformed  into  a 
choral. 

8.  Adagio,  3-4.  In  this  variation  as  well  as  in  the  next  there  is  the 
thought  of  folk-tunes.  The  harmonies  of  this  variation  are  not  modern 
in  tonality  :  they  hark  back  to  the  old  folk-song  —  church  —  modes.  The 
preceding  choral  goes  into  a  tremolo  of  divided  violins,  and  the  cor  anglais 
sings  a  characteristic  melody,  adagio,  molto  cantabile  ed  espressivo. 

9.  Full  orchestra  with  solo  violin.  A  major,  allegro  molto  vivace,  2-4. 
Two  dance  measures  are  constantly  repeated.  The  melody  is  in  the 
violins,  and  a  clarinet  and  the  horns  accompany  with  tonic  and  dominant 
chords  on  a  dominant  pedal.  There  is  a  climax  (piii  presto)  ;  it  is  followed 
by  a  cadenza  for  solo  violin,  which  leads  into  the  next  variation. 

10.  B  minor,  allegro  vivo  e  un  poco  rubato,  3-8.  Chiefly  a  capricious 
solo  for  violin,  with  accompaniment,  for  the  most  part,  of  detached  chords. 

11.  B  major,  moderato  mosso,  4-4.  A  variation  built  upon  a  tonic 
pedal.  At  the  end  the  basses  descend  to  the  low  F-sharp,  and  prepare 
the  pedal-point  of  the  Finale. 

12.  Finale.  Polacca.  Moderato  maestoso  e  brillante,  3-4.  A  drum- 
roll  on  the  low  F-sharp  with  blare  of  horns  gives  the  signal  for  a  festival. 
Violins  and  flutes  in  ascending  triplets  include  initial  tones  of  the  theme. 
The  pace  grows  livelier ;  the  triplets  are  changed  into  sixteenths.  Trom- 
bones (ff  marcatissimo)  announce  a  fragment  of  the  theme,  which  soon  is 
sounded  in  diminution  by  the  same  instruments.  There  is  a  mighty 
crescendo  with  constant  drum-roll  on  F-sharp,  which  is  strengthened  by 
the  basses,  and  after  a  dramatic  ritardando  the  polacca  begins  with  pomp 
and  ceremony,  beat  of  drums  and  crash  of  cymbals.  The  contrasting 
melody  is  sung  by  all  the  violins  and  violas.  Trumpets  and  trombones  re- 
member snatches  of  the  theme  for  variations.  Much  of  the  introduction  to 
the  polacca  is  repeated,  as  is  the  dance  itself,  and  a  poco  piu  mosso  brings 
the  end. 


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Get  out  of  the  rut  yourself!  AH  doctors 

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Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
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Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


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Watertown  Cambridge 

Roxbury 

Boston 

Newport 

Fourteenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  FEBRUARY  6,  at  2.30  o'clock. 


SATURDAY  EVENING,  FEBRUARY  7,  at  8.00  o'clock. 


PROGRAMME. 

Cherubim Overture,  **  The  Water-carrier ' 

Mozart Aria  from  "  Titus ' 

R.  Strauss      .         ♦         .      Tone  Poem,  "  Death  and  Transfiguration ' 

Mendelssohn Aria  from  "  St.  Paul 

Schumann     .....  Symphony  No.  3,  "  Rhenish  * 


SOLOIST: 


Mme.  SCHUMANN-HEINK. 


(735) 


■STE^IilVIE^RT     HALL 


Miss  SAIDEE  VERE  MILNE 

(of  New  York) 

Will  give  a  RECITAL  of  ORIGINAL    SKETCHES  and  MONOLOGUES  and 

sketches  from  popular  authors,  under  distinguished  patronage, 

On  Wednesday  evening,  February  4,  at  8  o'clock, 
IN  STEINERT  HALL. 

Reserved  seats,  $1.00  and  $1.50  Tickets  are  now  on  sale  at  the  hall 

No  American  elocutionist  has  been  received  with  such  favor  in  London  as  Miss  Saidee  Vere  Milne.     She 
is  natural  and  forceful,  and  does  serious  and  humorous  selections  equally  well. —  London  Times,  England. 
Miss  Milne  is  one  of  New  York's  best  entertainers.     Her  humor  is  unsurpassed. —  New  York  Sun. 

NEXT    THURSDAY    AFTERNOON 

FEBRUARY  5,  at  THREE   (ENDING  at  FOUR-FIFTEEN) 
STEINERT    HALL 

First  appearance  in  Boston  of 

Mme.    ROGER  -MICLOS,  French  Pianist 

■ ■ 

PROGRAM 

BEETHOVEN Sonate,  Op.  27 

SCHUMANN Carnaval 

HAYDN        -  (/^  Arietta  Variee 

CHOPIN (k)  Scherzo  in  K-tiat  minor 

CHOPIN (c)  Yalse  Posthurne 

CHOPIN id)  Ballade  in  A-flat 

PFEIFFER  (a)  Inquietude 

BORODINE (i*)Au  Couvent 

GODARD (<■)  Fourth  Mazurka 

LISZT Rhapsodie  XIII. 

Tickets,  $1.00  and  $1.50,  are  now  on  sale  at  the  hall 

The  Weber  Piano  used 

Second  Recital  in  Miss  Elsie  Lincoln's  Series  of  Sunday  Concerts 
for  the  benefit  of  the  Mount  Pleasant  Home 

SUNDAY  AFTERNOON,  FEBRUARY  8,  AT  FOUR- THIRTY 

Mrs.  MARTHA  S.  GIELOW 

The  distinguished  Southern  Author  and  Reader,  will  give  one  of 
her  delightful  readings  of  Monologues  and  Selec- 
tions from  "  Mammy's  Reminiscences." 

Single  tickets,  50  cents  and  $1.00,  are  now  on  sale  at  Steinert  Hall 

(736) 


SECOND  CHAMBER  CONCERT 

BY     THE 

HOFFMANN    STRING  QUARTET 

Tuesday  evening,  February  JO,  at  8 
Mr.  CARL  STASNY,  Pianist 

PROGRAM 

QUARTET,  B-flat  major Haydn 

TRIO,  Op.  90  (Dumky) Dvorak 

QUARTET,  A  minor,  Op.  41,  No.  1 Schumann 

Tickets,  $0.75  and  #1.00,  for  sale  at  the  hall  The  Mason  &  Hamlin  Pianoforte 

Mr.  ARTHUR   WHITING 

WILL  PRESENT  A 

Program  of  his  own  Compositions  at 

STEINERT  HALL,  WEDNESDAY,  FEBRUARY  Ut 

AT  3  RM„ 

With  the  assistance  of 

Miss    Marguerite   Lemon,  Miss  Marguerite  Hall,  Mr.  John  Young, 
and  Mr.  Francis  Rogers. 

TICKETS  FOR  SALE  AT  THE  HALL. 

DUETS,  Meezo-soprano  and  Baritone. 

"  Fair  and  Fair  " George  Peele 

"O  there's  a  Heart  for  Every  One" Charles  Swain 

"  Love  is  Life's  End  " Edmund  Spenser 

SONGS,  Soprano.     (MSS.) 

"  When  I  am  Dead,  rny  Dearest  "  ) 

"  The  Sunrise  wakes  the  Lark  "J Christina  Rossetti 

"A  Birthday"  ) 

BARRACK-ROOM  BALLADS,  Baritone. 

"  Danny  Deever  "    ) 

"  Soldier,  Soldier "  [ .  Rudyard  Kipling 

"  Fuzzy  Wuzzy"      ) 
DUET,  Soprano  and  Tenor.    (MS.) 

"  My  Delight  and  thy  Delight " Robert  Bridges 

SUITE,  "  La  Danseuse,"  Pianoforte.    (MS.) 

SONG  CYCLE,  "  Floriana,"  Four  Voices  and  Pianoforte  .       .      Poems  by  Oliver  Herford 

Mason  &  Hamlin  Pianoforte. 

Arthur  HOCHMAN 

The  Young  Russian-American  Pianist 
Will   give    a    RECITAL    in    STEINERT    HLA.LL 

Tuesday  evening,  February  J  7,  at  8  o'clock 

Tickets,  $1.60  and  $1.00,  on  sale  at  Steinert  Hall 


HOCHMAN  PLAYS  THE  WlSSNER  PlANO  EXCLUSIVELY 
(737) 


CHICKERING     HALL 


CHICKERING   HALL 
Saturday  afternoon,  February  21,  at  3  o'clock 


Second  Boston   Recital  this  season 
by    the   Eminent   Russian   Pianist 


mark 


fiambourg 


Reserved  seats,  50  cents,  75  cents, 
and  $J,  at  Herrick's 
and  Checkering  Hall 


Knabe  Piano  used 


Local  Direction,  Charles  A.  Williams 


THTriTFrkTMr     HATT  HUNTINGTON  AVENUE,  BOSTON 

V/ilIUJ\L.Kll>IU     11  ALL        Thursday  Evening,  February  5,  at  8 

Miss  ALICE  CUMMINGS, Pianist 

Miss  ANNA  MILLER  WOOD,  Mezz°„;,falt. 

Assisted   by  Mr.  KARL  ONDRICEK,  Violinist 

Sonata  for  Piano  and  Violin,  Op.  48,         ...  fimile  Bernard 

(First  time-) 

Son(;s, Holmes,  Chretien,  D'Indy,  Hahn,  Duparc 

Piano  Soi.i, Rachmaninoff,  Tschaikowski,  Koptiaiclt 

Violin  Soi.i, Dvorak 

Sokc;s,    ............         Rubinstein,  Rachmaninoff,  Tschaikowsky 

Steinway  1'iano  used 

Tickets,  $1.50  and  $J,   now  on  sale 
at  Chickering  Hall  and  at  Herrick's. 

(738) 


Carl    Faeltepm's 

FIFTH    PIANOFORTE    RECITAL, 
Wednesday  Evening,   /larch    4,   1903,  at  8  o'clock. 

Programme. 

Sonata,  G  major,  Op.  79     )   •  Beethoven 

Eroica  Variations,  Op.  35   \ 

Huntington      Etude,  Op.  25,  No.  6      ~} 

Chambers        Mazurka,  Op.  33,  No.  1  > Chopin 

j_jajj^  Valse,  Op.  64,  No.  2       ) 

"  Venezia  e  Napoli  "  :  Gondoliera,  Canzone,  e  Tarantelle  .         Liszt 

TICKETS,  $L00.   &    &    &    1*    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 
APPLY   TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS, 

Mme.  Antoinette  Szumowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 


(739) 


SYMPHONY  SEATS 

For  SEASON, 

$A  (VOO    AND  $4  .00   AND 

I  Vr  UPWARD. 


0 1 M  01  C      REHEARSAL 
0II1ULL,  or    CONCERT, 


UPWARD. 

CONNELLY'S   Ticket  Office,  Adams  House. 

'Phone,  Oxford  942. 

Olive  JVIead, 

VIOLINIST. 

Address  F.  R.  Comee,  Symphony  Hall,  Boston,  or 

N  v  (  9  East  17th  Street,  New  York. 

'  (  6  Cork  Street,  London. 

FULL  LINE  OF  THE  PUBLICATIONS  OF 

The  John  Church  Company, 

Including  the  latest  compositions  of  Chaminade,  Dudley  Buck, 
Ethelbert  Nevin,  Hawley,  De  Koven,  Damrosch,  Arthur  Nevin, 
Arditti,  J.  C.  Bartlett,  Speaks,  Willeby,  and  other  famous  com- 
posers, also  their  celebrated  collections  of 

Oratorio  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 
Opera  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 
Famous  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 

Can  be  found  on  sale  at  the  music  store  of 

C.  W.  THOMPSON  &  CO.,  13  West  Street. 

(740) 


Messrs.  C.  C.  Harvey  &  Co. 

Have  the  honor  to  announce  their  ap= 
pointment  as  sole  representatives  for 
Boston  and  vicinity  of  the 


Knabe  Pianos 


Manufactured  by 
WILLIAM  KNABB  &  CO. 

BALTIMORE  NEW  YORK  WASHINGTON 


WAREROOMS 

144  BOYLSTON  S1REET,  BOSTON 
Telephone,  Oxford  134 


(741) 


BOSTON  SYMPHONY  HALL 


Handel  and   Haydn  Society 

EMIL  MOLLENHAUER,  Conductor 

H.  G.  TUCKER,  Organist 
A  FULL  ORCHESTRA 


Sunday,  February  8,  730  P.M. 

PARADISE  LOST 


By  Th.  DuBois 

First  time  in  this  country 


SOLOISTS 

Soprano,  Mme,  CAMILLE  SEYGARD 
Alto,  Mme.  LOUISE  HOMER 

Tenor,  Herr  ANDREAS  DIPPEL 

Baritone,  Sig,  EMILIO  de  GOGORZA 
Baritone,  Mr,  STEPHEN  TOWNSEND 
Bass,  M.  MARCEL  JOURNET 


Tickets,  $2.50,  $2.00,  and  $1.50.     Admission  tickets,  $1.00 

The  sale  will  begin  Monday,  February  2,  at  8.30  a.m.,  at  Sym- 
phony Hall  (telephone,  Back  Bay  1492),  and  also  at  Wright  & 
Ditson's,  344  Washington  Street  (telephone,  Main  2 191). 

Information  in  regard  to  the  sale  of  tickets,  etc.,  can  be  obtained 
by  addressing  the  Secretary. 

WILLIAM  F.   BRADBURY,  Secretary 
January  30,  1903.     369  Harvard  Street,  Cambridge 

(742) 


CHICKERING    HALL 


Saturday  afternoon,  February  \ 4,  at  three  o'clock 
SAINT  VALENTINE  CONCERT 

HARVARD 

GLEE    and    MANDOLIN 

CLUBS 

FOR  THE  ELLIS  MEMORIAL  CLUB 


Tickets,  $J.OO  and  $1.50,  now  on  sale  at  Herrick's  and  Checkering  Hall. 


SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 

70  PERFORMERS.    SMr.   WILHELM  GERICKE,  Conductor 

Thursday  Evenings 


FEBRUARY  12 
MARCH  J2 


APRIL  2 
APRIL  23 


at  7.45 


SOLO  ARTISTS 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MR.  CARL  STASM  MME.  BLOOMFIELD-ZEISLER 

MR.  ADOLF  BAK 

AND    OTHERS   TO    BE    ANNOUNCED. 


TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 

at  the  door. 

(743) 


SIGNOR  AUGUSTO  ROTOLI 

Announces  a  performance  off  his 

FESTIVAL  MASS 

Symphony  Hall  Friday  Evening,  February  20 


SOLOISTS 
Mrs.  GRACE  B.  WILLIAMS,  Soprano;  Miss  PAULINE  WOLTMANN,  Con- 
tralto; Mr.  C.  B.  SHIRLEY,  Tenor;  Mr.  STEPHEN  TOWNSEND,  Baritone. 
CHORUS  OF  225  VOICES. 

'Cellos,  Double-basses,  and  Kettledrum 

Organist,  Mr.  WALTER  J.  KUGLER 

Signor  AUGUSTO    ROTOLI,  Director 


PROGRAMME 


PART  I. 

i.    "  O  Bone  Jesu "  (Motet)         .         .      ■   .         .         .         .         Palestrina 

CHORUS 

2.  "  Jesus  Only  "  (Quartette) Rotoli 

Mrs.  Williams,  Miss  Woltmann,  Mr.  Shirley,  Mr.  Townsend 

3.  "Crossing  the  Bar  "  (Poem  of  Lord  Alfred  Tennyson,  set  to  music  by 

Signor  Rotoli) 
Mrs.  Williams 

4.  "  Alia  Trinita  Beata  "  (Chant  of  the  Fifth  Century),      Author  unknown 

PART   II. 

FESTIVAL  MASS 

Kyrie  (Prayer) 

Gloria  (Hymn  of  Praise) 

*  Credo  (Confession  of  Faith) 

Sanctus  (Hymn  of  Glory) 

Benedictus  (Hymn  of  Praise) 

Unaccompanied 

Agnus  Dei  (Prayer) 

*  As  the  priest's  Gregorian  intonation  of  the  Credo  is  used  as  the  chief  theme  in  this  number,  that  intona- 
tion will  be  given  by  the  organ. 


Reserved  seats,  50c.,  $1.00,  and  $1.50. 

Mail  orders  accompanied  by  check  and  addressed  L.  II.  Mudgett,  Manager,  Sym- 
phony Hall,  now  being  received. 

Public  box  office  sale  opens  Friday,  February  13,  at  8. 30  a.m. 

(744) 


S>6e  Cecilia  Society 

Mr.  B.  J.  LANG,  Conductor 


SYMPHONY    HALL 

Tuesday,  February  3,  \  903,  at  8  P.M. 


The  Death  of  Minnehaha 

AND 

The  Departure  of  Hiawatha 

Coleridge-Taylor 
For  Chorus,  Solo  Singers,  Orchestra,  and  Organ 


Solo  Singers 
Miss  Maud  Reese  Davies,  Mr.  George  Devoll,  Mr.  Stephen  Townsend 

•     Tickets,  J?  1.50  each,  on  sale  at  the  hall  on  and  after  Friday,  January  23 

CHICKERING       HALL 

Sixth  Concert,  Monday  evening,  February  9,  at  8 


The  Knelsel  Quartet 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALWIN   SCHROEDER,  Violoncello 


PROGRAJVliVlE 

ERNEST   CHAUSSON    .         .  Quartet  for  Piano,  Violin,  Viola,  and  Violoncello, 

*  in  A  major,  Op.  30 

ARTHUR    FOOTE Variations  from  Quartet  in  E  minor 

SCHUBERT       .  Octet  for  Two  Violins,  Viola,  Violoncello,  Double-bass,  Clarinet, 

Bassoon,  and  Horn,  in  F  major,  Op.  166 


Assisting  Artists 

Mr.   AUGUST   SPANUTH 

Messrs.  K.  Keller,  Double-bass;  V.  Lebailly,  Clarinet;  A.  Debuchy,  Bassoon; 
A.  Hackebarth,  Horn." 


Mason  &  Hamlin  Pianoforte 
(746) 


TENTH    YEAR 


BURTON 
HOLMES 


LECTURES 


TREMONT 
TEMPLE 


TWO   COURSES  EXACTLY    ALIKE 

Course  A,  Four  Evening  Lectures  Course  B,  Four  Afternoon  Lectures 


THE  LECTURES  TO  BE  dlVEN  IN  THE  FOLLOWING  ORDER: 

PORTUGAL,    "Wednesday,    February    18 

At  2.30  and  8.00 

DENMARK,    Saturday,    February    21 

At  2.30  and  S.oo 

SWEDEN,    Wednesday,    February    25 

At  2.30  and  8.00 

NORWAY,    Saturday,   February    28 

At  2.30  and  8.00 


THE    SALE    OP'    COURSE    TICKETS   opens   Monday,   Fburuary  9,  at  9   a.m.,  at   the    Box  Office, 
Tremont  Temple. 

COURSE   TICKET,  securing  to  the  holder  the  same  reserved  seat  at  each  of   the  {our  lectures  of  either 
course,  $3.00,  $2.50,  and  £2.00,  according  to  location. 

SINGLE  TICKETS,  $1.00,  75c,  and  50c,  will  be  on  sale  on  and  after  Monday,  Fburuary  16,  at  9  a.m. 

25c.  unreserved  seats  also  on  sale  for  single  lectures. 

MAI  L   ORDERS   addressed  to  The  Burton  Holmes  Lectures,  care  of  Tremont  Temple,  will  receive  prompt 
attention  in  order  of  their  receipt. 

(746) 


MUSICAL   INSTRUCTION. 


Miss  HARRIET  S.  WHITTIER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 

Hiss  GERTRUDE  EDMANDS,  vocal  instruction. 

EXETER    CHAMBERS. 


Mr,  CHARLES  B.  STEYENS 


Specialist  in  the  Science  of 
Tone  Production  and  the  Art  of  Singing. 

'  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 


Miss  ANNA  MILLER  WOOD, 

iTEZZO-CONTRALTO. 


Teaching- room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LADRA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 

AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BA55  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


(747) 


Hiss  SUZA  DOANE, 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


Miss  JESSIE  DAVIS, 

Pupil  of  Harold  Bauer. 


CONCERTS  and    PECITALS. 
...LESSONS... 

Studio,   163    flassachusetts  Avenue. 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  GDSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Violin,  Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEHBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 

DAVID   POPPER. 

STUDIO:  171 A    TREHONT  STREET. 


JOHN  G.  MANNING, 


Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Hiss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  j>  Accompaniments. 

Trinity  Court. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber 1  at  her  residence,  THE   OXFORD. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Mrs.  Habel  Mann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(748) 


^*  «OGER-MlcU° 


The  Famous  French  Pianist 

...  FIRST  APPEARANCE  IN  BOSTON  ... 

STE/NERT  HALL 

Thursday  cAfternoon,  February  5,  1903,  at  3  o'clock,  ending 

at  4.15 

MANAGEMENT   L.    M.    RUBEN 


Tickets,  $1.00  and  $1.50,  are  now  on  sale  at  the  hall 


THE  WEBER  "PIANO  USED 


STEIN  WAY  &  SONS 

Grand  and  Upright  Pianos. 


MANUFACTURERS    BY   APPOINTMENT    TO 


His  Majesty, 

NICHOLAS  II., 

CZAR  OF  RUSSIA. 


His  Majesty. 

WILLIAM  II., 

EMPEROR  OF  GERMANY  AND 
KING  OF  PRUSSIA. 


His  Majesty. 

FRANCIS 
JOSEPH  I., 


EMPEROR   OF      <T 
AUSTRIA  \ 

AND 

KING  OF  HUNGARY.         Hungary 


«»Their  Royal  Highnesses, 

THE  PRINCE  AND 

PRINCESS  OF 

WALES. 


His  Majesty. 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty. 

ALEXANDRA, 

QUEEN  OF  GREAT   BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  majesty. 

VICTORIA, 

QUEEN  OF  GREAT  BRITAIN 
and  EMPRESS  OF  INDIA. 


His  Royal  Highness. 

THE    DUKE   OF 
EDINBURGH. 


His  Majesty. 


UMBERTO 

KING  OF  ITALY. 


ALBERT, 

KING    QF    SAXONY^ 


Her  Majesty,  his  Majesty. 

MARIACHRISTINA,  OSCAR  II., 

QUEEN  REGENT  OF  SRAIN.      |    KING  OF  SWEDEN 

AND  NORWAY. 


His  Majesty, 


His  Majesty. 


ipfe^    MOUSAFFER-ED-DIN.i  ABDUL  HAMID  II., 

*Jj'lJK  SHAH  OF  PERSIA.  SULTAN  OF  TURKEY! 


AND   THCIR    BtSPECTIVC    COURTS. 


ILLUSTRATED    CATALOGUE    MAILED    FREE    ON   APPLICATION. 


5TEINWAY    PIANOS. 

H.  STEINERT  &   SONS   CO., 

162  to  168  Boylston  Street,   Boston,   Mass. 


PRoGRAttttE 


Conductor  of  the  Handel  and  Haydn  Society, 
Conductor  of  the  Apollo  Club,  Conductor  of 
the  Boston  Festival  Orchestra,  Musician,  Vio- 
linist, Pianist,  writes  to 

• 

Mason  (Si  Hamlin  Co. 

December  12,  1901 
Mason  &  Hamlin  Co. 

Gentlemen, —  The  Grand  pianoforte  of  your  make 
which  I  purchased  of  you  two  years  or  so  ago  has  proven 
itself  a  most  superb  instrument. 

It  stands  remarkably  well,  and,  in  fact,  like  a  Stradi- 
varius  violin,  it  improves  with  age.  I  am  sure  you  are 
to  be  congratulated  on  your  production,  and  I  am  sure  the 
artist  must  be  grateful  to  you  for  your  production.  The 
instruments  you  are  now  producing  are  not  only  fine 
pianofortes,  but  they  are  a  potent  influence  working  for 
the  best  in  the  highest  of  all  the  arts, —  music. 

With  admiration  for  the  loyalty  with  which  you  work 
toward  your  lofty  ideal,  and  with  sincere  wishes  for  your 
continued  success,  I  am, 

Very  truly  yours, 
(Signed)    EMIL   MOLLENHAUER. 


M.   Steinert  O,   Sons   Co. 

New   England   Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY -SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

FOURTEENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     J*    J*    &    Jt 


FRIDAY  AFTERNOON,  FEBRUARY  6, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  FEBRUARY  7, 

AT  8.00  O'CLOCK. 


Published  by  C  A.  ELLIS,  Manager. 

(749) 


ME  S  S  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(760) 


TWENTY-SECOND  SEASON,  J902-J903. 


Fourteenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  FEBRUARY  6,  at  230  o'clock. 

SATURDAY  EVENING,  FEBRUARY  7,  at  8.00  o'clock. 


PROGRAMME. 

Cherubini  .         .         Overture  to  the  Opera,  "  The  Water-carrier  " 

Berlioz  .         .        Two  Movements  from  the  Dramatic  Symphony, 

"Romeo  and  Juliet/'  Op.  M 

II.     Love  Scene  :  Adagio. 
III.     Queen  Mab,  Scherzo  :  Prestissimo. 
Trio  :  Allegretto. 

Richard  Strauss         .         .   Tone-poem,  "Death  and  Transfiguratior," 

Op.  24 


Schumann        .    Symphony  in  E-flat  major,  No.  3,  "Rhenish,"  Op.  97 

I.  Lebhaft. 

II.  Scherzo:  Sehr  massig. 

III.  Nicht  schnell. 

IV.  Feierlich. 
V.  Lebhaft. 


There  will  be  an  intermission  of  ten  minutes  before  the  symphony. 

The  door*  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 

(761) 


L.  P.  HOLLANDER  &  CO. 


Grand  Exhibition  in  Silk  Department 

OF 
FRENCH  SATIN  FOULARDS 

EMBROIDERED  SHANTUNGS 

FOULARDS  FACONNfi 
PONGEE  CRASH 

PEAU  DE  NYMPH E 

DRAP  DE  MOSART,  Etc. 

Cotton  Goods  Department 

FRENCH  EMBROIDERED  LINENS 

SWISS  MUSLINS,  FRENCH  PLUMETIS 
FANCY  FRENCH   BOUCLAIS 

FRENCH  AND  IRISH  DIMITIES 
SILK  AND  LINEN  FLOWERED  GRENADINES 

PLAIN  AND  FANCY  FRENCH  BAREGES 

LINEN  CANVAS  AND  EXAMINES 

FRENCH  BRILLIANTS,  Etc. 


WEDDING  GIFTS. 

Sterling  Silver,  Cut  Glass, 
Bric-a-brac,  Bronzes. 

Diamonds,  Watches,  Clocks.  r< 

Reliable  Goods,  Moderate  ] 

Prices.  Q^i 

|S§SS?F      SMITH, 

PATTERSON 

&p(\     Wholesale 
V/Vf.   and  Ketail.    ^i»^*Tv^ 

52  Summer  St.  ^U^ff 


®as-^  J7>% 


WA 


Overture  to  the  Opera,  "  The  Water-carrier." 

Maria  Luigi  Zenobio  Carlo  Salvatore  Cherubini. 

(Born  at  Florence,  Sept.  8,  1760*;  died  at  Paris,  March  15,  1842.) 

"Les  deux  Journees"  (known  in  Germany  as  "  Der  Wassertrager  "  and 
in  English  as  "  The  Water-carrier "),  lyric  comedy  in  three  acts,  text  by 
"Citoyen  Bouilly,"  music  by  "  Citoyen  Cherubini,"  and  dedicated  to  "  Ci- 
toyen  Gossec,"  was  first  performed  at  the  Theatre  de  la  Rue  Feydeau, 
Paris,  the  26th  Nivose,  the  year  8,  or  Jan.  16,  1800.  The  chief  singers 
were  Julie  Ange'lique  Scio  (1 768-1807),  Constance;  Gaveau,  Arm and ; 
Juliet,  Mikeli,  the  water-carrier. 

The  story  is  a  simple  one,  a  tale  of  adventure  in  the  time  of  the  Car- 
dinal Mazarin.  Armand  falls  under  the  displeasure  of  the  Cardinal,  and, 
with  his  wife  Constance,  is  finally  saved  through  the  devotion  of  a  water- 
carrier.  The  "  two  days  "  are  the  days  of  suspense  which  Armand  and 
Constance  undergo  before  they  are  sure  of  life. 

The  overture  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  3 
horns,  bass  trombone,  kettle-drums,  strings.  It  is  in  two  parts :  there  is 
an  introduction,  E  major,  andante  molto  sostenuto,  4-4;  and  an  allegro, 
E  major,  4-4,  which  at  the  end  becomes  a  presto.  The  allegro  is  built  on 
two  themes:  the  first,  ff,  is  announced  by  violins;  the  second  and  milder 

*  Cherubini  gave  this  date  to  Choron  in  i8oq  ;  but  according  to  his  own  catalogue  of  works  the  date  is  Sept. 
14,  1760. 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC. 

GEORGE  W.  CHADWICK,    Director. 
Huntington  Avenue,  Boston,  one  block  from  Symphony  Hall. 

SECOND   SESSION 
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is  announced  by  bassoons  and  violas.  The  thematic  material  does  not 
appear  in  the  opera. 

"  In  the  solemn  introduction,  forebodings  of  evil,  dreamy  prophecies  of 
impending  woe,  fall  vaguely  on  the  ear,  fixing  our  attention,  yet  perplexing 
us  with  thoughts  of  change.  But  now  comes  the  allegro,  in  the  first  sub- 
ject of  which  we  at  once  recognize  the  light-hearted  poeo  curante  daring 
of  the  preux  Chevalier ;  in  the  second,  so  full  of  anxious  tenderness,  the 
utterances  of  his  devoted  Constance.  The  overture  is,  indeed,  permeated 
by  the  same  ideas  which  are  the  very  core  and  essence  of  the  coming 
drama ;  but  heroism  alone  characterizes  the  peroration,  in  which  both  hus- 
band and  wife  seem  to  be  united  in  one  grand  resolve."  For  the  analyst 
flourished  before  Wagner,  Brahms,  and  Richard  Strauss  divided  households. 

This  overture  was  played  at  a  concert  of  the  Boston  Academy,  Jan.  15, 
1842.  It  was  probably  played  here  before  that  date.  It  was  played  at 
the  Boston  Symphony  Concerts  of  Feb.  23,  1884,  Dec.  27,  1884,  April  5, 
1890. 

The  opera  was  performed  at  the  Boston  Theatre,  Jan.  24,  1872.     Carl 

Rosa  conducted,  and  the  cast  was  as  follows  :  — 

Constance '.     .    Parepa  Rosa 

Marcellina  .     .    • Clara  Doria 

Angelina Miss  Schofield 

Armand William  Castle 

Antonio Tom  Kail 

Michael Aynsley  Cook 

Daniei E.  Seguin 


THIRTY    INSTRUCTIVE  PIECES 

Selected  from  the  works  of  J.  S.  BACH. 
Transcribed  for  the  Pianoforte  by  Carl  Faelten. 

PRICE,  $1.25. 

This  book  of  pieces  has  been  compiled  for  a  defi- 
nite instructive  purpose, —  the  development  of  fluency 
in  reading  from  staff  notation,  the  playing  of  a  single 
part  without  accompaniment,  or  with  a  very  subordi- 
nate accompaniment,  forming  an  essential  link  in  the 
cultivation  of  fluent  reading.  All  the  numbers  are 
selected  from  the  admirable  but  little  known  Six  So- 
natas for  Solo  Violin  and  Six  Sonatas  for  Solo  Vio- 
loncello, by  J.  S.  Bach. 

The  editor  hopes  that  these  arrangements  will  not 
only  serve  the  special  educational  purpose  which 
gave  origin  to  their  publication,  but  that  they  will  be 
enjoyed  also  for  their  inherent  musical  beauty  and 
vigor  by  all  friends  of  the  great  master,  J.  S.  Bach. 


ARTHUR   P.  SCHMIDT, 

BOSTON,  LEIPZIG.       NEW  YORK, 

146  Boylston  Street.  136  Fifth  Avenue. 


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The  play-bill  stated  that  this  was  the  first  performance  in  America.  It 
seems  hardly  possible  that  the  opera  was  not  performed  at  the  French 
opera  house  in  New  Orleans  before  that  date. 

Bouilly,  the  librettist,  they  say,  was  a  pompous,  foolish  person,  and  his 
libretto  was  condemned  by  the  critics  ;  yet  the  opera  made  a  profound 
impression  and  had  a  long  run.  Bouilly  met  Cherubini  at  the  house  of 
Josdphine  Beauharnais,  and  the  composer  was  in  search  of  a  book.  The 
librettist  had  a  friend  who  had  saved  a  magistrate  under  the  Terror,  and 
on  this  incident  the  book  was  based.  Scenes  of  the  Reign  of  Terror  came 
vividly  before  the  audiences  at  the  first  performances  of  the  opera,  and 
there  are  accounts  of  the  depth  of  emotion  aroused  in  the  breasts  of  sur- 
vivors. And  Bouilly  was  not  without  flattering  recognition  ;  for  a  dozen 
water-carriers  called  on  him  one  day  with  flowers,  and  begged  the  privilege 
of  supplying  him  with  free  water  for  a  year. 

A  distorted,  mutilated  version  of  the  opera,  entitled  "The  Escapes," 
and  with  music  by  Thomas  Attwood,  was  produced  at  London  in  1801. 


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Two    Movements     from     the     Dramatic    Symphony,    "Romeo    and 

Juliet,"  Op.   17 Hector  Berlioz. 

(Bom  at  la  Cote-Saint-Andrc,  France,  Dec.  n,  1S03;  died  at  Paris,  March  9,  1869.) 
"  Romeo  et  Juliette,"  grand  dramatic  symphony  with  chorus,  text  after 
Shakespeare  by  fimile  Deschamps,  was  sketched  in  1829,  composed  in 
1838,  produced  in  1839,  revised  and  published  as  a  whole  in  1848.  (The 
strophes  of  the  prologue  had  previously  been  published  for  voice  and 
piano.)  A  second  and  revised  edition  was  published  in  1857.  The  work 
is  dedicated  to  Nicolo  Paganini. 

The  first  performance  was  on  Sunday,  Nov.  24,  1839,  at  the  Conserva- 
tory, Paris.  Adolphe  Joseph  Louis  Alizard  sang  the  part  of  Friar  Lau- 
renre ;  Alexis  Dupont,  the  scherzetto  of  Queen  Mab  ;  and  Mrs.  VVideman, 
ihe  strophes  of  the  prologue,  in  place  of  Rosine  Stoltz,  who  had  been 
announced,  and  who  sang  at  the  second  performance  on  December  12  of 
the  same  year.     The  composer  conducted. 

Berlioz  called  his  work  a  "  grand  symphony  with  chorus  "  ;  and  on  Sept. 
22,  1839,  he  wrote  to  his  friend  Ferrand  that  he  had  finished  it:  "It  is 
equivalent  to  an  opera  in  two  acts,  and  will  fill  out  a  concert ;  there  are 
fourteen  movements." 

Berlioz  wrote  as  a  preface  to  the  work:  "Although  voices  are  frequently 
employed,  this  is  not  a  concert-opera,  a  cantata,  but  a  symphony  with 
chorus.     If  song  occurs  in  the  beginning,  it  is  for  the  purpose  of  prepar- 


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AT  PAINE'S. 


It  has  always  been  assumed  that  the  dealer  in 
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You  may  have  noticed  how  closely  his  taste  al- 
ways coincides  with  yours.  He  rarely  tells  you 
that  your  choice  is  abominable.  He  is  there  to 
sell  papers  and  not  to  do  missionary  work. 

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extra.  And  that  is  the  great  argument  for  buy- 
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"  salesman  "  who  is  a  decorator. 

He  thinks  and  plans  how  you  can  harmonize 
your  papers  with  your  rugs,  laces,  draperies,  and 
portieres.     This  is  just  what  we  do  for  you. 

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ing  the  mind  of  the  hearer  for  the  dramatic  scenes  in  which  sentiments  and 
passions  should  be  expressed  by  the  orchestra.  It  is  moreover  to  intro- 
duce gradually  in  the  musical  development  choral  masses,  whose  too  sud- 
den appearance  would  do  harm  to  the  unity  of  the  composition.  Thus 
the  prologue,  in  which,  after  the  example  of  the  prologue  by  Shakespeare 
himself,  the  chorus  exposes  the  action,  is  sung  by  only  fourteen  voices- 
Later  is  heard,  behind  the  scene,  the  male  chorus  of  Capulets ;  but  in  the 
funeral  ceremonies  women  and  men  take  part.  At  the  beginning  of  the 
finale  the  two  choruses  of  Capulets  and  Montagues  appear  with  Friar 
Laurence;  and  at  the  end  the  three  choruses  are  united." 
Capulet's  Garden  :  Love  Scene. 

Berlioz  gave  this  excuse  for  the  employment  of  orchestral  speech  rather 
than  lyrical  declamation  in  this  scene  :  "  If,  in  the  celebrated  scenes  of  the 
garden  and  the  tomb,  the  dialogue  of  the  two  lovers,  the  a  parte  of  Juliet 
and  the  passionate  bursts  of  Romeo,  are  not  sung,  if  the  duets  of  love 
and  despair  are  intrusted  to  the  orchestra,  the  reasons  are  many  and  easily 
understood.  First,  and  this  is  enough  to  justify  the  composer,  the  work 
is  a  symphony  and  not  an  opera.  Secondly,  duets  of  this  kind  have  been 
treated  vocally  a  thousand  times  and  by  the  greatest  masters,  so  it  is  pru- 
dent as  well  as  interesting  to  attempt  another  mode  of  expression.  Again, 
the  sublimity  of  such  love  makes  its  portraiture  so  dangerous  a  task  to  the 
musician  that  he  is  obliged  to  give  to  his  fancy  a  latitude  that  the  precise 
meaning  of  words  to  be  sung  would  not  allow  him,  and  to  seek  the  aid  of 
instrumental  speech,  a  language  richer,  more  varied,  less  fixed,  and  by 
reason  of  its  very  vagueness  immeasurably  more   puissant  in  such  a  case." 

The  Adagio,  A  major,  6-8,  begins  dreamily  with  the  strings.  The  pace 
quickens  somewhat  with  the  appearance  of  Juliet  upon  the  balcony.  The 
love  theme  is  sung  by  horn  and  'cellos.  The  first  theme  returns,  but  soon 
the    love  theme    appears,  still  more    expressive,  clearer,  more    sonorous. 

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There  are  rich  aud  varied  developments  of  this  love  theme,  and  there  are 
interrupting  free  episodes.  Thus  after  a  short  Allegro  agitato  there  is  a 
broadly  flowing  cantilena.  The  love  theme  is  sung  for  the  third  time,  but 
at  lesser  length,  and  there  is  less  rapturous  hope  in  the  song. 

The  movement  is  scored  for   2    flutes,  oboe,  cor  anglais,  2   clarinets,  4 
bassoons,  4  horns,  strings. 


"  Death  and  Transfiguration,"  Op.  24     ...     .  Richard  Strauss. 

(Born  at  Munich,  June  II,  1864;  now  living  at  Charlottenburg,  Berlin.) 

This  is  the  third  of  Richard  Strauss's  seven  tone-poems.  It  was  com- 
posed at  Weimar  in  1889,  and  in  date  of  composition  came  between  "  Don 
Juan  "  (1888)  and  "Till  Eulenspiegel's  lustige  Streiche  "  (1895). 

It  was  first  performed  at  the  "Tonktinstlerversammlung"  at  Eisenach, 
June  21,  1890. 

The  first  performance  in  Boston  was  at  a  Symphony  Concert,  Feb.  6, 
1897.     It  was  performed  again  at  a  Symphony  Concert,  March  18,  1899. 

The  tone-poem  is  dedicated  to  Friedrich  Rdsch  *  and  scored  for  3 
flutes,  2  oboes,  cor  anglais,  2  clarinets,  bass  clarinet,  2  bassoons,  double- 
bassoon,  4  horns,  3  trumpets,  3  trombones,  tuba,  a  set  of  3  kettle-drums,  2 
harps,  gong,  strings. 

On  the  fly-leaf  of  the  score  is  a  poem  in  German  :  — 

*  Rbsch,  horn  in  1862  at  Memmingen,  studied  law  and  music  at  Munich.  A  pupil  of  Rheinberger  and 
Wohlmuth,  he  conducted  a  singing  society,  for  which  he  composed  humorous  pieces,  and  in  18S8  abandoned 
the  law  for  music.  He  was  busy  afterwards  in  Berlin,  St.  Petersburg,  Munich.  In  1S98  he  organized  with 
Strauss  and  Hans  Somer  the  "  Genossenschaft  deutscher  Komponisten."  He  has  written  madrigals  for  male 
anil  mixed  choruses  and  songs.  Larger  works  are  in  manuscript.  He  has  also  written  an  important  work, 
"  Musikasihetische  Streitfragen  "  (1898),  about  von  Billow's  published  letters,  programme  music,  etc.,  and  a 
Study  of  Alexander  Ritter  (1898). 


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Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
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In  der  armlich  kleinen  Kammer 
Matt  vom  Lichtstumpf  nur  erhellt, 
Liegt  der  Kranke  auf  dem  Lager. 
Eben  hat  er  mit  dem  Tod 
Wild  verzweifelnd  noch  gerungen. 
Nun  sank  er  erschopft  in  Schlaf, 
Und  der  Wanduhr  leises  Ticken 
Nur  vernimmst  du  im  Gemach, 
Dessen  grauenvolle  Stille 
Todesnahe  ahnen  lasst. 
Um  des  Krankenbleiche  Ziige 
Spielt  ein  Lacheln  wehmuthvoll. 
Traumt  er  an  des  Lebens  Grenze 
Von  der  Kindheit  goldner  Zeit? 


Doch  nicht  lange  gonnt  der  Tod 
Seinem  Opfer  Schlaf  und  Traume. 
Grausam  riittelt  er  ihn  auf 
Und  beginnt  den  Kampf  auf's  Neue. 
Lebenstrieb  und  Todesmacht ! 
Welch'  entsetzensvolles  Ringen  ! 
Keiner  tragt  den  Sieg  davon, 
Und  noch  einmal  wird  es  stille ! 


Kampfesmiid'  zuriickgesunken, 
Schlaflos,  wie  im  Fieberwahn, 
Sieht  der  Kranke  nun  sein  Leben, 
Tag  um  Tag  und  Bild  um  Bild 
Inn'rem  Aug'  voriiberschweben. 


Latest  Musical  Sensations  from  Paris 


"  Extase."     Valse  Lente    . 

"Tout  Passe."     Valse  Langoureuse 

"  Valse  Folle."  . 

"Nuages  Roses."     Valse 

«*Les  Soldats  qui  passent."     March 


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Erst  der  Kindheit  Morgenrot, 
Hold  in  seiner  Unschuld  leuchtend  ! 
Dann  des  Junglings  keckes  Spiel  — 
Kriifte  iibend  und  erprobend  — 
Bis  er  reift  zum  Miinnerkampf, 
Der  am  hochste  Lebensgiiter 
Nun  mit  heisser  Lust  entbrennt. 
Was  ihm  je  verklart  erschien 
Noch  verklarter  zu  gestalten, 
Dies  allein  der  hohe  Drang, 
Der  durch's  Leben  ihn  geleitet. 
Kalt  und  hohnend  setzt  die  Welt 
Schrank'  auf  Schranke  seinem  Drangen. 
Glaubt  er  sich  dem  Ziele  nah', 
Donnert  ihm  ein  "  Halt !  "  entgegen  : 
"  Macli'  die  Schranke  dir  zur  Staffel, 
Immer  hoher  nur  hinan  !  " 
Also  drangt  er,  also  klimnit  er, 
Lasst  nicht  ab  vom  heil'gen  Drang. 
Was  er  so  von  je  gesucht 
Mit  des  Herzens  tiefstem  Sehnen, 
Sucht  er  noch  im  Todesschrein, 
Suchet,  ach  !  und  findet's  nimmer. 
Ob  er's  deutlicher  auch  fasst, 
Ob  es  mahlich  ihm  auch  wache, 
Kann  er's  doch  erschopfen  nie, 
Kann  es  nicht  im  Geist  vollenden. 
Da  erdrohnt  der  letzte  Schlag 
Von  des  Todes  Eisenhammer, 


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ANDIRONS.    FIRE  SETS.    FIRE  SCREENS 

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Bricht  den  Erdenleib  entzwei, 
Deckt  mit  Todesnacht  das  Auge. 


Aber  machtig  tonet  ihm 
Aus  dem  Himmelsraum  entgegen, 
Was  er  sehnend  hier  gesucht : 
Welterlosung,  Weltverklarung. 

The  following  literal  translation  is  by  Mr.  W.  F.  Apthorp :  — 

In  the  necessitous  little  room,  dimly  lighted  by  only  a  candle-end,  lies  the  sick  man  on 
his  bed.  But  just  now  he  has  wrestled  despairingly  with  Death.  Now  he  has  sunk  ex- 
hausted into  sleep,  and  thou  hearest  only  the  soft  ticking  of  the  clock  on  the  wall  in  the 
room,  whose  awful  silence  gives  a  foreboding  of  the  nearness  of  death.  Over  the  sick 
man's  pale  features  plays  a  sad  smile.  Dreams  he,  on  the  boundary  of  life,  of  the 
golden  time  of  childhood  ? 

But  Death  does  not  long  grant  sleep  and  dreams  to  his  victim.  Cruelly  he  shakes 
him  awake,  and  the  fight  begins  afresh.  Will  to  live  and  power  of  Death  !  What 
frightful  wrestling !     Neither  bears  off  the  victory  and  all  is  silent  once  more  ! 

Sunk  back  tired  of  battle,  sleepless,  as  in  fever-frenzy  the  sick  man  now  sees  his  life 
pass  before  his  inner  eye,  trait  by  trait  and  scene  by  scene.  First  the  morning  red  of 
childhood,  shining  bright  in  pure  innocence  !  Then  the  youth's  saucier  play-exerting  and 
trying  his  strength — till  he  ripens  to  the  man's  fight,  and  now  burns  with  hot  lust 
after  the  higher  prizes  of  life.     The  one  high  purpose  that  has  led  him  through  life  was 


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to  shape  all  he  saw  transfigured  into  a  still  more  transfigured  form.  Cold  and  sneering, 
the  world  sets  barrier  upon  barrier  in  the  way  of  his  achievement.  If  he  thinks  himself 
near  his  goal,  a  "  Halt !  "  thunders  in  his  ear.  "  Make  the  barrier  thy  stirrup  !  Ever 
higher  and  onward  go  !  "  And  so  he  pushes  forward,  so  he  climbs,  desists  not  from  his 
sacred  purpose.  What  he  has  ever  sought  with  his  heart's  deepest  yearning,  he  still 
seeks  in  his  death-sweat.  Seeks  —  alas  !  and  finds  it  never.  Whether  he  comprehends 
it  more  clearly  or  that  it  grows  upon  him  gradually,  he  can  yet  never  exhaust  it, 
cannot  complete  it  in  his  spirit.  Then  clangs  the  last  stroke  of  Death's  iron  hammer, 
breaks  the  earthly  body  in  twain,  covers  the  eye  with  the  night  of  death. 

But  from  the  heavenly  spaces  sounds  mightily  to  greet  him  what  he  yearningly  sought 
for  here:  deliverance  from  the  world,  transfiguration  of  the  world. 

The  authorship  of  this  poem  in  blank  verse  was  for  some  years  unknown, 
and  the  prevailing  impression  was  that  the  poem  suggested  the  music.  As 
a  matter  of  fact,  Alexander  Ritter  *  wrote  the  poem  after  he  was  well  ac- 
quainted with  Strauss's  score ;  and,  when  the  score  was  sent  to  the  pub- 
lisher, the  poem  was  sent  with  it  for  insertion. 

Ritter  influenced  Strauss  mightily.  Strauss  said  of  him,  in  an  interview 
published  in  the  Musical  Times  (London)  of  last  January :  "  Ritter  was 

*  Ritter,  violinist  and  composer,  was  born  June  27,  1S33,  at  Narva,  Russia.  He  died  at  Munich,  April 
12,  1896.  He  studied  in  Dresden  and  afterward  at  Leipsic  (David  and  Richter).  In  1854  he  married  Richard 
Wagner's  niece,  Kranziska.  He  lived  at  Stettin  as  conductor  (1S56),  in  Dresden,  again  at  Stettin,  and  then  at 
Paris,  Chemnitz,  Wiirzburg,  and  in  1SS6  he  moved  to  Munich.  He  was  at  one  time  a  member  of  the  Meinin- 
gen  orchestra,  and  for  seven  years  he  was  proprietor  of  a  music  shop.     He  wa  tnd  a  warm  friend 

of  Wagner,  von  Billow,  Liszt,  Cornelius,  Kronsart,  Raff.  His  chief  works  are  the  operas,  "  I 'or  faule 
Hans"  (1885),  "  Wem  die  Krone?  "  (1890),  which  were  performed  at  Munich  and  Weimar,  and  the  s-ynphonic 
poems,  "  Seraphische  Phantasie,"  "  Erotische  I.egende,"  "  Olaf's  Hnchzeitsreigen,"  "  Charfreitiagund  Kroh- 
leichnam,"  "  Sursum  Corda,-'  and  "  Kaiser  Rudolphs  Ritt  zum  Grabe."  (See  the  Musikalisches  li'cc/ien- 
blatt  for  1S98  for  KSsch's  elaborate  study  of  the  man  and  his  works.)  See  also  an  article  on  Ritter  by  Her- 
man Teibler,  of  Munich,  published  in  Die  Musik,  1902,  pp.  1744-1755. 


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exceptionally  well  read  in  all  the  philosophers,  ancient  and  modern,  and  a 
man  of  the  highest  culture.  His  influence  was  in  the  nature  of  a  storm- 
wind.  He  urged  me  on  to  the  development  of  the  poetic,  the  expressive, 
in  music,  as  exemplified  in  the  works  of  Liszt,  Wagner,  and  Berlioz.  My 
symphonic  fantasia,  '  Aus  Italien,'  is  the  connecting  link  between  the  old 
and  the  new  methods."  "Aus  Italien"  was  composed  in  1886,  and 
"  Macbeth,"  the  first  of  the  tone-poems,  was  a  work  of  the  next  year.  It 
may  here  be  remarked  that  Gustav  Brecher,  in  his  "  Richard  Strauss," 
characterizes  "Death  and  Transfiguration,"  as  well  as  the  opera  "Gun- 
tram  "  (1892-93),  as  a  return  of  the  composer,  after  his  "  Don  Juan,"  to  the 
chromatic  style  of  Liszt  and  Wagner ;  and  he  insists  it  is  not  a  representa- 
tive work  of  the  modern  Strauss. 

The  poem  by  Ritter  is,  after  all,  the  most  satisfactory  explanation  of  the 
music  to  those  that  seek  eagerly  a  clew  and  are  not  content  with  the  title- 
The  analysts  have  been  busy  with  this  tone-poem  as  well  as  the  others  of 
Strauss.  Mr.  Wilhelm  Mauke  has  written  a  pamphlet  of  twenty  pages 
with  twenty-one  musical  illustrations,  and  made  a  delicate  distinction  be- 


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tween  Fever-theme  No.  i  and  Fever-theme  No.  2.  Reimann  and  Brandes 
have  been  more  moderate.  Strauss  himself  on  more  than  one  occasion  has 
made  merry  jests  at  the  expense  of  the  grubbing  analysts,  and  who  knows 
what  he  meant  when  he  told  a  London  reporter  that  his  next  tone-poem 
would  illustrate  a  day  in  his  family  life  :  "  It  will  be  partly  lyrical,  partly 
humorous, —  a  triple  fugue,  the  three  subjects  representing  papa,  mamma, 
and  the  baby ! "  For,  as  Voltaire  said  of  the  prophet  Habakkuk,  this 
Strauss  is  capable  of  anything. 

"  Death  and  Transfiguration "  may  be  divided  into  sections,  closely 
joined,  and  for  each  one  a  portion  of  the  poem  may  serve  as  motto. 

I.  Largo,  C  minor,  D-flat  major,  4-4.  The  chief  Death  motive  is  a 
syncopated  figure,  pianissimo,  given  to  the  second  violins  and  the  violas. 
A  sad  smile  steals  over  the  sick  man's  face  (wood-wind  accompanied  by 
horns  and  harp),  and  he  thinks  of  his  youth  (a  simple  melody,  the  child- 
hood motive,  announced  by  the  oboe).  These  three  motives  establish  the 
mood  of  the  introduction. 

II.  Allegro  molto  agitato,  C  minor.     Death  attacks  the  sick  man.   There 

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are  harsh  double-blows  in  quick  succession.  What  Mr.  Mauke  character- 
izes as  the  Fever  motive  begins  in  the  basses,  and  wildly  dissonant  chords 
shriek  at  the  end  of  the  climbing  motive.  There  is  a  mighty  crescendo, 
the  chief  Death  motive  is  heard,  the  struggle  begins  (full  orchestra,  j^/1"). 
There  is  a  second  chromatic  and  feverish  motive,  which  appears  first  in 
sixteenths,  which  is  bound  to  a  contrasting  and  ascending  theme  that 
recalls  the  motive  of  the  struggle.  This  second  feverish  theme  goes  ca- 
nonically  through  the  instrumental  groups.  The  sick  man  sinks  exhausted 
(ritenutos).  Trombones,  'cellos,  and  violas  intone  even  now  the  beginning 
of  the  Transfiguration  theme,  just  as  Death  is  about  to  triumph.  "  And 
again  all  is  still !  "     The  mysterious  Death  motive  knocks. 

III.  And  now  the  dying  man  dreams  dreams  and  sees  visions  (  meno 
mosso,  ma  sempre  alia  breve).  The  Childhood  motive  returns  (G  major)  in 
freer  form.  There  is  again  the  joy  of  youth  (oboes,  harp,  and  bound  to  this 
is  the  motive  of  Hope  that  made  him  smile  before  the  struggle,  the  motive 
now  played  by  solo  viola).  The  fight  of  manhood  with  the  world's  prizes 
is  waged  again  (B  major,  full  orchestra,  fortissimo),  waged  fiercely. 
"  Halt !  "  thunders  in  his  ears,  and  trombones  and  kettle-drums  sound 
the  dread  and  strangely-rhythmed  motive  of  Death  (drums  beaten  with 
wooden  drumsticks).  There  is  contrapuntal  elaboration  of  the  Life- 
struggle  and  Childhood  motives.  The  Transfiguration  motive  is  heard  in 
broader  form.     The  chief  Death  motive  and  the  feverish  attack  are  again 


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dominating   features.     Storm    and    fury    of    orchestra.     There   is    a  wild 
series  of  ascending  fifths.    Gong  and  harp  knell  the  soul's  departure. 

IV.  The  Transfiguration  theme  is  heard  from  the  horns  ;  strings  re- 
peat the  Childhood  motive,  and  a  crescendo  leads  to  the  full  development 
of  the  Transfiguration  theme  (moderato,  C  major).  "  World  deliverance, 
world  transfiguration." 

ENTR'ACTE. 

NOISE  AS  A  FACTOR  IN  PLOT. 
(From  the  Pall  Mall  Gazette.) 
Of  all  the  non-human  factors  in  plot,  noise  is  undoubtedly  the  most 
effective.  The  memory  of  noise  in  drama,  the  memory  of  its  description 
in  fiction,  persists  long  after  visual  images  have  faded  from  the  mind.  A 
crisis  gains  a  more  forcible  emphasis  from  noise  than  from  any  other 
appeal  to  the  senses,  and  noise  in  repetition  becomes  symbolical  of  ex- 
tremest  monotony.  There  is  no  point  in  any  of  Mr.  Kipling's  stories 
more  vivid,  more  memorable,  than  the  breaking  of  the  wine-glass  in  "The 
Man  that  Was," —  it  arrests  us  with  a  sense  of  shock,  and  sums  up  the  situ- 

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ation  superbly  in  one  brief  crash.  As  an  example  of  repeated  noise  pro- 
ducing a  condition  of  weariness  amounting  to  disgust,  we  might  quote  the 
cracking  of  the  husband's  finger-joints  that  precipitates  the  catastrophe  in 
"Anna  Kare'nina."  This  trivial  incident  remains  ineffaceably  fresh,  even 
when  the  other  details  of  the  story  have  escaped  the  memory.  Again,  how 
much  more  effective  are  the  sounds  of  the  moated  grange  than  its  sights, 
in  building  up  a  picture  of  desolate  weariness !  "  The  doors  upon  their 
hinges  creaked;  the  blue  fly  sung  in  the  pane."  .  .  .  The  outline  of  "  The 
Story  of  an  African  Farm  "  may  grow  blurred,  yet  wakeful  nights  will  still 
be  poignant  with  the  recollection  of  the  boy's  lonely  vigil,  when  he  list- 
ened to  the  watch  ticking  its  ceaseless,  reiterated  "  Eternity,  eternity, 
eternity."  Stevenson  has  chosen  to  use  noise  as  his  most  powerful  in- 
centive to  terror;  there  is  no  event  in  "Treasure  Island"  so  curdling  as 
the  sound  of  the  tapping  of  the  blind  man's  stick. 

If  noise  in  fiction,  heard  only  in  imagination,  has  so  lasting  a  hold 
upon  the  memory,  if  it  is  our  most  powerful  factor  in  awakening 
permanent    impressions    of   violent    tragedy,     of    terror,    of    desolation, 


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and  of  disgust,  the  far  greater  importance  of  noise  in  drama  becomes 
at  once  apparent.  Take,  for  instance,  the  play  of  "  The  Bells," 
founded  on  Erckmann-Chatrian's  novel,  "  Le  Juif  Polonais."  Noise 
is  the  leading  motive  of  the  story ;  the  sleigh-bells  are  an  integral 
part  of  the  plot :  the  sound  of  their  coming,  recurring  in  memory 
at  intermittent  intervals,  brings  upon  the  murderer  such  paroxysms  of  agony 
and  remorse  as  finally  lead  to  his  death.  Impressive  as  this  association 
of  ideas  is  in  fiction,  it  becomes  still  more  haunting  when  presented  on  the 
stage.  The  actual  ring  of  the  sleigh-bells  is  fraught  with  so  great  a 
horror  that  we  are  driven  to  pity  the  unhappy  man  tortured  by  such  a 
doom.  It  is  a  curious  fact  that,  with  the  exception  of  this  one  striking 
example,  there  are  no  acting  plays  that  give  to  noise  the  prominence 
it  deserves.  Noise,  however,  is  introduced  subordinately  in  many 
dramas,  and  we  propose  to  examine  briefly  some  of  the  uses  to  which  it 
is  put. 

We  are,  of  course,  not  dealing  here  with  noise  as  an  accessory  to 
realism.  We  exclude  all  such  sounds  as  are  intended  merely  to  create  an 
atmosphere,  as  dance-music  in  a  ball-room  scene,  or  the  sound  of  wind 
and  thunder  and  storm  ;  we  exclude  the  sounds  employed  as  devices  to 
assist  spectacular  display,  the  cracking  of  the  timbers  of  a  ship,  the  rolling 
of  the  stones  of  an  avalanche.  We  would  include  only  those  noises  which 
are   connected  intimately  with  the  fortunes  or  emotions  of  the  dramatis 


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persons,  and  which  are  thus  elevated  from  the  mechanical  plane  to  the 
realm  of  imagination. 

The  emphasis  of  a  crisis  by  means  of  the  noise  of  shooting  is  a  feature 
common  to  many  plays.  In  this  one  instance  noise  is  less  effective,  because 
more  crudely  sensational  than  any  other  method  of  expression.  The  de- 
vice has  become  staled  by  constant  association  with  melodrama.  More- 
over, it  usually  represents  too  violent  a  solution  of  the  problem  ;  or  else 
the  mechanical  concussion  jars  in  a  moment  of  supreme  human  tragedy. 
The  noiseless  sword  dealt  a  death  of  greater  dignity,  and  we  have  always 
rejoiced  that  Shakespeare's  battle  scenes  needed  not  to  be  disfigured  with 
the  vulgarity  of  shot.  Nevertheless,  the  skill  of  certain  dramatists  has  been 
adequate  to  make  death  by  shooting  appear  the  only  perfect  conclusion 
to  the  play.  We  might  instance  "The  Sacrament  of  Judas,"  where  the 
priest  is  shot  upon  the  stage,  and  "  Hedda  Gabler,"  where  the  noise  alone 
proclaims  the  tragedy,  and  we  know,  by  the  sound  of  a  pistol-shot  behind 
a  curtain,  that  Hedda  Gabler  his  killed  herself.  We  are  not  told  the 
method  of  Mrs.  Tanqueray's  death,  but  Mr.  Pinero  has  reached  the  high- 
est achievement  along  these  lines  in  Ellean's  terrified  words,  "  I  heard  her 
fall." 

We  have  already  alluded  to  the  breaking  of  a  wineglass  in  "  The  Man 
that  Was."  The  shock  of  breakage  has  little  place  in  legitimate  drama. 
Shakespeare's  "  Richard  II."   furnishes  the  most  striking  example  of  its 


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(779) 


imaginative  employment.  Suddenly,  out  of  a  coil  of  vague  words,  of  frail 
poetic  lamentations,  of  faintly  coloured  images  fading  one  into  the  other, 
there  comes  a  crash  of  realism.  The  deposed  king  dashes  to  earth  the 
mirror  that  mocks  by  its  brittle  glory,  and  in  that  gesture  of  passion  we 
realize  the  bitterness  of  misery  that  seeks  a  vain  relief  in  the  balm  of 
words.  The  broken  fragments  of  glass  symbolize  Richard's  life,  broken 
with  the  same  reckless  wantonness.  In  "Waterloo,"  too,  the  breaking  of 
the  veteran's  pipe  gives  occasion  for  a  searching  moment  of  delicate  char- 
acter-analysis ;  the  slight  shock  of  the  crash  upon  the  floor  wakens  in  the 
old  soldier  a  frenzy  of  grief,  in  which  we  recognize  the  child  that  super- 
sedes the  man. 

In  "  The  Land  of  Heart's  Desire  "  a  whole  world  of  poetry  and  delight 
lives  in  the  sound  of  tapping  upon  the  door.  We  do  not  see  the  Faeries, 
though  Maire  tells  us  of  them  ;  their  existence  for  us  rests  on  the  evidence 
of  the  knock.  The  door  as  a  vehicle  of  sound  is,  indeed,  full  of  sugges- 
tion. How  significant  is  the  banging  of  the  door  at  the  end  of  "The 
Doll's  House "  !  It  is  the  most  natural,  the  most  convincing,  the  most 
impressive  of  conclusions.  ..."  'Tis  closing  doors  they  hear  at  last  who 
hear  no  more,  no  more."  .  .  . 

Maeterlinck  has  revealed  to  us  the  supreme  tragedy  of  the  window,  in 
an  appeal  to  our  vision  ;  he  has  revealed  to  us  the  supreme  tragedy  of  the 
door  in   an   appeal  to  our  hearing.     Readers  will  remember  the  terrible 


Hubbell  &  McGowan 

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we  do  not  substitute 


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MILLINERY. 

Miss  M.  E.  Ford, 

Lawrence  BuUding,  149  A  Tremont  St., 

I mpoi it  1  and  1  >esigner  <>f 

HATS    AND    BONNETS. 

Personal  attention  given  to  Mourning. 
Take  elevator. 


i780) 


IVERS  8  POND 
PIANOS 


Superlative  Quality 

Pure  Colonial 

Our  new  model 
No.  214,  here  pict- 
ured, is  an  excellent 
example  of  the  purer 
period  of  Colonial 
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and  relief  ornamen- 
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omitted,  even  the 
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ings giving  way  to 
squared  edges. 
Beautifully  figured  South  African  mahogany  in  rich 
antique  coloring  is  employed.  This  and  a  superb  finish 
alone  relieve  the  severity  of  the  design.  The  effect  is 
highly  dignified.  May  we  send  you  a  catalogue  showing 
all  our  designs,  with  explanation  of  our  rental  purchase 
plan, —  buying  a  piano  by  renting  it  ? 


•  IVERS   Q  POND    • 

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(781) 


scene  in  "Tintagiles,"  where  the  lady  listens  helpless  to  the  noises  on  the 
other  side  of  the  locked  door.  No  other  writer  has  so  great  a  power  of 
endowing  the  commonest  objects  with  a  mysterious  horror  :  the  sounds  in 
his  plays  have  the  awfulness  and  the  beauty  of  inexorable  fate.  The  cli- 
max of  "  Tintagiles  "  is  the  same  as  the  climax  of  "Au  Telephone,"  the 
play  produced  by  Mrs.  Tree  :  in  both  plays  certain  of  the  characters  are 
conscious  of  a  tragedy  —  overhear  a  tragedy,  in  fact  —  which  they  are 
powerless  to  avert.  In  the  first  case  the  tragedy  takes  place  behind  a 
shut  door ;  in  the  second,  at  a  house  with  which  the  telephone  is  in  com- 
munication. The  latter  play,  however,  does  not  quite  come  within  the 
scope  of  this  article,  since  the  telephone  is  merely  a  vehicle  for  carrying 
the  human  voice. 

The  last  scene  of  Marlowe's  "  Faustus  "  depends  largely  for  its  horror 
on  the  striking  of  a  clock.  When  the  clock  strikes  eleven  Faustus  cries, 
"  Stand  still,  you  ever-moving  spheres  of  heaven,  That  time  may  cease 
and  midnight  never  come."     His  terror  increases  when  the  clock  strikes 


pr 

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1  HJ 

I 

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gjMl , ,  i 

Dominion  Line 

EXPRESS   SERVICE 
BOSTON    TO 

Mediterranean, 
Gibraltar,  Algiers, 
Genoa,  Naples,  and 
Alexandria,  Egypt. 


The   mammoth    popular     twin-screw    steamers,     "COMMONWEALTH"     and 
"  NEW    ENGLAND,"  sail  as  follows  : 

S.S.  Commonwealth  (13,000  tons),  February  14,  March  28. 
S.S.  New  England  (11,400  tons),  February  28,  11  a.m. 
Send  for  rates  and  illustrated  booklet. 

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tad  through  to  \  Ai'l.i  s  and  GENOA 

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Or  any  local  steamship  agent, 

(782) 


the  half-hour  and  there  is  only  one  half-hour  separating  him  from  hell. 
The  climax  is  reached  after  the  stroke  of  twelve,  when  the  devils  enter 
and  bear  him  away. 

As  in  "  Faustus "  the  striking  of  a  clock  marks  the  moment  for 
destruction,  so  in  Bjornson's  "  Beyond  Human  Power,"  the  ringing  of  a 
bell  gives  the  assurance  of  safety.  The  employment  of  noise  in  this 
drama  stands  unique  in  imaginative  daring.  Our  ears  are  deafened 
with  the  terrific  thunder  of  the  landslip ;  in  the  intervals  we  hear  the 
chapel-bell  rung  by  the  pastor,  within  his  chapel  threatened  with  ruin  ; 
while  through  it  all  we  see  the  pastor's  wife  undisturbed  in  deep  sleep. 
Of  all  our  examples,  perhaps  this  indicates  most  clearly  the  importance  of 
noise  in  the  crisis  of  plot. 

"  The  isle  is  full  of  noises  "  ;  we  can  only  marvel  that  so  few  out  of  the 
many  should  have  been  employed  with  effect  in  drama.  On  noise  depends 
our  most  original  melodrama,  "  The  Bells  "  ;  one  of  the  most  haunting 
inventions  in  poetry  is  founded  on  the  suggestion  of  noise,  "  Les  Aveugles  "  ; 
noise  creates  the  superb  crises  in  "  Beyond  Human  Power,"  and  is  respon- 
sible for  dramatic  moments  in  one  or  two  other  plays.  But  when  we  con- 
sider the  powerfulness  of  its  effects  and  the  large  variety  of  its  manifesta- 
tions, we  are  driven  to  marvel  that  it  has  not  yet  attained  that  overwhelming 
preponderance  in  plot  which  it  is  bound  some  day  to  achieve. 


146  Tremont  Street. 
FRESH,    PURE,    DELICIOUS 

BONBONS  and 
CHOCOLATES. 

Hot   Chocolate   and    Ice-cream 


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384  Boylston  Street. 

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Hygienic  Skin  Food  and  Hair  Tonic 
on  sale. 

Removing  and  preventing  wrinkles  and  im- 
proving the  complexion  by  restoring  muscular 
tone  and  tissue  building,  without  the  use  of 
cosmetics  or  steaming.  Head  treated  for  con- 
gestion, falling  hair,  and  baldness. 

Testimonials  from  distinguished  men  and 
women  of  Boston. 

Manicuring  and  Shampooing. 

AMIRAL  SOAP 

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(783) 


S\MPHONY    IN    E-FLAT    MAJOR,    No.    3,   :<  RHENISH,"    Op.  97. 

Robert  Schumann. 
(Born  at  Zwickau,  June  S,  1S10;  died  at  Endenich,  July  29,  1856.) 

This  symphony  was  written  at  Diisseldorf  between  Nov.  2  and  Dec.  9, 
1850.  Grove  thinks  Schumann  began  to  work  on  it  before  he  left  Dres- 
den to  accept  the  position  as  City  Conductor  at  Diisseldorf  ;  that  Schu- 
mann wished  to  compose  some  important  work,  which  he  might  conduct  at 
the  Lower  Rhine  musical  festival.  The  first  performance  was  at  Diisseldorf 
at  a  Subscription  Concert  on  Feb.  6,  185 1.  Schumann  conducted  and 
also  the  performance  at  Cologne  on  February  25  of  the  same  year.  The 
symphony  was  coldly  received.  The  first  performance  in  England  was  at 
a  concert  given  by  Arditi  in  London,  Dec.  4,  1865. 

The  first  performance  in  Boston  was  at  a  concert  of  the  Harvard  Musi- 
cal Association,  Feb.  4,  1869.  The  Philharmonic  Society  of  New  York 
produced  the  symphony,  Feb.  2,  186 1. 

Schumann  wrote  (March  19,  1851)  to  the  publisher,  H.  Simrock,  at  Bonn  : 
"  I  should  have  been  glad  to  see  a  greater  work  published  here  on  the 
Rhine,  and  1  mean  this  symphony,  which  perhaps  mirrors  here  and  there 
something  of  Rhenish  life."  It  is  known  that  the  solemn  fourth  movement 
was  inspired  by  the  recollection  of  the  ceremony  at  the  Cologne  Cathedral 
at  the  installation  of  the  Archbishop  of  Giessel  as  Cardinal,  at  which 
Schumann  was  present.     Wasielewski  quotes  the  composer  as  saying  that 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(784) 


his  intention  was  to  portray  in  the  symphony  as  a  whole  the  joyful  folk-life 
along  the  Rhine,  "  and  I  think,"  said  Schumann,  "  I  have  succeeded." 
Yet  he  refrained  from  writing  even  explanatory  mottoes  for  the  move- 
ments. The  fourth  movement  originally  bore  the  inscription,  "  In  the 
character  of  the  accompaniment  of  a  solemn  ceremony  "  ;  but  Schumann 
struck  this  out,  and  said:  "One  should  not  show  his  heart  to  people;  for  a 
general  impression  of  an  art  work  is  more  effective  ;  the  hearers  then,  at 
least,  do  not  institute  any  absurd  comparison."  The  symphony  was  very 
dear  to  him.  He  wrote  (July  i,  185 1)  to  Carl  Reinecke,  who  made  a  four- 
handed  arrangement  at  Schumann's  wish  and  to  his  satisfaction  :  "  It  is 
always  important  that  a  work  which  cost  so  much  time  and  labor  should 
be  reproduced  in  the  best  possible  manner. 

The  first  movement,  Lebhaft  (lively,  animated),  E-flat  major,  3-4,  begins 
immediately  with  a  strong  theme,  announced  by  full  orchestra.  The 
basses  take  the  theme,  and  violins  play  a  contrasting  theme,  which  is  of 
importance  in  the  development.  The  complete  statement  is  repeated  ;  and 
the  second  theme,  which  is  of  an  elegiac  nature,  is  introduced  by  oboe  and 
clarinet,  and  answered  by  violins  and  wood-wind.  The  key  is  G  minor, 
with  a  subsequent  modulation  to  B-flat.  The  fresh  rhythm  of  the  first 
theme  returns.  The  second  portion  of  the  movement  begins  with  the 
second  theme  in  the  basses,  and  the  two  chief  themes  are  developed  with 
more  impartiality  than  in  the  first  section,  where  Schumann  is  loath  to  lose 


MATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

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OF    EVERY    DESCRIPTION 

COLLINS   &   FAIRBANKS   COHPANY,    -    BOSTON 

(785) 


sight  of  the  first  and  more  heroic  motive.  After  he  introduces  toward  the 
end  of  the  development  the  first  theme  in  the  prevailing  tonality,  so  that 
the  hearer  anticipates  the  beginning  of  the  reprise,  he  makes  unexpected 
modulations,  and  finally  the  horns  break  out  with  the  first  theme  in  aug- 
mentation in  E-flat  major.  Impressive  passages  in  syncopation  follow, 
and  trumpets  answer,  until  in  an  ascending  chromatic  climax  the  orchestra 
with  full  force  rushes  to  the  first  theme.     There  is  a  short  coda. 

The  second  movement  is  a  scherzo  in  C  major,  Sehr  massig  (very  moder- 
ately), in  3-4.  Mr.  Apthorp  finds  the  theme  "  a  modified  version  of  the  so- 
called  '  Rheinweinlied,'  "  and  this  theme  of  "  a  rather  ponderous  joviality  " 
well  expresses  "the  drinkers'  '  Uns  ist  ganz  cannibalisch  wohl,  als  wie 
fiinf  hundert  Sauen  ! '  (As  'twere  five  hundred  hogs,  we  feel  so  canni- 
balic  jolly  !)  in  the  scene  in  Auerbach's  cellar  in  Goethe's  '  Faust.' "  This 
theme  is  given  out  by  the  'cellos,  and  is  followed  by  a  livelier  contrapuntal 
countertheme,  which  is  developed  elaborately.  In  the  trio  horns  and  other 
wind  instruments  sing  a  cantilena  in  A  minor  over  a  long  organ-point  on  C. 
There  is  a  pompous  repetition  of  the  first  and  jovial  theme  in  A  major ; 

A.  B.  CHASE  PIANO 

BEAUTY,  TONE,  DURABILITY, 

all  attained  in  this  celebrated  piano. 
Universally  recognized  as  a  guaran- 
tee of  supreme  excellence    :  :  :  :  :  : 

HE  purchaser  of  every  A.  B.  CHASE  piano  is  assured  that, 
whatever  the  style  he  may  select,  he  will  obtain  an  instrument 
of  unquestioned  worth,  possessing  a  musical  tone  which  for 
purity  and  power  is  unsurpassed  by  any  other  piano,  a  sym- 
pathetic touch  and  action  that  will  be  a  constant  delight,  and  a 
durability  that  is  unlimited.  A  cordial  invitation  is  extended  to 
all  persons  to  call  and  examine  this  beautiful  piano  at  our 
spacious  warerooms. 


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S.    S.    PIERCE    CO. 

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SONGS 

by 

WILLETTA  PARKER. 


Song  my  Paddle  sings.     Alto.  $0.50 

Pippa's  Song.     Browning.  .30 

Dance  of  the  Fairies.  60 

Have  you  got  a  Brook  in  your  Little 

Heart  ?  .50 

Sutherland.  A  Scotch  song.   (In  press.)  .50 
L'Aurore.     French  Canadian  Patois        .50 

C.  W.  THOHPSON  &  CO., 
13  West  Street,      .     Boston,  Hass. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES   &   SCHOENHOF, 

128  Tremont  St.,  2d  door  north  of  Winter  St., 
over  Wood's  Jewelry  Siore.    (Tel.,  Oxford  1099-2., 

REDUCTION  SALE. 

Imported  Hats  and  Bonnets. 

Mile.   Caroline, 

486  Boylston  Street,   .     .      Boston. 

Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE    IN   FIR    GARMENTS, 

THEO.  SCHNEIDER, 

FURRIER, 

296-298    Boylston   Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(788) 


and  then  the  other  two  themes  are  used  in  combination  in  their  original 
form.  Horns  are  answered  by  strings  and  wood-wind,  but  the  ending  is 
quiet. 

The  third  movement,  Nicht  schnell  (not  fast),  in  A-flat  major,  4-4,  is 
really  the  slow  movement  of  the  symphony.  The  first  theme,  clarinets  and 
bassoons  over  a  viola  accompaniment,  reminding  some  of  Mendelssohn 
and  others  of  "  Tu  che  a  Dio  spiegasti  1'  ali,"  in  "  Lucia  di  Lammermoor." 
The  second  theme  is  a  tender  melody,  not  unlike  a  refrain  heard  now  and 
then,  and  on  these  themes  the  romanza  is  constructed. 

The  fourth  movement,  Feierlich,  E-flat  minor,  4-4,  is  often  known  as  the 
"  Cathedral  scene."  Three  trombones  are  added.  The  chief  motive  is  a 
short  figure  rather  than  a  theme,  which  is  announced  by  trombones  and 
horns.  This  appears  augmented,  diminished,  and  afterward  in  3-2  and 
4-2.  There  is  a  departure  for  a  short  time  to  B  major,  but  the  tonality  of 
E-flat  minor  prevails  to  the  end. 

Finale  :  Lebhaft,  E-flat  major,  2-2.  This  movement  is  said  to  portray  a 
Rhenish  festival.  The  themes  are  of  a  gay  character.  Toward  the  end 
the  themes  of  the  "  Cathedral  scene  "  are  introduced,  and  followed  by  a 
brilliant  stretto.  The  finale  is  lively  and  energetic.  The  music  is,  as  a 
rule,  the  free  development  of  thematic  material  of  the  same  unvaried 
.character. 

The  symphony  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons, 
■1  valve  horns,  2  plain  horns,  2  trumpets,  3  trombones,  kettle  drums,  and 
strings. 


(789) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

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Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

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Roxbury 

Boston 

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Newport 

Fifteenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  FEBRUARY  13,  at  2.30  o'clock. 


SATURDAY  EVENING,  FEBRUARY  14,  at  8.00  o'clock. 


PROGRAMME. 


Taneiew 


Overture,  *  L'Orestie  " 


Schumann  ♦         .         .        Concerto  for  Pianoforte,  in  A  minor,  Op.  54 


Wagner 


A  Siegfried  Idyl 


Beethoven  . 


Symphony  No.  5,  in  C  minor,  Op.  76 


SOLOIST: 

Madame  FANNY  BLOOMFIELD-ZEISLER. 


(791) 


Steinert  Hall    J>    £•   Tuesday  afternoon,  February  JO,  at  three  o'clock 

HERBERT   WITHERSPOON,   Basso  Cantante 


SONG  RECITAL    *    *    PROGRAMME 


I. 

a.  Come  Raggio  di  Sol      .        A.  Caldara  (1671-1763) 

b.  Pur  dicesti    .         .         .         .A.  Lotti  ( 1667-1740) 

c.  Recitative  ard  Air  from  "  Judas  Maccabaeus, " 
"Arm  !  Arm!  Ye  Brave"  G. F.  Handel  (1685-1759) 

II. 

a.  Am  Meer  .        Franz  Schubert  (1797-1828) 

b.  Gewitternacht       ....       Robert  Franz 

c.  Feldeinsamkeit     .         .         .         Johannes  Brahms 

d.  Windrose  I  ,-.,    •  c     j- 

e.  Rosmarin  |  ■         -         •         Chnst.an  binding 

f.  Ich  trage  meine  Minne  J  R;  h     d  g 

g.  Khng  !  ( 

THE  STEIN  WAY  PIANO 


III. 

Ghazal  Chant  d' Amour 
La  Paix  (monotone)     . 
Chanson  du  Ble"     . 
Chanson  Bachique  (de  1'opeVa, 
de  Perth  ")         .         .         . 


[V 


The  Pipes  of  Pan 

In  my  Belov.c      b.\e:? 

Absent 

To  Anthea    . 


.    J.  B.  Wekerlin 

Reynoldo  Hahn 

Victor  Masse 

'  La  Jolie  Fille 

Georges  Bizet 


Edward  Elgar 

G.  W.  (  hadwick 

P.  A.  Tirindelli 

J.  L.  Hatton 


Tickets,  $1.00,  are  for  sale  at  the  hall 


Mr.  ARTHUR   WHITING 

WILL  PRESENT  A 

Program  of  his  own  Compositions  at 

STEINERT  HALL,  WEDNESDAY,  FEBRUARY  U, 

AT  3  P.M., 

With  the  assistance  of 

Miss    Marguerite    Lemon,  Miss  Marguerite  Hall,  Mr.   John  Young, 

and  Mr.  Francis  Rogers. 

TICKETS  FOR  SALE  AT  THE  HALL. 

DUETS,  Mezzo-soprano  and  Baritone. 

"  Fair  and  Fair  " 

"O  there's  a  Heart  for  Every  One  " 

"  Love  is  Life's  End  " 

SONGS,  Soprano.     (MSS.1 

"  When  I  am  Dead,  nay  Dearest  "  ) 

"  The  Sunrise  wakes  the  Lark  "     \ 

"A  Birthday"  ) 

BARRACK-ROOM  BALLADS,  Baritone.  • 

"  Danny  Deever  "    ) 

"  Soldier,  Soldier  "  | 

"  Fuzzy  Wuzzy"      ) 
DIET,  Soprano  and  Tenor.    (MS.) 

"  My  Delight  and  thy  Delight  " 

SUITE,  "  La  Danseuse,"  Pianoforte.    (MS.) 

SONG  CYCLE,  "  Floriana,"  Four  Voices  and  Pianoforte 

Mason  &  Hamlin  Pianoforte. 


George  Peele 

Charles  Swain 

Edmund  Spenser 


Christina  Rossetti 


Rudyard  Kipling 


Robert  Bridges 


Poems  by  Oliver  Herford 


Steinert  Hall     <£     Next  Sunday  afternoon,  February  8,  at  four-thirty 

Second  of  Miss  LINCOLN'S  six  Sunday  Concerts  for  the  benefit  of  the 
Mm  vr   Pleasant  Home 

Mrs.  MARTHA  5.  GIELOW 

Of  ALABAMA,  in  some  of  her  famous  PLANTATION  MONOLOGU1  S  at  <1  SONGS: 
i        a)  How  Br'er  Simon  got  'ligion  I  .   . 

(b)  Seem    Sperrits  I Original 

2.  (a)  Ole  Mistis Trotwood  Moore 

i   .mtation  Songs      ....". From  "  Old  Plantation  Days " 

3.  (a)  Earning  Devotions  in  de  Quarters 

(b)  Surrender  of  Cornwall™  (as  told  by  an  eye-witness) Page 

With  I  by  Miss  Gbrtrudk  Lufkin  and  Songs  by  Miss  Elsib  Lincoln 

Tickets,  50c.  and  J1.00,  are  for  sale  at  the  hall.  Box  office  will  be  open  Sunday  at  2  p.m. 

(792) 


SECOND  CHAMBER  CONCERT 


BY      THE 


HOFFMANN    STRING  QUARTET 

Tuesday  evening,  February  JO,  at  8 
Mr.  CARL  STASNY,  Pianist 

PROGRAM 

QUARTET,  B-flat  major Haydn 

TRIO,  Op.  90  (Dumky) Dvorak 

QUARTET,  A  minor,  Op.  41,  No.  1 Schumann 

Tickets,  #0.75  and  $1.00,  for  sale  at  the  hall  The  Mason  &  Hamlin  Pianoforte 

Arthur  HOCHMAN 

The  Young  Russian-American  Pianist 
Will    give    a,    RECITAL    in    STEINERT    HALL 

Tuesday  evening,  February  \  7,  at  8  o'clock 

Tickets,  81.50  and  $1.00,  on  sale  at  Steinert  Hall 

HOCHMAN  PLAYS  THE   WlSSNER  PlANO  EXCLUSIVELY 

Mrs.  Fannie    BLOOMFIELD  -  ZEISLER 


WILL    GIVE   A 


'Pianoforte  Recital 

On  SATURDAY  AFTERNOON,  FEBRUARY  21,  in  Steinert  Hall 

TICKETS    AT   THE    HALL 


THE    STEINWAY    PIANOFORTE 


A  Recital  of  Original  Monologues 


BY 


BEATRICE     HERFORD 

Saturday  evening,  February  21 at  eight 


TICKETS    FOR    SALE    AT    THE    HALL 

(793) 


CHICRERING     HALL 

CHICKERING   HALL 
Saturday  afternoon,  February  21,  at  3  o'clock 

Local  Direction,  Charles  A.  Williams 

Second  Boston   Recital  this  season 
by   the   Eminent   Russian   Pianist 

mark 


fiambeurg 


Reserved  seats,  50  cents,  75  cents, 
and  $1,  at  Herrick's 
and  Chickering  Hall 

Knabe  Piano  used 

C.  C.  HARVEY  &  CO.,  144  Boylston  St. 
Sole  Dealers 


CHICKERING   HALL 


Saturday  afternoon,  February  14,  at  three  o'clock 
SAINT  VALENTINE  CONCERT 

HARVARD 

GLEE    and    MANDOLIN 

CLUBS 

FOR  THE  ELLIS  MEMORIAL  CLUB 


Tickets,  $1.00  and  $1.50,  now  on  sale  at  Herrick's  and  Chickcring  Hall. 


Carl    Fael/tein's 

FIFTH    PIANOFORTE    RECITAL, 
Wednesday  Evening,  flarch    4,    1903,  at  8  o'clock. 

Programme. 

Sonata,  G  major,  Op.  79     )  Beethoven 

Eroica  Variations,  Op.  35    \ 

Huntington       Etude,  Op.  25,  No.  6      } 

Chambers        Mazurka,  Op.  33,  No.  1  > Chopin 

Hall.  Valse,  Op.  64,  No.  2       ) 

"  Venezia  e  Napoli "  :  Gondoliera,  Canzone,  e  Tarantelle  .         Liszt 

TICKETS,  $J.0O.   J*     J*    £    &    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 

APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Mme.  Antoinette  Szumowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 

(795) 


SYMPHONY  SEATS 


For  SEASON, 


$  A  A  .00    AND  $A  .00    AND 

Vr  UPWARD. 


SINGLE 


REHEARSAL 
I  or    CONCERT, 


UPWARD. 


CONNELLY'S   Ticket  Of  lice,  Adams  House. 

'Phone,  Oxford  942. 
Mr.  A.  E.  Prescott  announces  a  SONG    RECITAL  by 

Mrs.  WINIFRED  POWELL 

at  STEINERT  HALL 
Thursday,  February  twenty=sixth,  at  three-thirty  o'clock 


Tickets,  one  dollar,  to  be  obtained  from  Mr.  Prescott,  153  Tremont  Street, 
Mrs.  Powell,  64  Mt.  Vernon  Street,  and  at  Steinert  Hall 

FULL  LINE  OF  THE  PUBLICATIONS  OF 

The  John  Church  Company, 

Including  the  latest  compositions  of  Chaminade,  Dudley  Buck, 
Ethelbert  Nevin,  Hawley,  De  Koven,  Damrosch,  Arthur  Nevin, 
Arditti,  J.  C.  Bartlett,  Speaks,  Willeby,  and  other  famous  com- 
posers, also  their  celebrated  collections  of 

Oratorio  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 
Opera  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 
Famous  Songs  for  Soprano,  Alto,  Tenor,  and  Bass, 

Can  be  found  on  sale  at  the  music  store  of 

C.  W.  THOMPSON   &  CO.,  J 3  West  Street. 

(796) 


Messrs.  C.C.  HARVEY  &  CO. 


HAVE  PURCHASED  THE  ENTIRE 


PIANO     DEPARTMENT 


OLIVER    DITSON     CO. 


THIS   STOCK    INCLUDES 


GRAND    and    UPRIGHT    PIANOS 

of  nearly  every  reputable  make,  which  will  be  sold  at 
SWEEPING      PRICE     REDUCTIONS 


Prices    plainly    marked    on   each   piano.       Pianos   at    wholesale 

prices,  and   some   actually   less  than  production   price,  for  cash 

or  on  favorable  terms. 


One  Price  to  All 


THE  ENTIRE  DITSON  STOCK  TO  BE  SOLD  BEFORE  MARCH  J 


This  sale  is  only  at  the   Ditson  Warerooms, 
No.   140  Boylston  Street. 


C.    C.    HARVEY   (SL    COMPANY 

Knabe     Representatives 
144    Boylston    Street 

(787) 


BOSTON  SYMPHONY  HALL 


Mandel  and   Haydn  Society 

EMIL  MOLLENHAUER,  Conductor 

H.  G.  TUCKER,  Organist 
A  FULL  ORCHESTRA 


Sunday,  February  8,  730  P.M. 

PARADISE  LOST 


By  Th.  DuBofs 

First  time  in  this  country 


SOLOISTS 

Soprano,  Mme,  CAMILLE  SEYGARD 
Alto,  Mme.  LOUISE  HOMER 

Tenor,  Herr  ANDREAS  DIPPEL 

Baritone,  Sig.  EMILIO  de  GOGORZA 
Baritone,  Mr,  STEPHEN  TOWNSEND 
Bass,  M.  MARCEL  JOURNET 


Tickets,  $2.50,   $2.00,  and  $1.50.     Admission  tickets,   $1.00 

The  sale  will  begin  Monday,  February  2,  at  8.30  a.m.,  at  Sym- 
phony Hall  (telephone,  Back  Bay  1492),  and  also  at  Wright  & 
Ditson's,  344  Washington  Street  (telephone,  Main  2 191). 

Information  in  regard  to  the  sale  of  tickets,  etc.,  can  be  obtained 
by  addressing  the  Secretary. 

WILLIAM   F.   BRADBURY,   Secretary 

January  30,  1903.     369  Harvard  Street,  Cambridge 

(798) 


Miss  TERRY 

Takes  pleasure  in  announcing;  her  third  series  of  CHAMBER  CON- 
CERTS at  Checkering  Hall,  Huntington  Avenue,  Boston. 

Programmes  may  be  found  at  any  of  the  music  stores  of  the  city  after  February  10. 
Tickets  for  the  course  will  be  on  sale  at  Symphony  Hall  on  and  after  Monday,  Feb- 
ruary 9. 

All  applications  for  tickets  should  be  addressed  to  Chamber  Concerts,  Box  Office, 
Symphony  Hall. 

Subscription  tickets  for  the  entire  course  of  four  concerts,  $5.00. 

JULIA   A.  TERRY,  Manager. 
THE    COURSE 
Wednesday  Evening,  February  18 
Miss  Helen  Henschel,  Soprano  Miss  Winnifred  Smith,  Violin 

Miss  Laura  Hawkins,  Accompanist 
Thursday  Evening,  February  26 
Mme.  Szumowska-Adamowski,  Piano  Mr.  T.  Adamowski,  Violin 

Mr.  Josef  Adamowski,  Violoncello 
Wednesday  Evening,  March  4 
Miss  Alice  Robbins  Cole,  Contralto  Mr.  Francis  Rogers,  Baritone 

Mr.  Henry  Goodrich,  Accompanist 
Wednesday  Evening,  March  n 

Mrs.  Richard  J.  Hall,  Saxophone  Mr.  A.  Heindl,  Violoncello 

Mr.  George  Proctor,  Piano  Mr.  J.  Helleberg,  Bassoon 

Mr.  H.  Schuecker,  Harp  Mr.  A.  DeBuchy,  Bassoon 

Mr.  Josef  Keller,  Violoncello  Mr.  A.  Hackebarth,  Horn 

Mr.  C.  Barth,  Violoncello  Mr.  Fr.  Hein,  Horn. 

CHICKERING       HALL 

Sixth  Concert,  Monday  evening,  February  9,  at  8 


The  ICneisel  Quartet 

FRANZ   KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin  ALWIN   SCHROEDER,  Violoncello 


RROQRAiVliVlE 

ERNEST   CHAUSSON  Quartet  for  Piano,  Violin,  Viola,  and  Violoncello 

in  A  major,  Op.  30 
(First  time.) 
ARTHUR    FOOTE ».         Variations  from  Quartet  in  E  minor 

SCHUBERT       .  Octet  for  Two  Violins,  Viola,  Violoncello,  Double-bass,  Clarinet, 

Bassoon,  and  Horn,  in  F  major,  Op.  166 


Assisting  Artists 

Mr.   AUGUST   SPANUTH 

Messrs.  K.  Keller,  Double-bass;  V.  Lebailly,  Clarinet;  A.  Debuchy,  Bassoon; 
A.  Hackebarth,  Horn. 


Mason  &  Hamlin  Pianoforte 

(799) 


SIG/NOR  AUGUSTO  ROTOL 

Announces  a  performance  of  his 

FESTIVAL  MASS 

Symphony  Hall  Friday  Evening,  February  20 


SOLOISTS 
Mrs.  GRACE  B.  WILLIAMS,  Soprano ;  Miss  PAULINE  WOLTMANN,  Con- 
tralto; Mr.  C.  B.  SHIRLEY,  Tenor;  Mr.  STEPHEN  TOWNSEND,  Baritone. 
CHORUS  OF  225  VOICES. 

'Cellos,  Double-basses,  and  Kettledrum 

Organist,  Mr.  WALTER  J.  KUGLER 

Signor  AUGUSTO    ROTOLI,  Director 


PROGRAMME 


PART  I. 

i.    "  O  Bone  Jesu  "  (Motet) Palestrina 

CHORUS 

2.  "Jesus  Only"  (Quartette) Rotoli 

Mrs.  Williams,  Miss  Woltmann,  Mr.  Shirley,  Mr.  Tovvnsend 

3.  "  Crossing  the  Bar  "  (Poem  of  Lord  Alfred  Tennyson,  set  to  music  by 

Signor  Rotoli) 
Mrs.  Williams 

4.  "  Alia  Trinita  Beata  "  (Chant  of  the  Fifth  Century),      Author  unknown 

PART  II. 
FESTIVAL  MASS 

Kyrie  (Prayer) 

Gloria  (Hymn  of  Praise) 

*  Credo  (Confession  of  Faith) 

Sanctus  (Hymn  of  Glory) 

Benedictus  (Hymn  of  Praise) 

Unaccompanied 

Agnus  Dei  (Prayer) 

*  As  the  priest's  Gregorian  intonation  of  the  Credo  is  used  as  the  chief  theme  in  this  number,  that  intona- 
tion will  be  given  by  the  organ. 


Reserved  seats,  50c,  $1.00,  and  $1.50. 

Mail  orders  accompanied  by  check   and  addressed  L.  II.  Mudgett,  Manager,  Sym- 
phony Hall,  now  being  received. 

Public  box  office  sale  opens  Wednesday,  February  n,  at  8.30  A.M. 

(800) 


SYMPHONY  HALL 

Sunday  Evening,  March  1, 
nineteen  hundred  and  three, 
at  eight  o'clock.  Concert  by 
the  Boston  Symphony  Or- 
chestraf  Wilhelm  Gericke, 
Conductor,  in  aid  of  its 
tension  Fund  <&*&*&<& 


(801) 


TENTH    YEAR 

BURTON 
HOLMES 


LECTURES 

TREMONT 
TEMPLE 

TWO    COURSES  EXACTLY    ALIKE 

Course  A,  Four  Evening  Lectures  Course  B,  Four  Afternoon  Lectures 


THE  LECTURES  TO  BE  OIVEN  IN  THE  FOLLOWING  ORDER: 

PORTUGAL,    Wednesday,    February     18 

At  2.30  and  S.oo 

DENMARK,    Saturday,    February    21 

At  2.30  and  S.oo 

SWEDEN,    Wednesday,    February    25 

At  2.30  and  8.00 

NORWAY,    Saturday,   February    28 

At  2.30  and  8  oo 


THE    SALE    OF    COURSE    TICKETS   opens   Monday,   Fbukiarv  9    at  9   a.m.,  at   the    B   «  Office, 
Tremont  Temple. 

COURSE   TICKET,  securing  to  the  holder  the  same  reserved  seat  at  each  of    the  four   lectures  of  ci  her 
course,  J3.00,  $2.50,  and  S2.00,  according  to  location. 

SINGLE  TICKETS,  ft  00,  75c,  and  50c  ,  will  be  on  sale  on  and  after  Monday,  Kburuary  16,  at  .»  am. 

25c    unreserved  seats  also  on  sale  for  single  lectures. 

MAIL    ORDERS   addressed  to  The  Burton  Holmes  Lectures,  care  of  Tremont  Temple,  will  iec<  iv  |  1  impl 
attention  in  order  of  their  receipt. 

(802) 


MUSICAL   INSTRUCTION. 


Hiss  HARRIET  S.  WHITTIER, 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 
MiSS  GERTRUDE  EDMANDS,  Vocal  Instruction. 

EXETER    CHAMBERS. 


Mr.  CHARLES  B.  STEVENS 


Specialist  in  the  Science  of 
Tone  Production  and  the  Art  of  Singing. 

'  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 


ANNA  MILLER  WOOD, 

HEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


(803) 


Miss  SDZA  DOANE, 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


Miss  JESSIE  DAVIS 


i 

Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...  LESSONS ... 

Studio,   163    flassachusetts  Avenue. 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TE/MOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  GUSTAV  STRUBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Yiolin,  Theory ,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEHBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 

DAVID   POPPER. 

STUDIO:  171A    TREHONT  STREET. 


JOHN  G.  MANNING, 


Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Hiss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  &  Accompaniments. 

Trinity  Court. 


Miss  MARY  A.  STOWELL, 

Pianist  and  Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber  1   at  her  residence,  THE    OXFORD. 


Miss   ROSE    STEWART, 

Pupil  of  nARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Mrs.  Habel  Mann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND   BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(804) 


"**   *OGER-MlcW       • 

The  Famous  French  Pianist 

FIRST 
AMERICAN  TOUR 


MANAGEMENT 

L.   M.  RUBEN 

108  FIFTH  AVENUE 
NEW  YORK 


THE  WEBER  TIANO  USED 


PLAIN    DEALER,    TUESDAY,    APRIL    15,    1902J 


^^ 


m 


£Z 


m 


txx 


on 


.'vV 


C  >f"X'^  ferk's 


>H;>5£ 


STEINWAY  BEST. 


Views  of  the  Great  Pianist 

on  the  Subject  of 

Pianos. 


Declares  That  No   Other 

Piano  Approaches  the 

Steinway. 


"V 


?< 


rx 


NEW  YORK,  April  14.— Josef  Hof- 
znann,  the  great  pianist,  was  asked  today 
by  .a  press  representative  his  opinion  as 
to  which  is  the  best  pianot  to  which  ques- 
tion he  replied: 

"There  is  but  one  best  picno,  and  that 
Is  the  Steinway,  and  no  other  piano  ap- 
proaches it.  I  want  to  give  the  greatest 
possible  pleasure  and  satisfaction  to  my 
audience.  By  accomplishing  Chat  I  gain 
the  greatest  reputation,  and ,that  is  what 
I  want.  This  end  I  attain  by  using  thtf 
Steinway.  I  desire  you  to  distinctly  un- 
derstand that  there  Is  no  money  consid- 
eration whatever  to  influence  me  rn  my 
opinion.  There  may  be  some  pianists  who 
are  paid  for  using  and  praising  the  pianoa 
they  play  upon,  but  certainly  I  do  not. 
belong  to  that  class.  Those  who  sell  their 
services  against  their  own  convictions  are 
on  the  downward  path  and  have  nothing 
more  to  lose.  You  have  aeked  me  my 
candid  opinion  about  pianos  for  the  bene- 
fit of  the  public,  and  I  have  told  you  what 

bonesUy  think*  on  the  subject." 


Ne* 


CO! 
Frai 
turni 
ton, 
to 
latij 
bof  * 


{  OQ 

ak4  ,> 
P7    v 


STEINWAY    PIANOS. 


H.  STEINERT  &   SONS   CO., 

162  to  168  Boylston  Street,  Boston,  Mass. 


PRoGRSftttE 


Conductor  of  the  Handel  and  Haydn  Society, 
Conductor  of  the  Apollo  Club,  Conductor  of 
the  Boston  Festival  Orchestra,  Musician,  Vio= 
linist,  Pianist,  writes  to 

Mason  <SL  Hamlin  Co. 

December  12,  1901 
Mason  &  Hamlin  Co. 

Gentlemen, —  The  Grand  pianoforte  of  your  make 
which  I  purchased  of  you  two  years  or  so  ago  has 
proven  itself  a  most  superb  instrument. 

It  stands  remarkably  well,  and,  in  fact,  like  a 
Stradivarius  violin,  itim  proves  with  age.  I  am  sure 
you  are  to  be  congratulated  on  your  production,  and 
I  am  sure  the  artist  must  be  grateful  to  you  for  your 
production.  The  instruments  you  are  now  producing 
are  not  only  fine  pianofortes,  but  they  are  a  potent 
influence  working  for  the  best  in  the  highest  of  all  the 
arts, —  music. 

With  admiration  for  the  loyalty  with  which  you 
work  toward  your  lofty  ideal,  and  with  sincere  wishes 
for  your  continued  success,  I  am, 

Very  truly  yours, 

(Signed)  EMIL  MOLLENHAUER. 


M.   vSteinert  <&  vSons  Co- 

New  England  Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903- 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

FIFTEENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     J*    #    j*    ji 


FRIDAY  AFTERNOON,  FEBRUARY  J3, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  FEBRUARY  14, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(8051 


ME  S  S  R  S. 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 

Their    Latest    Production 

The  Ouarter  Grand 

The   Smallest   Grand   Embodying 

Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 

— 

sue.) 


TWENTY-SECOND  SEASON,  1902-1903. 


Fifteenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  FEBRUARY  13,  at  2.30  o'clock. 

SATURDAY  EVENING,  FEBRUARY  \  4,  at  8.00  o'clock. 


PROGRAMME. 


Tanei'eff Overture,  "  L'Oresteia n 


Schumann 


I. 

II. 

III. 


Wagner 


Beethoven 


i. 

II. 

in. 

IV. 


Concerto  for  Pianoforte,  in  A  minor,  Op.  54 


Allegro  affettuoso. 

Intermezzo  :  Andantino  grazioso. 

Allegro  vivace. 


A  Siegfried  Idyl 


Allegro  con  brio. 
Andante  con  moto. 
Allegro  :  Trio. 
Allegro. 


Symphony  No.  5,  in  C  minor,  Op.  67 


SOLOIST: 
Madame  FANNY  BLOOMFIELD-ZEISLER. 


There  will  be  an  intermission  of  ten  minutes  before  the  symphony. 
There  will  be  no  Public  Rehearsal  and  Concert  next  week. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct »uch  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 

(807) 


L  P.  Hollander  &  Co. 


FRESH  IMPORTATIONS  OF 


India,  Foulard,  and  Pongee  Silks 

The  colorings  and  designs  are  confined  exclusively  to  us,  and  many  of 
the  styles  are  in  single  Dress  Patterns,  which  will  not  be  duplicated 


We  would  also  announce  that  we  have  received  many  of  our  new 

NOVELTY    DRESS    GOODS 

FOR  THE  SPRING  SEASON 


COTTON  DRESS  GOODS  DEPARTMENT 

In  addition  to  Several  New  Lines  of    COLORED    COTTON 
MATERIALS,    we    shall  show  a  most  attractive  assortment  of 

White  Dress  and  Waist  Fabrics 

IN    LINENS,    EMBROIDERED    MUSLINS, 
PIQUES,    CHEVIOTS,    AND  GINGHAMS 


WEDDING  GIFTS. «« 

Sterling  Silver,  Cut  Glass, 
Bric=a=brac,  Bronzes. 

Diamonds,  Watches,  Clocks.  < 

Reliable  Goods,  Moderate 

Prices.  (A.< 

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y"M    Bj  «*     \j\Jm    iiii.1  KHi.il.  ^*»  J^\<JefaWT<L£ 

w«  **£--  52  Summer  St. 


Overture  to  "The  Oresteia  "  of  ^Eschylus,  Op.  6. 

Serge  Taneieff. 

(Born  in  Russia,  Nov.  13,  1856;  now  living  at  Moscow.) 

Tane"ieft's  "The  Oresteia,"  a  musical  trilogy,  text  by  A.  Wenkstern, 
based  on  the  "Agamemnon,"  "The  Choephori,"  and  "The  Furies"  of 
^Eschylus,  was  performed  for  the  first  time  at  the  Maria  Theatre,  St.  Peters- 
burg, in  October,  1895.  This  trilogy  has  a  short  instrumental  prelude. 
The  score  of  the  opera  is  dedicated  to  the  memory  of  Anton  Rubinstein. 

This  concert  overture,  "  The  Oresteia,"  is  a  far  more  elaborate  compo- 
sition, and  is  unlike  the  prelude  in  all  respects.     It  was  published  in  1897. 

There  is  a  prefatory  note  in  Russian  and  French,  printed  on  a  fly-leaf 
of  the  score  :  — 

"  The  themes  of  this  overture  are  taken  from  S.  Tane'ieff's  musical 
trilogy  of  '  Oresteia,'  the  libretto  of  which  is  founded  on  the  drama  of 
yEschylus. 

"  ^Eschylus  borrowed  the  subject  of  his  trilogy,  composed  of  three 
tragedies, — '  Agamemnon,'  •  The  Choephori,'  '  The  Furies,' —  from  the  story 
of  the  Atridae.  The  story  of  this  family  is  a  dark  and  bloody  one  :  crime 
begets  crime,  and  gives  crime  new  birth.  The  inexorable  Furies  torture 
the  guilty  one  with  remorse.  The  established  custom  of  hereditary  ven- 
geance prepares  an  avenger  in  the  person  of  the  victim's  nearest  relation. 
He  that  has  done  his  bloody  deed  comes  under  the  power  of  the  Furies,  who 
have  established  their  dwelling-place  in  the  very  palace  of  the  Atridee, 
awaiting  his  turn  when  he  is  doomed  to  fall,  the  victim  of  a  new  vengeance. 
These  crimes  heaped  on  crimes  at  last  fill  the  Olympian  gods  with  horror, 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC. 

GEORGE  W.  CHADWICK,    Director. 
Huntington  Avenue,  Boston,  one  block  from  Symphony  Hall. 

SECOND   SESSION 
Begins  Thursday,  February  5. 


Registration   begins  January  29. 

(809) 


V.    Ballard    &    Sons 


Our  Riding  Habit 
Woollens  and  Linens 
for  Spring  and  Sum- 
mer have  arrived 
from    London. 


The  Ballard 
Safety  Riding  Habit. 


256    Boylston   Street,    Boston 


(«n>) 


and,  to  bring  an  end  to  these  bloody  customs,  Apollo  and  Athene  form 
the  tribunal  of  the  Ephors,  to  whom  they  confide  the  care  of  judging  and 
punishing  the  guilty.  A  new  era  of  peace  and  justice  dawns  for  mortals. 
This  glorious  victory  of  the  principles  of  good  over  the  black  chaos  of 
violence  and  vengeance  ends  the  trilogy  of  /Kschylus." 


Many  and  strange  are  the  variations  in  the  details  of  the  awful  tragedy 
of  Pelops's  line.  The  legend  adopted  by  ^Eschylus  runs  as  follows  :  Zeus 
himself  was  the  founder  of  the  Atreid  house.  He  begat,  by  the  nymph 
Pluto,  Tantalus.  Tantalus  begat  Pelops,  who  took  Hippodamia  as  wife, 
and  by  her  had  two  sons,  At  reus  and  Thyestes.  Atreus  married  and  had 
a  son  whom  he  survived,  and  whose  widow,  Aerope,  he  took  as  wife.  By 
her  Atreus  had  Agamemnon  and  Menelaus,  named  of  him  the  Atridae. 

Now  Thyestes  seduced  Aerope ;  and  in  revenge  Atreus  murdered  chil- 
dren of  his  wife  and  brother,  and  "held  a  day  of  banqueting"  to 
Thyestes,  and  served  him  a  dish  of  his  children's  flesh.  At  this  horrid  act 
the  sun  withheld  his  light.  Thyestes,  after  he  had  eaten  and  discovered 
the  deed,  "screamed  and  fell  back  from  the  butchery  .  .  .  and  on  the 
descendants  of  Pelops  he  invoked  an  intolerable  doom."  Thyestes  left 
one  son,  ^Egisthus,  to  be  his  avenger. 

Agamemnon  and  Menelaus  had  married  Clytaemnestra  and  Helen, 
sisters,  and  supposed  to  be  the  daughters  of  Tyndarus  and  Leda ;  but 
Helen  was  the  child  of  Zeus  and  Leda,  and  the  Trojan  War  followed  her 
elopement   with    Paris.      Agamemnon    was    compelled    by    the    Fates    to 


THREE  NEW  COMPOSITIONS 
FOR  THE  PIANOFORTE 

.  BY. 

THEODORE   LACK. 

Op.  215.    Felicia  (Joyeux  Caprice)  .    .    .    $0.60 

Op.  216,  No.  1.    Printannia  (Valse  blonde),    .60 

No.  2.    Andalousita  (Valse  brune),    .60 

It  is  always  a  pleasure  to  welcome  new  work 
from  this  writer,  who  holds  an  enviable  and 
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the  development  of  good  taste  and  refinement, 
at  the  same  time  stating  problems  of  technic  in 
a  straightforward  and  instructive  manner.  All 
three  pieces  will  be  welcomed  by  teachers  and 
pupils  alike,  for  both  study  and  recreation. 

ARTHUR   P.  SCHMIDT, 

BOSTON,  LEIPZIG,         NEW  YORK, 

146  Boylston  Street.  136  Fifth  Avenue. 


NEW   SONGS 

.  .  BY  .   . 

JOHN    W.   METCALF. 


(Composer  of  "  Absent.' 

The  Sunshine  of  thine  Eyes    . 

Sunrise 

Hymn  of  Faith 

Midi  (Song  of  Destiny)       .     . 
Until  You  Came.    2  keys,  each 
Love's  Elegy.     2  keys,  each  . 


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sacrifice  his  own  daughter,  Iphigenia,  to  obtain  a  favorable  wind  for  the 
rieet.  This  angered  her  mother,  who  turned  her  love  toward  yEgiithus 
during  Agamemnon's  long  absence.  When  her  husband  returned  with 
Cassandra,  of  whom,  some  say,  she  was  jealous,  she  determined  to  murder 
her  lord  and  master.  And  she  killed  Agamemnon  and  Cassandra,  and 
gloried  in  the  deed. 

Orestes,  the  son  of  Agamemnon  and  Clytaemnestra,  had  previously  been 
sent  away  to  Phocis.  He  returned,  and  slew  his  mother  and  .Fgisthus. 
Then,  horrified,  he  went  to  Delphi  to  seek  purification.  The  Furies 
pursued  him.  At  Delphi  he  was  assured  of  Apollo's  protection.  He 
underwent  his  trial  at  Athens  and  was  acquitted.  The  Furies  threatened 
the  city  with  their  wrath ;  but  Athene  assured  them  that  they  would 
always  be  held  in  honor,  and  they  then  promised  all  manner  of  blessings. 


#  * 


This  overture  is  scored  for  3  flutes  (one  of  which  is  interchangeable 
with  piccolo),  2  oboes,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3 
trombones,  bass  tuba,  a  set  of  three  kettle-drums,  cymbals,  bass  drum, 
triangle,  gong,  glockenspiel,  piano,  harps,  and  strings.  It  is  dedicated  to 
Anton  Arensky.  The  first  performance  in  the  United  States  was  by  the 
Boston  Symphony  Orchestra  at  Boston,  Dec.  1,  1901. 


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The  overture  begins  with  a  long  introduction,  Andante  in  E  minor,  3-4, 
which  is  founded  on  two  important  themes.  The  first  is  announced  by 
'cellos  and  bassoons,  and  it  is  answered  by  its  own  appearance  in  dim- 
inution in  the  violas.  It  is  used  later  in  double  diminution  and  in  contra- 
puntal accompaniment.  The  second  theme  is  a  pathetic  melody  or  figure 
sung  by  the  clarinet.  These  themes  are  developed  amid  trumpet  calls. 
Toward  the  end  of  the  introduction  a  version  of  the  first  theme  is  given  to 
the  bassoon. 

The  form  of  the  main  body  of  the  overture  is  free.  The  beginning  is 
Allegro  vivace  e  con  fuoco,  E  minor,  2-2,  and  the  wild  and  savage  theme 
is  a  version  of  the  first  theme  of  the  introduction,  rhythmically  changed. 
The  next  section,  Allegro  moderato,  in  G  minor,  2-2,  has  a  theme  that  is 
associated  with  Clyta;mnestra  in  the  opera.  It  is  of  gentler  character 
(flutes,  clarinets,  muted  horns,  pianissimo)  over  counterpoint  in  the  lower 
strings.  This  section  goes  into  an  Andante,  3-4,  in  which  muted  strings 
play  a  version  of  the  first  theme.  There  is  a  return  of  the  Allegro  vivace 
e  con  fuoco,  2-2,  in  which  the  first  theme  of  the  movement  is  worked  out 
with  the  second.  There  is  a  long-continued  climax,  wh:ch  ends  with  a 
crash  of  the  cymbals,  and,  after  a  pause,  the  horns  sound  a  third  theme, 
fortissimo.  There  is  development.  An  Andante  ma  non  troppo,  in  C 
major,  4-4,  follows,  and  a  fourth  theme  is  given  out  in  harmony  (wood-wind 
instruments).  The  phrases  are  separated  by  sustained  chords  in  the 
strings  with    accompanying   harp    arpeggios.     A    fifth    theme  enters,  not 

CONCERNING  WALLS 

AT  PAINE'S. 

It  has  always  been  assumed  that  the  dealer  in 
Wall  Paper  must  be  something  of  a  hypocrite. 
You  may  have  noticed  how  closely  his  taste  al- 
ways coincides  with  yours.  He  rarely  tells  you 
that  your  choice  is  abominable.  He  is  there  to 
sell  papers  and  not  to  do  missionary  work. 

But,  on  the  other  hand,  it  is  a  great  advantage 
for  you  to  have  the  guidance  of  a  decorator  in 
such  matters,  especially  if  it  costs  you  nothing 
extra.  And  that  is  the  great  argument  for  buy- 
ing your  wall  papers  of  us.  You  deal  with  a 
"  salesman  "  who  is  a  decorator. 

He  thinks  and  plans  how  you  can  harmonize 
your  papers  with  your  rugs,  laces,  draperies,  and 
portieres.     This  is  just  what  we  do  for  you. 

Remember,  we  sell  all  these  articles  of  furnish- 
ing at  Canal  Street  prices. 

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AND  FURNITURE. 


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(8J5) 


unlike  in  character,  and  is  developed  by  strings  and  wind.  The  overture 
ends  in  an  apotheosis,  E  major,  which  in  the  opera  accompanies  the  pro- 
cession to  the  Acropolis  in  honor  of  Athene,  and  serves  as  finale. 


*  * 


Tane'ieff  studied  the  pianoforte  with  Nicholas  Rubinstein  and  compo- 
sition with  Tschaikowsky  at  the  Moscow  Conservatory.  He  made  his 
first  appearance  as  a  pianist  at  Moscow  in  January,  1875,  when  he  played 
Brahms's  Concerto  in  D  minor,  and  was  loudly  praised  by  critics  and  the 
general  public,  although  the  concerto  was  dismissed  as  an  "  unthankful  " 
work.  Tschaikowsky,  as  critic,  wrote  a  glowing  eulogy  of  the  performance 
(see  his  Life  by  Modeste  Tschaikowsky,  p.  319). 

It  had  been  said,  and  without  contradiction  until  the  appearance  of 
M.  Tschaikowsky's  Life  of  his  brother,  that  Tane'ieff  was  the  first  to  play 
Peter's  Concerto  in  B-flat  minor  in  Russia.  But  the  first  performance  in 
Russia  was  at  St.  Petersburg,  Nov.  1,  1875,  when  Kross  was  the  pianist. 
Tane'ieff  was  the  first  to  play  the  concerto  at  Moscow,  November  1 2  of 
the  same  year. 

Tane'ieff  spent  some  months  at  Paris,  1876-77.  On  his  return  he  joined 
the  faculty  of  the  Moscow  Conservatory,  and  was  for  a  short  time  the  direc- 
tor of  the  institution.  He  is  now,  according  to  Max  Hesse's  "  Deutscher 
Musiker-kalender  "  for  1903,  teacher  of  theory  at  the  same  Conservatory. 
He  has  written  a  symphony  in  C,  Op.  12  (performed  at  Boston,  Nov.  23, 
1902),  string  quartets,  part-songs  for  mixed  and  double  choruses.  He 
has  edited  certain  posthumous  works  of  his  master. 

That  Tschaikowsky  admired  Tane'ieff's  talent,  and  was  fond  of  him 
as  a  man,  is  shown  by  the  correspondence  published  in  Modeste  Tschai- 
kowsky's Life,  and  it  may  here  be  said  that  the  correspondence  of  Peter 
Tschaikowsky  reveals  fully  the  inherent  sweetness,  breadth,  and  nobility  of 
Peter's  character  as  well  as  the  mental  tortures  that  entered  into  and  shaped 
the  long  tragedy  of  his  life. 

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Concerto  in  A  minor,  for  Pianoforte,  Op.  54.    Robert  Schumann. 

(Born  at  Zwickau,  June  8,  1810;   died  at  Endenich,  July  29,  1856.) 

Schumann  wrote,  after  he  had  heard  for  the  first  time  Mendelssohn  play 
his  own  concerto  in  G  minor,  that  he  should  never  dream  of  composing  a 
concerto  in  three  movements,  each  complete  in  itself.  In  January,  1839, 
and  at  Vienna  he  wrote  Clara  Wieck,  to  whom  he  was  betrothed  :  "  My 
concerto  is  a  compromise  between  a  symphony,  a  concerto,  and  a  huge 
sonata.  I  see  I  cannot  write  a  concerto  for  the  virtuosos :  I  must  plan 
something  else." 

It  is  said  that  Schumann  began  to  write  a  pianoforte  concerto  when  he 
was  only  seventeen,  and  ignorant  of  musical  form,  and  that  he  made  a 
second  attempt  at  Heidelberg  in  1830. 

The  first  movement  of  the  Concerto  in  A  minor  was  written  at  Leipsic  in 
1841,  and  it  was  then  called  a  "  Phantasie."  It  was  played  for  the  first 
time  by  Clara  Schumann,  Aug.  14,  1841,  at  a  private  rehearsal  at  the 
Gewandhaus.  Schumann  wished  in  1843  or  1844  to  publish  the  work  as 
an  "  Allegro  affettuoso "  for  pianoforte  with  orchestral  accompaniment, 
"  Op.  48,"  but  he  could  not  find  a  publisher.  The  Intermezzo  and  Finale 
were  composed  at  Dresden  in  1845. 

The  whole  concerto  was  played  for  the  first  time  by  Clara  Schumann  at 
her  concert  in  Dresden,  Dec.  4,  1845. 

Otto  Dresel  played  the  concerto  in  Boston  at  one  of  his  chamber 
concerts,  Dec.  10,  1864,  when  a  second  pianoforte  was  substituted  for  the 
orchestra.      S.   B.  Mills   played  the    first    movement  with  orchestra  at  a 


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headache  and  wakefulness. 


Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


(818) 


Parepa  concert,  Sept.  26,  1866,  and  the  two  remaining  movements  at  a 
concert  a  night  or  two  later.  The  first  performance  in  Boston  of  the 
whole  concerto  with  orchestral  accompaniment  was  by  Otto  Dresel  at  a 
concert  of  the  Harvard  Musical  Association,  Nov.  23,  1866. 

Mr.  Mills  played  the  concerto  at  a  concert  of  the  Philharmonic  Society 
of  New  York  as  early  as  March  26,  1859. 

The  orchestral  part  of  the  concerto  is  scored  for  2  flutes,  2  oboes,  2  clar- 
inets, 2  bassoons,  2  horns,  2  trumpets,  kettle-drums,  strings.  The  score 
is  dedicated  to  Ferdinand  Hiller. 

I.  Allegro  affettuoso,  A  minor,  4-4.  The  movement  begins,  after  a 
strong  orchestral  stroke  on  the  dominant  E,  with  a  short  and  rigidly 
rhythmed  pianoforte  prelude,  which  closes  in  A  minor.  The  first  period 
of  the  first  theme  is  announced  by  wind  instruments.  This  thesis  ends 
with  a  modulation  to  the  dominant ;  and  it  is  followed  by  the  antithesis, 
which  is  almost  an  exact  repetition  of  the  thesis,  played  by  the  pianoforte. 
The  final  phrase  ends  in  the  tonic.  Passage-work  for  the  solo  instrument 
follows.  The  contrasting  theme  appears  at  the  end  of  a  short  climax  as 
a  tutti  in  F  major.  There  is  canonical  development,  which  leads  to  a 
return  of  the  first  theme  for  the  pianoforte  and  in  the  relative  key,  C 
■major.  The  second  theme  is  practically  a  new  version  of  the  first,  and  it 
may  be  considered  as  a  new  development  of  it ;  and  the  second  contrast- 
ing theme  is  derived  likewise  from  the  first  contrasting  motive.  The  free 
fantasia  begins  andante  espressivo  in  A-flat  major,  6-4,  with  developments 
on  the  first  theme  between  pianoforte  and  clarinet.  There  is  soon  a 
change  in  tempo  to  allegro.     Imitative  developments  follow,  based  on  the 

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prelude  passage  at  the  beginning.  There  is  a  modulation  back  to  C  major 
and  then  a  long  development  of  the  second  theme.  A  fortissimo  is 
reached,  and  there  is  a  return  of  the  first  theme  (wind  instruments)  in  A 
minor.  The  third  part  is  almost  a  repetition  of  the  first.  There  is  an 
elaborate  cadenza  for  pianoforte ;  and  in  the  coda,  allegro  molto,  A  minor, 
2-4,  there  are  some  new  developments  on  a  figure  from  the  first  theme. 

II.  Intermezzo  :  Andantino  grazioso,  F  major,  2-4.  The  movement  is 
in  simple  romanza  form.  The  first  period  is  made  up  of  a  dialogue  be- 
tween solo  instrument  and  orchestra.  The  second  contains  more  emo- 
tional phrases  for  'cellos,  violins,  etc.,  accompanied  in  arpeggios  by  the 
pianoforte,  and  there  are  recollections  of  the  first  period,  which  is  practi- 
cally repeated.  At  the  close  there  are  hints  at  the  first  theme  of  the  first 
movement,  which  lead  directly  to  the  finale. 

III.  Allegro  vivace,  A  major,  3-4.  The  movement  is  in  sonata  form. 
After  a  few  measures  of  prelude  based  on  the  first  theme  the  pianoforte 
announces  the  chief  motive.  Passage-work  follows,  and  after  a  modulation 
to  E  major  the  second  theme  is  given  out  by  the  pianoforte  and  continued 
in  variation.  This  theme  is  distinguished  by  constantly  syncopated 
rhythm.  There  is  a  second  contrasting  theme,  which  is  developed  in 
florid  fashion  by  the  pianoforte.  The  free  fantasia  begins  with  a  short 
orchestral  fugato  on  the  first  theme.  The  third  part  begins  irregularly  in 
D  major  with  the  first  theme  in  orchestral  tutti ;  and  the  part  is  a  repeti- 
tion of  the  first,  except  in  some  details  of  orchestration.  There  is  a  very, 
long  coda. 

The  concerto  has  been  played  at  these  concerts  by  Mr.  Baermann 
(Nov.  26,  1887);  Mrs.  Steiniger-Clark  (Jan.  11,  1890);  Mr.  Joseffy 
(April  17,  1897);  Miss  aus  der  Ohe  (Feb.  16,  1901).  It  was  played  by 
Mr.  Paderewski  at  a  concert  for  the  benefit  of  members  of  the  Symphony 
Orchestra,  March  2,  1892. 


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Mrs.  Fanny  Bloomfield-Zeisler,  pianist,  was  born  at  Bielitz,  Aus- 
trian Silesia,  July  16,  1866.*  In  1868  her  parents  settled  in  Chicago,  and 
there  she  studied  with  Bernhard  Ziehn  and  Carl  Wolfsohn.  She  played  in 
public  in  1876,  and  two  years  later  went  to  Vienna,  where  she  studied  with 
Leschetitzki  for  five  years.  She  gave  concerts  abroad  in  1883,  returned 
to  this  country,  and  appeared  each  season.  In  1893,  as  a  virtuoso,  she 
visited  German  and  Austrian  cities.  Since  then  she  has  made  many  ex- 
tended tours  in  this  country  and  in  Europe. 

Mrs.  Bloomfield-Zeisler  has  played  with  the  Symphony  Orchestra  in  Bos- 
ton these  concertos :  — 

1885,  Jan.  24.     Henselt's  Concerto  in  F  minor. 

1887,  Feb.  26.     Chopin's  Concerto  in  F  minor. 

1889,  Dec.  14.     Litolff's  Concerto  in  E-flat,  No.  3. 

1893,  March  11.     Rubinstein's  Concerto  in  D  minor,  No.  4. 

1898,  March  5.     Saint-Saens's  Concerto  in  C  minor,  No.  4. 

1900,  Dec.  2.     Grieg's  Concerto  in  A  minor. 

'.Mr.  W.  S.  B.  Mathews,  in  a  sketch  of  Mrs.  Zeisler,  published  in  Music  (Chicago),  November,  1895, 
gives  1865  as  the  year  of  her  birth. 


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A  Siegfried  Idyl Richard  Wagner. 

(Bom  at  Leipsic,  May  22,  1 813 ;  died  at  Venice,  Feb.  13,  1S83.) 

Cosima  Liszt,  daughter  of  Franz  Liszt  and  the  Comtesse  d'Agoult, 
was  married  to  Hans  von  Biilow  at  Berlin,  Aug.  18,  1857.  They  were 
divorced  in  the  fall  of  1869. 

Richard  Wagner  married  Minna  Planer,  Nov.  24,  1836,  at  Kunigsberg. 
They  separated  in  August,  1861,  and  she  died  at  Dresden,  Jan.   25,  1866. 

Wagner  and  Cosima  Liszt,  divorced  wife  of  von  Biilow,  were  married  at 
Lucerne,  Aug.  25,  1870.  Siegfried  Wagner,  their  son,  was  born  at  Trieb- 
schen,  near  Lucerne,  June  6,  1869. 

Wagner  wrote,  Nov.  n,  1870,  to  Ferdinand  Pniger :  "My  house,  too, 
is  full  of  children,  the  children  of  my  wife,  but  beside  there  blooms  for  me 
a  splendid  son,  strong  and  beautiful,  whom  I  dare  call  Siegfried  Richard 
Wagner.  Now  think  what  I  must  feel,  that  this  at  last  has  fallen  to  my 
share.  I  am  fifty-seven  years  old."  On  the  25th  of  the  month  he  wrote 
to  Prager :  "  My  son  is  Helferich  Siegfried  Richard.  My  son !  Oh, 
what  that  says  to  me  !  " 

But  these  were  not  the  first  references  to  the  son.  In  a  letter  written  to 
Mrs.  Wille,  June  25,  1870,  Wagner  wrote:  "Certainly  we  shall  come,  for 
you  are  to  be  the  first  to  whom  we  shall  present  ourselves  as  man  and 
wife.  She  has  defied  every  disapprobation  and  taken  upon  herself  every 
condemnation.  She  has  borne  to  me  a  wonderfully  beautiful  and  vigorous 
boy,  whom  I  could  boldly  call  '  Siegfried  ' :  he  is  now  growing,  together  with 


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ROBERT  FRANZ  — Fifty  Songs 

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my  work,  and  gives  me  a  new,  long  life,  which  at  last  has  attained  a  mean- 
ing. Thus  we  get  along  without  the  world,  from  which  we  have  retired  en- 
tirely .  .  .  But  now  listen  ;  you  will,  I  trust,  approve  of  the  sentiment  which 
leads  us  to  postpone  our  visit  until  I  can  introduce  to  you  the  mother  of 
my  son  as  my  wedded  wife."     (Finck's  Wagner,  vol.  ii.  p.  246.) 

The  Siegfried  Idyl  was  a  birthday  gift  to  the  composer's  wife.  It  was 
first  performed  as  a  morning  serenade,  Dec.  24,*  187 1,  on  the  steps  of 
the  villa  at  Triebschen,  by  a  small  orchestra  of  players  collected  from 
Zurich  and  Lucerne.  Wagner  conducted.  Hans  Richter,  who  played 
the  trumpet  in  the  performance,  had  led  the  rehearsals  at  Lucerne.  The 
children  of  Cosima  called  the  Idyl  the  "  Steps  Music." 

Siegfried  was  born  while  the  composition  of  the  music  drama,  "  Sieg- 
fried." was  in  progress.  The  themes  in  the  Idyl  were  taken  from 
the  music  drama,  all  save  one, —  a  folk-song,  "  Schlaf ',  mein  Kind, 
schlaf  ein";  but  the  development  of  the  themes  was  new. 

And  Wagner  wrote  a  dedication  to  his  wife  :  — 

Es  war  Dein  opfermutig  hehrer  Wille 
Der  meinem  Werk  die  Werdestatte  fand, 
Von  Dir  geweiht  zu  weltentriickter  Stille, 
"Wo  nun  es  wuchs  und  kraftig  uns  entstand, 

*  Ramann  says  that  Cosima  Liszt  was  born  at  Bellagio,  "  at  Christmas,"  1837.  Chamberlain  and  Dann- 
reuther  give  1870  as  the  year  of  composition  of  the  Idyl  ;  but  see  Richard  Pohl's  statement  in  the  Musikal- 
isches  Wochenblatt  of  1877  (p.  245). 


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Die  Heldenwelt  uns  zaubernd  zum  Idylle, 

Uraltes  Fern  zu  trautem  Heimatland. 

Erscholl  ein  Ruf  da  froh  in  meine  Weisen  : 

"  Ein  Sohn  ist  da  !  "     Der  musste  Siegfried  heissen. 

Fur  ihn  und  Dich  durft'  ich  in  Tonen  danken, — 
Wie  gab'  es  Liebesthaten  hold'ren  Lohn  ? 
Sie  hegten  wir  in  uns'res  Ileimes  Schranken, 
Die  stille  Freude,  die  hier  ward  zum  Ton. 
Die  sich  uns  treu  erwiesen  ohne  Wanken, 
So  Siegfried  hold,  wie  freundlich  uns'rem  Sohn, 
Mit  Deiner  Huld  sei  ihnen  jetzt  erschlossen, 
Was  sonst  als  tonend  Gliick  wir  still  genossen. 

Some  one  has  Englished  this  freely  —  very  freely  —  and  in  verse:  — 

Thy  sacrifices  have  shed  blessings  o'er  me, 

And  to  my  work  have  given  noble  aim, 
And  in  the  hour  of  conflict  have  upbore  me, 

Until  my  labor  reached  a  sturdy  frame. 
Oft  in  the  land  of  legends  we  were  dreaming, — 

Those  legends  which  contain  the  Teuton's  fame, 
Until  a  son  upon  our  lives  was  beaming, 

Siegfried  must  be  our  youthful  hero's  name. 

For  him  and  thee  I  now  in  tones  am  praising  ; 

What  thanks  for  deeds  of  love  could  better  be  ? 
Within  our  souls  the  grateful  song  upraising 

Which  in  this  music  I  have  now  set  free. 

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FOR  nearly  half  a  century  this  store  has  been  the  headquarters  for 
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And  in  this  cadence  I  have  held,  united, 

Siegfried,  our  dearly  cherished  son,  and  thee. 
Thus  all  the  harmonies  I  now  am  bringing 
But  speak  the  thought  which  in  my  heart  is  ringing. 

The  composition,  which  first  bore  the  title  "  Triebschener  Idyll,"  is 
scored  for  flute,  oboe,  2  clarinets,  trumpet,  2  horns,  bassoon,  and  strings. 

It  begins  quietly,  E  major,  4-4  (strings  without  double-basses),  with  a 
short  introduction  made  out  of  portions  of  the  so-called  "  Friedensme- 
lodie,"  which  is  soon  announced  by  the  strings,  the  theme  from  the 
love  scene  in  the  third  act  of  "  Siegfried,"  at  Briinnhilde's  words,  "  Ewig 
war  ich,  ewig  in  siiss  sehnender  Wonne  —  doch  ewig  zu  deinem  Heil !  "  (I 
have  been  forever,  I  am  forever,  ever  in  sweet  yearning  ecstasy  —  but  ever 
to  thy  salvation !)  The  development  is  wholly  independent  of  that  in 
the  music  drama.  Wood-wind  instruments  gradually  enter.  The  flute 
introduces  as  an  opposing  theme  a  phrase  of  the  slumber  motive  in  the 
last  scene  of  "Die  Walkure."  This  phrase  is  continued  by  oboe  and 
clarinet.  There  is  a  crescendo.  The  theme  appears  in  the  basses,  and 
reaches  a  piii  forte. 

A  short  theme  of  two  descending  notes  —  generally  a  minor  seventh  or 
major  sixth,  taken  from  Briinnhilde's  cry,  "  O  Siegfried  !  Siegfried  !  sieh 
meine  Angst !  "  (O  Siegfried  !  Siegfried !  see  my  terror  ! )  from  the  same 
love  scene  in  "  Siegfried  "  —  appears  now  in  the  basses,  now  in  the  violins, 
while  wind  instruments  give  out  chords  in  triplets.  This  short  theme  is 
much  used  throughout  the  idyl. 

The  cradle  song,  "  Schlafe,  Kindchen,  schlafe  "  (Sleep,  my  little  one, 
sleep),  is  sung  "  very  simply  "  by  the  oboe. 

All  these  themes  are  worked  up  in  various  shapes  until  trills  on  the  first 
violins  lead  to  the  "  World-treasure "  motive  in  Briinnhilde's  speech  to 
Siegfried, —  "O  Siegfried,  Herrlicher  !     Hort  der  Welt!"     (O  Siegfried, 


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thou  glorious  one  !  Treasure  of  the  world  1),—  which  is  sung  first  by  the 
wind,  A-flat  major,  3-4  time,  afterward  worked  out  by  strings,  and  then 
combined  with  preceding  themes. 

There  is  a  climax,  and  on  an  organ-point  on  G  as  dominant  the  first 
horn  gives  out  Siegfried's  "  motive,"  where  he  announces  his  intention 
of  going  out  into  the  world,  never  to  return  (Act  I.),  but  the  form  is  that 
assumed  in  the  love  scene.  Flute  and  clarinet  embroider  this  horn  theme 
with  hints  at  the  bird  song  in  the  "  Waldweben."  There  is  a  mass  of  trills, 
and  the  strings  play  the  accompanying  figure  to  Siegfried's  "  Ein  herrlich 
Gewasser  wogt  vor  mir  "  (A  splendid  sea  surges  before  me),  'cellos  and 
violas,  then  violins.  The  music  swells  to  forte,  and,  after  there  is  a  modu- 
lation back  to  E  major  and  a  combination  of  the  first  two  themes,  the  cli- 
max of  the  idyl  is  reached,  and  the  trumpet  sounds  the  forest-bird  motive. 
The  chief  themes  are  further  developed,  alone  or  in  combination.  The 
pace  slackens  more  and  more,  and  the  first  two  themes  bring  the  end  in 
pianissimo. 

A  Siegfried  Idyl  was  performed  at  Mannheim  in  December,  1871, 
and  at  Meiningen  in  the  spring  of  1877.  Tne  work  was  published  in  Feb. 
ruary,  1878,  and  the  first  performance  after  publication  was  at  a  Bilse  con- 
cert in  Berlin  toward  the  end  of  February  of  that  year.  According  to  Dr. 
Reimann  the  music  drama  "Siegfried"  was  then  so  little  known  that  a 

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Berlin  critic  said  the  idyl  was  taken  from  the  second  act.  So  Mr.  Henry 
Knight,  a  passionate  Wagnerite,  wrote  verses  in  1889,  in  which  he  showed 
a  similar  confusion  in  mental  operation. 

The  first  performance  in  Boston  was  at  a  concert  of  the  Harvard  Musi- 
cal Association,  Dec.  19,  1878. 


ENTR'ACTE. 

CONTEMPORANEOUS  CRITICISM. 

BY   VERNON    BLACKBURN. 

The  criticism  of  contemporary  writers  upon  musicians  always  makes 
interesting  reading  matter,  and  though  it  usually  proves  some  curious 
prejudice,  it  very  often  throws  light  upon  an  attitude  of  mind  which  is 
not  justified  by  posterity,  but  which,  at  the  same  time,  often  expresses  an 
intelligent  view  for  the  period  in  which  the  criticism  was  uttered.  This 
comment  has  arisen  from  the  perusal  of  an  old  book,  recently  picked 
up  by  the  writer,  which  deals  with  the  merits  of  the  musicians  who 
loomed  large  in  the  view  of  men  some  hundred  years  ago.  Nor  do  we 
make  apology  for  again  introducing  the  name  of  Mozart ;  for  in  discussing 
that  period  the  thing  is  inevitable.  Among  the  most  instructive  comments" 
we  extract  the  following  words  :  — 

"  Haydn's  friend,  the  Baron  von  Swieten,  went  so  far  as  to  say  that,  if 
Mozart  had  lived,  he  would  have  borne  away  the   sceptre  of  instrumental 


EVERY  LITTLE   DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUCNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS   CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &   BROOKS,  207  Tremont  Street,  Boston,  Hass. 


music  even  from  that  great  master."  Consider  the  sentence  carefully  ; 
roll  it  round  and  round ;  contemplate  its  full  significance ;  and  conceive,  if 
you  can,  the  heartiest  respect  for  the  opinion  of  the  Baron  von  Swieten. 
Mozart  has  written  the  "  G  minor,"  that  deathless  work  upon  which  the 
supreme  musical  brain  of  humanity  seems  to  have  lavished  an  ultimate 
beauty  of  inspiration  and  phraseology;  and  Mozart  has  written  the  Jupiter 
Symphony.  And  the  good  (but  distraught)  von  Swieten  thinks  that  life 
was  too  short,  years  were  too  few,  wherein  that  master  should  approach 
Haydn  —  Haydn  the  almost  forgotten,  Haydn  who  has  nearly  reached  that 
last  outpost  of  fame,  to  be  remembered  not  by  his  work  but  by  the  anec- 
dotage  of  history ! 

Let  it,  however,  be  conceded  at  once  that  Papa  Haydn  was  a  man  of 
real  and  admirable  genius.  The  fact,  however,  remains  that  his  work  has 
not  lived  to  be  a  permanent  possession  of  after  generations.  His  easy  and 
fluent  melodies  do  not  contain  in  them  the  stuff  of  immortality.  To  his 
immediate  generation  that  facility  and  that  fluency  were  no  doubt  exceed- 
ingly charming;  and  contemporaries  have  a  way  of  turning  themselves  by  a 
natural  antedated  somersault  into  posterity.  Listen  again  to  the  admirable 
Baron  von  Swieten  :  "  In  the  comic  opera,  Mozart  is  deficient  in  gaiety. 
In  this  respect  he  is  inferior  to  Galuppi,  Guglielmi,  and  Sarti."  This  of 
the  man  who  appeals  to  us  of  to-day  as  probably  the  most  exquisite 
humourist  that  music  has  ever  known.  It  seems  almost  incredible  that 
any  man  of  discernment  could  have  missed  catching  that  element  in 
Mozart's  musical  equipment ;  yet  there  is  the  contemporary  sentence  to 
prove  the  vagaries  of  even  the  cultivated  judgment  of  the  "  man  of  the 
time." 

Yet  there  was  one  man  of  Mozart's  time  whose  judgment  seems  to 
have  been  animated  by  something  of  genius  in  its  critical  outlook :  and 
that  is  Haydn  himself.     To  the  customary  busybody  who  brought  some 


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complaint  to  the  great  man  to  the  effect  that  certain  persons  were  praising 
Mozart  at  the  elder  man's  expense,  and  who,  at  the  same  time,  attempted 
to  disparage  "  Don  Giovanni,"  Haydn  made  the  noble  and  memorable 
reply,  "  I  am  not  a  proper  judge  of  the  dispute  ;  all  I  know  is  that  Mozart 
is  the  greatest  composer  now  existing."  Could  anything  in  its  way  have 
been  finer,  more  dignified,  or  more  impressively  self-contained  ?  It  was 
certainly  not  equalled  by  Mozart's  answer,  on  the  other  side,  to  a  similar 
busybody ;  for  though  Mozart's  motive  was  dictated  by  a  like  spirit  of 
generosity,  it  was  not,  as  a  matter  of  fact,  supported  by  the  facts.  "  Sir," 
said  he,  "  if  you  and  I  were  melted  down  together,  we  should  not  furnish 
materials  for  one  Haydn."  These,  however,  were  the  criticisms  of  great 
men  upon  great  men  ;  they  cannot  be  said  to  belong  to  the  general  criti- 
cism of  contemporaries,  which  occupied  us  at  the  outset  of  these  notes. 

Take  this  gem  for  example.  "  The  fear  of  Leporello,"  writes  Schlicter- 
gron,  "  when  he  excuses  himself  from  speaking  to  the  Commander  is 
painted  with  the  true  comic  spirit  —  a  thing  unusual  with  Mozart."  That 
Leporello's  deadly  fear  should  be  cited  as  one  of  the  very  occasional 
moments  when  Mozart  exhibited  the  "  true  comic  spirit "  is,  one  would 
say,  even  for  the  vagaries  of  immediate  criticism,  about  as  grotesque  a 
display  as  can  be.  The  fact  seems,  therefore,  clear  that  Mozart's  humour, 
no  less  than  his  ineffable  tragedy,  was  a  mystery  to  the  average  musi- 
cian of  his  time.  By  this  and  by  the  radiantly  self-confident  exaltation  of 
Haydn  above  Mozart  in  previous  quotations  one  may  read  a  parable  on 
all  criticism  which,  while  its  value  cannot  easily  be  exaggerated,  is  liable 
to  such  mistakes  as  are  too  often  found  to  be  unavoidable  to  human  frailty. 


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Symphony  No.  5,  in  C  minor,  Op.  67    .     .     .     Ludwig  van  Beethoven. 

(Born  at  Bonn,  Dec.  16  (?),  1770;  died  at  Vienna,  March  26,  1827.) 

Beethoven  sketched  motives  of  the  allegro,  andante,  and  scherzo  of  this 
symphony  as  early  as  1800  and  1801.  We  know  from  sketches  that,  while 
he  was  at  work  on  "  Fidelio  "  and  the  pianoforte  concerto  in  G  major, — 
1804-1806, —  he  was  also  busied  with  this  symphony,  which  he  put  aside 
to  compose  the  fourth  symphony,  in  B-flat. 

The  symphony  in  C  minor  was  finished  in  the  neighborhood  of  Heili- 
genstadt  in  1807.  Dedicated  to  the  Prince  von  Lobkowitz  and  the  Count 
Rasumoffsky,  it  was  published  in  April,  1809. 

It  was  first  performed  at  the  Theater  an  der  Wien,  Vienna,  Dec.  22, 
1808.  All  the  pieces  were  by  Beethoven:  the  symphony  described  on  the 
programme  as  "  A  symphony  entitled  '  Recollections  of  Life  in  the  Country,' 
in  F  major,  No.  5-"  (sic)',  an  Aria,  "Ah,  perfido,"  sung  by  Josephine 
Kilitzky ;  Hymn  with  Latin  text  written  in  church  style,  with  chorus  and 
solos ;  Piano  Concerto,  played  by  Beethoven ;  Grand  Symphony  in  C 
minor,  No.  6  (sic) ;  "  Sanctus "  with  Latin  text  written  in  church  style, 
with  chorus  and  solos;  Fantasie  for  piano  solo;  Fantasie  for  piano,  "into 
which  the  full  orchestra  enters  little  by  little,  and  at  the  end  the  chorus 
joins  in  the  Finale."  The  concert  began  at  half-past  six.  We  know 
nothing  about  the  pecuniary  result. 

There  was  trouble  about  the  choice  of  a  soprano.  Anna  Pauline 
Milder,  born  at  Constantinople  in  1785,  the  singer  for  whom  Beethoven 
wrote  the  part  of  Fidelio,  was  chosen.  Beethoven  happened  to  meet  Haupt- 
mann,  a  jeweller,  who  was  courting  her,  and  in  strife  of  words  called  him 
"  stupid  ass ! "  Hauptmann,  who  was  apparently  a  sensitive  person, 
forbade  Pauline  to  sing,  and  she  obeyed  him.  (She  married  Hauptmann 
in  18 10,  blazed  as  a  star  at  Berlin  from  18 15  to  1829,  sang  in  Russia  and 
Sweden,  and  died  at  Berlin  in  1838.) 


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Antonia  Campi,  born  Miklasiewicz  (1773),  was  then  asked,  but  her 
husband  was  angry  because  Miss  Milder  had  been  invited  first,  and  he 
gave  a  rude  refusal.  Campi,  who  died  in  1822  at  Munich,  was  not  only 
a  remarkable  singer :  she  bore  seventeen  children,  among  them  four 
pairs  of  twins  and  one  trio  of  triplets,  yet  was  the  beauty  of  her  voice  in 
no  wise  affected. 

Finally  Josephine  Kilitzky  (born  in  1790)  was  persuaded  to  sing  "Ah, 
perfido."  She  was  badly  frightened  when  Beethoven  led  her  out,  and 
could  not  sing  a  note.  Rockel  says  a  cordial  was  given  to  her  behind  the 
scenes ;  that  it  was  too  strong,  and  the  aria  suffered  in  consequence. 
Reichardt  describes  her  as  a  beautiful  Bohemian  with  a  beautiful  voice. 
"  That  the  beautiful  child  trembled  more  than  sang  was  to  be  laid  to  the 
terrible  cold ;  for  we  shivered  in  the  boxes,  although  wrapped  in  furs  and 
cloaks."  She  was  later  celebrated  for  her  "  dramatic  colorature."  Her 
voice  was  at  first  of  only  two  octaves,  said  von  Ledebur,  but  all  her  tones 
were  pure  and  beautiful,  and  later  she  gained  upper  tones.  She  sang 
from  1813  to  183 1  at  Berlin,  and  pleased  in  many  parts,  from  Fidelio  to 
Arsaces,  from  Donna  Elvira  to  Fatime  in  "  Abu  Hassan."  She  died,  very 
old,  in  Berlin. 

"Ah,  perfido"  had  been  composed  in  1796  for  Josephine  Duschek. 
The  "  Fantasie,"  for  piano,  orchestra,  and  chorus,  was  Op.  80. 

J.  F\  Reichardt  wrote  a  review  of   the    new  works.     He    named,  and 


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incorrectly,  the  sub-titles  of  the  Pastoral  Symphony,  and  added :  "  Each 
number  was  a  very  long,  complete,  developed  movement  full  of  lively 
painting  and  brilliant  thoughts  and  figures  ;  and  this,  a  pastoral  symphony, 
lasted  much  longer  than  a  whole  court  concert  lasts  in  Berlin."  Of  the  one 
in  C  minor  he  simply  said:  "A  great,  highly-developed,  too  long  sym- 
phony. A  gentleman  next  us  assured  us  he  had  noticed  at  the  rehearsal 
that  the  'cello  part  alone  —  and  the  'cellists  were  kept  very  busy  — 
covered  thirty-four  pages.  It  is  true  that  the  copyists  here  understand  how 
to  spread  out  their  copy,  as  the  law  scriveners  do  at  home."  No  record 
of  the  reception  by  the  audience  of  the  new  works  has  come  down  to  us. 
Nor  do  we  know  which  concerto  Beethoven  played.  Reichardt  censured 
the  performance  of  the  "Hymn"  —  a  gloria — and  the  "  Sanctus,"  and 
said  that  the  piano  concerto  was  enormously  difficult,  but  Beethoven  played 
it  in  an  astounding  manner  and  with  incredible  speed.  "  He  literally  sang 
the  Adagio,  a  masterpiece  of  beautiful,  developed  song,  with  a  deep  and 
melancholy  feeling  that  streamed  through  me  also."  Count  Wilhourski 
told  Ferdinand  Hiller  that  he  sat  alone  in  an  orchestra  stall  at  the  per- 
formance, and  that  Beethoven,  called  out,  bowed  to  him  personally,  in  a 
half-friendly,  half-ironical  manner. 

The  symphony  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  2 
horns,  2  trumpets,  kettle-drums,  strings  ;  and  in  the  last  movement  piccolo, 
double-bassoon,  and  3  trombones  are  added. 

Instead  of  inquiring  curiously  into  the  legend  invented  by  Schindler, 
— "  and  for  this  reason  a  statement  to  be  doubted,"  as  von  Biilow  said, — 
that  Beethoven  remarked  of  the  first  theme,  "  So  knocks  Fate  on  the 
door  ! "  *  instead  of  investigating  the  statement  that  the  rhythm  of  this 
theme  was  suggested  by  the  note  of  a  bird, —  oriole  or  goldfinch, —  heard 
during  a  walk  ;  instead  of  a  long  analysis,  which  is  as  vexation  and  con- 

*  It  is  said  that  Ferdinand  Ries  was  the  author  of  this  explanation,  and  that  Beethoven  was  grimly  sarcas 
tic  when  Ries,  his  pupil,  made  it  known  to  him. 


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fusion  without  the  themes  and  their  variants  in  notation, —  let  us  read  and 
ponder  what  the  great  master,  Hector  Berlioz,  the  prince  of  critics,  wrote 
concerning  this  symphony  of  the  man  before  whom  he  humbly  bowed,  as  in 
adoration. 

''  The  most  celebrated  of  them  all,  beyond  doubt  and  peradventure,  is 
also  the  first,  I  think,  in  which  Beethoven  gave  the  reins  to  his  vast  imagi- 
nation, without  taking  for  guide  or  aid  a  foreign  thought.  In  the  first, 
second  and  fourth,  he  more  or  less  enlarged  forms  already  known,  and 
poetized  them  with  all  the  brilliant  and  passionate  inspirations  of  his 
vigorous  youth.  In  the  third,  the  '  Eroica,'  there  is  a  tendency,  it  is  true, 
to  enlarge  the  form,  and  the  thought  is  raised  to  a  mighty  height ;  but  it 
is  impossible  to  ignore  the  influence  of  one  of  the  divine  poets  to  whom 
for  a  long  time  the  great  artist  had  raised  a  temple  in  his  heart.  Beetho- 
ven, faithful  to  the  Horatian  precept,  '  Noctuma  7'ersate  manu,  versate 
diurna?  read  Homer  constantly,  and  in  his  magnificent  musical  epopee, 
which,  they  say,  I  know  not  whether  it  be  true  or  false,  was  inspired  by  a 
modern  hero,  the  recollections  of  the  ancient  Iliad  play  a  part  that  is  as 
evident  as  admirably  beautiful.  • 

"  The  symphony  in  C  minor,  on  the  other  hand,  seems  to  us  to  come 
directly  and  solely  from  the  genius  of  Beethoven ;  he  develops  in  it 
his  own  intimate  thought ;  his  secret  sorrows,  his  concentrated  rage,  his 
reveries  charged  with  a  dejection,  oh,  so  sad,  his  visions  at  night,  his 
bursts  of  enthusiasm  —  these  furnish  him  the  subject;  and  the  forms  of 
melody,  harmony,  rhythm,  and  orchestration  are  displayed  as  essentially 
individual  and  new  as  they  are  powerful  and  noble. 

"  The  first  movement  is  devoted  to  the  painting  of  disordered  sentiments 
which  overthrow  a  great  soul,  a  prey  to  despair  :  not  the  concentrated,  calm 
despair  that  borrows  the  shape  of  resignation  :  not  the  dark  and  voice- 
less sorrow  of  Romeo  who  learns  the  death  of  Juliet ;  but  the  terrible  rage 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(840) 


of  Othello  when  he  receives  from  Iago's  mouth  the  poisonous  slanders 
which  persuade  him  of  Desdemona's  guilt.  Now  it  is  a  frenetic  delirium 
which  explodes  in  frightful  cries ;  and  now  it  is  the  prostration  that  has 
only  accents  of  regret  and  profound  self-pity.  Hear  these  hiccups  of  the 
orchestra,. these  dialogues  in  chords  between  wind  instruments  and  strings, 
which  come  and  go,  always  weaker  and  fainter,  like  unto  the  painful 
breathing  of  a  dying  man,  and  then  give  way  to  a  phrase  full  of  violence, 
in  which  the  orchestra  seems  to  rise  to  its  feet,  revived  by  a  flash  of  fury  : 
see  this  shuddering  mass  hesitate  a  moment  and  then  rush  headlong, 
divided  in  two  burning  unisons  as  two  streams  of  lava ;  and  then  say  if 
this  passionate  style  is  not  beyond  and  above  everything  that  had  been 
produced  hitherto  in  instrumental  music.  .  .  . 

"  The  adagio  "  *  —  andante  con  moto  —  "  has  characteristics  in  common 
with  the  allegretto  in  A  minor  of  the  seventh  symphony  and  the  slow  move- 
ment of  the  fourth.  It  partakes  alike  of  the  melancholy  soberness  of  the 
former  and  the  touching  grace  of  the  latter.  The  theme,  at  first  an- 
nounced by  the  united  'cellos  and  violas,  with  a  simple  accompaniment  of 
the  double-basses  pizzicato,  is  followed  by  a  phrase  for  wind  instruments, 
which  returns  constantly,  and  in  the  same  tonality  throughout  the  move- 
ment, whatever  be  the  successive  changes  of  the  first  theme.  This  per- 
sistence of  the  same  phrase,  represented  always  in  a  profoundly  sad  sim- 
plicity, produces  little  by  little  on  the  hearer's  soul  an  indescribable  im- 
pression. .  .  . 

"  The  scherzo  is  a  strange  composition.  Its  first  measures,  which  are 
not  terrible  in  themselves,  provoke  that  inexplicable  emotion  which  you 
feel  when  the  magnetic  gaze  of  certain  persons  is  fastened  on  you.  Here 
everything  is  sombre,  mysterious  :  the  orchestration,  more  or  less  sinister, 
springs  apparently  from  the  state  of  mind  that  created  the  famous  scene  of 
the  Blocksberg  in  Goethe's  '  Faust.'  Nuances  of  piano  and  mezzoforte 
dominate.     The  trio  is  a  double-bass  figure,  executed  with  the  full  force  of 

*Such  indifference  of  Berlioz  to  exact  terminology  is  not  infrequent  in  his  essays. 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS.  <&    FAIRBANKS   COHPANY,    -    BOSTON 

(841) 


the  bow ;  its  savage  roughness  shakes  the  orchestral  stands,  and  reminds 
one  of  the  gambols  of  a  frolicsome  elephant.  But  the  monster  retires,  and 
little  by  little  the  noise  of  his  mad  course  dies  away.  The  theme  of  the 
scherzo  reappears  in  pizzicato.  Silence  is  almost  established,  for  you  hear 
only  some  violin  tones  lightly  plucked,  and  strange  little  duckings  of  bas- 
soons. ...  At  last  the  strings  give  gently  with  the  bow  the  chord  of  A- 
flat  and  doze  on  it.  Only  the  drums  preserve  the  rhythm;  light  blows 
struck  by  sponge-headed  drumsticks  mark  the  dull  rhythm  amid  the  general 
stagnation  of  the  orchestra.  These  drum-notes  are  C's ;  the  tonality  of  the 
movement  is  C  minor;  but  the  chord  of  A-flat  sustained  for  a  long  time  by 
the  other  instruments  seems  to  introduce  a  different  tonality,  while  the 
isolated  hammering  the  C  on  the  drums  tends  to  preserve  the  feeling  of 
the  foundation  tonality.  The  ear  hesitates, —  how  will  this  mystery  of 
harmony  end?  —  and  now  the  dull  pulsations  of  the  drums,  growing  louder 
and  louder,  reach  with  the  violins,  which  now  take  part  in  the  movement 
and  with  a  change  of  harmony,  to  the  chord  of  the  dominant  seventh,  G,  B, 
D,  F,  while  the  drums  roll  obstinately  their  tonic  C  :  the  whole  orchestra, 
assisted  by  the  trombones  which  have  not  yet  been  heard,  bursts  in  the 
major  into  the  theme  of  a  triumphal  march,  and  the  Finale  begins.  .  .  . 

"  Criticism  has  tried,  however,  to  diminish  the  composer's  glory  by 
stating  that  he  employed  ordinary  means,  the  brilliance  of  the  major  mode 
pompously  following  the  darkness  of  a  pianissimo  in  minor ;  that  the 
triumphal  march  is  without  originality,  and  that  the  interest  wanes  even  to 
the  end,  whereas  it  should  increase.  I  reply  to  this :  Did  it  require  less 
genius  to  create  a  work  like  this  because  the  passage  from  piano  to  forte 
and  that  from  minor  to  major  were  means  already  understood  ?  Many 
composers  have  wished  to  take  advantage  of  the  same  means  ;  and  what 

A.  B.  CHASE  PIANO 


BEAUTY,  TONE,  DURABILITY, 

all  attained  in  this  celebrated  piano. 
Universally  recognized  as  a  guaran- 
tee of  supreme  excellence    :::::: 

HE  purchaser  of  every  A.  B.  CHASE  piano  is  assured  that, 
whatever  the  style  he  may  select,  he  will  obtain  an  instrument 
of  unquestioned  worth,  possessing  a  musical  tone  which  for 
purity  and  power  is  unsurpassed  by  any  other  piano,  a  sym- 
pathetic touch  and  action  that  will  be  a  constant  delight,  and  a 
durability  that  is  unlimited.  A  cordial  invitation  is  extended  to 
all  persons  to  call  and  examine  this  beautiful  piano  at  our 
spacious  warerooms. 


^4a^a!l^cc^L 


120  and   122  Boylston  Street, 


Btoston,  flass. 


(84*2) 


S.    S.    PIERCE    CO 


IMPORTERS    AND    GROCERS 


BOSTON    AND    BROOKLINE 


(843) 


Ladies'  White  Glace  Kid  Evening 

GLOVES 

LONG  LENGTHS  AND  EXTRA  SIZES,  WITH  FULL  ARMS 

LOWER  IN  PRICE 
THAN  ELSEWHERE 


Miss  M.  F.  FISK,  144  Tremont  Street 


New    Piano    Studies. 


Modern  Technic.  Selected,  systematically  ar- 
ranged, and  edited  by  John  D.  Buckingham, 
from  the  works  of  A.  Villoing.       .         .         $1.00 

The  Neglected  Fingers.  Technical  exercises 
designed  to  develop  the  weaker  fingers  of 
the  hand.     Gilbert  Tompkins.       .         .         #1.00 

liriick,  Gyula.  Twenty-five  Etudes.  Grade  II. 
Edited  by  A.  G.  Salmon.       .         .        .        #1.00 

One  Hundred  and  Twelve  Exercises  and  Studies 
for  Young  Students,  in  progressive  order. 
M.  B.  Merrill #1.00 

I  irst  Steps  for  Young  Students.  Finger  ex- 
ercises with  the  addition  of  words,  to  develop 
the  sense  of  musical  rhythm  and  interest 
young  pupils.  Moritz  Lcibitz.  Two  books. 
Each #0.75 


C.  W.  THOHPSON  &  CO., 

Music  Publishers,  13  West  St. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES   &   SCHOENHOF, 

Tremont  St.,  2d  door  north  of  Winter  St., 
Wood's  Jewelry  Store.    (Tel.,  Oxford  low  -2.  > 


128 

over 


REDUCTION  SALE. 

Imported  Hats  and  Bonnets. 

Mile.   Caroline, 

486  Boylston  Street,    .     .      Boston. 

Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS, 

THEO.  SCHNEIDER, 

FURRIER, 

296=298    Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(844) 


result  did  they  obtain  comparable  to  this  gigantic  chant  of  victory  in  which 
the  soul  of  the  poet-musician,  henceforth  free  from  earthly  shackles,  terres- 
trial sufferings,  seems  to  mount  radiantly  toward  heaven  ?  The  first  four 
measures  of  the  theme,  it  is  true,  are  not  highly  original ;  but  the  forms  of 
a  fanfare  are  inherently  restricted,  and  I  do  not  think  it  possible  to  find 
new  forms  without  departing  utterly  from  the  simple,  grand,  pompous  char- 
acter which  is  becoming.  Beethoven  wished  only  an  entrance  of  the  fan- 
fare for  the  beginning  of  his  finale,  and  he  quickly  found  in  the  rest  of  the 
movement  and  even  in  the  conclusion  of  the  chief  theme  that  loftiness  and 
originality  of  style  which  never  forsook  him.  And  this  may  be  said  in 
answer  to  the  reproach  of  not  having  increased  the  interest  to  the  very 
end  :  music,  in  the  state  known  at  least  to  us,  would  not  know  how  to  pro- 
duce a  more  violent  effect  than  that  of  this  transition  from  scherzo  to 
triumphal  march ;  it  was  then  impossible  to  enlarge  the  effect  afterward. 

"  To  sustain  one's  self  at  such  a  height  is  of  itself  a  prodigious  effort ; 
yet  in  spite  of  the  breadth  of  the  developments  to  which  he  committed 
himself,  Beethoven  was  able  to  do  it.  But  this  equality  from  beginning  to 
end  is  enough  to  make  the  charge  of  diminished  interest  plausible,  on 
account  of  the  terrible  shock  which  the  ears  receive  at  the  beginning ;  a 
shock  that,  by  exciting  nervous  emotion  to  its  most  violent  paroxysm,  makes 
the  succeeding  instant  the  more  difficult.  In  a  long  row  of  columns  of 
equal  height,  an  optical  illusion  makes  the  most  remote  to  appear  the 
smallest.  Perhaps  our  weak  organization  would  accommodate  itself  to  a 
more  laconic  peroration,  as  that  of  Gluck's  '  Notre  gene'ral  vous  rappelle.' 
Then  the  audience  would  not  have  to  grow  cold,  and  the  symphony 
would  end  before  weariness  had  made  impossible  further  following  in  the 
steps  of  the  composer.  This  remark  bears  only  on  the  mise  en  scene  of  the 
work  ;  it  does  not  do  away  with  the  fact  that  this  finale  in  itself  is  rich  and 
magnificent ;  very  few  movements  can  draw  near  without  being  crushed 
by  it." 


This  symphony  was  performed  in  Boston  at  an  Academy  concert  as 
early  as  Nov.  27,  1841.  It  was  performed  at  the  first  concert  of  the 
Philharmonic  Society  of  New  York,  Dec.  7,  1842. 


COCOA-  CHOCOLATE 

'•  GROCERS      EVERYWHERE.^ 


(845) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real  Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 

New  York   Providence  17  Temple  Place  Philadelphia  Baltimore 

Hartford   New  Haven  Lynn      284  Boylston  Street  Watertown  Cambridge 

Roxbury  Boston  Newport 

(646) 


Sixteenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  FEBRUARY  27,  at  2.30  o'clock. 

SATURDAY  EVENING,  FEBRUARY  28,  at  8.00  o'clock. 


PROGRAMME. 


Schubert         .......  Overture  in  E  minor 

Richard  Strauss Concerto  for  Violin 


Widor     ....       Choral  Variations  for  Harp  and  Orchestra 
Haydn Symphony  No.  5  ("  La  Chasse ") 


SOLOIST: 

Mr.  HUGO  HEERMANN 

(847) 


TUESDAY  AFTERNOON,  FEBRUARY  17,   AT  3 

Concert  by  T.  HANDASYD  CABOT,   Violoncellist 

Assisted  by  Miss  MABEL  ADAMS  BENNETT,  Pianist 

Programme 

SONATA  in  <i  minor,  for  Violoncello  and  Piano,  Op.  5,  No.  2        ...  ...     Beethoven 

Adagio  sostenuto  ed  espressivo  —  Allegro  molto,  piu  tosto,  presto —  Rondo  :  Allegro 
SOLI  for  Violoncello 

Largo  and  Allegro Marcello 

Elegie Van  Goens 

Minuetto Becker 

Adagio  ...............  Schumann 

SONATA  in  C  minor,  for  Violoncello  and  Piano,  Op.  32 Saint-Sa'ens 

Allegro  —  Andante  tranquillo  e  sostenuto  —  Allegro  moderato 

Tickets,  $1.50  and  $1  each,  may  be  obtained  at  the  hall.  The  Steinway  Piano 


First  Boston  Recital  by 

ARTHUR 

HOCHMAN 

The  Young  American-Russian  Pianist 

Tuesday  evening 
February  \  7,  at  8 

Tickets,  #1.50  and  $i,for  sale  at  the  hall. 
WISSNER  PIANO 


ARTHUR  HOCHMAN, 

The  youngest  of  the  great,  the  greatest  of  the  young 

Pianists. 


First  Pianoforte  Recital  since  her  Return  from  her  Triumphant 

European  Tour  by 

Mrs.  FANNIE 

Bloomfield  =  Zeisler 


Saturday    afternoon, 
February    21,    at    3 


Tickets  for  sale  at  the  hall. 


The  Steinway  Tiano. 


(848) 


A  Recital  of  Original  Monologues 

BY 

BEATRICE     HERFORD 

Saturday  evening,  February  21 at  eight 

TICKETS   FOR   SALE   AT   THE   HALL 
Mr.  A.  E.  Prescott  announces  a  SONG    RECITAL  by 

Mrs.  WINIFRED  POWELL 

at  STEINERT  HALL 
Thursday,  February  twenty-sixth,  at  three-thirty  o'clock 


Tickets,   one  dollar,  to  be  obtained  from  Mr.  Prescott,  153  Tremont  Street, 
Mrs.  Powell,  64  Mt.  Vernon  Street,  and  at  Steinert  Hall 

RECITAL  BY 

EMMA  ROSSIGNOL,  Soprano 

and  JEANNETTE  DURNO,  Pianist 

Monday  Evening,  March  2,  at  8 

Tickets  at  the  hall  The  Steinway  Piano 

the  Bowdoin  College  Glee,  Mandolin,  and 
Guitar  Clubs 

Will  give  a  Concert  in  Steinert   Hall  next  Friday  evening, 

February  24 

Tickets,  $i,  75  cents,  50  cents,  are  now  for  sale  at  the  hall. 

& - _____^^^^^____^^^____^^_^_^___ 

The  third  of  Miss  LINCOLN'S  six  Sunday  Concerts 
for  the  benefit  of  the  Mount  Pleasant  Home  will  be  given 
Sunday  afternoon,  February  22f  at  4.30,  by  the  Hoffman 
String  Quartet.  Songs  by  Miss  ELSIE  LINCOLN.  Miss 
Gertrude  Lufkin,  Pianist.  Tickets,  50c.  and  $1.00,  now  on 
sale. 

(849) 


CHICRERING     HALL 


CHICKERING    HALL 
Saturday  afternoon,  February  21,  at  3  o'clock 

Local  Direction,  Charles  A.  Williams 


Second  Boston   Recital  this  season 
by   the   Eminent   Russian   Pianist 


mark 


fiambourg 


Reserved  seats,  50  cents.  75  cents, 
and  $J,  at  Herrick's 
and  Chickering  Hall 

Knabe  Piano  used 

C.  C.  HARVEY  &  CO.,  144  Boylston  St. 
Sole  Dealers 


TUESDAY    EVENING,    FEBRUARY    24,  AT    8.15 
PIANO  and  SONG  RECITAL  by 

Alma  WEBSTER-POWELL 

Prima  Donna  Soprano,  and 

EUGENIO      de      F»II£A.1XI,      Composer-Pianist 
ON  THEIR  WORLD  TOUR,   continued  from  Russia,  Germany,  Austria,  France,  and  England 

Programme  — Part  One 

1.  PIANO.    Prelude  and  Fugue  in  A  minor Bach-Liszt 

2.  VOCAL.    Indian  Bell  Song  from  Lakme Delibes 

3.  PIANO,    (a)  Scherzo  in  1!  minor  ---.--....--  Chopin 
(b)  Marche  Militaire      - Schubert- Tausig 


VOCAL,   (a)   Doucement 

(b)   Queen  of  Night,  Aria  from  "Magic  Flute'' 


Marechal 
Mozart 


Part  Two 

(Introducing  new  compositions  of  Eugcnio  de  Pirani) 

5.  PIANO,    fa)  Scherzo  Etude 

(li)  Tyrolienne          .-...--..-.. 
(c)  Fugetta      -- 

6.  VOCAL,  (a;  Barcarola 

(b)  Darling  One 

(c)  Danses  au  Chateau  ---------- 

7.  PIANO,    (a;  Gavotte     -  

(b)  Double  Note  Etude -.... 

(c)  Oi  tave  l.tude    ------- 

8.  VOCAL,  (a)  "  Der  du  von  dern  Himmel bist" 

(b)  Walt*  Song 

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Address  mail  orders  and  send  checks  to  Chakles   A.  Williams,  Manager,  Chickering   Hal 

STEINWAY  PIANO  USED 
(H60) 


y  Pirani 


Carl    Faeltein's 

FIFTH    PIANOFORTE    RECITAL, 
Wednesday  Evening,   /larch    4,    1903,   at   8   o'clock. 

Programme. 

Sonata  G  major,  Op.  79     j, Beethoven 

L-roica  Variations,  Op.  35    ) 

Huntington       Etude,  Op.  25,  No.  6      ) 

Chambers         Mazurka,  Op.  33,  No.  1  \ Chopin 

Hall.  Valse,  Op.  64,  No.  2       ) 

"  Venezia  e  Napoli"  :  Gondoliera,  Canzone,  e  Tarantelle  .         Liszt 

TICKETS,  $1.00.    J*     u<     J*     J«     For  sale  at  the  School,  30  Huntington  Avenue, 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur    Recitals 

SEATS  420 
APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Mme.  Antoinette  Szumowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 

(851) 


SYMPHONY  SEATS 

For  SEASON, 

$^||1400    AND  $^J«00    AND 

I  Vr  UPWARD. 


"sINiPSI  F      REHEARSAL 
OlMULL,  or    CONCERT, 


UPWARD. 


CONNELLY'S   Ticket  Office,  Adams  House. 

'Phone,  Oxford  942. 


Miss  LUCIE  A.   TUCKER 

CONTRALTO 

ANNOUNCES  A     RECITAL 

CHICKERING    HALL,    Friday   evening,   March    13 

Miss  LAURA  HAWKINS,  TUnist 


Olive  ]Mead, 

VIOLINIST. 

Address  F.  R.  Comee,  Symphony  Hall,  Boston,  or 

N  ,r  (  9  East  17th  Street,  New  York. 

'  \  6  Cork  Street,  London. 

(852) 


C.  C.  HARVEY  ®.  CO. 


&/>e  ANGEIAJS 


This  cabinet,  with  its  felt-covered  fingers,  can  give  you  every 
phase,  thought,  and  expression  known  to  the  world  of  music. 


The  Angelus  has  no  limitations.     It  is  the 

Pioneer  and    Popular    Player 
Its  Durability  is  Unquestioned 


We  have  several  makes  of  piano  players  from  the  OLIVER 
DITSON  COMPANY  stock  at  greatly  reduced  prices. 
Call  and  examine  them. 


C.    C.    HARVEY    (SI    COMPANY 

Hnabe     Representatives 

144    Boylston    Street 

(853) 


SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 

70  "PERFORMERS,     8Mr.    WILHELM  GERICKE,  Conductor 


Thursday  Evenings 


MARCH   12  APRIL  2  APRIL  23 

at  7.45 


SOLO  ARTISTS 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MR.  CARL  STASNY  MME.  BLOOMFIELD-ZEISLER 

MR.  ADOLF  BAK 

AND    OTHERS    TO    BE    ANNOUNCED. 


TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 

at  the  door. 


<8M) 


CHICKERING  HALL       j*       FEBRUARY  J8  AT  8  O'CLOCK 

The  first  in  Miss  Terry's  Series 

EMiss  HELEN  HENSCHEL 

WITH  THE  ASSISTANCE  OF 

Miss  WINIFRED  SMITH,  Violin      Miss  LAURA  HAWKINS,  ¥&mo 

Program 

SONGS.                        <  Two  movements  from  Sonata  for 

A  Pastorale Veracini  two  violins Handel 

Ich  liebe  dich         .       .       .         Beethoven  Miss  Henschel  and  Miss  Smith 

Im  Grunen Schubert  _.      _,.                   _  „                               „         .    , 

Von  waldbekranzter  Hohe  .        .       Brahms  Five  Thuringian  Folk-songs      .        .     Henschel 

Miss  Helen  Henschel  Miss  Henschel 

VIOLIN  SOLO.  VI°LIN  SOLOS. 

"La  Follia,"  variations  serieuses.     Corelli  iserceuse jl-ui 

Miss  Winifred  Smith  Gondoliera      .       .       .        .       .             Ries 

SONGS.  Miss  Smith 

La  Cloche        ....        Saint-Saens  SONGS. 

L'heureux  Vagabond   .       .       .     Bruneau  O  Sun F.  Corder 

Printemps  nouveau      .        .        .           Vidal  Vieille  Chanson      ....          Nevin 

Chanson  di  Juillet        .       .       .       Godard  Les  Filles  de  Cadiz       .        .       .       Delibes 

Miss  Helen  Henschel  Miss  Henschel 

Tickets  on  sale  at  Symphony  Hall,  and  at  Chickering  Hall  evening  of  concert. 
Season  tickets,  #5.00.    Single  tickets,  $1.50 

The  Second  Concert  will  be  given  on  Thursday  Evening,   February  26.      Mine. 
Szumowska  Adamowski,  Mr.  T.  Adamowski,  and  Mr.  J.  Adamowski 

The   Pianoforte  is  a   Chickering 


SIG/MOR  AUGUSTO  ROTOLI 

Announces  a  performance  of  his 

FESTIVAL   MASS 

Symphony  Hall  Friday  Evening,  February  20 


SOLOISTS 


Mrs.  GRACE  B.  WILLIAMS,  Soprano;  Miss  PAULINE  WOLTMANN,  Con- 
tralto; Mr.  C.  B.  SHIRLEY,  Tenor;  Mr.  STEPHEN  TOWNSEND,  Baritone. 

CHORUS  OF  225  VOICES. 
'Cellos,  Double-basses,  and  Kettledrum 
Organist,  Mr.  WALTER  J.  KUGLER 

Signor  AUGUSTO    ROTOLI,  Director 


Reserved  seats,  50c,  $1.00,  and  $1.50. 

Mail  orders  accompanied  by  check   and  addressed  L.  H.  Mudgett,  Manager,  Sym- 
phony Hall,  now  being  received. 

Public  box  office  sale  opens  Wednesday,  February  n,  at  8.30  a.m. 

(856) 


CHICKERING       HALL 
Seventh  Concert,  Monday  evening,  March  9,  at  8 


The 

Kneisel 
Quartet 


FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin         ALWIN   SCHROEDER,  Violoncello 


Programme  and  Assisting  Artist 
to  be  announced. 


SYMPHONY  HALL 

SUNDAY    EVENING,    MARCH    I,    1903,    at   eight 

CONCERT 

BY  THE 

BOSTON 

SYMPHONY 

ORCHESTRA 

WILHELM  GERICKE,  Conductor 
IN  AID  OF  ITS 

PENSION    FUND 

Assisted  by  Mme.  ANTOINETTE  SZUMOWSKA 

WHO  HAS  KINDLY  VOLUNTEERED 

PROGRAMME 

BEETHOVEN     .         .         Overture  to  "Leonore"  No.  3,  Op.  72 

SAINT-SAENS    .         .         Septet   in    E-flat,  Op.   65,   for  two  Violins, 

Viola,  'Cello,  Contrabass,  Trumpet,  and 
Piano.  Full  String  Orchestra.  Piano, 
Mme.  Szumowska. 

TSCHAIKO WSKY       .  Symphony  No.  6,  in  B  minor,  "  Pathe'tique," 

Op.  74. 

WAGNER      .         .         .         Siegfried  Passing  through  the  Fire,  from 

"  Siegfried,"  Act  III,  Scene  2  ;  and  Morn- 
ing Dawn  and  Siegfried's  Voyage  up 
the  Rhine,  from  "  Gotterdammerung," 
Prologue. 


Orders  by  mail,  accompanied  by  check  made  payable  to  C.  A.  Ellis,  will  be  filled  in 
the  order  of  their  reception. 

Tickets,  $1.50,  $t.oo,  and  75  cents,  on  sale  at  Symphony  Hall  on  and  after  Friday, 
February  13. 

(857> 


TENTH    YEAR 


BURTON 
HOLMES 


LECTURES 


TREMONT 
TEMPLE 


TWO   COURSES  EXACTLY    ALIKE 

Course  A,  Four  Evening  Lectures  Course  B,  Four  Afternoon  Lectures 


THE  LECTURES  TO  BE  GIVEN  IN  THE  FOLLOWING  ORDER: 

PORTUGAL,,    Wednesday,    February    18 

At  2.30  and  8.00 

DENMARK,    Saturday,    February    21 

At  2.30  and  S.oo 

SWEDEN,    Wednesday,    February    25 

At  2.30  and  8.00 

NORWAY,    Saturday,   February    28 

At  2.30  and  S.oo 


THE    SALE    OF    COURSE    TICKETS  opens   Monday,   Fburuary  9,  at  9   a.m.,  at   the   Box  Office, 
Tremont  Temple. 

COURSE  TICKET,  securing  to  the  holder  the  same  reserved  seat  at  each  of   the  four  lectures  of  either 
course,  $3.00,  $2.50,  and  #2.00,  according  to  location. 

SINGLE  TICKETS,  t'  00,  75c,  and  50c,  will  be  on  sale  on  and  after  Monday,  Fburuary  16,  at  9  a.m. 

25c.  unreserved  seats  also  on  sale  for  single  lectures. 

MAIL   ORDERS   addressed  to  The  Burton  Holmes  Lectures,  care  of  Tremont  Temple,  will  receive  prompt 
attention  in  order  of  their  receipt. 

(868) 


MUSICAL   INSTRUCTION. 


Miss  HARRIET  S.  WHITTIER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
J  183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adam* . 


Concert  and  Oratorio. 

Miss  GERTRUDE  EDMANDS,  vocai  instruction. 

EXETER    CHAMBERS. 


Mr.  CHARLES  B.  STEVENS 


Specialist  in  the  Science  of 
Tone  Production  and  the  Art  of  Singing. 

'  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 


ANNA  MILLER  WOOD, 

HEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


(859) 


Miss  SDZA  DOANE, 


■>  MASON  TOUCH  and  TECHNIC. 

Solo  Pianist  with  Gericke,  Nikisch,  and  ,  p6  Dartmouth  street. 

Van  der  Stucken. 


Miss  JESSIE  DAVIS, 

Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,    163    Hassachusetts  Avenue. 


Hiss  HARRIET  A,  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  6DSTAV  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Violin,  Theory ,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHUR  HADLEY. 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEnBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 

DAVID   POPPER. 

STUDIO:  171A    TREHONT  STREET. 


JOHN  G.  MANNING, 


Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Arenue. 


Hiss  LUCY  CLARK  ALLEN, 

Pianoforte  Lessons  j.  Accompaniments. 

Trinity  Court. 


Miss  MARY  A.  STOWELL, 

Pianist  and   Teacher, 

Will  receive  her  Boston  pupils  after  Octo- 
ber  1   at  her  residence,  THE    OXFORD. 


Miss   ROSE    STEWART, 

Pupil  of  nARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Mrs.  riabel  Mann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(8(i0) 


•  «OCER-M»cU° 

The  Famous  French  Pianist 

FIRST 
AMERICAN  TOUR 


MANAGEMENT 

L.  M.  RUBEN 

108  FIFTH  AVENUE 
NEW  YORK 


THE  WEBER  TIANO  USED 


.e  two  piaaos  in  her(MissAus  derOhc's) 

rFoom "one  is  an  olJ  German  instrument  top 
which  she  Wan  affection  because  as  a 
child  she  took  lessor  on  it.  The  other  § 
is  a  8teinway  grand.  1  have  never  teeri  | 
f  hired  by  any  piano  firnv*  she  said  Jjj&s 
laughingly, 'and  so  I  am  free  to  choose  the 
piano  I  prefer.  /U  then  she  swept  over 
the  keys  in  a  fondling  caressing  way, and  j 
I  could  understand  what  Liszt  meant  i, 
when  he  said  she  hag  a  touch  like 
velvet." 

jj^S.J. Barrows  \uTke  Criterion. 

April  1901 


r' 


l;*> 

*) 


STEIN  WAY   PIANOS 


M.  STEINEI7T  &  SONS  CO. 

162  to  165  Boylston  Street,  Boston,  Mass. 


A 


PRoGRftHftE 


Ao> 


^  ^ 


r^» 


Conductor  of  the  Handel  and  Haydn  Society, 
Conductor  of  the  Apollo  Club,  Conductor  of 
the  Boston  Festival  Orchestra,  Musician,  Vio= 
linist,  Pianist,  writes  to 

Mason  (Si  Hamlin  Co. 

December  12,  1901 
Mason  &  Hamlin  Co. 

Gentlemen, —  The  Grand  pianoforte  of  your  make 
which  I  purchased  of  you  two  years  or  so  ago  has 
proven  itself  a  most  superb  instrument. 

It  stands  remarkably  well,  and,  in  fact,  like  a 
Stradivarius  violin,  it  improves  with  age.  I  am  sure 
you  are  to  be  congratulated  on  your  production,  and 
I  am  sure  the  artist  must  be  grateful  to  you  for  your 
production.  The  instruments  you  are  now  producing 
are  not  only  fine  pianofortes,  but  they  are  a  potent 
influence  working  for  the  best  in  the  highest  of  all  the 
arts, —  music. 

With  admiration  for  the  loyalty  with  which  you 
work  toward  your  lofty  ideal,  and  with  sincere  wishes 
for  your  continued  success,  I  am, 

Very  truly  yours, 

(Signed)  EMIL  MOLLENHAUER. 


M.  vSteinert  <&  Sons  Co. 

New  England  Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY -SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

SIXTEENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     #    J*    Jt    & 


FRIDAY  AFTERNOON,  FEBRUARY  27, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  FEBRUARY  28, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(861) 


ME  SSRS  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 


The  Quarter  Grand 


o* 


The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 


RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


TWENTY-SECOND  SEASON,  1902-1903. 


Sixteenth  Rehearsal  and  Concert 


FRIDAY  AFTERNOON,  FEBRUARY  27,  at  2.30  o'clock. 

SATURDAY  EVENING,  FEBRUARY  28,  at  8.00  o'clock. 


PROGRAMME. 


Schubert 


Overture  in  E  minor 


Beethoven 


.  Concerto  in  D  major  for  Violin,  Op.  61 


I.     Allegro  ma  non  troppo. 
II.     Larghetto. 
III.     Rondo. 


Widor 


Choral  and  Variations  for  Harp  and  Orchestra,  Op.  74 

(Mr.  Schuecker,  Harp.) 
(First  time.) 


Haydn  ♦  Symphony  in  D  major, "  The  Chase  ** 

I.  Adagio.      Allegro. 

II.  Andante. 

III.  Menuetto :  Allegretto. 

IV.  The  Chase. 


SOLOIST: 

Mr.  HUGO  HEERMANN. 


There  will  be  an  intermission  of  ten  minutes  before  the  symphony. 


The  doors  of  the  hall  will  be  closed  during  the.  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


City  of  Boston,  Revised  Regulation  of  August  5,  1898.—  Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct »uch  view,  may  be  worn. 

Attest:   J.  M.  GALV1N,  City  Clerk. 

(863) 


L.  P.  Hollander  &  Co. 

HIGH-CLASS    NOVELTIES 


IN 


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In  our  COTTON    GOODS    DEPARTMENT 

We  have  just  received  Additional  Importations  of 

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GAZENES,  and  many  New  Designs  and  Colorings  in 
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We  would  call  particular  attention  to  our  large  assortment 
of  exclusive  designs  in  FLOWERED  MUSLINS  at  most 
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3mt0r   SMITH, 


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vA 


Overture  in  E  minor Franz  Schubert. 

(Born  at  Lichtenthal,  Vienna,  Jan.  31,  1797  ;  died  at  Vienna,  Nov.  19,  1828.) 

Schubert  wrote  this  overture  at  Vienna  in  February,  18 19,  probably  in 
the  dismal  lodgings  which  he  shared  with  Mayrhofer.  "  Both  room  and 
furniture  were  the  worse  for  wear ;  the  ceiling  drooped ;  the  light  was 
shut  out  by  a  big  building  opposite.  There  was  a  worn-out  pianoforte ; 
there  was  a  shabby  bookcase."  The  landlady,  a  French  woman,  was 
named,  appropriately,  Sanssouci. 

In  181 2  Schubert  wrote  an  overture  in  D;  in  181 6  one  in  B-flat ;  in 
1817  one  in  D  and  two  "in  the  Italian  style," — one  in  D  and  one  in  C. 
Rossini's  music  became  the  rage  in  Vienna  in  1817, —  his  "  L'  Inganno 
Felice"  and  "  Tancredi  "  were  produced  there  late  in  1816, —  and  there  is 
a  story  that  Schubert  wrote  an  overture  in  imitation  of  Rossini's  style  after 
a  performance  of  "  Tancredi  "  and  before  supper,  to  prove  how  easy  it  was 
to  compose  in  that  fashion  ;  but  Rossini's  influence  on  Schubert  the  rest 
of  his  life  was  unmistakable,  and  Schubert  said  of  that  great  genius : 
"  '  Otello  '  is  far  better  and  more  characteristic  than  'Tancredi.'  It  is 
impossible  to  deny  the  extraordinary  genius  of  Rossini.  His  orchestration 
is  often  most  original,  and  so  is  his  melody ;  and  except  the  usual  Italian 
gallopades  and  a  few  reminiscences  of  '  Tancredi '  there  is  nothing  for 
objection."  Now  "  Otello  "  was  produced  at  Vienna  in  January,  18 19,  the 
month  before  the  composition  of  the  overture  in  E  minor. 

The  overture  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  4 
horns,  2  trumpets,  3  trombones,  kettle-drums,  strings.  It  is  simple  in 
form  and  structure,  and  requires  no  analysis.     It  begins  fortissimo,  allegro 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC. 

GEORGE  W.  CHADWICK,    Director. 
Huntington  Avenue,  Boston,  one  block  from  Symphony  Hall. 

SECOND   SESSION 
Begins  Thursday,  February  5. 


Registration   begins  January  29. 

(865) 


V.  Ballard  &  Sons 

We  have  made  fresh  additions  to  our  stock  of  materials  for 

SHIRT  WAIST  SUITS 

FOULARD  AND  INDIA  SILKS,  PONGEES  (Plain  and  Em- 
broidered), MERCERIZED  CHEVIOTS,  and  ZEPHYRS,  PIQUES, 
LINENS,  LAWNS,  DIMITIES,  Etc. 


THE  NEW  MODELS    IN   SHIRT    WAIST  SUITS  and  WASH 
DRESSES  ARE   NOW   READY. 


256    BOYLSTON   STREET,  BOSTON 


moderato,  2-2.     There  are  contrasting  episodes  in  the  major.     The  tonality 
of  E  major  is  finally  established,  and  the  pace  is  quickened,  piii  moto. 

The  first  performance  in  Boston  of  this  overture,  which  is  rarely  played, 
and  was  still  in  manuscript  when  Grove  drew  up  his  catalogue  of  Schu- 
bert's works,  was  at  a  Symphony  Concert,  Nov.  24,  1888. 


Concerto  in  D  major  for  Violin,  Op.  61. 

Ludwig  van  Beethoven. 

(Bom  at  Bonn,  Dec.  16  (?)  1770;  died  at  Vienna,  March  26,  1S27.) 

Beethoven  composed  this  concerto  in  1S06  for  the  violinist,  Franz 
Clement,  who  played  it  for  the  first  time  at  his  concert  in  the  Theater  an 
der  Wien,  December  23  of  that  year.  The  manuscript,  which  is  in  the 
Royal  Library  at  Vienna,  bears  this  title,  written  by  Beethoven  :  "  Con- 
certo par  Clemenza  pour  Clement,  primo  Violino  e  Direttore  al  The'atro 
a  Vienne.     dal  L.  v.   Bthvn.  1806." 

The  title  of  the  first  published  edition  ran  as  follows:  "Concerto  pour 
le  Violon  avec  Accompagnement  de  deux  Violpns,  Alto,  Flute,  deux 
Hautbois,  deux  Clarinettes,  Cors,  Bassons,  Trompettes,  Timballes, 
Violoncelle  et  Basse,  compose  et  dedie  a  son  Ami  Monsieur  de  Breuning 
Secre'taire  Aulique  au  Service  de  sa  Majeste  l'Empereur  d'Autriche  par 
Louis  van  Beethoven." 

The  date  of  this  publication  was  March,  1809  ;  but  in  August,  1808,  an 
arrangement  by  Beethoven  of  the  violin  concerto  for  pianoforte  and 
orchestra,  dedicated  to  Madame  de  Breuning  and  advertised  as  Op.  61, 

THE    MUSICAL   WORLD 

The  best  writers  and  first  of  our  American  and  Foreign  Composers 


ARTICLES. 

"  Musical  Atmosphere  and  Student  Life  " 

G.  W.  Chadwick 
"  My  Early  Acquaintance  with  Brahms  " 

Richard  Heuberger 
"A  Few  Reflections  on  Technique  " 

Charles  Den  nee 
"  A  Word  to  American  Vocal  Students" 

Samuel  D.  Mosher 
"  Some  Good  Pieces  and  How  to  Use  Them  " 

W.  S.  B.  Mathews 


THE   MARCH   NUMBER  CONTAINS: 

HUSIC. 

Scottish  Folk-song.  John  W.  Metcalf 

Norwegian.    Piano.  Newton  Swift 


"Thou  art  so  Like  a  Flower."    Song 

George  W.  Chadwick 
Third  Pavane.    Piano.  Otto  Hackh 

"Adoration."    Song.  Adolf  Frey 

"  Twilight  Reverie."    Piano.  A.  Czibulka 


We  want  every  musician  to  know  The  Musical  World,  and  for  a  limited  period  offer  to  send 
the  journal  for  three  months,  to  any  address,  for  25  cents.    Sample  copy,    ID  cents. 

PUBLISHED   BY 

ARTHUR  P.  SCHMIDT,  146  Boylston  Street,  Boston 

f8G7) 


was  published  by  the  same  firm,  Kunst-  und  Industrie-Comptoir.  For 
the  pianoforte  arrangement  Beethoven  wrote  a  cadenza  with  kettle-drum 
obbligato  for  the  first  movement  and  a  "  passage-way  "  from  the  andante 
(for  so  in  this  arrangement  Beethoven  calls  the  larghetto)  to  the  rondo. 

Beethoven,  often  behindhand  in  finishing  compositions  for  solo 
players, —  according  to  the  testimony  of  Dr.  Bartolini  and  others, —  did 
not  have  the  concerto  ready  for  rehearsal,  and  Clement  played  it  at  the 
concert  a  vista. 


* 
#   * 


There  is  disagreement  as  to  the  birthday  of  Franz  Clement.  1782? 
1784?  The  painstaking  C.  F.  Pohl  gives  Nov.  17,  1780  ("Haydn  in 
London,"  Vienna,  1867,  p.  38),  and  Pohl's  accuracy  has  seldom  been 
challenged.  The  son  of  a  highway-construction-commissioner,  Clement  ap- 
peared in  public  as  an  infant  phenomenon  at  the  Royal  National  Theatre, 
Vienna,  March  27,  1789.  In  1791  and  1792  he  made  a  sensation  in 
England  by  his  concerts  at  London  and  in  provincial  towns.  At  his 
benefit  concert  in  London,  June  10,  1791,  he  played  a  concerto  of  his  own 
composition,  and  Haydn  conducted  a  new  symphony  from  manuscript; 
and  Clement  played  at  a  concert  given  by  Haydn  in  Oxford,  July  7,  1791, 
when  the  latter  went  thither  to  receive  his  degree  of  Doctor  of  Music 
(July  8).  The  king  rewarded  the  boy  richly  for  his  performances  at 
Windsor  Castle. 


E.  T  S LATTERY  CO. 

Hal>e  made  final  reductions  on  all 
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They  are  now  showing 
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Also  .   .  , 

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Ouropean    Commissions 

JOHN  H.  PRAY  & 
SONS  COMPANY 

WHOLESALERS,  IMPORTERS,  AND  RETAILERS 


B~UR    representative    is    now    in 
Europe,  and  will  give  personal  atten- 
—  tion  to  commissions    forwarded   by  us. 

We  solicit  commissions  for  Oriental 

Carpets  in  unusual  designs  or  colorings. 
Special  consideration  given  to  the  carrying  out 
of  orders  for  whole  carpets,  which  are  woven 
without  seam  and  to  fit  any  space.  We 
especially  recommend  the  Scotch  Chenille 
Axminsters. 

Whole  Carpets,  in  India  and  Turkish 
weaves,  can  be  furnished  in  from  six  to  twelve 
months  from  receipt  of  order. 
Except  in  extraordinary  sizes  and  colorings,  we 
will  cheerfully  bring  out,  subject  to  approval, 
Oriental   Carpets,  either   Modern  or  Antique. 


PRAY  BUILDING,  646-658  Washington  St. 

OPPOSITE  BOYLSTON 


(869) 


Clement  journeyed  as  a  virtuoso  through  Germany,  and  some  time  in 
1792  settled  in  Vienna.  A  writer  in  1796  praised  the  beauty  of  his  tone, 
the  purity  of  his  technic,  the  warmth  and  taste  of  his  interpretation,  and 
added  :  "  It  is  a  pity  that  a  7oung  man  of  such  distinguished  talent  is 
obliged  to  live  far  from  encouragement,  without  any  pecuniary  support, 
miserably  poor,  in  a  place  where  there  are  so  many  rich  and  influential 
lovers  of  music."  Clement  was  conductor  at  the  Theater  an  der  Wien 
from  1802  to  181 1.  In  1813  Weber,  conductor  of  the  opera  at  Prague, 
invited  him  to  be  concert-master  there,  for  as  a  virtuoso,  a  man  of  pro- 
digious memory,  and  as  a  reader  at  sight,  he  was  then  famous  throughout 
Europe.  Clement  stayed  at  Prague  for  four  years,  and  then  returned  to 
Vienna.  (Before  his  call  to  Prague  he  attempted  to  make  a  journey 
through  Russia.  At  Riga  he  was  arrested  as  a  spy  and  sent  to  St.  Peters- 
burg, where  he  was  kept  under  suspicion  for  a  month  and  then  taken  to 
the  Austrian  frontier.)  In  182 1  he  travelled  with  the  great  soprano, 
Angelica  Catalani,  and  conducted  her  concerts.  On  his  return  to  Vienna 
his  life  was  disorderly,  his  art  sank  to  quackery,  and  he  died  miserably 
poor  Nov.  3,  1842,  of  an  apoplectic  stroke. 

Clement  in  1805  stood  at  the  head  of  violinists.  A  contemporary  said 
of  him  then  :  "  His  performance  is  magnificent,  and  probably  in  its  way 
unique.  It  is  not  the  bold,  robust,  powerful  playing  that  characterizes  the 
school   of  Viotti ;  but   it  is  indescribably  graceful,  dainty,  elegant."     His 


CONCERNING  WALLS 

AT  PABNE'S. 


It  has  always  been  assumed  that  the  dealer  in 
Wall  Paper  must  be  something  of  a  hypocrite. 
You  may  have  noticed  how  closely  his  taste  al- 
ways coincides  with  yours.  He  rarely  tells  you 
that  your  choice  is  abominable.  He  is  there  to 
sell  papers  and  not  to  do  missionary  work. 

But,  on  the  other  hand,  it  is  a  great  advantage 
for  you  to  have  the  guidance  of  a  decorator  in 
such  matters,  especially  if  it  costs  you  nothing 
extra.  And  that  is  the  great  argument  for  buy- 
ing your  wall  papers  of  us.  You  deal  with  a 
"  salesman  "  who  is  a  decorator. 

He  thinks  and  plans  how  you  can  harmonize 
your  papers  with  your  rugs,  laces,  draperies,  and 
portieres.     This  is  just  what  we  do  for  you. 

Remember,  we  sell  all  these  articles  of  furnish- 
ing at  Canal  Street  prices. 


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memory  was  such  that  he  made  a  full  pianoforte  arrangement  of  Haydn's 
"  Creation  "  from  the  score  as  he  remembered  it,  and  Haydn  adopted  it 
for  publication.  Hanslick  quotes  testimony  to  the  effect  that  already  in 
1808  Clement's  playing  had  degenerated  sadly,  but  Weber  wrote  from 
Vienna,  April  16,  1813:  "Clement's  concert  in  the  Leopoldstadt.  Full 
house.     He  played  nobly  ;  old  school  —  but  with  such  precision  !  " 

Von  Seyfried  pictured  Clement  in  his  evil  days  as  a  cynical  odd  fish, 
squat  in  appearance,  who  wore,  summer  and  winter,  a  thin  little  coat, —  a 
slovenly,  dirty  fellow.  Clement  composed  small  pieces  for  the  stage,  six 
concertos  and  twenty-five  concertinos  for  the  violin,  pianoforte  concertos, 
overtures,  and  much  chamber  music.  The  Tsar  Alexander  gave  him  several 
costly  violins,  which  he  sold  to  instrument  makers. 


* 

#  # 


The  programme  of  Clement's  concert,  Dec.  23,  1806,  included  an  overture 
by  Mdhul,  pieces  by  Mozart,  Handel,  Cherubini,  as  well  as  Beethoven's 
concerto,  and  the  final  number  was  a  fantasia  by  the  violinist.  Johann 
Nepomuk  Moser  voiced,  undoubtedly,  the  opinion  of  the  audience  concern- 
ing Beethoven's  concerto  when  he  wrote  a  review  for  the  Theatcrzcitung, 
which  had  just  been  established  :  — 

"The  eminent  violinist  Klement  (sic)  played  beside  other  excellent 
pieces  a  concerto  by  Beethoven,  which  on  account  of  its  originality  and 
various  beautiful  passages  was  received  with  more  than  ordinary  applause. 
Klement's  sterling  art,  his  elegance,  his  power  and  sureness  with  the 
violin,  which  is  his  slave  —  these  qualities  provoked  tumultuous  applause. 
But  the  judgment  of  amateurs  is  unanimous  concerning  the  concerto :  the 
many  beauties  are  admitted,  but  it  is  said  that  the  continuity  is  often  com- 
pletely broken,  and  that  the  endless  repetitions  of  certain  vulgar  passages 
might  easily  weary  a  hearer.     It  holds  that  Beethoven  might  employ  his 


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indubitable  talents  to  better  advantage  and  give  us  works  like  his  first 
symphonies  in  C  and  D,  his  elegant  septet  in  E-flat,  his  ingenious  quintet 
in  D  major,  and  more  of  his  earlier  compositions,  which  will  always  place 
him  in  the  front  rank  of  composers.  There  is  fear  lest  it  will  fare  ill  with 
Beethoven  and  the  public  if  he  pursue  this  path.  Music  in  this  case  can 
come  to  such  a  pass  that  whoever  is  not  acquainted  thoroughly  with  the 
rules  and  the  difficult  points  of  the  art  will  not  find  the  slightest  enjoy- 
ment in  it,  but,  crushed  by  the  mass  of  disconnected  and  too  heavy  ideas 
and  by  a  continuous  din  of  certain  instruments,  which  should  distinguish 
the  introduction,  will  leave  the  concert  with  only  the  disagreeable  sensa- 
tion of  exhaustion.  The  audience  was  extraordinarily  delighted  with  the 
concert  as  a  whole  and  Clement's  Fantasia." 


* 
*  * 


The  first  movement,  Allegro  ma  non  troppo,  in  D  major,  4-4,  begins  with 
a  long  orchestral  ritornello.  The  first  theme  is  announced  by  oboes,  clar- 
inets, and  bassoons,  and  the  theme  is  introduced  by  four  taps  of  the 
kettle-drums  (on  D).*  After  the  .first  phrase  there  are  four  more  kettle- 
drum strokes  on  A.  The  wind  instruments  go  on  with  the  second  phrase. 
Then  come  the  famous  and  problematical  four  D-sharps  in  the  first  violins. 
The  short  second  theme  is  given  out  by  wood-wind  and  horns  in  D  major, 
repeated  in  D  minor  and  developed  at  length.  The  solo  violin  enters 
after  a  half-cadence  on  the  dominant.  The  first  part  of  the  movement  is 
repeated.  The  solo  violin  plays  the  themes  or  embroiders  them.  The 
working-out  is  long  and  elaborate.  A  cadenza  is  introduced  at  the  climax 
of  the  conclusion  theme,  and  there  is  a  short  coda. 

The  second  movement,  Larghetto,  in  G  major,  4-4,  is  a  romance  in  free 

*  There  is  a  story  that  these  tones  were  suggested  to  the  composer  by  his  hearing  a  neighbor  knocking  at 
the  door  of  his  house  for  admission  late  at  night.  There  were  extractors  of  sunbeams  from  cucumbers  before 
Captain  Lemuel  Gulliver  saw  the  man  of  a  meagre  aspect,  with  sooty  hands  and  face,  his  hair  and  beard  long, 
ragged,  and  singed  in  several  places,  who  had  been  at  work  for  eight  years  at  the  grand  academy  of  Lagado. 


Keep  Your  Stomach  Well 

Horsford's  Acid  Phosphate  cures  habitual 
stomach  weakness,  improves  the  appetite 
and  digestion,  and  removes  the  cause  of 
headache  and  wakefulness. 


Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


(874) 


form.  The  accompaniment  is  lightly  scored,  and  the  theme  is  almost 
wholly  confined  to  the  orchestra,  while  the  solo  violin  embroiders  with 
elaborate  figuration  until  the  end,  when  it  brings  in  the  theme,  but  soon 
abandons  it  to  continue  the  embroidery.     A  cadenza  leads  to  the  finale. 

The  third  movement,  Rondo,  in  D  major  (6-8),  is  based  on  a  theme  that 
has  the  character  of  a  folk-dance.  The  second  theme  is  a  sort  of  hunting- 
call  for  the  horns.  There  is  place  for  the  insertion  of  a  free  cadenza 
near  the  end. 

The  first  movement  of  this  concerto  was  played  in  Boston  as  early  as 
Nov.  22,  1853,  by  August  Fries. 

The  concerto  was  played  at  these  Symphony  Concerts  :  — 

1884,  Jan.  5,  Louis  Schmidt,  Jr. 

1885,  Oct.  31,  Franz  Kneisel. 
1888,  Nov.  3,  Franz  Kneisel. 
1893,  Dec.  30,  Franz  Kneisel. 

1895,  Dec.  14,  Franz  Ondricek. 

1896,  Nov.  28,  Carl  Halir. 
1898,  Dec.  10,  Willy  Burmester. 
1901,  Feb.  9,  Fritz  Kreisler. 

There  have  also  been  performances  in  Boston  by  Julius  Eichberg  (1859), 
Edward  Mollenhauer  (1862),]  Pablo  de  Sarasate  (1889),  Adolph  Brodsky 
(1892),  and  others. 

Hugo  Heermann,  violinist,  was  born  at  Heilbronn,  March  3,  1844.  His 
mother  was  most  musical.  He  began  to  study  the  violin  when  he  was 
eight  years  old,  took  lessons  of  Maschek,  and  played  in  public  in  1854. 
Rossini  happened  to  hear  him,  was  interested  in  him,  and  gave  him  a 
letter  to  the  director  of  the  Brussels  Conservatory.  Heermann  studied  at 
this  conservatory  five  years,  with  Meerts,  De  Beriot,  and  Fdtis.     He  took 

TO    THE    PROFESSION 

The  increasing  demand  for  GOOD  English  songs,  and  the 
seeming  difficulty  in  procuring  the  same,  compel  us  to  draw 
the  special  attention  of  the  profession  generally  to  the  fact 
that,  in  addition  to  our  extensive  catalogue,  we  represent  the 
three  leading  catalogues  in  Europe.  We  can  offer  a  variety 
unsurpassed  of  compositions  by  the  best  composers  in  the 
English  and  French  languages  on  the  same  date  of  publica- 
tion as  in  Europe.  Ask  for  BOOSEY  &  COMPANY'S 
publications,  and,  if  there  is  any  difficulty  in  obtaining  them, 
please  address  direct  to  1 

BOOSEY  &  COMPANY,  9  East  17th  St.,  /New  York 

(875) 


the  first  prize  for  violin  playing,  and  then  went  to  Paris,  where  he  studied 
three  years.  In  1865  he  was  called  as  concert-master  to  Frankfort-on-the- 
Main,  which  is  still  his  home.  In  1878  he  joined  the  faculty  of  the  Hoch 
Conservatory.  He  is  known  not  only  as  a  virtuoso  throughout  Europe, 
but  as  the  first  violin  of  the  Museumsgesellschaft  Quartet  (Heermann, 
Bassermann,  Naret-Koning,  Becker).  His  first  appearance  in  the  United 
States  was  at  the  fourth  Wetzler  symphony  concert  in  Carnegie  Hall,  New 
York,  Feb.  5,  1903,  when  he  played  Beethoven's  Concerto  with  his  own 
cadenzas. 


Choral  and  Variations  for  Harp  and  Orchestra,  Op.  74. 

Charles  Marie  Widor. 

(Born  at  Lyons,  Feb.  22,  1845;  now  living  at  Paris.) 
This  piece,  composed  at  Venice  in  the  autumn  of  1899,  was  performed 
for  the  first  time  at  the  Salle  firard,  Paris,  March  12,  1900,  for  the  benefit 
of  the  Orphan  Asylum  of  the  Arts.  A.  Hasselmans,  to  whom  it  was 
dedicated,  professor  of  the  harp  at  the  Paris  Conservatory  since  1884,  was 
the  harpist. 

The  first  performance  in  the  United  States  was  at  a  concert  of  the 
Chicago  Orchestra  at  Chicago,  Nov.  29,  1902,  when  Mrs.  Margaretha 
Wunderle  was  the  harpist. 

The  work  is  scored  for  solo  harp,  2  flutes,  2  oboes,  2  clarinets,  2  bas- 
soons, 4  horns,  2  trumpets,  3  trombones,  bass  tuba,  a  set  of  3  kettle- 
drums, big  drum,  triangle,  cymbals,  strings.  After  a  short  prelude, 
andante,  4-4,  the  first  line  of  the  choral  is  given  out  by  the  harp,  forte, 
moderato,  4-4,  against  violins.  The  rest  of  the  choral  is  played  by  harp, 
supported    or  with  instruments    in  counterpoint,  and    the    interludes    are 

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varied  orchestrally.     The  variations  which  follow  are  many  and  elaborate, 
free  and  contrapuntal. 

Widor  studied  first  at  Lyons,  and  then  went  to  Brussels,  where  he  took 
organ  lessons  of  Lemmens  and  studied  composition  with  Fdtis.  He  went 
back  to  Lyons  as  organist  of  Saint  Francois  (i860),  and  he  soon  became 
known  even  outside  France  as  a  virtuoso.  In  1869  he  was  appointed 
organist  of  Saint  Sulpice,  Paris,  and  he  still  holds  that  position.  He  was 
named  professor  of  the  organ  at  the  Paris  Conservatory  in  1890,  as 
successor  of  Cesar  Franck;  and  in  1896  he  was  made  professor  of  com- 
position, when  Dubois  became  director  of  the  institution.  Widor  has 
given  concerts  throughout  Europe  as  organist  and  as  composer.  His 
chief  works  are  as  follows:  "La  Korrigane,"  ballet  (Ope'ra,  Dec.  1, 
1880);  incidental  music  to  "  Conte  d'Avril,"  founded  on  Shakespeare's 
"Twelfth  Night"  (Ode'on,  Sept.  22,  1885);  incidental  music  to  CoppeVs 
drama,  "  Les  Jacobites"  (Ode'on,  Nov.  21,  1885);  "  Maitre  Ambros," 
opera  '(Ope'ra-Comique,  May  6,  1896);  "Jeanne  d'Arc,"  mimic  legend 
(Hippodrome,  June  25,  1890) ;  incidental  music  with  Thome  and  Michel 
to  the  legend,  "  Pa-Hos  et  Zu'ella"  (Theatre  des  Poetes,  March  9,  1896) 
"La  Nuit  de  Walpurgis,"  for  orchestra;  Concerto  in  F  for  pianoforte  and 
orchestra  (played  by  Die'mer  at  the  Chatelet,  Nov.  19,  1876);  Marche 
Nuptiale  for  orchestra;  'Cello  Concerto  (played  by  Delsart,  March  12, 
1882,  at  the  Chateau  d'Eau) ;  Pianoforte  Quintet  in  D  minor,  Op.  7  ;  Ser- 


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enade  for  pianoforte,  flute,  violin,  'cello,  and  harmonium,  Op.  10;  Trio  in 
B-flat :  String  Quartet ;  at  least  two  symphonies ;  two  orchestral  suites 
taken  from  the  music  for  "  Conte  d'Avril  " ;  Spanish  Overture  written  for 
"  The  Marriage  of  Figaro  "  when  it  was  to  have  been  produced  at  the 
Eden  Theatre;  pianoforte  quartet;  suite  for  flute  and  pianoforte;  sym- 
phonies for  organ,  organ  and  orchestra,  organ  and  harmonium  ;  fantasia 
for  pianoforte  and  orchestra  ;  many  compositions  for  pianoforte  ;  songs, 
duets,  choruses;  the  112th  Psalm,  for  choruses,  2  organs,  2  orchestras; 
mass  for  2  choirs  and  2  organs  (performed  in  Boston  by  the  Choral  Art 
Society  at  Trinity  Church,  Dec.  19,  1902)  ;  and  much  church  music.  His 
operas,  "  Nerto  "  and  "  Les  Pecheurs  de  St.-Jean,"  are,  I  believe,  still  in 
manuscript.     For  many  years  Widor  was  the  music  critic  of  L  Estafette. 


# 


Hasselmans  in  1897  became  engaged  in  a  controversy  with  Gustave 
Lyon  concerning  the  merits  of  the  latter's  chromatic  harp  without  pedals, 
which  was  exhibited  at  the  Brussels  Exposition  of  that  year.  Hasselmans 
insisted  that  the  new  harp  would  and  should  not  take  the  place  of  the 
modern  improved  harp  with  pedals.  They  that  are  interested  in  such  mat- 
ters should  consult  Le  Guide  Musical  for  Aug.  1,  8,  15,  22,  1897,  and 
Revue d ' Histoire  et  de  Critique  Musicales  (Paris),  1902,  pp.  381,  435,  462,  in 
which  Louis  Schneider  and  Louis  Laloy  enter  into  the  controversy. 

Lyon  and  his  adherents  describe  the  various  changes  made  in  the  old 
instruments  ;  the  betterments  of  Hochbrucker,  Naderman,  and  Se'bastien 
Erard.  They  insist  that  it  is  impossible  to  play  all  chromatic  passages 
and  rapid  modulations  on  the  harp  with  pedals ;  and  they  cite  certain 
pages  in  "Die  Walkiire."     Lyon  arranges  the  strings  as  they  are  on  the 


HARMONIC  ANALYSIS 

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pianoforte :  the  white  correspond  to  the  white  keys  of  the  pianoforte,  and 
the  black  to  the  black.  But  these  strings  are  arranged  on  two  planes,  and 
the  strings  are  crossed,  so  that  the  black  traverse  the  plane  of  the  white 
between  the  two  white  strings,  which  on  the  pianoforte  inclose  the  same 
black  note  as  that  of  the  new  harp,  so  that  each  hand  has  easy  access  to 
the  crossing  of  the  two  planes. 

Now  Widor  seemed  mightily  pleased  with  the  chromatic  harp.  He 
went  so  far  as  to  write  an  article  in  praise,  and  he  said  :  "  The  citharists 
of  Athens  amused  themselves  occasionally  by  trying  the  lyre,  which  was 
for  them  child's  sport.  And  so  the  pianists  of  to-day  can  in  a  short  time 
gain  the  reputation  of  a  brilliant  virtuoso  on  the  new  harp  and  chromatize 
at  their  ease ;  they  may  interpret  studies  by  Henselt,  suites  by  Schumann, 
preludes  by  Chopin,  and  accompany  songs  by  Faure,  melodies  by  Bruneau, 
cavatinas  by  Erlanger, —  a  thing  hitherto  almost  impossible." 

Gevaert,  the  director  of  the  Brussels  Conservatory,  established  in  1900 
a  chromatic  harp  class ;  and,  after  two  years,  pupils  in  this  class  took  a  first 
prize  "  avec  distinction"  two  second  prizes,  and  two  first  accessits,  while,  in 
the  same  competition,  pupils  in  the  pedal  harp  class  took  only  two  second 
prizes. 

As  far  back  as  1897  Gustave  Lyon  constructed  a  small  chromatic  harp 
for  the  use  of  Beckmesser  in  "  Die  Meistersinger  "  at  the  Opera.  "  To 
gain  the  desired  nasal  and  burlesque  effect,  Lyon  used  strings  of  steel," 


SHREVE,  CRUMP  &  LOW  CO. 


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while  the  chromatic  harps  for  orchestra  or  parlor  are  strung  with  gut 
strings.  A  copy  of  this  Beckmesser  harp  was  sent  to  Cosima  Wagner, 
who  acknowledged  the  gift  in  a  flattering  letter  (July  2,  1899).  A  special 
chromatic  harp  was  also  made  for  Charpentier's  "  Louise." 

Hasselmans  argued  that  the  difficult  passages  in  "  Die  Walkiire  "  can 
be  performed  easily  if  they  be  divided  between  several  players  ;  and  he 
added,  "  Certain  essential  passages  are  absolutely  impossible  with  the 
chromatic  harps,  however  great  the  number  of  players."  He  regarded 
Lyon's  invention  not  as  a  modification,  not  as  a  betterment :  "  There  is 
question  [here  of  a  complete  transformation,  which  as  a  first  result  will 
take  away  the  character  of  the  instrument  and  reduce  it  merely  to  a  sort 
of  pianoforte."  Furthermore,  he  quoted  the  specification  of  a  chromatic 
harp  made  by  Henry  Pape  at  London  in  1845,  which  came  to  noth- 
ing. 

Widor  approved  the  chromatic  harp,  and  his  concerto  was  played  by 
the  defender  of  the  pedal  harp. 

The  harp  of  harps  was  not  chromatic,  and  it  had  no  pedals. 

A  famous  harper  passing  by, 

Binnorie,  0  Binnorie  ; 
The  sweet  pale  face  he  chanced  to  spy ; 

By  the  bonny  mill- Jams  of  Binnorie. 


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FOR  nearly  half  a  century  this  store  has  been  the  headquarters  for 
Old  Lace.     During  these  years  we  have  sold  more  of  the  genuine  old 
hand-made  Lace  than  any  other  Boston  house. 

We  believe  that  our  experience  and  connections  abroad  make  it  possible 
for  us  to  offer  to  the  public  to-day  better  Laces  than  can  be  bought  else- 
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And.  when  he  looked  that  lady  on, 

Binnorie,  O  Binnorie  ; 
He  sighed  and  made  a  heavy  moan ; 

By  tlie  bonny  mill-dams  of  Binnorie. 

He  made  a  harp  of  her  breast-bone, 

Binnorie,  O  Binnorie  ; 
Whose  sounds  would  melt  a  heart  of  stone 

By  the  bonny  mill- Jams  of  Binnorie. 

The  strings  he  framed  of  her  yellow  hair, 

Binnorie,  0  Binnorie  ; 
Whose  notes  made  sad  the  listening  ear; 

By  the  bonny  mill-dams  of  Binnorie. 


ENTR'ACTE. 


THE   ESTERHAZY   ORCHESTRA. 

Not  until  Paul  Anton  Esterhazy  was  at  the  head  of  his  family  (1734) 
was  the  princely  orchestra  strengthened  by  the  addition  of  flute,  oboe, 
trombone,  and  kettle-drums.  At  Eisenstadt  the  orchestra  had  developed 
slowly.  Nicolaus  (11645)  delighted  in  a  ^arP  player.  Paul  (1635-17 13) 
was  devoted  to  his  church  as  well  as  to  diplomacy,  the  arts,  science,  and 
charity,  and  he  was  particular  about  church  song,  his  trumpeters,  drum- 
mers, male  sopranos.  Stringed  instruments,  bassoons,  aided  the  organ. 
Michael  (fi72i)  had  his  court  musicians,  singers,  lute-players,  drums  and 
trumpets,  chapel-master. 

Maria  Octavia  ruled  during  the  minority  of  her  son  Paul  Anton  (born 
in  17 n).  Her  choir  was  made  up  of  a  female  soprano,  a  male  soprano 
afterward  a  tenor,  a  male  alto,  two  basses.  The  orchestra  was  composed 
of  two  violins,  a  double-bass,  a  bassoon,  to  serve  with  the  organ.     But  a 


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chapel-master,  G.  J.  Werner,  was  appointed  under  her,  and  he  was 
ambitious. 

After  Paul's  accession  any  one  of  his  household  who  could  sing  or  play 
an  instrument  was  compelled  to  join  choir  or  orchestra.  Servants  in  those 
days  were  expected  to  fulfil  such  duties.  An  advertisement  appeared  in  a 
newspaper  of  Vienna  in  1789  :  "Wanted  :  a  servant  who  is  an  excellent 
violinist  and  can  accompany  difficult  pianoforte  sonatas." 

Werner  had  given  all  his  strength  to  the  church  services.  Haydn  was 
appointed  second  conductor  in  1761  at  a  salary  of  400  florins  a  year. 
Paul  Anton  died  in  1762. 

His  brother  Nicolaus  succeeded  him.  Haydn's  salary  was  raised  to 
600  and  then  to  782  florins  (about  $400)  a  year,  and  new  musicians  were 
engaged.     Werner  died  in  1766,  and  Haydn  was  then  sole  conductor. 

Now  Haydn  had  written  symphonies  for  the  orchestra  at  Eisenstadt, 
among  them  "  Le  Matin,"  "  Le  Midi,"  "  Le  Soir,"  and  for  what  sort  of  an 
orchestra?  There  were  4  or  5  violins,  1  'cello,  1  double-bass,  1  flute,  2 
oboes,  2  bassoons  (one  of  them  a  violinist),  2  horns,  at  the  most  fourteen 
or  fifteen  besides  trumpeters  and  drummers. 

Soon  after  Werner's  death  the  Prince  rebuilt  an  old  hunting-place  near 
Siittor,  turned  it  into  a  summer  palace,  called  it  Esterhaz ;  and  at  Ester- 
haz orchestra  and  conductor  were  lodged  for  the  greater  part  of  the 
year. 

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The  orchestra  at  Esterhaz  consisted  of  from  sixteen  to  twenty-two  players. 
There  were  never  over  3  first  and  3  second  violins  ;  there  were  2  violas,  2 
double-basses,  1  'cello;  there  were  flute,  2  oboes,  2  bassoons,  4  horns; 
and  according  to  need  there  were  trumpets  and  drums.  Clarinets  were 
used  only  from  1776  to  1778. 

The  rehearsals  were  in  the  morning.  Performances  before  the  Prince 
or  his  guests  were  in  the  afternoon.  Concerts  of  both  vocal  and  instru- 
mental music  were  given  occasionally  in  the  evening.  String  quartets 
were  played  in  the  Prince's  own  music-room.  There  was  table  music  in 
the  great  hall  at  special  feasts  ;  but  for  smaller  and  family  dinners  singers 
or  virtuosos  were  employed. 


# 


"  Table  music "  !  What  bitter  reproaches  have  been  made  against 
Haydn  and  Mozart  for  writing  music  to  cover  the  noise  of  dishes  or 
heavy  eaters  !  Yet  for  centuries  there  has  been  a  friendly  tie  between 
music  and  eating,  from  ancient  Egyptian  days  to  those  of  Rigo. 

"  The  harp  and  the  viol,  the  tabret  and  pipe,"  were  in  the  feasts  of  the 
Hebrews.  There  was  music  at  the  banquet  where  Tamburlaine  the  Great 
drank  koumiss,  hydromel,  and  wine,  and  served  golden  and  bejewelled 
crowns  to  his  generals  as  a  second  course  ;  at  the  Pompeiian  junketings 
of  Prince  Napoleon  at  the  beginning  of  the  Second  Empire  ;  at  the  din- 
ner of  Catherine  I.  of  Russia  with  oysters  from  Holstein  and  wine  from 


icsqa'qmiTH 


EVERY  LITTLE   DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUCNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS  CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  flass. 


Hungary ;  at  the  little  but  infamous  suppers  of  Louis  XV. ;  at  the  feast 
where  Cortez  envied  Montezuma ;  at  the  meal  which  two  kings  of  the 
island  of  Horn  shared  with  Van  Schouter,  the  Dutch  wanderer.  Horace 
Walpole  flirted  with  Madame  de  Boufflers  as  they  ate  to  the  sound  of 
horn  and  hautboy.  Among  the  ancient  Greeks  the  flute  player  sharpened 
intoxication  by  choosing  the  Phrygian  mode.  In  Iceland,  in  1660,  the 
music  was  like  the  behavior  of  the  eaters,  without  rule  or  art,  enraged. 
It  was  the  fashion  in  1764,  at  London,  to  sup  in  the  open  air  not  far 
from  a  band.  Samarcand  and  Janina,  Teheran  and  Carcassonne,  knew 
the  same  sight.  The  organ  that  was  built  by  the  Arabian  Ja'afar 
and  sent  by  the  Caliph  Hariin  al-Rashid  to  Charlemagne  was  placed 
in  a  dining-hall,  and,  if  Walafrid  Strabo  is  worthy  of  belief,  its  soft- 
ness of  tone  was  so  exquisite  that  it  induced  the  death  of  a  young 
woman.  Don  Francois  Oica,  the  cunning  priest  of  Naples,  devised  "  har- 
monious "  doors  for  a  banquet  chamber,  which,  when  they  opened  or  shut, 
discoursed  sweet  music.  Grace  was  sung  in  many  lands,  and  is  sung  to-day 
in  England  ;  and  the  notes  were  found  on  the  equipage  of  the  table. 
Music  embellished  the  coronation  feast  of  Henry  of  Navarre  and  the 
more  humble  meal  of  honest  Monsieur  Jourdain.  And  when  Ajib,  son  of 
Khazib,  the  third  Kalandar,  a  king  and  the  son  of  a  king,  told  his 
wondrous  tale  before  the  three  ladies  of  Baghdad  and  their  guests  in  that 
book  of  books,  the  Book  of  the  Thousand  Nights  and  a  Night,  he  told 
of  the  forty  damsels,  sumptuously  dressed  and  ornamented  and  one  and 
all  as  bright  as  moons,  who  welcomed  him  in  the  palace  builded  of 
khalanj,  lign-aloes,  and  sandal-wood,  plated  with  red  gold  and  studded 
with  all  manner  emeralds  and  costly  gems,  the  palace  towering  high  in 
air,  the  palace  of  the  forty  chambers,  one  of  which  was  not  to  be  entered. 
Trays  were  laid  at  nightfall  and  "  spread  with  flowers  and  fragrant  herbs 
and  fruits,  fresh  and  dried,  and  confections  in   profusion.     At  last  they 


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brought  out  a  fine  wine-service  with  rich  old  wine  ;  and  we  sat  down  to 
drink,  and  some  sang  songs  and  others  played  the  lute  and  psaltery 
and  recorders  and  other  instruments,  and  the  bowl  went  merrily  round. 
Hereupon  such  gladness  possessed  me  that  I  forgot  the  sorrows  of  the 
world  one  and  all  and  said :  '  This  is  indeed  life ;  O  sad  that  'tis 
fleeting ! '  " 

Whether  music  aids  digestion  is  an  open  question.  Ange  Goudar  ate 
his  chicken  during  an  andante,  for  he  feared  lest  indigestion  would  follow 
keeping  pace  with  the  heels  of  a  jig.  Dr.  Veron  stoutly  affirmed  he  could 
not  digest  without  music.  Let  Michael  Mail  be  summoned  as  a  witness 
from  Thomas  Hardy's  "  Under  the  Greenwood  Tree  "  :  — 

"  Truly,  now,  there's  a  friendly  tie  of  some  sort  between  music  and  eating.  Once  I 
was  sitting  in  the  little  kitchen  of  the  Three  Choughs  at  Casterbridge,  having  a  bit  of  a 
dinner,  and  a  brass  band  struck  up  in  the  street.  Such  a  beautiful  band  as  that  were  I 
I  was  sitting  eating  fried  liver  and  lights,  I  well  can  mind  —  ah,  I  was!  and  to  save  my 
life  I  couldn't  help  chawing  to  the  tune.  Band  played  six-eight  time ;  six-eight  chaws 
I,  willy-nilly.  Band  plays  common ;  common  time  went  my  teeth  among  the  fried 
liver  and  lights  as  true  as  a  hair.  Beautiful  'twere  !  Ah,  I  shall  never  forget  that  there 
band ! " 

And  Grandfather  James,  "with  the  absent  gaze  which  accompanies 
profound  criticism,"  exclaimed,  "  That's  as  musical  a  circumstance  as  ever 

I  heard  of." 

* 
#  # 

Three  was  a  theatre  at  Esterhaz  for  operas,  dramas,  and  comedies. 
There  was  another  theatre  for  marionettes,  and  Haydn  wrote  incidental 
music  for  one  theatre  as  well  as  for  the  other.  Wandering  virtuosos  were 
hired  to  play  with  the  orchestra,  and  foreign  singers  were  welcomed.  The 
orchestra  and  choir  were  a  family  with  common  interests.  They  lived 
in  one  house,  which  had  seventeen  rooms  on  the  ground  floor  and  thirty- 


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seven  in  the  floors  above.  There  were  eleven  married  couples  with  two 
rooms  apiece,  sixteen  bachelor  musicians,  two  in  a  room.  Certain  singers 
and  musicians  had  a  room  apiece ;  and  Haydn,  with  his  sour  wife,  had 
three  rooms. 

The  concert-master,  Luigi  Tomasini,  had  a  salary  of  800  gulden  a  year. 
The  other  members  of  the  orchestra  were  paid  as  follows  :  violinist,  from 
250  to  480  gulden  (against  250  to  300  at  Vienna)  ;  'cellist,  430  (against 
250  to  300);  double-bass,  400  (against  300);  bassoonist,  300  to  400 
(against  250  to  350);  a  horn-player,  300  to  5oo(against  250  to  350).  The 
musician  at  Esterhaz  also  received  free  lodging,  six  to  nine  casks  of  wine 
twenty  to  thirty  pounds  of  candles,  three  to  six  cords  of  fire-wood,  and 
every  two  years  a  summer  or  winter  uniform. 

For  this  orchestra  of  from  sixteen  to  twenty-two  players  Haydn  wrote 
symphonies,  among  them  "  The  Chase,"  while  in  the  service  of  the  Prince 
(Nicolaus  died  in  1790,  and  Anton,  his  successor,  dismissed  the  orchestra, 
except  a  few  members  to  play  in  church  service)  ;  and  these  symphonies 
are  played  to-day  in  huge  rooms  with  a  body  of  strings  such  as  is  busied 
in  works  by  Wagner  or  Richard  Strauss. 

MUSIC   AND    SPEECH. 

BY    VERNON    BLACKBURN. 

What  a  vexed  question  is  this  of  the  connection  between  verbal  and 
musical  sound  !  An  essay  recently  published  in  an  Italian  review  brings 
one  back  to  the  matter  still  in  an  inquisitorial  spirit.  The  writer  attempts 
to  show  that  the  philosophy  of  language  and  of  music  means  precisely  the 
same  thing;  he  explains  that  education  in  grammar  and  in  musical  tech- 
nique cannot  intellectually  be  separated,  and  that  accordingly  music  must 
in  the  long  run  depend  upon  human  speech  for  its  utterance,  inasmuch  as 


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Miss  M.  E.  Ford, 

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Take  elevator. 


(8tf-J) 


IVERS  8  POND 
PIANOS 


Superlative  Qvauit 

Pure  Colonial 

Our    new    model 
No.  214,  here  pict- 
ured, is  an  excellent 
example  of  the  purer 
period    of    Colonial 
design.    All  carving 
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Beautifully    figured    South    African    mahogany    in    rich 
antique  coloring  is  employed.      This  and  a  superb  finish 
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plan, —  buying  a  piano  by  renting  it  ? 


•  IVERS  8  POND    • 

•  PIANO    CO  • 

114BOYLSTON  ST.  BOSTON 


(893) 


human  speech  (as  Herodotus  reminds  one)  must  necessarily  come  first  in 
the  order  of  life. 

Now,  it  is  the  fashion  to  argue  very  philosophically  about  points  which 
no  philosophy  can  prove  to  be  right  or  wrong.  The  schoolmen  and  their 
famous  "Definitions,"  Kant  and  the  "  Transcendental  Ego,"  are  matters 
upon  which  probably  no  two  brains  are  in  absolute  agreement.  And  there- 
fore if  this  matter  of  speech  and  musical  utterance  is  to  be  treated  phil- 
osophically, it  is  as  certain  as  can  be  that  no  eternal  conclusion  will  ever 
be  arrived  at.  But  still  one  need  not  use  very  subtle  arguments  to  indicate 
that  the  assumption  of  the  Italian  writer  does  not  really  rest  on  a  rational 
basis,  however  acceptable  may  be  the  conclusion.  The  point  to  consider 
in  the  logic  of  the  thing  is  simply  this  :  Are  the  grammars  of  speech  and 
of  music  essentially  disparate  and  disunited  ?  There  is  only  one  possible 
answer,  and  that  is  an  emphatic  affirmative,  despite  all  the  plausible  theo- 
rizing in  the  world. 

The  writer  whom  we.  have  quoted  ingeniously  attempts  to  strengthen 
his  case  by  declaring  almost  vehemently  that  he  is  averse  from  any  opinion 
which  makes  one  art  overlap  another.  Painting,  says  he,  has  nothing 
whatever  to  do  with  literature ;  music  has  naught  to  say  to  sculpture. 
But  music,  he  adds,  and  articulate  speech  rest  upon  a  common  basis ;  and 
therewith  he  spins  his  spider's  web  of  theory. 

Yet,    had   he   thought   and   considered    somewhat    more    deeply,  it   is 


Dominion  Line 

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And  through  to  NAPLES  and  GEN<  I  \. 

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DOMINION  LINE,  77-81  STATE  STREET 

Or  any  local  steamship  agent, 

(894) 


BOSTON 


scarcely  imaginable  that  he  would  have  made  the  exception  upon  which 
he  founds  his  argument.  Superficially,  indeed,  music  and  speech  are  in 
affinity.  But  how  superficially  may  be  well  understood  when  one  con- 
siders with  what  a  different  method  the  musician  and  the  writer  express 
themselves.  Dangerously  enough,  some  of  the  greatest  musical  writers  — 
Wagner  especially  —  have  seemed  to  favor,  or,  at  all  events,  to  lean 
towards  the  idea  that  music  and  speech  have  a  common  foundation  ;  and 
the  attempt  to  combine  these  two  forms  of  utterance  has  been  most  reso- 
lutely made  by  some  of  the  musical  giants,  the  list  of  whom  does  not  find 
even  the  name  of  Beethoven  absent. 

But,  in  fact,  such  attempts  are  foredoomed  to  failure.  They  remind 
one  almost  pathetically  of  Darwin's  efforts  to  create  a  new  species  through 
the  intercrossing  of  pigeons  of  different  breeds.  We  had  been  almost 
fatigued  with  the  preaching  of  this  truth  ;  but  the  speculative  Italian  has 
once  more  made  it  necessary  to  combat  the  absurd  theory  that  literature 
and  music  are  almost  interchangeable  arts.  The  sole  reason,  probably, 
why  such  a  view  should  ever  have  become  publicly  acceptable  rests  on 
the  fact  that  the  translation  of  music,  outside  a  hearing  of  it,  is  to  the 
general  entrusted  to  the  man  of  letters.  Thus,  when  a  supreme  critic  like 
(let  us  say)  Richard  Wagner  or  Hector  Berlioz  almost  realizes  his  musical 
sensations  for  a  reader  by  reason  of  his  flaming  words,  his  passionate 
literature,  when  they,  by  reason  of  consummate  literary  artifice,  make 
music  live  again,  it  is  not  unnatural  that  a  claim  should  be  made  that 
music  and  literature  have  something  of  a  common  basis.  Such  thinkers 
forget,  however,  that  some  of  the  greatest  among  rhythmical  prose  writers 
had  no  knowledge  whatever  of  musical  meanings  and  musical  forms  ;  that, 
as  a  matter  of  fact,  the  conventions  of  musical  grammar  have  not  the 
smallest  resemblance  to  those  of  everyday  speech ;  and  that  just  as 
literature  is  a  specialized  form  of  speech,  so  is  music   a  specialized  form 


146  Tremont  Street. 
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BONBONS  and 
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cosmetics  or  steaming.    Head  treated  for  con- 
gestion, falling  hair,  and  baldness. 
Testimonials  from  distinguished  men  and 
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(895) 


of  inarticulate  outcry.  The  only  excuse  for  the  learned  Italian's  theory 
lies  in  this,  that  speech  and  music,  so  far  as  man's  interpretation  goes, 
begin  at  the  human  throat.  It  is  a  pleasant  foundation  whereon  to  build; 
but  the  final  developments  of  each  were  destined  to  vastly  different 
careers. 

Symphony  in  D  major,  "  The  Chase  " Joseph  Haydn. 

(Born  at  Rohrau,  Lower  Austria,  March  31,  1732  ;  died  at  Vienna, 
May  31,  1809.) 

This  symphony  was  written  at  Esterhaz  in  1781,  and  it  was  first  per- 
formed there,  according  to  tradition,  at  a  concert  given  after  the  return  of 
Prince  Nicolaus  Esterhazy  from  Paris,  where  he  had  made  a  long  visit. 

To  give  his  princely  employer  the  greater  pleasure,  Haydn  used  for  the 
last  movement  of  this  symphony  the  introduction  to  the  third  act  of  his 
opera,  "La  Fedelta  Premiata,"  and  this  movement,  "La  Chasse,"  gave  the 
name  to  the  symphony.  In  Haydn's  catalogue  of  his  works  both  the  first 
movement  and  the  finale  of  "  The  Chase  "  are  entered  thematically  as 
independent  symphonies. 

As  C.  F.  Pohl  well  remarks,  the  Prince,  no  doubt,  was  especially  fond  of 
the  excerpt  from  the  opera,  which  was  produced  in  October,  1780,  at  the 
beautiful  new  theatre  which  replaced  the  old  one,  burned  on  Nov.  i8; 
1779.  The  theatre  was  opened  October  15  with  a  performance  of  the 
tragedy,  "Julius  von  Tarent,"  with  a  prologue.  The  opera,  "La  Fedelta 
Premiata"  ("Fidelity  Repaid"),  was  probably  produced  on  October  16. 
The  chief  singers   were  Teresa  Tavecchia,  Costanza  Valdesturla,*   Anna 

*Costanza  Alessandra  Ottavia  Valdesturla,  born  at  Pisa,  after  triumphs  in  Italy  was  engaged  at  Ks- 
terhaz  from  July,  1779,  to  July,  1785.  From  Esterhaz  she  went  to  Leipsic  to  sing  at  the  Gewandhaus  con- 
certs, which  were  conducted  from  1785  to  1810  by  the  composer  and  cantor  of  St.  Thomas,  Johann  Gottfried 
Schicht  (1753-1823).  The  first  year  she  gave  much  satisfaction;  she  received  650  thalers,  and  Schicht  mar- 
ried her  in  July,  1786,  so  that  she  might  not  be  persuaded  to  leave  Leipsic.  Her  yearly  salary  for  the  next 
seven  years  was  550  thalers,  for  the  following  five  years  400,  for  the  last  five  years  250  ;  and  she  then  received 
a  pension  of  200  thalers  until  she  died,  on  July  19,  1809,  at  the  age  of  fifty-one  years  and  eleven  months. 


It's  a  Fownes* 

That's  all  you 
need  to  know  about 
a  glove 


Jermoli,  Dichtler,  Jermoli,  Bianchi,  and  Peschi.  The  opera,  translated 
into  German,  was  performed  at  Vienna,  Dec.  18,  1784,  at  Pressburg  1785— 
87,  at  Graz  in  1792  and  1793. 

The  story  of  the  opera  is  a  tale  of  the  goddess  Diana  slighted  on  the 
plain  of  Cumae.  The  nymph  Nerina  had  vowed  herself  to  Diana,  and  in 
token  had  adorned  her  statue  with  a  golden  wreath  ;  but  she  fell  in  love 
with  a  mortal,  an  attendant  in  Diana's  temple,  threw  the  wreath  into  a 
stream,  and  ran  off  with  her  beloved.  The  enraged  goddess  sent  a 
plague  upon  the  land,  and  told  the  folk  through  an  oracle  that  a  pair  of 
lovers  should  be  sacrificed  yearly  to  a  sea  monster,  and  that  Cumae  would 
not  be  in  peace  until  some  one  should,  of  his  own  accord,  offer  himself  as  a 
sacrifice.  There  are  many  love  intrigues  in  the  action  of  the  opera.  It  is 
enough  to  say  that  a  faithful  lover  proposed  himself  as  victim,  to  save  his 
sweetheart,  whom,  through  the  treachery  of  a  rival,  he  believed  faithless. 
Diana,  appeased,  punished  the  guilty  and  rewarded  the  just.  The  parts  of 
Nerina  and  Diana  were  taken  by  Costanza  Valdesturla. 

At  the  same  concert,  in  honor  of  the  Prince's  return,  a  chorus  by  Haydn, 
"  Al  tuo  arrivo  felice,"  was  sung,  and  for  this  the  composer  used  a  move- 
ment from  one  of  his  baryton  *  trios. 

She  sang  Beethoven's  "  Ah,  perfido !  "  Sept.  29,  1799,  the  first  time  Beethoven's  name  appeared  on  a  Gewand- 
haus  programme ;  but  Mrs.  Duschek,  for  whom  the  aria  was  written,  had  sung  it  at  the  Leipsic  theatre  in  1796. 
Schicht  wrote  of  his  wife,  who  bore  him  four  daughters  :  "The  cities  Pisa,  Florence,  Bologna,  Prato,  Sienna, 
Leghorn,  Faenza,  and  Esterhaz  .  .  .  still  have  living  witnesses  to  tell  how  her  beautiful,  sonorous  voice  and 
her  expressive  singing  worked  their  will  on  the  hearts  of  her  hearers.  Modesty  forbids  me  to  say  more  in 
her  praise.     Yet  I  will  add  this  :  she  sang  for  nineteen  years  in  the  chief  concerts  of  Leipsic." 

♦Baryton,  Paridon,  Paraton,  Barydon,  viola  di  Bardona,  viola  di  fagotto.  This  was  a  favorite  instru- 
ment of  the  Prince  of  Esterhazy.  It  was  a  ba6s  viol  strung  with  six  or  seven  strings  of  gut  and  from  fourteen 
to  sixteen  or  even  eighteen  sympathetic  strings  of  metal.  The  latter  passed  under  the  bridge  of  the  strings  of 
gut,  and  were  fastened  by  little  clasps  to  a  bar  fixed  across  the  board.  The  instrument  in  form  and  character 
came  nearer  to  the  viola  di  gamba  than  any  other,  and  it  is  not  unlike  the  viola  bastarda  with  sympathetic 
strings  described  by  Pra;torius.  For  a  full  description  of  it  see  C.  F.  Pohl's  "Joseph  Haydn,"  vol.  i.  pp. 
249-257  (Leipsic,  1878),  Vidal's  "  Les  Instruments  a  Archet,"  vol.  p.  52  ;  and  there  is  a  discussion  of  the  man- 
ner of  tuning  as  well  as  a  good  illustration  of  the  instrument  in  Mahillon's  catalogue  of  the  Instrumental 
Museum  of  the  Brussels  Conservatory  (vol.  i.  pp.  324-326,  Ghent,  1893J.  There  is  an  unlikely  story  that  the 
baryton  was  called  viola  di  paredon  (perdone)  because  the  inventor,  sentenced  to  death,  was  pardoned  for  this 
invention.  Haydn  wrote  a  great  number  of  pieces  —  at  least  one  hundred  anci  seventy-five  in  all  —  for  the  in- 
strument. Fire  destroyed  many  of  them  in  1774,  but  nearly  a  hundred  divertimenti  for  baryton,  viola,  and 
'cello  and  a  duet  for  two  baritones  were  preserved.  The  tone  of  the  instrument  was  melancholy  and  mysteri- 
ous. A  Viennese,  who  had  been  inimical  to  music  until  he  heard  the  barytonist,  Franz,  confessed  to  him  that 
he  was  converted,  "and  likened  the  effect  of  the  baryton  to  that  of  pineapple  :  '  You  hear,  and  do  not  know 
what  you  hear,  for  everything  harmonizes  in  various  ways.'  " 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING  HATS.     RICH   FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &   FAIRBANKS   COflPANY,   -   BOSTON 

(897) 


This  symphony,  scored  for  flute,  2  oboes,  2  bassoons,  2  horns  and 
strings,  is  catalogued  as  No.  15  in  Sieber's,  No.  48  in  the  Library  of  the 
Paris  Conservatory,  No.  7  in  Andre's,  No.  5  in  the  list  of  Rieter-Bieder- 
mann,  and  No.  40  in  the  chronological-thematic  list  drawn  up  by  C.  F. 
Pohl.     It  is  the  first  of  five  symphonies  written  in  1781. 

The  first  movement  opens  with  an  introduction,  Adagio,  in  D  major,  3-4. 
(In  Grove's  thematic  catalogue  this  introduction  is  marked  larghetto,  and 
the  date  of  composition  is  given  erroneously  as  1780.)  Mild  pizzicato 
chords  in  the  strings  are  against  harmonies  in  repeated  eighths  in  the 
wind.  Livelier  rhythmic  figures  follow,  and  there  is  a  half-cadence  on  the 
dominant.  The  main  body  of  the  movement,  Allegro,  in  D  major,  4-4, 
begins  with  the  announcement  of  the  cheerful  first  theme  by  violins  alone, 
then  by  full  orchestra  with  melody  in  the  violins  in  octaves.  The  sportive 
second  theme  enters  piano  in  violins  and  violas.  The  latter  are  doubled 
in  unison  by  the  flute.  The  free  fantasia  is  longer  than  is  usually  the  case 
with  Haydn. 

The  second  movement,  Andante,  in  G  major,  2-4,  has  a  true  folk-song 
theme,  which  is  heard  throughout,  either  in  varied  form  or  with  changed 
orchestration. 

The  third  movement,  Menuetto :  Allegretto,  in  D  major,  3-4,  is  exceed- 
ingly simple,  with  a  bassoon  solo  in  the  trio,  which  is  in  the  tonic. 

The  Finale,  "  The  Chase,"  is  in  D  major,  6-8.     It  begins  with  the  first 

A.  B.  CHASE  PIANO 

BEAUTY,  TONE,  DURABILITY, 
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HE  purchaser  of  every  A.  B.  CHASE  piano  is  assured  that, 
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IMPORTERS    AND    CROCERS 

BOSTON    AND    BROOKLINE 


(809) 


Ladies'  White  Glace  Kid  Evening 

GLOVES 

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OPPOSITIONS  OF 

FRANK   E.  JO/NSO/N. 


Op.  1.    Bagatelle  in  A-flat.    Piano  .        .    $0.40 

Orchestra 80 

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Op.  4.    Petite  Valse.    Piano  .        .        .50 

Op.  5.    Consuelo  Valse  Pathetique  .       .        .75 

()p.  o.    Dance  Caprice 50 

Op.  7.     Swing  Song.    Violin  and  Piano  .         .Eo 

Song.    "  Still  his  Mother's  Boy  "     .       .  ,50 

"  Charm  of  Spring,"  by  Reynolds    .        .  .05 

"  Soldier's  Song,"  by  Beauiuont       .        .  .50 

Revised  and  fingered  by  Mr.  Jonson. 


C.  W.  THOriPSON  &  CO., 

13  West  Street,  Boston. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES  &  SCHOENHOF, 

128  T  remoot  St.,  2d  door  north  of  Winter  St., 
over  Wood^s  Jewelry  Store.    (Tel.,  Oxford  1099-2.) 

SPRING   OPENING 

Imported  Hats  and  Bonnets. 

LAST  WEEK   IN  MARCH. 

Mile.   Caroline, 

486  Boylston  Street,   .     .      Boston. 

Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN   FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,   Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(900) 


theme  announced  forte  by  the  whole  orchestra  in  unison  and  octaves.  The 
antithesis  is  in  full  harmony.  The  second  theme  consists  of  eight  meas- 
ures of  hunting-call  in  oboes  and  horns.  The  movement  dies  slowly  away 
in  pianissimo. 

This  symphony,  which  Haydn  himself  arranged  for  pianoforte,  was  soon 
known  beyond  the  frontier.  It  was  performed  with  great  success  in  Paris, 
London,  and  even  Naples.  The  first  performance  at  the  Boston  Sym- 
phony Concerts  was  on  March  4,  1899. 

"  Hunting  symphonies  "  were  at  the  time  and  before  this  exceedingly  pop- 
ular. There  were  such  compositions  by  Leopold  Mozart,  Stamitz,  Gossec, 
Mascheck,  Wranitzky,  Rosetti.  Gossec's  "  La  Chasse,"  in  D  major,  for  2 
oboes,  2  clarinets,  2  bassoons,  2  horns,  and  strings,  was  for  a  long  time  the 
most  celebrated  of  his  orchestral  works.  Three  of  the  four  movements  — 
the  first,  allegro,  tempo  di  caccia  ;  the  second,  allegretto  ;  the  finale,  tempo 
di  caccia  —  are  all  in  6-8.  The  finale,  as  some  say,  suggested  to  Mehul  his 
once  famous  overture  to  "  Le  jeune  Henry"  (1797),  the  overture  better 
known  as  "  La  Chasse  du  jeune  Henry  " ;  for  not  only  are  the  horn-calls 
which  form  the  peroration  of  the  overture  in  Gossec's  symphony,  but  the 
first  measures  of  Gossec  are  very  like  the  initial  theme  of  Me'hul's  allegro, 
in  harmonic  treatment  as  well  as  in  melodic  contour.  Gossec's  symphony 
was  written  for  the  Concert  des  Amateurs  at  Paris  between  1770  and  1773. 
It  is  interesting  to  note  that  at  the  same  period  he  wrote  a  symphony  in  D, 
scored  for  flute,  2  oboes,  2  clarinets,  2  bassoons,  2  horns,  2  trumpets,  kettle- 
drums, and  strings, —  unusually  rich  symphonic  orchestration  for  those 
years. 

It  may  be  added  that  Haydn's  favorite  amusements  while  he  lived  in 
Hungary  were  hunting  and  fishing.  He  once  brought  down  at  a  shot 
three  hazel-grouse,  and  was  mightily  pleased  to  learn  that  they  were  served 
at  Maria  Theresa's  table.  Griesinger  told  other  stories  of  Haydn's  fort- 
une with  a  gun.  Haydn  could  not  learn  to  ride,  and  after  a  bad  fall  on 
Count  Morzin's  estate  he  never  mounted  a  horse. 


(901) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real  Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas      All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(902) 

Newport 

Seventeenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  MARCH  6,  at  2.30  o'clock. 

SATURDAY  EVENING,  MARCH  7,  at  8.00  o'clock. 


PROGRAMME. 


Wagner A  Faust  Overture 


Weingartner u  Das  Gefilde  der  Seligen  " 

(First  time.) 


Schubert Symphony  No.  9,  in  C  major 


1903) 


RECITAL 

Mme.  JEANNETTE  DURNO,  nmu 

STEINERT  HALL,    J>    {Monday  evening,  cMarch  2,  at  eight  o'clock 

PROGRAMME 

PADEREWSKI    .     Theme  and  Variations,  A  major  SCHUTT  ....  a.  Capriccioso 

CHOPIN       .     .     .      Nocturne,  F-sharp  major  TSCHAIKOWSKY  b.  Barcarole  (June) 

Andante  spianato  and  Polonaise,  MOSZKOWSKI       .  c.  The  Juggleress 

•   Op.  22 

STEINWAY  PIANO  USED  Reserved  seats,  $1.00  and  51.50,  on  sale  at  the  hall 

SECOND    PIANOFORTE    RECITAL 

BY 

ARTHUR  HOCHMANN 

The  young  American-Russian  Pianist 


SATURDAY    AFTERNOON,   MARCH    14 
STEINERT  HALL 


Management,  ANNA    MILLAR  The  Wissner  Piano  used 

TICKETS    FOR    SALE    AT    THE    HALL 

VIOLIN     RECITAL 

STEINERT  HALL,  Wednesday  afternoon,  SMarch  4,  at  three 

Mr.  HEINRICH    GEBHARD,  Pianist 

PROGRAMME 

SONATA.    For  Violin  and  Piano                    Brahms        b.  AM    SPRINGBRUNNEN  .Schumann 

<*.  ROMANZE.   InG   .          .                .Beethoven        c-  MAZUREK Wieniawsky 

b.  PRAELUDIO.    In  E,  for  Violin  alone,         Bach        a.  SCHERZO.    In  C  minor               .  Tschaikowskv 

0.  GARTENMELODIE       .                .Schumann        *•  NOTTURNO.    Mo.  a,  in  E  Ernst 

The  Steinertone  used  Tickets,  $1.00  and  $1.50,  now  for  sale  at  Steinert  Hall 

(804) 


A  Recital  of  Original  Monologues  and  Sketches  from  "Old 
Plantation   Life"   will   be   given   by 

Mrs.  MARTHA  5,  GIELOW 

The  noted  Southern  Author  and  Monologist 

IN  AID   OF  THE   HAMPTON  INSTITUTE 

In  Steinert  Hall  on  Saturday  afternoon,  March  7,  at  three  o'clock 

Tickets,  $1.50  and  $2.00  for  reserved  seats,  are  now  on  sale  at  the  hall 

FIRST  SONG  RECITAL  of  this  SEASON  in  BOSTON  by 
GREGORY    HcAS^   {of  London),  "lenor 


Tuesday  afternoon,  March  JO,  at  3,  Steinert  Hall 


Tickets  are  no%>  on  sale  at  the  hall 


Mr.  FFLLIX  FOX  begs  to  announce  a  Concert  of  Cham- 
ber Music,  which  he  will  give,  with  the  assistance  of  the 
Hoffmann  String  Quartette,  on  the  evening  of  Tuesday, 
March  tenth,  in  Steinert  Hall.  The  leading  features  of  the 
program  will  be  a  Sonata  for  piano  and  violin  by  Richard 
Strauss  and  a  Quintette  for  piano  and  strings  by  Antoine 
Arensky.  Tickets,  at  regular  prices,  are  now  on  sale  at  the 
hall.     The  Mason  &  Hamlin  Pianoforte. 


A  PIANOFORTE  RECITAL  will  be  given  by 

Miss    ANNA     JANS  EN 

THE  DANISH   PIANIST 

In  Steinert  Hall  on  Friday  afternoon,  March  20,  at  3  o'clock 


Tickets  <will  be  on  sale  at  the  halt  on  and  after  March  2 


The  Mason  &  Hamlin  Pianoforte 

(905) 


CHICKERING  HALL,  Tuesday  Evening,  March  3, 8o'clock 

Concert  by 

miss  HARRIET  A.  SHA  W,  Harpist 

Assisted  by  Hr.  GWILYT1  HILES,  Barytone 
Hr.   LEO  SCHULZ,    Cellist 

Miss  LAURA  HAWKINS  at  the  Piano 

PROGRAMME. 

I.  Grand  Fantasia  (Italian  airs) Parish-Alvars 

Miss  Shaw 

II.  (a)  "Not Yet" Weidig 

(b)  "  On  the  Way  to  Kew  " Foote 

(c)  "ToAnthea" Hatton 

Mr.  Gwilym  Miles 

III.  (a)  Concert  Andante Molique 

(b)  "Am  Springbrunnen  " Davidoff 

Mr.  Leo  Schulz 

IV.  (a)  Chanson  de  Pecheur      .  Zabel 

(b)  Chanson  de  Mai Hasselmans 

Miss  Shaw 

V.     (a)  "  None  but  a  Lonely  Heart "  ■ Tschaikowski 

(6)  "  Liebestreu  "  Brahms 

(c)  "  Oh,  that  We  Two  were  Maying "      .  .........    Gounod 

Mr.  Miles 

VI.     (a)  Berceuse Aleneff 

(b)  Spinnlied Popper 

Mr.  Schulz 

VII.     Sympathy  (MS.) Aptommas 

Miss  Shaw 

VIII.     "Heartsease"* Frederic  Field  Bullard 

Mr.  Miles,  Miss  Siiaw,  Mr.  Schulz 

*  MS.,  liist  time.     Written  for  Mr.  Miles,  Miss  Shaw,  and  Mr.  Schulz. 

Tickets,  ft,  75  cents,  and  50  cents,  now  ready  at  Chickering  Hall. 

FOUR   CHAMBER   CONCERTS 

Cbickering  YyaU,  Wednesday  evening,  Itlareh  4,  at  8,15 

THIRD   IN  THE  SERIES 

Miss  ALICE  ROBBINS  COLE  .  .  Contralto 
Mr.  FRANCIS  ROGERS  .  .  .  Baritone 
Mr.  HENRY  GOODRICH      .        .  Accompanist 

Tickets,  $1.50.     On  sale  at  Symphony  Hall  and  at  hall  evening  of  concert 

-  CHICKERING    HALL  - 

TWO     PIAINO     RECITALS, 

Monday  Evening,  March  1 6.     Saturday  Afternoon,  March  2  X . 

HR.   OSSIP 

GABRILOWITSCH. 

Mr.  Gabrilowitsch  was  engaged  to  appear  as  soloist  with  the  Huston  Symphony  Orchestra  in 
January  lasl 

He  was  pre>  anted  from  so  doing  because  of  an  extended  tour  in  California) 

The  abo>  e  recitals  will  lie  Ins  only  appearances  in  boston  this  season, as  he  leaves  for  Europe 
in  a  lew  weeks 

Tickets,  $1.60,  $1.00,  50c,  at  Symphony  Hall.     Sale  opens  Monday,  March  9, 

Mail  orders  accompanied  bj  check  will  be  tilled  in  order  of  receipt 

I.    H    MUDGETT,  Manager. 

(906) 


Carl    Faelteivs 

FIFTH    PIANOFORTE    RECITAL, 
Wednesday  Evening,  Harch   4,    1903,  at  8  o'clock. 

Programme. 

Sonata,  G  major,  Op.  79     (  Beethoven 

Eroica  Variations,  Op.  35   \ 

Huntington       Etude,  Op.  25,  No.  6      ) 

Chambers        Mazurka,  Op.  33,  No.  1  [ Chopin 

Hall  Valse,  Op.  64,  No.  2       ) 

"  Venezia  e  Napoli"  :  Gondoliera,  Canzone,  e  Tarantelle         .         Liszt 

TICKETS,  $1.00.   J*     &    &    J*    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 

APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Mme.  Antoinette  Szumowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston, 


(907) 


SYMPHONY  SEATS 

For  SEASON, 

$A  (YOO    AND  $/|.00    AND 

I  Vr  UPWARD. 


OllUni  C      REHEARSAL 
OIIIULL,  or    CONCERT, 


UPWARD. 


CONNELLY'S   Ticket  Office,  Adams  House. 

'Phone,  Oxford  942. 

CREATORE 

AT  SYMPHONY  HALL 

SATURDAY  AFTERNOON,  APRIL  4  AND 

SUNDAY  EVENING,  APRIL  5 

Eaton=Hadley  Trio  Concerts 

THIRD  SEASON 

Mrs.  Jessie  Downer-Eaton,  Piano ;  Mr.   Louis  Eaton,  Violin  ;    Mr.   Arthur   Hadley,  Vio- 
loncello.    Assisted  by  Mrs.  Alice  Bates-Rice,  Soprano;  Miss  Mary  Ogilvie,  Soprano. 
Mr.  Clarence  B.  Shirley,  Tenor. 

Trios  by  Spohr,  Schumann,  Mendelssohn,  Bronsart,  Tschaikowsky,  Chevillard. 

HUNTINGTON  CHAHBERS  HALL,  March  5,  /larch  12,  March  19, 

AT   THREE   O'CLOCK. 

Tickets  for  the  series,  at  $3  each,  on  sale  at  Schirmer's,  or  may  be  obtained  by  addressing 
Mr.  Eaton,  15  Ilaviland  Street,  Boston. 

Checkering  Pianoforte  used. 

FOUR   HISTORICAL   ART   SONG    RECITALS 

at  the  Tuileries,  270  Commonwealth  Avenue,  Thursdays,  at  3.30  P.M., 
MARCH  19  and  26,  APRIL  2  and  9 

*  ASSISTED   BY   ARTISTS   OF   WELL-KNOWN    REP1  TATION 

The  purpose  of  these  recitals  is  to  show  the  development  of  songs  the  composers 
of  which  evince  artistic  intention,  from  the  time  of  the  Crusades,  English,  German, 
French,  Italian. 

As  these  concerts  have  been  arranged  by  private  subscription,  there  may  be  those 
who  desire  to  become  subscribers  who  have  not  yet  been  informed  in  the  usual  manner 
on  account  of  the  shortness  of  time.  To  meet  the  wishes  of  any  possible  subscriber, 
a  limited  number  of  tickets  have  been  reserved,  which  will  be  remitted  promptly  upon 
application  to 

W1LHELH  HE1NR1CH,  149a  Tremont  Street,  Room  11. 

(908) 


C.  C.  HARVEY  <&  CO. 

UNUSUAL  PIANO  BARGAINS 
from  the  OLIVER  DITSON  STOCK 

Knabe  Grand,  $600;  A,  B.  Chase  Grand,  $485; 
Knabe  Grand,  $500;  Knabe,  almost  new,  Ma- 
hogany Parlor  Grand,  was  $950,  now  $800; 
Stein  way  Rosewood  Upright,  $315;  Chickering 
Upright,  medium  size,  Ebony  Case,  $191 ;  another, 
$193.50;  Chickering  large  Upright,  $226;  Fischer 
largest  Cabinet  Grand  Upright,  $2J6;  Royal, 
$191;  Lake  Mahogany  Upright,  $125;  Wood- 
ward &  Brown  Upright,  $150;  Knabe  Cottage 
Upright,  $275 ;  a  few  Concert  Grands  at  very  low 
prices. 

PIANO    PLAYERS 

The  best  automatic  players  on  the  market  are  now 
controlled  by  us. 

We  have  a  few  PIANO    PLAYERS    at  greatly  reduced  prices. 

Two  Mahogany  Piano  Players,  special  cases,  each, 

One  Rosewood  Piano  Player 

Two  Mahogany  Piano  Players,  each 

One  Mahogany  Piano  Player 

One  Mahogany  Piano  Player 

One  Mahogany  Piano  Player 

One  Mahogany  Piano  Player 

Music,  Circulating  Library  Subscription,  etc.,  at  large  discount  for  this  sale 

C.  C.  HARVEY  &  CO.  Angelus 

Representali.es      ,^,=,44  BoylstOn   Street    Re"esen,ali,(ls 

(!)09) 


Was 

Now 

325 

$225 

3OO 

225 

300 

250 

CZ5O 

200 

275 

225 

25O 

175 

25O 

150 

SYMPHONY  HALL 

SUNDAY    EVENING,    MARCH    J,    J903,    at   eight 

CONCERT 

BY  THE 

BOSTON 

SYMPHONY 

ORCHESTRA 

WILHELM  GERICKE,   Conductor 
IN  AID  OF  ITS 

PENSION    FUND 

Assisted  by>  Mme.  ANTOINETTE   SZUMOWSKA 

WHO  HAS  KINDLY  VOLUNTEERED 

PROGRAMME 

BEETHOVEN     .         .         Overture  to  "Leonore"  No.  3,  Op.  72 

SAINT-SAENS    .         .         Septet   in   E-flat,  Op.  65,   for  two  Violins, 

Viola,  'Cello,  Contrabass,  Trumpet,  and 
Piano.  Full  String  Orchestra.  Piano, 
Mme.  Szumowska. 

TSCHAIKO WSKY       .  Symphony  No.  6,  in  B  minor,  "  Pathe'tique," 

Op.  74. 

WAGNER      .         .         .         Siegfried  Passing  through  the  Fire,  from 

"  Siegfried,"  Act  III,  Scene  2 ;  and  Morn- 
ing Dawn  and  Siegfried's  Voyage  up 
the  Rhine,  from  "  Gotterdammerung," 
Prologue. 


Orders  by  mail,  accompanied  by  check  made  payable  to  C.  A.  Ellis,  will  be  filled  in 
the  order  of  their  reception. 

Tickets,  $1.50,  $1.00,  and  75  cents,  on  sale  at  Symphony   Hall  on  and  after  Friday, 
February  13. 

•J10) 


BOSTON     SYMPHONY     HALL 


Handel  and   Haydn  Society 

EMIL  MOLLENHAUER Conductor 

H.  G.  TUCKER Organist 

A    FULL     ORCHESTRA 

SUNDAY,     MARCH     8,     7.30     P.M. 


GOUNOD'S  GALLIA 

Rossmrs  STABAT  MATER 

A  Commemorative  Record  of  the  origin  and  achievements  of  the 
Handel  and  Haydn  Society  has  been  prepared  for  this  occasion 
in  book  form,  of  which  one  copy  will  be  given  to  each  patron 
of  the  concert.  The  volume  (9x12)  will  be  bound  in  white 
leatherette  with  gold  ornamentation,  and  in  addition  to  the  in- 
teresting records  will  contain  many  valuable  illustrations. 

SOLOISTS 
Soprano,  Mme.  KATHRIN  HILKE 

Contralto,  Mme.  SCHUMANN-HEINK 

Tenor,  Sig.  THOMAS  SALIGNAC 

Bass,  M.  MARCEL  JOURNET 

Between  the  two  works  Mme.  Schumann-Heink  will  sing  the 
aria  from  "  Titus,"  by  Mozart,  Sig.  Salignac  will  sing  the  aria, 
"  Panis  Angelicus,"  by  Puyj  Franck,  and  M.  Journet  will  sing 
the  Laborer's  aria  from  "  The  Seasons,"  by  Haydn. 


TICKETS,  $2,  $1.50,  and  $1.  Season  ticket  holders  who  desire  their  usual  seats  for 
this  special  concert  can  purchase  tickets  at  Symphony  Hall  on  Thursday,  Friday,  and 
Saturday,  February  26,  27,  and  28. 

The  sale  of  tickets  to  the  public  will  begin  on  Monday,  March  2,  at  8.30  a.m.,  at  Sym- 
phony Hall  (Telephone,  Back  Bay  1492)  and  at  Wright  &  Ditson's,  344  Washington 
Street  (Telephone,  Main  2 191). 

Information  in  regard  to  the  sale  of  tickets,  etc.,  can  be  obtained  by  addressing  the  Sec- 
retary. WILLIAM  F.  BRADBURY,  Secretary 
February  20,  1903,  369  Harvard  Street,  Cambridge 

(911) 


CHICHERING       HALL 
Monday  evening,  March  9,  at  8 


The  Kneisel  Quartet 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin         ALWIN    SCHROEDER,  Violoncello 


Programme 

SCHUMANN Quartet  in  A  minor,  Op.  41,  No.   1 

BACH       .......  Sonata  in  C  major  for  Violoncello 

(Without  accompaniment.) 

Mr.  Alwin  Schroeder 

BRAHMS  .  .  Sextet  in  G  major,  for  Two  Violins,  Two  Violas,  and  Two 

Violoncellos 


Assisting  Artists 
Mr.  Max  Zach,  Viola  Mr.  J.  Keller,  Violoncello 

SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 

70  PERFORMERS.    SMr.   WILHELM  GERICKE,  Conductor 

Thursday  Evenings 

MARCH   12  APRIL  2  APRIL  23 

at  7.45 

SOLO  ARTISTS 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MR.  CARL  STASNY  MME.  BLOOMFIELD-ZEISLER 

MR.  ADOLF  BAK 

and  others  to  be  announced. 


TICKETS  on  sale  at  the  University    Bookstore,    Harvard  Square,  and 

at  the  door. 

CHICKERING   HALL 


THE   LOiNGY  CLUB 

A.  Maquarre,  Flute  A.  Deiu'ciiy,  Hassoon  G.   LONGY,  Oboe 

P.  Mi  rzG)  ii   Clarinet  A.  Hackeuarth,  Horn  H.  Gebhard,  Piano 

Thursday,  March  5,  at  8 

PROGRAMME 

L.  THUILLE.     Sextet  for  flute,  oboe,  clarinet,  horn,  bassoon,  and  piano. 
HA  NDEL.     Sonata  in  form  of  trio  for  two  oboes  and  bassoon. 

RAFF.     Symphoniette  for  two  flutes,  two  oboes,  clarinet,  two  horns,  and  two  bassoons. 

(912) 


uhe  Choral  Jirt  Society 

of  Sftoston 
MR.  WALLACE  GOODRICH,  Conductor 

WILL   RENDER   ITS   SECOND    PROGRAM    IN    TRINITY   CHURCH 
ON    FRIDAY   EVENING,    MARCH  13,   AT   8.3O   O'CLOCK  J.  Jt  J- 


Program 


CRUCIFIXUS  (ten  parts) Lotti 

AVE  MARIA Arcadelt 

MOTET,  Tristis  est  anima  mea  .  O.  di  Lasso 

MOTET,  0  filii  et  filias  (double  chorus)       .    V.  Leisring 


Stabat  Mater  Speciosa  .         .  G.  W.  Chadwick 

(For  women's  voices) 

PATERNOSTER Verdi 

CHERUBIM  SONG         ....        Tschaikowski 


MOTET  for  double  chorus,  Komm,  Jesu,  komm 

J.  S.  Bach 


THREE  ANTHEMS  for  eight- part  chorus,        Mendelssohn 
riorgenhymne,  with  organ  and  harp      .         .       Henschel 


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Mr.  CHARLES  B.  STEVENS, 


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...LESSONS... 

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Miss  HARRIET  A.  SHAW, 


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(Member  of  Boston  Symphony  Orchestra). 


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MANAGEMENT 

L,   M.  RUBEN 

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NEW  YORK 


THE  WEBER  "PIANO  USED 


flu  my  recent  concert  fourne'e,  we 
j  coverco  ovcr^zooo  milcy^nd  went 

I  through  many  change;  of  climate 
I  from  the  mo(f  fevere  cold  to  f rojjical  kd- 
The  little  5^inway(uJ)rightJpi<ano 
did  not  ;how  the  jllphtejt  change  in 
action,  merhaniym  or  tone  under 
the  trying  ordeal ." 

STEIN  WAY   PIANOS 


M.  STEIN  ERT  &  SONS  CO. 

162  to  165  Boylsfon  street,  Boston,  Mass. 


PRoGRAttttE 


Conductor  of  the  Handel  and  Haydn  Society, 
Conductor  of  the  Apollo  Club,  Conductor  of 
the  Boston  Festival  Orchestra,  Musician,  Vio- 
linist, Pianist,  writes  to 

Mason  (Si  Hamlin  Co. 

December  12,  1901 
Mason  &  Hamlin  Co. 

Gentlemen, —  The  Grand  pianoforte  of  your  make 
which  I  purchased  of  you  two  years  or  so  ago  has 
proven  itself  a  most  superb  instrument. 

It  stands  remarkably  well,  and,  in  fact,  like  a 
Stradivarius  violin,  it  improves  with  age.  I  am  sure 
you  are  to  be  congratulated  on  your  production,  and 
I  am  sure  the  artist  must  be  grateful  to  you  for  your 
production.  The  instruments  you  are  now  producing 
are  not  only  fine  pianofortes,  but  they  are  a  potent 
influence  working  for  the  best  in  the  highest  of  all  the 
arts, —  music. 

With  admiration  for  the  loyalty  with  which  you 
work  toward  your  lofty  ideal,  and  with  sincere  wishes 
for  your  continued  success,  I  am, 

Very  truly  yours, 

(Signed)  EMIL  MOLLENHAUER. 


M.   vSteinert  (&  Sons  Co 

New  England  Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

SEVENTEENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      J*    jc    j*    jt 

FRIDAY  AFTERNOON,  MARCH  6, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  MARCH  7, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 
(817) 


ME  S  S  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
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RETAIL     WAREROOMS 

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(918) 


TWENTY-SECOND  SEASON,  J902-1903. 


Seventeenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  MARCH  6,  at  2.30  o'clock. 

SATURDAY  EVENING,  MARCH  7,  at  8.00  o'clock. 


PROGRAMME. 

"Wagner       .        . A  "  Faust "  Overture 


Weingartner        •        Symphonic  Poem,  "The  Elysian  Fields/' Op.  2 J 

(First  time.) 


Schubert  ......      Symphony  in  C  major,  No.  9 

I.  Andante.    Allegro,  ma  non  troppo. 

II.  Andante  con  moto. 

III.  Scherzo:  Allegro  vivace.    Trio. 

IV.  Finale:  Allegro  vivace. 


There  will  be  an  intermission  of  ten  minutes  before  the  symphony. 


The  doors  of  the  hall  will  he  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  befote 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers. 


Olty  of  Boston,  Revised.  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 

(919) 


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A  "Faust"  Overture        Richard  Wagner. 

(Born  at  Leipsic,  May  22,  1813;  died  at  Venice,  Feb.  13,  1883.) 
While  Wagner,  conductor  at  Riga,  was  writing  "  Rienzi,"  he  kept  think- 
ing of  Paris  as  the  one  place  for  the  production  of  his  opera.  He  arrived 
in  Paris,  after  a  stormy  voyage  from  Pillau  to  London,  in  September,  1839. 
He  and  his  wife  and  a  big  Newfoundland  dog  found  lodgings  in  the  Rue 
de  la  Tonnellerie.  This  street  was  laid  out  in  1202,  and  it  was  named  on 
account  of  the  merchants  in  casks  and  hogsheads  who  there  established 
themselves.  The  street  began  at  the  Rue  Saint  Honore\  Nos.  34  and  36, 
ended  in  the  Rue  Pirouette ;  and  it  was  known  for  a  time  in  the  seven- 
teenth century  as  the  Rue  des  Toileres.  Before  the  street  was  formed, 
it  was  a  road  with  a  few  miserable  houses  occupied  by  Jews.  Wagner's 
lodging  was  in  No.  23,*  the  house  in  which  the  illustrious  Moliere.  is  said 
to  have  been  born ;  and  a  tablet  in  commemoration  of  this  birth  was  put 
into  the  wall  in  the  Year  VIII.,  and  replaced  when  the  house  was  rebuilt, 
in  1830.  This  street  disappeared  when  Baron  Hausmann  improved  Paris, 
and  the  Moliere  tablet  is  now  on  No.  31  Rue  du  Pont-Neuf. 

In  spite  of  Meyerbeer's  fair  words  and  his  own  efforts,  Wagner  was  un- 
able to  place  his  opera  ;  and  he  was  obliged  to  do  all  manner  of  drudgery 
to  support  himself.  He  wrote  songs,  read  proofs,  arranged  light  music 
for  various  instruments,  wrote  articles  for  music  journals. 

He  himself  tells  us  :  "  In  order  to  gain  the  graces  of  the  Parisian  salon- 
world  through  its  favorite  singers,  I  composed  several  French  romances, 
which,  after  all  my  efforts  to  the  contrary,  were  considered  too  out- of -the 
way  and  difficult  to  be  actually  sung.  Out  of  the  depth  of  my  inner  dis- 
content, I  armed  myself  against  the  crushing  reaction  of  this  outward  art- 
activity  by  the  hasty  sketches  and  as  hasty  composition  of  an  orchestral 
piece  which  I  called  an  '  overture  to  Goethe's  "  Faust,"'  but  which  was  in 
reality  intended  for  the  first  section  of  a  grand  '  Faust '  symphony." 

He  wrote  it,  according  to  one  of  his  biographers,  in  "  a  cold,  draughty 
garret,  shared  with  his  wife  and  dog,  and  while  he  had  a  raging  tooth- 
ache." On  the  other  side  of  the  sheet  of  paper  which  bears  the  earliest 
sketch  is  a  fragment  of  a  French  chansonelte. 

*  Felix  and  Louis  Lazare,  in  their  "  Dictionnaire  des  Rues  de  Paris  "  (Paris,  1844),  give  5  as  the  number 
of  Moliere's  birth-house. 


NEW  ENGLAND  CONSERVATORY  OF  MUSIC. 

GEORGE  W.  CHADW1CK,    Director. 
Huntington  Avenue,  Boston,  one  block  from  Symphony  Hall. 

SECOND    SESSION 
Begins  Thursday,  February  5. 


Registration   begins  January  29. 

(921) 


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•fancy  Street  Sowns 

Carriage  Costumes 

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Before  this,  as  early  as  1832,  Wagner  had  written  incidental  music  to 
Goethe's  drama  and  numbered  the  set  Op.  5.  These  pieces  were  :  Sol- 
diers' Chorus,  Rustics  under  the  Linden,  Brander's  Song,  two  songs  of 
Mephistopheles,  Gretchen's  song,  "  Meine  Ruh'  ist  hin,"  and  melodrama 
for  Gretchen.  (This  music  was  intended  for  performance  at  Leipsic,  where 
Wagner's  sister,  Johanna  Rosalie  (1S03-37)  the  play-actress,  as  Gretchen, 
was  greatly  admired.*) 

It  has  been  stated  by  several  biographers  that  the  overture  to  '•  Faust " 
was  played  at  a  rehearsal  of  the  Conservatory  orchestra,  and  that  the  play- 
ers, unable  to  discover,  any  purpose  of  the  composer,  htld  up  hands  in 
horror.  Georges  Seivieres,  in  his  "  Richard  Wagne^  juge  en  France,"  gives 
this  version  of  the  story:  "The  publisher  Sch'esinger  busied  himself  to 
obtain  for  his  young  compatriot  a  hearing  at  the  So  iete'  des  Concerts. 
Wagner  presented  to  the  society  the  overture  to  '  Faust '  wf  ich  he  had  just 
sketched  and  which  should  form  a  part  of  a  symphony  founded  on  Goethe's 
drama.  The  Gazette  Musica'e  of  March  22,  1840,  announced  that  an  over- 
ture for 'Faust 'by  M.  R.  Wagner  had  just  been  rehearsed.  After  this 
rehearsal  the  players  looked  at  each  other  in  stupefaction  and  asked  them- 
selves what  the  composer  had  tried  to  do.  There  was  no  more  thought 
of  a  performance." 

Now  the  Gazette  Musicale  of  March  22,  1840,  spoke  (f  Wagner's  re- 
markable talent.  It  said  that  the  overture  obtained  "  unanimous  applause," 
and  it  added.  "  We  hope  to  hear  it  very  soon  "  ;  but  it  did  not  give  the 
title  of  the  overture. 

But  Glasenapp,  a  lover  of  detail,  says  in  his  Life  of  Wagner  that  this 
overture  was  not  "  Faust,"  but  the  "  Columbus  "  overture,  which  was  writ- 
ten for  Apel's  play  in  1835,  and  performed  that  same  year  at  Magdeburg, 
when  Wagner  was  conductor  at  the  Magdeburg  Theatre.  The  overture 
"Columbus"   was    performed    at  Riga    (March    19,    1838).    probably    at 

*Some  preferred  her  in  this  part  to  Schroeder-Devrient.  Thus  Laube  wrote  that  he  had  never  seen 
Gretchen  played  with  such  feeling:  "  For  the  first  time  the  expression  of  her  madness  thrilled  me  to  the 
marrow,  and  I  soon  discoveied  the  reason.  Most  actres<es  exaggerate  the  madness  into  unnatural  pathos. 
They  declaim  in  a  hollow,  ghostly  voice.  Demoiselle  Wagner  used  the  s«me  voice  with  which  she  had 
shortly  before  uttered  her  thoughts  of  love.  This  grevvsome  contrast  produced  the  greatest  effect."  Rosalie 
married  the  writer,  Dr.  G.  O.  Marbach,  in  1836. 


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BOSTON,  LEIPZIG.        NEW  YORK, 

146  Boylston  Street.  136  Fifth  Avenue. 


NEW  SONQS 

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Konigsberg,  and    at  JParis  (Feb;   4>  1841),  at    a    concert  of   the    Gazeiii 
Musicale  to  its  subscribers.* 

The  first  performance  of  the  "  Faust "  overture  was  at  a  charity  concert 
in  the  pavilion  of  the  Grosser  Garten,  Dresden,  July  22,  1844.  Wagner 
conducted  it.  The  work  was  called  "  Berliozian  programme  music  "  ;  and 
acute  critics  discovered  in  it  taunts  of  Mephistopheles  and  the  atoning 
apparition  of  Gretcheh,  whereas,  as  we  shall  see,  the  composer  had  thought 
only  of  Faust,  the  student  and  philosopher.  The  overture  was  repeated 
with  no  better  success,  Aug.  19,  1844.  A  correspondent  of  the  Berlin 
Figard  advised  Wagner  to  follow  it  up  with  an  opera  "which  should  be 
based  neither  on  Goethe's  nor  on  Klingemann's  '  Faust,'  but  on  the  sombre 
old  Gothic  folk-saga,  with  all  its  excrescences,  in  the  manner  of  '  Der 
Freischiitz.'  " 

#  # 
What  was  Wagner's  purpose  in  writing  this  overture  ?     To  portray  in 

music  a  soul  "  aweary  of  life,  yet  ever  forced  by  his  indwelling  daemon  to 

engage  anew  in  life's  endeavors."     His  purpose  will  be  understood  clearly 

if  we  examine  the  correspondence  between  Wagner  and  Liszt,  and  Wagner 

and  Uhlig. 

Wagner  wrote  Liszt  (Jan.  30,  1848):  "Mr.  Halbert  tells  me  you  want 

my  overture  to  Goethe's  '  Faust'     As  I  know  of  no  reason  to  withhold  it 

*  Laube  had  said  that  this  overture  showed  the  composer  in  doubt  as  to  whether  lie  should  follow  in  the 
footsteps  of  Beethoven  or  Bellini,  and  that  the  piece  therefore  made  an  impression  somewhat  like  a 
Hegelian  essay  written  in  the  style  of  Heine.  H.  Blanchard  wrote  in  the  Gazette  Musicale  after  the  per- 
formance :  "This  piece  has  the  character  and  the  form  of  a  prelude  :  does  it  deserve  the  name  overture, 
which  the  composer  has  well  defined  lately  in  this  journal?  Has  he  wished  to  paint  the  infinity  of  mid- 
ocean,  the  horizon  which  seemed  endless  to  the  companions  of  the  famous  and  daring  navigator,  by  a  high 
tremolo  of  the  violins?  It  is  allowed  us  so  to  suppose  ;  but  the  theme  of  the  allegro  is  not  sufficiently  de- 
veloped and  worked  out  ;  the  brass  enter  too  uniformly  and  with  too  great  obstinacy,  and  their  discords 
which  shocked  trained  and  delicate  ears  did  not  permit  just  valuation  of  M.  Wagner's  work,  which,  in  spite 
of  this  mishap,  seemed  to  us  the  work  of  an  artist  who  has  broad  and  well-arranged  ideas,  and  knows  well 
the  resources  of  modern  orchestration," 


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UR  representative  is  now  in 
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tion to  commissions  forwarded  by  us. 
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Whole  Carpets,  in  India  and  Turkish 
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from  you,  except  that  it  does  not  please  me  any  longer,  I  send  it  to  you, 
because  I  think  that  in  this  matter  the  only  important  question  is  whether 
the  overture  pleases  you.  If  the  latter  should  be  the  case,  dispose  of  my 
work  ;  only  I  should  like  occasionally  to  have  the  manuscript  back  again."  * 

In  1852  Wagner  reminded  Liszt  of  the  manuscript,  hoped  he  had  given 
it  to  a  copyist,  and  added  :  "  I  have  a  mind  to  rewrite  it  a  little  and  to 
publish  it.  Perhaps  I  shall  get  money  for  it."  He  reminded  him  again 
a  month  later.  By  Liszt's  reply  (Oct.  7,  1852)  it  will  be  seen  that  he  had 
already  produced  the  overture  at  Weimar  :  f  "A  copy  of  it  exists  here,  and 
I  shall  probably  give  it  again  in  the  course  of  this  winter.  The  work  is 
quite  worthy  of  you ;  but.  if  you  will  allow  me  to  make  a  remark,  I  must 
confess  that  I  should  like  either  a  second  middle  part  or  else  a  quieter 
and  more  agreeably  colored  treatment  of  the  present  middle  part.  The 
brass  is  a  little  too  massive  there,  and  —  forgive  my  opinion  — the  motive 
in  F  is  not  satisfactory :  it  wants  grace  in  a  certain  sense,  and  is  a  kind 
of  hybrid  thing,  neither  fish  nor  flesh,  which  stands  in  no  proper  relation 
or  contrast  to  what  has  gone  before  and  what  follows,  and  in  consequence 
impedes  the  interest.  If  instead  of  this  you  introduced  a  soft,  tender, 
melodious  part,  modulated  a  la  Gretchen,  I  think  I  can  assure  you  that 
your  work  would  gain  very  much.  Think  this  over,  and  do  not  be  angry 
in  case  I  have  said  something  stupid." 

Wagner  answered  (Nov.  9,  1852):  "You  beautifully  spotted  the  lie 
when  I  tried  to  make  myself  believe  that  I  had  written  an  overture  to 
'  Faust.'     You  have  felt  quite  justly  what  is  wanting :  the  woman  is  want- 

*  The  Englishing  of  these  excerpts  from  the  Wagner-Liszt  correspondence  is  by  Francis  Hueffer. 
tThis  performance  was  on   May  n,  1852.     Liszt  wrote  to  Wagner,  "  Your  '  Faust '  overture  made  a  sen- 
sation, and  went  well." 


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He  thinks  and  plans  how  you  can  harmonize 
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ing.  Perhaps  you  would  at  once  understand  my  tone-poem  if  I  called  it 
'  Faust  in  Solitude.'  At  that  time  I  intended  to  write  an  entire  'Faust' 
symphony.  The  first  movement,  that  which  is  ready,  was  this  '  Solitary 
Faust,'  longing,  despairing,  cursing.  The  '  feminine  '  floats  around  him  as 
an  object  of  his  longing,  but  not  in  its  divine  reality  ;  and  it  is  just  this 
insufficient  image  of  his  longing  which  he  destroys  in  his  despair.  The 
second  movement  was  to  introduce  Gretchen,  the  woman.  I  had  a  theme 
for  her,  but  it  was  only  a  theme.  The  whole  remains  unfinished.  I  wrote 
my  '  Flying  Dutchman  '  instead.  This  is  the  whole  explanation.  If  now, 
from  a  last  remnant  of  weakness  and  vanity,  I  hesitate  to  abandon  this 
'  Faust '  work  altogether,  I  shall  certainly  have  to  remodel  it,  but  only  as 
regards  instrumental  modulation.  The  theme  which  you  desire  I  cannot 
introduce.  This  would  naturally  involve  an  entirely  new  composition,  for 
which  I  have  no  inclination.  If  I  publish  it,  I  shall  give  it  its  proper  title, 
'Faust  in  Solitude,'  or  'The  Solitary  Faust:  a  Tone-poem  for  Orchestra." 
Compare  with  this  Wagner's  letter  to  Theodor  Uhlig  (Nov.  27,  1852): 
"  Liszt's  remark  about  the  '  Faust '  overture  was  as  follows  :  he  missed  a 
second  theme,  which  should  more  plastically  represent  '  Gretchen,'  and 
therefore  wished  to  see  either  such  an  one  added,  or  the  second  theme  of 
the  overture  modified.  This  was  a  thoroughly  refined  and  correct  expres- 
sion of  feelino-  from  him,  to  whom  I  had  submitted  the  composition  as  an 
'Overture  to  the  first  part  of  Goethe's  "  Faust."  '  *  So  I  was  obliged  to 
answer  him  that  he  had  beautifully  caught  me  in  a  lie  when  (without 
thought)  I  tried  to  make  myself  or  him  believe  that  I  had  written  such 
an  overture.  But  he  would  quickly  understand  me  if  I  were  to  entitle 
the  composition  '  Faust  in  Solitude.'  In  fact,  with  this  tone-poem  I  had 
in  my  mind  only  the  first  movement  of  a  '  Faust '  symphony :  here  Faust 
is  the  subject,  and  a  woman  hovers  before  him  only  as  an  indefinite,  shape- 
less object  of  his  yearning ;  as  such,  intangible  and  unattainable.  Hence 
his  despair,  his  curse  on  all  the  torturing  semblance  of  the  beautiful,  his 
headlong  plunge  into  the  mad  smart  of  sorcery.  The  manifestation  of  the 
woman  was  to  take  place  only  in  the  second  part;  this  would  have 
Gretchen  for  its  subject,   just  as  the  first  part,   Faust.     Already  I  had 

*This  was  the  title  of  the  overture  when  it  was  performed  for  the  first  time  at  Dresden. 


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theme  and  mood  for  it :  then  —  I  gave  the  whole  up,  and  —  true  to  my 
nature  —  set  to  work  at  the  '  Flying  Dutchman,'  with  which  I  escaped  from 
all  the  mist  of  instrumental  music,  into  the  clearness  of  the  drama.  How- 
ever, that  composition  is  still  not  uninteresting  to  me  ;  only,  if  one  day 
I  should  publish  it,  it  would  have  to  be  under  the  title,  '  Faust  in  Solitude,' 
a  tone-poem.  (Curiously  enough,  I  had  already  resolved  upon  this  '  tone? 
poem''  when  you  made  so  merry  over  that  name  —  with  which,  however,  I 
was  forced  to  make  shift  for  the  occasion.)" 

Liszt  asked  (Dec.  27,  1852)  if  Wagner  could  not  prepare  his  new  version 
of  the  overture  for  performance  at  a  festival  at  Carlsruhe  :  "  I  am  glad 
that  my  marginal  notes  to  your  '  Faust '  overture  have  not  displeased  you. 
In  my  opinion,  the  work  would  gain  by  a  few  elongations.  Ffartel  will 
willingly  undertake  the  printing;  and,  if  you  will  give  me  particular  pleas- 
ure, make  me  a  present  of  the  manuscript  when  it  is  no  longer  wanted  for 
the  engraving.  This  overture  has  lain  with  me  so  long,  and  I  have  taken 
a  great  fancy  to  it.  If,  however,  you  have  disposed  of  it  otherwise,  do 
not  mind  me  in  the  least,  and  give  me  some  day  another  manuscript." 

Wagner  wrote  to  Liszt  from  Zurich  (Jan.  19,  1855),  and  congratulated 
him  on  the  completion  of  his  "  Faust "  symphony  :  "  It  is  an  absurd  coin- 
cidence that  just  at  this  time  I  have  been  taken  with  a  desire  to  remodel 
my  old  '  Faust '  overture.  I  have  made  an  entirely  new  scO'e,  have  re- 
written the  instrumentation  throughout,  have  made  many  changes,  and 
have  given  more  expansion  and  importance  to  the  middle  portion  (second 
motive).  I  shall  give  it  in  a  few  days  at  a  concert  here,  under  the  title  of 
'  A  "  Faust  "  Overture.'     The  motto  will  be  :  — 

Der  Gott,  der  mir  im  Busen  wohnt, 

Kann  tief  mein  Innerstes  enegen; 
Der  iiber  alien  meinen  Kraften  thront, 

Er  kann  nach  aussen  nichts  bewegen  ; 
Und  so  ist  mir  das  Dasein  eine  Last, 
Der  Tod  erwunscht,  das  Leben  mir  verhasst  I 

but  I  shall  not  publish  it  in  any  case." 

This  motto  was  retained.     Englished  by  Charles  T.  Brooks,  it  runs  :  — 

The  God  who  dwells  within  my  soul 
Can  heave  its  depths  at  any  hour; 
Who  holds  o'er  all  my  faculties  c<  ntrol 


Keep  Your  Stomach  Well 

Horsford's  Acid  Phosphate  cures  habitual 
stomach  weakness,  improves  the  appetite 
and  digestion,  and  removes  the  cause  of 
headache  and  wakefulness. 


Half  a  teacpoca  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleen. 


ta  0; 


Has  o'er  the  outer  world  no  power. 
Existence  lies  a  load  upon  my  breast, 
Life  is  a  curse,  and  death  a  longed-for  rest. 

The  revised  overture  was  performed  for  the  first  time  on  Jan.  23,  1855, 
at  a  concert  of  the  Allgemeine  Musikgesellschaft,  Zurich. 

Liszt  wrote  January  25  of  that  year:  "You  were  quite  right  in  arrang- 
ing a  new  score  of  your  overture.  If  you  have  succeeded  in  making  the 
middle  part  a  little  more  pliable,  this  work,  significant  as  it  was  before, 
must  have  gained  considerably.  Be  kind  enough  to  have  a  copy  made, 
and  send  it  me  as  soon  as  possible.  There  will  probably  be  some  orchestral 
concerts  here,  and  I  should  like  to  give  this  overture  at  the  end  of  Feb- 
ruary." 

Wagner  replied  :  "  Herewith,  dearest  Franz,  you  receive  my  remodelled 
'  Faust '  overture,  which  will  appear  very  insignificant  to  you  by  the  side  of 
your  'Faust'  symphony.  To  me  the  composition  is  interesting  only  on 
account  of  the  time  from  which  it  dates;  this  reconstruction  has  again 
endeared  it  to  me  ;  and,  with  regard  to  the  latter,  I  am  childish  enough  to 
ask  you  to  compare  it  very  carefully  with  the  first  version,  because  I 
should  like  you  to  take  cognizance  of  the  effect  of  my  experience  and  of 
the  more  refined  feeling  I  have  gained.  In  my  opinion,  new  versions  of 
this  kind  show  most  distinctly  the  spirit  in  which  one  has  learned  to  work 
and  the  coarsenesses  which  one  has  cast  off.  You  will  be  better  pleased 
with  the  middle  part.  I  was,  of  course,  unable  to  introduce  a  new  motive, 
because  that  would  have  involved  a  remodelling  of  almost  the  whole  work ; 
all  I  was  able  to  do  was  to  develop  the  sentiment  a  little  more  broadly,  in 
the  form  of  a  kind  of  enlarged  cadence.  Gretchen  of  course  could  not  be 
introduced,  only  Faust  himself  :  — 

'  Ein  unbegreiflich  holder  Drang, 
Trieb  mich  durch  Wald  und  Wiesen  hin,'  etc. 

The  copying  has,  unfortunately,  been  done  very  badly,  and  probably 
there  are  many  mistakes  in  it.  If  some  one  were  to  pay  me  zvelliox  it,  I 
might  still  be  inclined  to  publish  it.  Will  you  try  the  Hartels  for  me  ? 
A  little  money  would  be  very  welcome  in  London,  so  that  I  might  the 
better  be  able  to  save  something  there.     Please  see  to  this."  * 

*  Wagner  had  been  invited  in  January,  1S55,  to  conduct  the  concerts  of  the  Philharmonic  Society,  London, 
in  March,  April,  May,  and  June. 

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Liszt  approved  the  changes,  and  sent  the  score  to  the  Hartels.  "  If  you 
are  satisfied  with  an  honorarium  of  twenty  louis  d'or,  write  to  me  simply 
'  Yes,'  and  the  full  score  and  parts  will  soon  be  published.  To  a  larger 
honorarium  the  Hartels  would  not  agree." 

Wagner  answered  from  London:  "Let  the  Hartels  have  my  'Faust' 
overture  by  all  means.  If  they  could  turn  the  twenty  louis  d'or  into  twenty 
pounds,  I  should  be  glad.  In  any  case,  they  ought  to  send  the  money 
here  as  soon  as  possible.  I  do  not  like  to  dun  the  Philharmonic  for  my 
fee,  and  therefore  want  money.  .  .  .  The  publication  of  this  overture  is,  no 
doubt,  a  weakness  on  my  part,  of  which  you  will  soon  make  me  thoroughly 
ashamed  by  your  '  Faust'  symphony."  But  Hiirtel  did  not  consent  to  the 
change  of  louis  d'or  into  pounds.  Wagner  complained  (May  26,  1855)  of 
an  "  abominable  arrangement "  of  the  overture  published  by  the  same 
firm  ;  he  also  spoke  of  wrong  notes  in  manuscript  score  as  well  as  in  the 
arrangement.  "You  will  remember,"  wrote  Wagner,  "that  it  was  a  copy 
which  I  sent  to  you  for  your  own  use,  asking  you  to  correct  such  errors  as 
might  occur  in  your  mind,  or  else  to  have  them  corrected,  because  it  would 
be  tedious  for  me  to  revise  the  copy."  At  the  end  of  1855  or  very  early 
in  1856  Wagner  wrote  :  "  I  also  rejoice  in  the  fiasco  of  my  '  Faust '  over- 
ture, because  in  it  I  see  a  purifying  and  wholesome  punishment  for  having 
published  the  work  in  despite  of  my  better  judgment;  the  same  religious 
feeling  I  had  in  London  when  I  was  bespattered  with  mud  on  all  sides." 

The  manuscript  score  of  the  original  edition  is  in  the  Liszt  Museum  at 
Weimar.  The  manuscript  of  the  revised  edition  is,  or  was  until  a  very 
recent  date,  at  Wahnfried  in  Bayreuth. 

The  first  performance  of  the  overture  in  Paris  was  at  a  Pasdeloup  con- 
cert, March  6,  1870. 

The  first  performance  in  the  United  States  was  at  Boston,  Jan.  3,  1857, 
at  a  Philharmonic  concert,  Mr.  Zerrahn  conductor,  in  the  Melodeon.  The 
orchestra  was  made  up  of  about  thirty-five  players.  The  music  was  then 
praised  by  Mr.  John  S.  Dwight  as  "  profound  in  sentiment,  original  in 
conception,  logical  in  treatment,  euphonious  as  well  as  bold  in  instrumen- 
tation, and  marvellously  interesting  to  the  end."  "It  seemed,"  wrote  Mr. 
Dwight,  "  to  fully  satisfy  its  end ;  it  spoke  of  the  restless  mood,  the 
baffled  aspiration,  the  painful,  tragic  feeling  of  the  infinite  amid  the  petty, 

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chafing  limitations  of  this  world,  which  every  soul  has  felt  too  keenly,  just 
in  proportion  to  the  depth  and  intensity  of  its  own  life  and  its  breadth  of 
culture.  Never  did  music  seem  more  truly  working  in  its  own  sphere, 
except  when  it  presents  the  heavenly  solution  and  sings  all  of  harmony 
and  peace."  And  this  burst  of  appreciation  was  in  1857  — and  in  the  city 
of  Boston. 

The  first  performance  of  the  overture  in  New  York  was  by  the  Philhar- 
monic Society,  Mr.  Eisfeld  conductor,  Jan.  10,  1857. 

The  overture  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  3  bas- 
soons, 4  horns,  2  trumpets,  3  trombones,  bass  tuba,  kettle-drums,  and 
strings. 

The  work,  which  is  in  the  form  of  the  classic  overture,  begins  with  a 
slow  introduction,  or  exposition  of  almost  the  whole  thematic  material  to 
be  treated  afterward  in  due  course.  Sehr  gehalten  (Assai  sostenuto),  D 
minor,  4-4.  The  opening  phrase  is  given  out  by  the  bass  tuba  and  double- 
basses  in  unison  over  a  pianissimo  roll  of  drums,  and  is  answered  by  the 
'cellos  with  a  more  rapid  phrase.  The  violins  then  have  a  phrase  which 
is  a  modification  of  the  one  with  which  the  work  begins,  and  in  turn  be- 
comes the  first  theme  of  the  allegro.  A  cry  from  wind  instruments  fol- 
lows, and  is  repeated  a  fourth  higher.  After  development  there  is  a 
staccato  chord  for  full  orchestra,  and  the  main  body  of  the  overture 
begins.  Sehr  bewegt  (Assai  con  moto),  D  minor,  2-2.  There  is  a  reappear- 
ance of  the  theme  first  heard,  but  in  a  modified  form.  It  is  given  out  by 
the  first  violins  over  harmonies  in  bassoons  and  horns,  and  the  antithesis 
is  for  all  the  strings.  After  a  fortissimo  is  reached,  the  cry  of  the  wind  in- 
struments is  again  heard.     There  is  a  long  development,  in  the  course  of 


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which  a  subsidiary  theme  is  given  to  the  oboe.  The  second  theme  is  a 
melody  in  F  major  for  flute.  The  free  fantasia  is  long  and  elaborate. 
The  first  entrance  of  trombones  on  a  chord  of  the  diminished  seventh, 
accompanied  fortissimo  by  the  whole  orchestra  and  followed  by  a  chord 
of  the  second,  once  excited  much  discussion  among  theorists  concerning 
the  propriety  of  its  resolution.  The  third  part  of  the  overture  begins  with 
a  tumultuous  return  of  the  first  theme  ;  the  development  differs  from  that 
of  the  first  part.     The  coda  is  long. 


Symphonic  Poem,  "The  Elysian  Fields,"  Op.  21. 

Paul  Felix  Weingartner,  Edler  von  Munzberg. 
(Born  at  Zara,  Dalmatia,  June  2,  1863;  now  living  at  Munich.) 

"Die  Gefilde  der  Seligen  "  (or  "  Le  Sejour  des  Bienheureux"  or  "  The 
Fields  of  Heaven,"  to  quote  the  titles  of  the  score),  "  a  symphonic  poem 
for  grand  orchestra  inspired  by  Arnold  Bocklin's  picture,"  was  composed 
in  1897  for  the  thirty  third  congress  of  the  Allgemeine  Deutsche  Musik- 
verein  at  Mannheim  that  year,  and  it  was  performed  for  the  first  time 
under  the  direction  of  the  composer  at  Mannheim,  May  27,  1897. 

The  work  was  performed  in  New  York  at  a  concert  of  the  Symphony 
Society,  April  7,  1898. 

When  Bocklin's  seventieth  birthday  (Oct.  16,  1897)  was  celebrated  by 
the  artists  at  Munich,  this  symphonic  poem  by  Weingartner,  arranged  for 
pianoforte  and  for  four  hands,  was  played  by  Richard  Strauss  and  Max 
Schillings. 

Bocklin's  picture,  pai  ted  in  1878  at  Florence,  is  in  the  National 
Gallery,  Berlin.  The  landscape  is  one  of  tranquil  beauty.  In  the  fore- 
ground a  centaur  is  wading  in  tranquil  water  toward  a  shore,  and  he  bears 
on  his  croup  a  woman  almost  nude  and  in  a  spectacular  attitude.  The  old 
centaur  looks  sadly  at  swans  that  sail  proudly  by.  Youths  and  maidens 
beyond,  with  garlands,  dance  round  about  an  altar.  Lovers  loll  at  ease 
on  flowery  banks  and  meadows. 


b^anftimttftti>  a  year 


EDITED     BY    T H 0 M A S    TAPPER 


<&e&> 


Contents 

for 

march 

190$ 


FRONTISPIECE   PORTRAIT  .       . 
A  WANDERING  CAPELLME1STER 
RICHARD  STRAUSS,  A  POPPY 
RICHARD  STRAUSS,  COMPOSER 
NICOLAS  RIMSKY=KORSAKOFF 
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Bocklin's  picture  also  inspired  a  symphonic  poem  by  Andreas  Hallen 
and  the  sixth  variation  in  the  "  Metamorphoses  "  finale  of  Hans  Huber's 
Symphony  No.  2,  in  E  minor,  which  was  played  here  at  a  Symphony  Con- 
cert, Oct.  25,  1902. 

Weingartner  lias  furnished  his  own  analysis  of  this  work.  He  evidently 
regards  the  analysis  as  important,  for,  when  he  produced  the  work  in  Paris 
(Feb.  12,  1899,  at  a  Lamoureux  concert),  his  explanation,  translated  into 
French,  was  given  in  pamphlet  form  to  the  hearers.  Unfortunately  for 
our  purpose,  the  value  of  the  analysis  depends  largely  on  the  musical  illus- 
tration of  the  themes. 

* 
*  # 

The  poem  begins  with  a  deep  and  mysterious  tone,  F-sharp,  exposed  by 
the  harps,  'cellos  (divided),  double-basses,  double-bassoon,  and  gong.  On 
this  are  built  chords  which  descend  from  above,  chords  of  D,  B,  A,  and 
G-sharp,  played  by  the  muted  strings  and  interrupted  by  a  dreamy  horn-call 
as  from  afar.  As  if  uncertain  rays  of  light  were  little  by  little  concentrated 
in  a  clear  vision,  the  chief  theme  is  announced,  andante,  by  violins,  violas, 
alto  flute,  cor  anglais,  accompanied  by  three  bassoons,  while  the  basses 
sustain  the  low  F-sharp.  We  see  the  morning  of  a  blissful  day  by  the  side 
of  the  soundless,  deep-blue  sea  represented  in  Bocklin's  picture.*  Clarinet 
solo  :  a  beautiful  woman's  form  moves  by,  saluted  gently  by  voices  of  un- 
seen beings  in  the  depths  :  trombones  and  tuba.  A  solo  violin  repeats  the 
clarinet  theme,  and  the  voices  from  the  depths  are  again  heard,  but  clearer 
and  more  distinct:  trumpets  and  trombones,  maestoso.  A  breeze  has 
lightly  ruffled  the   mirror   of  the   sea,  which   now  is  smooth.     First  and 

*  But  where  in  the  picture  is  this  sea  which  Weingartner  mentions  and  to  which  he  afterward  refers? 


SHREVE,  CRUMP  &  LOW  CO. 


Diamonds,  Pearls,  Gems. 


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second  violins  play  the  chief  theme.  It  is  broad  day.  The  themes  which 
have  been  already  heard  appear  again  in  different  combination  and  in 
richer  sonority,  and  lead  to  a  half-cadence  in  C-sharp  major.  The  chief 
theme  is  played  by  trombones  and  tubas  in  lowest  register,  as  if  the  ancient 
gods  and  legendary  creatures  of  the  sea  appeared  on  the  surface  of  the 
waves.  While  the  horns  sustain  C-sharp,  the  basses  lead  to  the  brilliant 
key  of  A  major.  Young  men  and  maidens  in  joyous  bands  approach  the 
shore  :  allegro,  wood-wind  instruments.  Children  run  up  and  join  the 
dancers :  strings,  pizzicato.  Everywhere  is  gayety.  Even  the  basses  play 
the  dance  theme  of  the  wood- wind.  There  is  a  powerful  crescendo  and 
then  a  return  to  the  chief  tonality,  F-sharp  major  ;  and,  while  the  dance 
continues  uninterrupted  and  played  in  3-8  by  the  wood-wind,  strings  and 
other  instruments  play  in  4-4  preceding  themes.  The  sea-creatures  look 
kindly  on  the  sports,  and  in  a  measure  take  part  in  them. 

Little  by  little  we  leave  the  shore.  The  merry  sounds  are  lost  in  the 
distance  ;  we  walk  over  blooming  meadows.  The  themes  of  the  dance 
have  now  a  pastoral  character.  Mysterious  sounds  from  on  high  invite 
us  to  sleep ;  violins,  flutes.  Twice  the  dreamy  call  again  resounds.  But 
we  go  on  farther.  A  mild  light  is  shed  about  us,  and  it  is  more  and  more 
clear.  Nature  herself  seems  to  sing.  A  combination  of  the  pastoral 
transformation  of  the  dance  theme  combined  with  the  mysterious  voices 
from  the  deep  leads  by  a  grand  crescendo  to  a  slow  and  solemn  phrase  in 
E-flat :  trumpets  and  trombones. 

We  have  reached  the  sanctuary,  and  we  see  beings  with  transfigured 
faces  all  radiant  with  wisdom.  As  wisdom  springs  from  the  pure  soul  of 
the  child  and  is  firmly  knit  to  it,  so  here  appears  the  solemn  phrase  formed 


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This  Corset  is  generally  acknowledged  to  be  the  most  perfect-fitting  in  the  world. 
At  least,  Paris  says  so  ;  and  Paris  dictates  in  such  matters.  It  is  used  by 
the  most  exclusive  modistes  in  the  French  capital,  the  leaders  who  rule  the 
world  of  dress. 

One  of  the  greatest  distinctions  of  our  establishment  is  the  fact  that  the  "  Clas- 
sique  "  Corset  has  for  years  been  sold  in  Boston  exclusively  by  us.  We  have 
just  received  the  new  spring  models.  The  prices  range  from  $5. 75  upwards. 
We  can  fit  any  figure. 

Remember  that  the  "  Classique  "  is  hand-fashioned  by  the  most  skilful  corsetiers 
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from  the  naive  theme  of  the  dance,  which  at  first  was  in  the  primitive  stage 
of  development  and  now  is  in  a  condition  of  completion.  At  first  the  brass 
instruments  sound  vigorously,  then  the  wood-wind  band  continues  the  theme, 
the  horns  follow,  and  later  the  trumpets  in  the  middle  register,  while  the 
violins,  accompanied  by  the  rest  of  the  quartet,  play  an  independent  upper 
melody,  which  rises  on  high  and  then  falls  A  repetition  of  this  last 
solemn  theme  by  trombones,  pianissimo,  leads  to  a  short  fermata  on  A-flat 
minor,  and  a  triple  and  imitative  repetition  of  this  theme  leads  to  a  repeti- 
tion of  the  chief  motive,  now  played  by  the  whole  orchestra  with  tender 
sentiment.  We  are  again  by  the  blue  sea,  which  stretches  in  its  calm  im- 
mensity before  our  eyes.  Its  surface  is  soon  disturbed.  While  the  'cellos 
and  the  horns  continue  the  chief  theme,  wood-wind  instruments  play  the 
dance  tune.  But  the  idea  of  wisdom  floats  with  the  violins  above  all  this, 
and  recalls  to  the  mind  the  sanctuary  which  we  approached. 

An  enlargement  of  the  chief  theme,  introduced  by  the  trumpets,  leads  in 
a  mighty  crescendo  to  a  brilliant  chord  of  F-sharp  major,  which  gradually 
fades  in  a  reunion  of  early  motives.  A  mist  seems  to  rise  and  shut  off 
from  our  eyes  the  magnificent  picture.  The  succession  of  chords, —  F-sharp, 
G-sharp,  D,  B, —  played  by  muted  strings,  again  is  heard  on  the  low  and 
mysterious  F-sharp,  but  now  in  ascending  progression  and  in  triple  repeti- 
tion, twice  interrupted  by  the  dreamy  call,  which  also  here  is  of  unchanged 
physiognomy,  as  an  unsolved  riddle.  We  no  longer  see  clearly.  A  faint 
echo  of  the  dance,  a  breath ;  everything  vanishes  ;  and  we  awaken  from 
our  dream. 


*   * 


This  symphonic  poem  is  scored  for  3  flutes  (one  interchangeable  with 
piccolo),  alto  flute,  2  oboes,  cor  anglais,  2  clarinets,  bass  clarinet,  4  horns, 
3  bassoons,  double-bassoon,  3  trumpets,  bass  trumpet,  3  trombones,  bass 
tuba,  a  set  of  3  kettle-drums,  a  large  gong,  glockenspiel,  cymbals,  triangle, 
tambourine,  2  harps,  strings. 

Weingartner  explains  in  a  note  that  the  alto  flute  made  for  him  by 
Moritz  of  Berlin  for  this  composition  bears  the  same  relation  to  the  ordi- 
nary flute  as  the  cor  anglais  or  alto  oboe  to  the  oboe.  This  alto  flute  is  of 
the  proportionate  size   and   with  the  mechanism  of  the  familiar  flute.     If 


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there  be  no  alto  flute  at  hand,  its  place  may  be  supplied  from  flute  and 
clarinet  parts. 

But  in  the  sixteenth  century  there  were  quartets  of  flutes,  witness  the 
case  of  flutes  in  the  Germanisches  Museum  at  Nuremberg.  The  set  is 
thus  made  up  :  a  flute  sopranino  in  G  (this  flute  is  absent,  but  there  is  a 
place  for  it)  ■  2  soprano  flutes  in  D  ;  2  alto  flutes  in  G ;  2  tenor  flutes  in 
D;  a  bass  flute  in  G.  And,  according  to  Praitorius  (1618),  the  family  of 
flutes  included  (1)  the  little  flute,  which  was  two  octaves  higher  than  a 
"  cornett," — (an  obsolete  wind  instrument  of  wood  or  ivory  with  finger- 
holes  and  a  metal  mouthpiece,  highly  esteemed  in  the  16th  century;  it 
was  supposed  to  imitate  closely  the  human  voice,  and  it  was  an  extremely 
difficult  instrument  to  play);  (2)  the  soprano  flute,  a  fourth  lower;  (3)  the 
soprano  flute,  a  fifth  lower  than  No.  1  ;  (4)  the  alto  flute,  an  octave  lower 
than  No.  1  ;  (5)  the  tenor  flute,  a  fifth  lower  than  No.  4 ;  (6)  the  baritone 
flute,  a  fifth  lower ;  (7)  the  bass  flute,  a  fifth  lower  than  No.  6  ;  (8)  the 
double  bass  flute,  an  octave  lower  than  No.  6.  A  set  cost  eighty  thalers, 
brought  from  Venice,  where  the  best  were  then  made. 

# 
*  # 

Just  where  were  the  Elysian  Fields  ? 

Proteus  described  them  to  Menelaus  (Homer's  Odyssey,  iv.  563  seq.~): 
"  But  the  Immortals  will  convey  thee  to  the  Elysian  plain  and  the  world's 
limits,  where  is  Rhadamanthus  of  the  golden  hair,  where  life  is  easiest  for 
man;  no  snow  is  there,  no,  nor  no  great  storm,  nor  any  rain,  but  always 
ocean  sendeth  forth  the  shrilly  breezes  of  the  West  to  cool  and  refresh  men." 

Pindar's  description  has  been  quaintly  versified  by  some  translator  of 
the  seventeenth  century  :  — « 


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There  the  Sun  shines  with  an  unsullied  light, 
When  all  the  World  above  is  thick  with  Night. 
There  all  the  richly  scented  Plants  do  grow, 
And  there  the  Crimson-colored  Roses  blow. 
Each  Flower  blooming  on  its  tender  stalk. 
And  all  these  Meadows  are  their  Evening  walk. 
There  Trees  peculiarly  delights  the  sense 
With  their  exhal'd  perfumes  of  Frankincense. 
The  boughs  their  noble  burdens  cannot  hold, 
The  weight  must  sink  them  when  the  fruit  is  gold. 
Some  do  the  Horse  unto  the  Manage  bring, 
Others  unto  the  tuneful  Lute  do  sing, 
There's  plenty  to  excess  of  everything, 
The  Region  always  doth  serene  appear, 
The  Sun  and  pious  flames  do  make  it  clear. 
Where  fragrant  gums  do  from  the  Altars  rise, 
When  to  the  Gods  they  offer  Sacrifice. 

Tennyson  represents  his  Ulysses  as  eager  to  seek  a  newer  world. 

For  my  purpose  holds 
To  sail  beyond  the  sunset,  and  the  baths 
Of  all  the  western  stars,  until  I  die. 
It  may  be  that  the  gulfs  will  wash  us  down : 
It  may  be  we  shall  touch  the  Happy  Isles, 
And  see  the  great  Achilles,  whom  we  knew. 

And  it  was  with  reference  to  this  passage  that  Mr.  John  Churton  Collins 
wrote  :  "  The  Happy  Isles,  the  Fortunatae  Insulae  of  the  Romans  and  the 
ai  ton  Makaron  nesoi  of  the  Greeks,  have  been  identified  by  geographers 
as  those  islands  in  the  Atlantic  off  the  west  coast  of  Africa ;  some  take 
them  to  mean  the  Canary  Islands,  the   Madeira  group  and  the  Azores, 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUGIMO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS   CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  flass. 


while  they  may  have  included  the  Cape  de  Verde  Islands  as  well.  What 
seems  certain  is  that  these  places  with  their  soft  delicious  climate  and 
lovely  scenery  gave  the  poets  an  idea  of  a  happy  abode  for  departed  spirits, 
and  so  the  conception  of  the  Elysian  Fields.  .  .  .  Elysium  was  afterwards 
placed  in  the  nether  world,  as  by  Virgil.  Thus,  as  so  often  the  sugges- 
tion was  from  the  facts  of  geography,  the  rest  soon  became  an  allegorical 
myth,  and  to  attempt  to  identify  and  localise  'the  Happy  Isles  '  is  as  great 
an  absurdity  as  to  attempt  to  identify  and  localise  the  island  of  Shakes- 
peare's '  Tempest.' " 

It  is  surprising  that  Mr.  Collins  did  not  make  any  reference  to  a  pas- 
sage in  Plutarch's  "  Life  of  Sertorius."  I  now  quote  from  the  brave  ver- 
sion of  Sir  Thomas  North.  Sertorius  had  landed  on  the  coast  of  Spain,  a 
little  above  the  mouth  of  the  river  Baetis,  now  the  Guadalquivir  :  — 

"  There  certain  saylers  met  with  him  that  were  newly  arrived  from  the 
lies  of  the  Ocean  Atlanticum,  which  the  auncients  called,  the  fortunate 
Hands.  These  two  Ilandes  are  not  farre  one  from  an  other,  being  but  a 
litle  arme  of  the  sea  betwene  them,  and  are  from  the-  Coast  of  Africke  only 
tenne  thowsand  furlongs.  They  have  raine  there  very  seldom,  howbeit  a 
gentle  winde  commonly  that  bloweth  in  a  litle  silver  dew,  which  moisteth 
the  earth  so  finely,  that  it  maketh  it  fertile  and  lustie,  not  onely  to  bring 
forth  all  that  is  set  or  sowen  apon  it,  but  of  it  selfe  without  mans  hand  it 
beareth  so  good  frute,  as  sufficiently  maintaineth  the  inhabitants  dwelling 
upon  it,  living  idlely,  and  taking  no  paines.  The  weather  is  fayre  and 
pleasaunt  continually,  and  never  hurteth  the  body,  the  climate  and  seasons 
of  the  yeare  are  so  temperate,  and  the  ayer  never  extreame :  bicause  the 
windes  that  blow  apon  that  land  from  the  other  side  of  the  coast  opposite 
to  it,  as  the  North  and  Easterly  winde  comming  from  the  maine,  what  with 
their  longe  comming,  and  then  by  dispersing  them  selves  into  a  wonderfull 
large  ayer  and  great  sea,  their  strength  is  in  manner  spent  and  gone 
before  their  comming  thither.  And  for  the  windes  that  blow  from  the  sea 
(as  the  South  and  Westerly)  they  sometime  bring  litle  showers  with  them 
which  commonly  doe  but  moist  the  ground  a  litle,  and  make  the  earth 
bring  forth  all  thinges  very  trimmely :  insomuch  as  the  very  barbarous 
people  them  selves  doe  faithfully  beleve,  that  there  are  the  Elysian  fieldes, 
thabode  of  blessed  creatures,   which   Homer    hath    so  much    spoken    of. 


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Sertorius  hearing  reporte  of  these  Ilandes  (upon  a  certain  desire  now  to 
live  quietly  out  of  tyranny  and  vvarres)  had  straight  a  marvelous  minde  to 
go  dwel  there." 

There  were  other  views  of  the  precise  nature  of  the  felicity  of  the  heroes 
and  demigods  in  the  Elysian  Fields,  as  those  entertained  by  Gargantua  and 
Epistemon  in  Rabelais.  It  should  be  remembered  that  the  inhabitants  of 
Elysium,  or  the  Isle  of  the  Blessed,  consisted  of  two  classes,  the  heroes,  or 
demi-gods,  and  the  wise  and  good  men  who  lived  subsequent  to  the  heroic 
age.  Thus  Epistemon  found  that  the  philosophers  and  others  who  in  this 
world  had  been  altogether  indigent  and  wanting  were  great  lords  there  in 
their  turn.  "  I  saw  Diogenes  there  strut  it  out  most  pompously.  ...  I  saw 
Epictetus  there  most  gallantly  apparelled  after  the  French  fashion,  sitting 
under  a  pleasant  arbor,  with  store  of  handsome  gentlewomen,  frolicking, 
drinking,  dancing,  and  making  good  cheer,  with  abundance  of  crowns  of 
the  sun.  .  .  .  When  he  saw  me  he  invited  me  to  drink  with  him  very  cour- 
teously, and  I  being  willing  to  be  entreated,  we  tippled  and  chopined 
together  most  theologically." 

With  this  grotesque  expression  of  felicity  compare  Swinburne's  magnifi- 
cent lines  in  "  Hesperia  "  :  — 

From  the  bountiful  infinite  West,  from  the  happy  memorial  places, 
Full  of  the  stately  repose  and  the  lordly  delight  of  the  dead, 

Where  the  fortunate  islands  are  lit  with  the  light  of  ineffable  faces, 

And  the  sound  of  a  sea  without  wind  is  about  them,  and  sunset  is  red. 

*  * 

Liszt  was  the  first  celebrated"  composer  who  attempted  to  translate  paint- 
ing into  music.  Thus  Andrea  Orcagna's  "  Triumph  of  Death  "  inspired 
Liszt's  "Dance  of  Death,"  for  pianoforte  and  orchestra;  Kaulbach's 
"  Battle  of  the  Huns,"  the  symphonic  poem  of  the  same  title  ;  Stephen 
Lothener's  "  Adoration  of  the  Magi,"  in  the  Cologne  Cathedral,  the 
"  March  of  the  Three  Holy  Kings  "  in  "  Christus  "  ;  Overbeck's  cycle  of 
paintings,  "  The  Seven  Sacraments  "  ;  the  famous  picture  of  Raphael,  the 

pianoforte  piece  "  Sposalizio." 

# 

#  * 

Arnold  Bocklin  was  born,  the  son  of  a  highly  respectable  merchant,  at 


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Bale  on  Oct.  16,  1827.  He  died  at  his  yilla  in  San  Domenico,  near 
Florence,  on  Jan.  16,  1901,  and  he  is  buried  at  Florence  in  the  Evangeli- 
cal Cemetery.  He  studied  for  two  years  at  Geneva,  then  at  Diisseldorf 
under  the  landscapist,  J.  W.  Schirmer,  then  at  Antwerp,  then  at  Brussels, 
where  he  studied  figure  painting.  He  was  in  Paris  during  the  bloody 
days  of  1848,  and  he  then  returned  to  Bale  to  perforin  his  military  service. 
The  remaining  years  were  thus  spent:  Rome,  1850-58,  with  a  short  stay 
at  Bale  in  1852;  1858,  Munich  and  Hanover;  1859-60,  Munich;  1860- 
62,  Weimar,  whither  he  was  called  to  be  professor  at  the  newly-founded 
art  school ;  Rome,  1862-66;  Bale,  1866-71  ;  Munich,  1871-74;  Florence, 
1874-85  ;  Zurich,  1888-92  ;  1892  till  his  death,  Florence.  He  died 
crowned  with  titles  and  honors.  He  married  "  a  luxuriantly  beautiful 
Transteverina,"  and  her  beauty  and  that  of  his  daughter  Angela  served 
him  in  his  work. 

Much  has  been  written  about  Bocklin,  who  is  perhaps  best  known  to  the 
people  at  large  by  his  "  Elysian  Fields"  and  "Island  of  the  Dead."  An 
appreciation  by  Christian  Brinton  appeared  in  the  Critic  (New  York), 
and  the  following  quotations  are  from  this  article  :  — 

"Arnold  Bocklin  was  able  to  develop  a  national  art,  an  art  specifically 
Germanic,  because  he  had  the  magic  to  impose  his  dream  upon  his  fellow- 
countrymen,  and  because  that  dream  was  the  reflex,  the  embodiment,  of  all 
the  ineffable  nostalgia  of  his  race  not  alone  for  the  cream-white  villas  of  Italy, 
the  fountains  and  the  cypresses,  but  for  the  gleaming  marbles  and  golden 
myths  of  Greece.  His  art  is  merely  another  version  of  that  Sehnsucht  which 
finds  voice  in  the  ballads  of  Goethe,  the  prose  fancies  of  Heine,  or  the 
chiselled  periods  of  Winckelmann.  Once  again  it  is  the  German  view- 
ing Greece  through  Renaissance  eyes.  The  special  form  under  which 
Bocklin's  appeal  was  made  implied  a  reincarnation,  under  actual  condi- 
tions, of  the  classic  spirit.  He  realized  from  the  outset  that  the  one  way 
to  treat  such  themes  was  to  retouch  them  with  modern  poetry  and  modern 
passion.  Pan,  Diana,  Prometheus,  monsters  of  the  deep  and  grotesques 
of  the  forest,  were  made  vital  and  convincing.  He  quickened  much  that 
had  become  blurred  or  rigid,  he  even  made  it  possible  for  a  stray  centaur 
to  dash  through  the  streets  of  Berlin.  He  fused  into  one  the  national 
thirst  for  myth  and  the  national  taste  for  antique  beauty.     While  in  essence 


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Bocklin's  art  is  romantic,  it  is  free  from  the  routine  faults  of  romanticism. 
His  sense  of  form  is  Grecian  and  his  color  entirely  modern  in  its  breadth 
and  brilliancy.  The  persuasive  charm  of  classic  scenes  is  chiefly  due  to 
the  anti-classic  and  often  frankly  humorous  Dionysian  manner  in  which 
they  are  presented.  .  .  .  The  formula  of  Bocklin's  art  consists  in  peopling 
sea  or  sky,  shore  or  wood,  with  creatures  of  tradition  or  of  sheer  imagina- 
tion. Its  animus  is  a  pantheistische  Naturfioesie,  illustrating  the  kinship 
of  man  and  nature,  a  conception  both  Hellenic  and  Germanic,  which 
arose  from  a  blending  of  that  which  his  spirit  caught  at  in  the  world 
about  him  and  that  which  came  through  the  gates  of  fancy  and  of  fable. 
From  the  ardent  school  days  in  Basel  to  those  last  quiescent  after- 
noons on  the  heights  of  Fiesole,  Bocklin  clung  to  the  classics,  to  the 
golden  treasure-houses  of  Latin  and  of  Greek.  .  .  .  First  and  last 
Bocklin  was  a  colorist.  He  chose  by  instinct  only  the  most  alluring 
hues, —  the  pure  radiance  of  far  stars,  the  vivid  grotto-blue  of  the  sea, 
the  copper-brown  of  a  faun's  skin,  or  the  viridescence  of  water  ser- 
pent. No  man  studied  nature  more  closely  or  surprised  so  many  of 
her  secrets.  The  Campania,  the  clear  vistas  of  the  Oberland,  foam-lashed 
rocks  along  the  Tuscan  coast,  here  a  dark  stretch  of  wood,  there  a  splash 
of  light,  all  produced  an  accumulation  of  stimuli  which,  coupled  with  an 
indelible  memory  and  remarkable  powers  of  visualization,  made  Bocklin 
one  of  the  few  really  sovereign  colorists.  .  .  . 

"Arnold  Bocklin  was  a  tall,  powerfully  moulded  man,  with  dark  hair 
and  deep,  blue-gray  eyes.  He  cared  as  little  for  the  conventional  in  life 
as  for  the  quotidian  in  art.  His  was  essentially  an  isolated,  taciturn 
nature.     In  conversation  he  was  diffident  and  often  constrained,  though  at 


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times  showed  abundant  humor.  What  is  called  society,  he  abhorred.  .  .  . 
At  sixty  he  was  all  but  unknown  ;  by  the  seventieth  birthday  his  name 
was  on  every  lip  from  the  Alps  to  the  Baltic.  .  .  .  Wherever  he  chanced  to 
be,  Bocklin  led  the  life  of  a  normal  Swiss  bourgeois.  His  tastes  were 
simple,  even  severe.  He  had  small  liking  for  the  panoramic  accompani- 
ments, the  sumptuous  atrocities,  which  so  appealed  to  Makart  or  Mun- 
kacsy.  His  studio  was  bare  and  workman-like.  For  him  not  only  was 
the  kingdom  of  heaven,  but  in  large  measure  the  kingdom  of  earth,  within. 
Bocklin  had  but  one  dissipation, —  a  consuming  desire  to  solve  the  prob- 
lem of  aeronautism.  His  taste  for  science  and  particularly  for  mathe- 
matics was  strong ;  and  sometimes,  as  at  Weimar,  he  almost  wholly 
neglected  painting,  in  the  pursuit  of  Icarian  fancies." 

It  may  be  added  that  Bocklin  tried  his  hand  at  polychrome  sculpture 
and  published  a  defence  of  colored  statuary. 


Symphony  in  C  major,  No.  9 


Franz  Schubert. 


(Born  at  Lichtenthal,  Vienna,  Jan.  31,  1797  ;  died  at  Vienna,  Nov.  19,  1828.) 

The  manuscript  of  this  symphony,  numbered  7  in  the  Breitkopf  & 
Hartel  list  and  sometimes  known  as  No.  10,  bears  the  date  March,  1828. 
It  is  said  that  Schubert  gave  the  work  to  the  Musikverein  of  Vienna  for  per- 
formance ;  that  the  parts  were  distributed  ;  that  it  was  even  tried  in  re- 
hearsal ;  that  its  length  and  difficulty  were  against  it,  and  it  was  withdrawn 
on  Schubert's  own  advice  in  favor  of  his  earlier  Symphony  in  C,  No.  6 
(written  in  18 17).  All  this  has  been  doubted;  but  the  symphony  is 
entered  in  the  catalogue  of  the  society  under  the  year  1828,  and  the  state- 
ments just  quoted  have  been  fully  substantiated.  Schubert  said,  when  he 
gave  the  work  to  the  Musikverein,  that  he  was  through  with  songs,  and 
should  henceforth  confine  himself  to  opera  and  symphony. 

It  has  been  said  that  the  first  performance  of  the  symphony  was  at 
Leipsic  in  1839.  Is  this  statement  true  ?  Schubert  himself  never  heard 
the  work ;  but  it  was  performed  at  a  concert  of  the  Gesellschaft  der 
Musikfreunde,  Vienna,  Dec.  14,  1828,  and  repeated  March  12,  1829.  It 
was  then  forgotten,  until  Schumann  visited  Vienna  in  1838,  and  looked 
over  the  mass  of  manuscripts  then  in  the  possession  of   Schubert's  brother 


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Ferdinand.  Schumann  sent  a  transcript  of  the  symphony  to  Mendelssohn 
for  the  Gewandhaus  concerts,  Leipsic.  It  was  produced  at  the  concert  of 
March  21,  1839,  under  Mendelssohn's  direction,  and  repeated  three  times 
during  the  following  season,— Dec.  12,  1839,  March  12  and  April  3,  1840. 
Mendelssohn  made  some  cuts  in  the  work  for  these  performances.  The 
score  and  parts  were  published  in  January,  1850.* 

The  first  performance  in  Boston  was  at  a  concert,  October  6,  1852,  when 
the  small  orchestra  was  led  by  Mr.  Suck.  We  are  told  that  on  this  occa- 
sion the  first  violins  were  increased  to  four,  two  extra  'cellos  took  the 
place  of  the  bassoons,  and  a  second  oboe  was  added.  The  Germania  Or- 
chestra played  the  symphony  in  1853  and  1854,  and  the  first  performance 
at  a  Philharmonic  Concert  was  on  March  14,  1857. 

The  first  performance  in  New  York  was  on  January  n,  1851,  by  the 
Philharmonic  Society,  led  by  Mr.  Eisfeld. 

The  manuscript  is  full  of  alterations,  and  as  a  rule  Schubert  made  few 
changes  or  corrections  in  his  score.  In  this  symphony  alterations  are 
found  at  the  very  beginning.  Only  the  Finale  seems  to  have  satisfied 
him  as  originally  conceived,  and  this  Finale  is  written  as  though  at  head- 
long speed. 

The  symphony  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  2 
horns,  2  trumpets,  3  trombones,  kettle-drums,  strings.  There  is  a  story 
that  Schubert  was  afraid  he  had  made  too  free  use  of  trombones,  and 
asked  the  advice  of  Franz  Lachner. 

The  second  theme  of  the  first  movement  has  a  decidedly  Slav-Hun- 
garian character,  and  this  character  colors  other  portions  of  the  sym- 
phony both  in  melody  and  general  mood. 

The  rhythm  of  the  scherzo  theme  had  been  used  by  Schubert  as  early  as 
18 1 4  in  his  quartet  in  B-flat.  It  may  also  be  remarked  that  the  scherzo  is 
not  based  on  the  old  menuet  form,  and  that  there  is  more  thematic  devel- 
opment than  was  customary  in  such  movements  at  that  period. 

There  is  a  curious  tradition  —  a  foolish  invention  is  perhaps  the  better 
phrase  —  that  the  Finale  illustrates  the  story  of  Phaeton  and  his  celebrated 

*  Hanslick  said  in  "  Geschichte  des  Concertwesens  in  Wien"  (Vienna,  1S69)  that  the  sixth,  not  the  ninth, 
symphony  was  performed  at  the  concert  in  Vienna,  Dec.  14,  182S;  that  the  ninth  was  first  heard  in  Vienna 
in  1839,  when  only  the  first  and  second  movements  were  played,  and  separated  by  an  aria  of  Donizetti;  that 
the  first  complete  performance  at  Vienna  was  in  1850.  Grove  makes  the  same  statement.  But  see  Richard 
Heuberger's  "  Franz  Schubert"  (Berlin,  1902),  p.  87. 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(952) 


experience  as  driver  of  Apollo's  chariot.  Others  find  in  the  Finale  a 
reminiscence  of  the  terrible  approach  of  the  Stone-man  toward  the  supper- 
table  of  Don  Giovanni. 

Schumann,  after  a  performance  of  the  symphony  at  Leipsic,  wrote  a 
rhapsody  which  may  well  take  the  place  of  an  analysis  :  — 

"  Often,  when  looking  on  Vienna  from  the  mountain  heights,  I  thought 
how  many  times  the  restless  eye  of  Beethoven  may  have  scanned  that 
distant  Alpine  range,  how  dreamily  Mozart  may  have  watched  the  course 
of  the  Danube,  which  seems  to  thread  its  way  through  every  grove  and 
forest,  and  how  often  Father  Haydn  looked  at  the  spire  of  St.  Stephen  and 
felt  unsteady  whilst  gazing  at  such  a  dizzy  height.  Range  in  one  compact 
frame  the  several  pictures  of  the  Danube,  the  cathedral  towers,  and  the 
distant  Alpine  range,  and  steep  all  these  images  in  the  holy  incense  of 
Catholicism,  and  you  have  an  ideal  of  Vienna  herself ;  the  exquisite  land- 
scape stands  out  in  bold  relief  before  us,  and  Fancy  will  sweep  those  strngs 
whcih,  but  for  her,  would  never  have  found  an  echo  in  our  souls. 

"  In  Schubert's  symphony,  in  the  transparent,  glowing,  romantic  life 
therein  reflected,  I  see  the  city  more  clearly  mirrored  than  ever,  and  under- 
stand more  perfectly  than  before  why  such  works  are  native  to  the  scene 
around  me.  I  will  not  try  to  extol  and  interpret  the  symphony ;  men  in 
the  different  stages  of  life  take  such  different  views  of  the  impressions 
they  derive  from  artistic  fancies,  and  the  youth  of  eighteen  often  discovers 
in  a  symphony  the  echo  of  some  world-wide  event,  where  the  mature  man 
sees  but  a  local  matter,  whereas  the  musician  has  never  thought  of  either 
the  one  or  the  other,  and  has  merely  poured  forth  from  his  heart  the  very 
best  music  he  could  give.  But  only  grant  that  we  believe  that  this  outer 
world,  to-day  fair,  to-morrow  dark,  may  appeal  deeply  to  the  inmost  heart 
of  the  poet  and  musician,  and  that  more  than  merely  lovely  melody,  some- 
thing above  and  beyond  sorrow  and  joy,  as  these  emotions  have  been 
portrayed  a  hundred  times  in  music,  lies  concealed  in  this  symphony  — 
nay,  more,  that  we  are  by  the  music  transported  to  a  region  where  we  can 
never  remember  to  have  been  before  —  to  experience  all  this  we  must 
listen  to  symphonies  such  as  this. 

"  Here  we  have,  besides  masterly  power  over  the  musical  technicalities  of 
composition,  life  in  all  its  phases,  color  in  exquisite  gradations,  the  minut- 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COriPANY,    -    BOSTON 

(963) 


est  accuracy  and  fitness  of  expression,  and,  permeating  the  whole  work,  a 
spirit  of  romance  such  as  we  recognize  in  other  works  of  Franz  Schubert. 
And  this  heavenly,  long-drawn-out  symphony  is  like  some  thick  romance 
of  Jean  Paul's  in  four  volumes,  which  can  never  end  —  and,  indeed,  for 
the  very  best  reasons,  in  order  that  it  may  draw  along  the  reader  with  it 
up  to  the  last  moment.  How  refreshing  this  feeling  of  satisfaction  of 
being  deceived  by  the  large  wealth  of  melody,  whereas  with  other  com- 
posers one  always  fears  the  end,  and  feels  often  saddened  by  the  impo- 
tent conclusion  ! 

"  Schubert's  easy  and  brilliant  mastery  over  the  resources  of  an  orchestra 
would  be  unintelligible,  if  one  did  not  know  that  six  other  symphonies 
had  preceded  his  last  effort,  and  that  he  wrote  it  in  the  full  maturity  of  his 
powers.  Those  gifts  must  be  pronounced  extraordinary  in  a  man  who, 
having  during  his  lifetime  heard  so  little  of  his  own  instrumental  works, 
succeeded  in  so  masterly  a  handling  of  the  general  body  of  instruments 
which  converse  with  one  another  like  human  voices  and  chorus.  Except 
in  numbers  of  Beethoven's  works,  I  have  nowhere  found  such  an  extraor- 
dinary and  striking  resemblance  to  the  organs  of  the  human  voice  as  in 
Schubert's  ;  it  is  the  very  reverse  of  Meyerbeer's  method  of  treating  the 
human  voice.  The  complete  independence  in  which  the  symphony  stands 
in  respect  of  Beethoven's  is  another  sign  of  its  masculine  originality.  Let 
any  one  observe  how  wisely  and  correctly  Schubert's  genius  develops 
itself.  In  the  consciousness  of  more  modest  powers,  he  avoids  all  imita- 
tion of  the  grotesque  forms,  the  bold  contrasts,  we  meet  with  in  Beethoven's 
later  works,  and  gives  us  a  work  in  the  loveliest  form,  full  of  the  novel  in- 


A.  B.  CHASE  PIANO 

BEAUTY,  TONE,  DURABILITY, 

all  attained  in  this  celebrated  piano. 
Universally  recognized  as  a  guaran- 
tee of  supreme  excellence    :::::: 


HE  purchaser  of  every  A.  B.  CHASE  piano  is  assured  that, 
whatever  the  style  he  may  select,  he  will  obtain  an  instrument 
of  unquestioned  worth,  possessing  a  musical  tone  which  for 
purity  and  power  is  unsurpassed  by  any  other  piano,  a  sym- 
pathetic  touch  and  action  that  will  be  a  constant  delight,  and  a 
durability  that  is  unlimited.  A  cordial  invitation  is  extended  to 
all  persons  to  call  and  examine  this  beautiful  piano  at  our 
spacious  warerooms. 


120  and   122  Boylston  Street, 


Boston,  flass. 


(954j 


S.    S.    PIERCE    CO. 

IMPORTERS    AND    CROCERS 

BOSTON    AND    BROOKLINE 


(956, 


We  are  constantly  receiving  new  things  in 
Veilings,  and  are  opening  at  the  present  time 
our  Spring  Line  of  Cotton  Neckwear  and 
Turn-over  Collars* 


Miss  M.  F.  FISK,  144  Tremont  Street 


COflPOSlTlONS  OF 

FRANK   E.  JONSON. 

Op.  1.    Bagatelle  in  A-flat.    Piano  .        .    $.0.40 

Orchestra 80 

Band 60 

Op.  2.    Reverie.    Piano 50 

Violin  and  Piano 75 

Op.  3.     St. George  Promenade  March.  Piano,  .40 
Four  Hands  .....  .00 

Op.  4.    Petite  Valse.     Piano      ...         .50 

Op.  5.    Consnelo  Valse  Pathetique  .        .         .75 

Op.  6.     Dance  Caprice 50 

Op.  7.     Swing  Song.    Violin  and  Piano  .         .50 

Song.    "  Still  his  Mother's  Boy  "     .        .  .50 

"  Charm  of  Spring,"  by  Reynolds    .        .  .65 

"  Soldier's  Song,"  by  Beaumont       .        .  .50 
Revised  and  lingered  by  Mr.  Jonson. 

C.  W.  THOHPSON  &  CO., 

13  West  Street,  Boston. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES   &  SCHOENHOF, 


128  T  re 

over 


rrernont  St.,  2d  door  north  of  Win 
Wood's  Jewelry  Store.    (Tel.,  Oxford  : 


LOST,  in  or  about  Symphony  Hall,  on 
Sunday  evening,  a  Diamond  Pin,  studded 
with  seven  stones.  A  suitable  reward 
will  be  given.  Address  Miss  E.  B. 
Rollofson,  60  Gardner  Street,  Allston, 
Mass.,    or  leave  it  with  Mr.  Comee. 


INDIVIDUALITY    AND    STYLE   IN   FUR    GARMEMS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(950) 


tricacies  of  modern  treatment,  but  never  deviating  too  far  from  the  centre 
point  and  always  returning  to  it.  This  must  be  patent  to  any  one  who 
often  considers  this  particular  symphony. 

"At  the  outset,  the  brilliancy,  the  novelty,  of  the  instrumentation,  the 
width  and  breadth  of  form,  the  exquisite  interchange  of  vivid  emotion,  the' 
entire  new  world  in  which  we  are  landed, —  all  this  is  as  bewildering  as 
any  unusual  thing  we  look  upon  for  the  first  time  in  our  lives  ;  but  there 
ever  remains  that  delicious  feeling  which  we  get  from  some  lovely  legend 
or  fairy  story  ;  we  feel  above  all  that  the  composer  was  master  of  his  sub- 
ject, and  that  the  mysteries  of  his  music  will  be  made  clear  to  us  in  time. 
We  derive  this  impression  of  certainty  from  the  showy  romantic  character 
of  the  introduction,  although  all  is  still  wrapped  in  the  deepest  mystery. 
The  transition  from  this  to  the  Allegro  is  entirely  new ;  the  tempo  does  not 
seem  to  vary ;  we  are  landed,  we  know  not  how.  The  analysis  of  the 
movements  piece  by  piece  is  neither  a  grateful  task  to  ourselves  nor 
others  ;  one  would  necessarily  have  to  transcribe  the  entire  symphony  to 
give  the  faintest  notion  of  its  intense  originality  throughout.  I  cannot 
however,  pass  from  the  second  movement,  which  addresses  us  in  such 
exquisitely  moving  strains,  without  a  single  word.  There  is  one  passage 
in  it,  that  where  the  horn  is  calling  as  though  from  a  distance,  that  seems 
to  come  to  us  from  another  sphere.  Here  everything  else  listens,  as 
though  some  heavenly  messenger  were  hovering  around  the  orchestra. 

"  The  symphony,  then,  has  had  an  influence  on  us  such  as  none  since 
Beethoven's  have  ever  exercised.  Artists  and  amateurs  joined  in  extolling 
its  merits,  and  I  heard  some  words  spoken  by  the  master  who  had  studied 
the  work  most  elaborately,  so  as  to  ensure  a  grand  performance  and  inter- 
pretation of  so  gorgeous  a  work  —  words  which  I  should  like  to  have  been 
able  to  convey  to  Schubert,  as  perhaps  conveying  to  him  a  message  which 
would  have  given  him  the  sincerest  pleasure.  Years  perhaps  will  pass  be- 
fore the  work  becomes  naturalized  in  Germany;  I  have  no  fear  of  its  ever 
being  forgotten  or  overlooked  ;  it  bears  within  its  bosom  the  seeds  of 
immortal  growth." 


Hr»*h4*,t" ~W  ^   «t.ofJ- 

COCOA-  CHOCOLATE 


GROCERS      EVERYWHERE. 


057) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York  Providence 

17  Temple  Place 

Philadelphia  Baltimore 

rtford    New  Haven  Lynn 

2S4  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(068) 

Newport 

Eighteenth  Rehearsal  and  Concert* 


FRIDAY  AFTERNOON,  MARCH   J3,  at  230  o'clock. 


SATURDAY  EVENING,  MARCH   J4,  at  8.00  o'clock. 


PROGRAMME 


Georg  Schumann        • 
Tschaikowsky    . 


.         • 


(First  time.) 


Aria. 


Overture,  "  Liebesf  ruhling  " 


Overture  Fantasy,  "  Romeo  and  Juliet  " 


Aria. 


Charpentier 


"  Impressions  of  Italy  n 


SOLOIST: 
Mr.  ELLISON  VAN  HOOSE. 


(.95J) 


Song  Recital  by  Mr.  GREGORY  HAST,  STEINBRT  HALL 

TUESDAY    AFTERNOON,    MARCH     I O,   AT   3   O'CLOCK 

PROGRAMME 

ARIA.    Un'  Aura  Amorosa  (Cose  fan  tutti)  --..-..  Mozart 

LIEDER       J  Der  Himmel  hat  eine  Thrane  gevveint       -  -       Schumann 


Komm",  Madchen,  an  dein  Fenster 
SONG.    How  Deep  the  Slumber  of  the  Floods 
RECITATIVE  AND  ARIA.   When  T  am  laid  in  Earth 

LIEDER.      I  £chon  R°ht««t        -  -  .         - 

I  Ks  muss  em  Wunderhares  sein       -  - 

OLD    FRENCH    SONG.    Ma  Mie 

LIEDER      I  'n  n"tten  ^es  Balles  - 

I  Ich  will  meine  Seele  tauchen  - 

OLD   IRISH    SONGS.  {  lsh*£  n?1  die  for  Love  of  Tllee 
|  Jbva  i  oole        - 

SONG.    The  Rose  leans  over  the  Pool       -  - 

fThy  Beaming  Eyes  - 

I  I  had  a  Flower  ------ 

SONGS,     -i  I  know  of  two  Bright  Eyes     ----- 

I  When  the  Swallows  homeward  fly  - 

(.  The  Clown's  Serenade  - 

J1rs.  GREGORY  HAST,  Accompanist 

THE  STEINWAY  PIANO  Reserved  seats,  $i.oo  and  $ 


Ruckauf 
Carl  Lowe 

-  Purcell,  167s 

Rabl 

Liszt 

17th  Century 

Tschaikowsky 

Raff 

-  Traditional 
Arranged  by  Stanford 

Chadwick 

-  MacDowell 
Lawrence  Kellie 

Clutsam 

M.V.White 

Luckstone 


Tickets  for  sale  at  the  hall 


SATURDAY    AFTERNOON,    MARCH    14 
AT  THREE  O'CLOCK 

SECOND  PIANO    RECITAL 

BY 

ARTHUR  HOCHMAN 

Management,  Miss  ANNA    MILLAR 
PROGRAM 


RONDO,  Op.  51,  No.  2     . 
SONATE,  Op.  120 

Allegro  moderate     Andante.     Allegretto 
THEME  AND  VARIATIONS   (by  request)      . 
MELODY  (by  request) 
VALSE       . 

NOCTURNE,  Op.  32,  No.  9 
POLONAISE,  Op.  40,  No.  1 
ETUDE      . 
MIDSUMMER-NIGHT'S   DREAM 


Beethoven 
Schubert 

Tschaikowsky 
Brahms 
Chopin 
Chopin 
Chopin 
Emil  Sauer 
Mendelssohn- Liszt 


The  Wissner  Piano  used 


Tickets,  $1.00  and  $  1.50,  are  for  sale  at  the  hall 


Chamber  Concert,      FELIX      FOX 

Assisted  by  the  HOFFMANN  STRING  QUARTETTE 

Jacques  Hoffmann,  Adolf  Bak,  Fritz  Zahn,  Carl  Barth 


STEINERT    HALL, 


TUESDAY   EVENING,   MARCH    10 


PROGRAMME 
SONATA  for  Pianoforte  and  Violoncello,  Op.  6 
THEME  and  VARIATIONS  for  Pianoforte,  Op.  5 
QUINTETTE   for  Pianoforte  and  Strings,  Op.  51      . 


Richard  Strauss 

Camille  Chevillard 

Antoine  Arensky 


The  Mason  &  Hamlin  Pianoforte 


Tickets,  $1.00  and  #1.50,  now  on  sale  at  the  hall 


(»61) 


THE  MISSES 

OTTYLE  -SONDHEIM-  JULIETTE 

In  a  Recital  of  Compositions  for  TWO   PIANOS 

Wednesday  afternoon,  March  25,  at  three  o'clock 

STEINERT  HALL 

Tickets  at  the  hall  The  Steinway  Piano 

A  SONG  RECITAL 

Will  be  given 

In  Steinert  Hall  on  Thursday  evening,  March  26t  by 

M.  BOGEA  OUMIROFF 

Bohemian  Baritone 


Tickets,  $1.00  and  $1.50,  may  be  bought  at  the  hall 


First  appearance  in  Boston  of 

LEOPOLD   WINKLER 

PIANIST 
Steinert  Hail,  Monday  evening,  March  1 6,  at  eight 


Tickets  noHio  on  sale  ( The  Wissner  Piano) 


Steinert  Hall,      Sunday  afternoon,  cMarch  t5,  at  half  after  four  o'clock 
Fourth  in  Miss  LINCOLN'S  Series  of  Concerts 


Part  I.     Miscellaneous  programme  by  art  sts  named  below 

Part  II.  "  The  Flight  of  the  Eagle  " 
Text  from  Walt  Whitman,  music  by  Homer  Nonis,  will  be  interpreted  by 
Miss  Elsie  Lincoln,  Soprano  Mr.  Ellison   Van    Hoose,  Tenor 

Mrs.  Langdon   Frothingham,  Pianist  Mr.  Stephen  Townsend,  Baritone 


Tickets  now  on  sale  at  Steinert  II  all  and  on  tlie  afternoon  of  the  concert 

(BENEFIT    MX.      PLEASAM     HOME.)       (THE  MASON  &  HAMLIN  PIANO) 

(900) 


DANIEL  FROHMAN  announces 

FAREWELL  APPEARANCE   OF 

Ossip  Gabrilowitsch 

THE  RUSSIAN  PIANIST 


Chickering  Hall,  Monday  Evening,  March  Sixteenth 

AND 

Saturday  Afternoon,  March  Twenty-first 


Tickets,  50C,  75c,  $1.00,  and  $1.50,  on  sale  Monday,  March  9,  at  Symphony 
Hall  Box  Office. 

Orders  and  checks  may  be  sent  to  L.  H.  Mudgett,  Symphony  Hall,  Boston. 


LENTEN    CHAMBER    CONCERTS. 


CHICKERING   HALL. 

Wednesday  Evening,  March  11,  at  8.15. 

Fourth  in  the  Scries. 

Mrs.  RICHARD   J.  HALL,  Saxophone. 

Mr.  GEORGE    PROCTOR,  Piano. 

Mr.  H.  SCHUECKER,  Harp.  Mr.  M.  BELINSKI,  Violoncello. 

Mr.  JOSEF  KELLER,  Violoncello.        Mr.  J.  HELLEBERG,  Bassoon. 
Mr.  C.  BARTH,  Violoncello.  Mr.  A.  DEBUCHY,  Bassoon. 

Mr.  A.  HEINDL,  Violoncello.  Mr.  A.  HACKEBARTH,  French  Horn. 

Mr.  FR.  HEIN,  French  Horn. 


Tickets,  $1  50,  on  sale  at  Symphony  Hall  and  at  Chickering  Hall  evening  of 

concert. 


Carl    Faelteints 

SIXTH    PIANOFORTE    RECITAL, 

Wednesday  Evening,  April   22,    1903,   at  8  o'clock. 

Programme. 

Rondo,  G  major,  Op.  51,  No.  2  } 

Bagatelle,  B  minor,  Op.  126,  No.  4    >  .         .         .  Beethoven 

Sonata,  "  Les  Adieux,"  Op.  81b         ) 
Huntington       Theme  and  Variations,  B-flat  major,  Op.  142,  No.  2         .  Schubert 

Chambers         Novelette,  D  major,  Op.  21,  No.  2  ....         Schumann 

HaU'  Ballade,  D.  major,  Op.  10,  No.  2  1  „    , 

0  ,  -cr  n  ^      ■         r^  ? Brahms 

Scherzo,  E-ftat  minor,  Op.  4  \ 

TICKETS,  $1.00.   J*     <£    «*     &    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 
APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of   Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 


Mme.  Antoinette  Szumowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 

(963) 


SYMPHONY  SEATS 

For  BALANCE  OF  SEASON, 

$K.OOand  $4.00 

>J  UPWARD. 


CINRI  C      REHEARSAL 
OmULL,  op    CONCERT, 


AND 

UPWARD. 


CONNELLY'S   Ticket  Of  lice,  Adams  House. 

'Phone,  Oxford  942. 


AT  SYMPHONY  HALL 

SATURDAY  AFTERNOON,  APRIL  4  AND 

SUNDAY  EVENING,  APRIL  5 


Eaton=Hadley  Trio  Concerts 

THIRD  SEASON 

Mrs.  Jessie  Downer-Eaton,  Piano ;  Mr.  Louis  Eaton,  Violin  ;    Mr.   Arthur   Hadley,  Vio- 
loncello.    Assisted  by  Mrs.  Alice  Bates-Rice,  Soprano;  Miss  Mary  Ogilvie,  Soprano. 
Mr.  Clarence  B.  Shirley,  Tenor. 

Trios  by  Spohr,  Schumann,  Mendelssohn,  Bronsart,  Tschaikowsky,  Chevillard. 

HUNTINGTON  CHAJTBERS  HALL,  flarch  12,  March  19, 

AT   THREE    O'CLOCK. 

Tickets  for  the  remaining  two  concerts,  at  one.  dollar  each,  on  sale  at  Schirmer's,  or  can 
be  obtained  by  addressing  Mr.  Eaton,  15  Haviland  Street,  Boston. 

Chickering  Pianoforte  used. 

Mrs.  ALICE   BATES   RICE 

Announces   a   program    of  SONGS   and  ARIAS  in   Huntington 

Chambers  Hall,  Wednesday  evening,   March  18, 

at  quarter  after  eight   o'clock. 

Mrs.  JESSIE    DOWNER    EATON,  Pianist- 
Tickets,  One  Dollar,  on  sale  at  Herrick's  and  the  evening  of  the  recital 

at  the  hall. 

(904) 


C.  C.  HARVEY  ea  CO. 

UNUSUAL  PUNO   BARGAINS 
from  the  OLIVER  DITSON  STOCK 

Knabe  Grand,  $600;  A.  B.  Chase  Grand*  $485? 
Knabe  Grand,  $500;  Knabe,  almost  new,  Ma^ 
hogany  Parlor  Grand,  was  $950,  now  $800  J 
Stein  way  Rosewood  Upright,  $315 ;  Chickering1 
Upright,  medium  size,  Ebony  Case,  $191 ;  another, 
$193.50;  dickering  large  Upright,  $226;  Fischer 
largest  Cabinet  Grand  Upright,  $216;  Royal, 
$191;  Lake  Mahogany  Upright,  $125;  Wood- 
ward &  Brown  Upright,  $150;  Knabe  Cottage 
Upright,  $275 ;  a  few  Concert  Grands  at  very  low- 
prices, 

PIANO    PLAYERS 

The  best  automatic  players  on  the  market  are  now 
controlled  by  us. 

We  have  a  few  PIANO    PLAYERS    at  greatly  reduced  prices. 

Two  Mahogany  Piano  Players,  special  cases,  each, 

One  Rosewood  Piano  Player 

Two  Mahogany  Piano  Players,  each 

One  Mahogany  Piano  Player 

One  Mahogany  Piano  Player 

One  Mahogany  Piano  Player 

One  Mahogany  Piano  Player 

Music,  Circulating  Library  Subscription,  etc.,  at  large  discount  for  this  sale 

C.  C.  HARVEY  &  CO.  4ngelus 

Representatives       ,^,  =  ,44  BoylstOn    Street    *"mmmm 

(9C5) 


Was 

Now 

325 

$225 

300 

225 

300 

250 

25O 

200 

275 

225 

25O 

175 

25O 

I50 

"  In  ten  years  there  will  not  be  a 
horse-drawn  vehicle  in   Paris/' 

Extract  from  a  recent  speech  by  Baron  Rothschild 


ATTEND       THE 

AUTOMOBILE 
SHOW 

SYMPHONY  HALL 
MARCH   16  to    21 

And  see  what  the  engineers   and  inventors 
are  doing  to  save  your  time 
and  emancipate  the  horse  *£ 

$100,000  worth   of   new   autos 
under  one  roof 

Concerts  afternoon  and  evening  by  the 

vSalem   Cadet   Band 


(960) 


BOSTON     SYMPHONY     HALL 


Handel  and   Haydn  Society 

EMIL  MOLLENHAUER Conductor 

H.  G.  TUCKER Organist 

-A    FULL     ORCHESTRA 

SUNDAY,    MARCH    8,     7.30     P.M. 


GOUNOD'S  GALLIA 

Rossini^  STAB  AT  MATER 

A  Commemorative  Record  of  the  origin  and  achievements  of  the 
Handel  and  Haydn  Society  has  been  prepared  for  this  occasion 
in  book  form,  of  which  one  copy  will  be  given  to  each  patron 
of  the  concert.  The  volume  (9x12)  will  be  bound  in  white 
leatherette  with  gold  ornamentation,  and  in  addition  to  the  in- 
teresting records  will  contain  many  valuable  illustrations. 

SOLOISTS 
Soprano,  Mme.  KATHRIN  HILKE 

Contralto,  Mme.  SCHUMANN-HEINK 

Tenor,  Sig-  THOMAS  SALIGNAC 

Bass,  M.  MARCEL  JOURNET 

Between  the  two  works  Mme.  Schumann-Heink  will  sing  the 
aria  from  "  Titus,"  by  Mozart,  Sig.  Salignac  will  sing  the  aria, 
"  Panis  Angelicus,"  by  Cdsar  Franck,  and  M.  Journet  will  sing 
the  Laborer's  aria  from  "  The  Seasons,"  by  Haydn. 


TICKETS,  $2,  $1.50,  and  $1.  Season  ticket  holders  who  desire  their  usual  seats  for 
this  special  concert  can  purchase  tickets  at  Symphony  Hall  on  Thursday,  Friday,  and 
Saturday,  February  26,  27,  and  28. 

The  sale  of  tickets  to  the  public  will  begin  on  Monday,  March  2,  at  8.30  a.m.,  at  Sym- 
phony Hall  (telephone,  Back  Bay  1492)  and  at  Wright  &  Ditson's,  344  Washington 
Street  (telephone,  Main  2 191). 

Information  in  regard  to  the  sale  of  tickets,  etc.,  can  be  obtained  by  addressing  the  Sec- 
retary. WILLIAM  F.  BRADBURY,  Secretary 
February  20,  1903,  369  Harvard  Street,  Cambridge 

l967) 


Sixth  Annual  Concert 

OF    THE 

^People's    Choral    union 

WILL    BE    GIVEN    IN 

SYMPHONY  HALL,  Sunday  Evening,  March  22,  \ 903, 

At  8  o'clock. 

Mr.  SAMUEL  W.    COLE,  Conductor. 

THE   CHORUS    WILL    BE   ASSISTED    BY 

Mrs.  Kileski  Bradbury,  Soprano  Miss  Alice  Mabel  Stanaway,  Alto 

Mr.  Clarence  B.  Shirley,  Tenor  Mr.  Leverett  B.  Merrill,  Bass 

AND    THE 

Boston  Festival  Orchestra 

Synopsis  of  the  Program 

For  Chorus,  Soloists,  and  Orchestra 

The  Nativity,  a  Cantata,  by John  K.  Paine 

In  Constant  Order,  a  Cantata,  by Carl  Maria  von  Weber 

Ave  Verum  and  Glory,  Honor,  Praise,  and  Power, 

Two  Motets,  by      ......         .  Wolfgang  Amadeus  Mozart 

For  Chorus  and  Piano 
Captain,  O  my  Captain,  by Edgar  Stillman  Kelly 

Tickets,  50  cents,  75  cents,  $1.00 

CHICRERING       HALL, 

Monday  evening,  March  9,  at  8 

The  Kneisel  Quartet 

FRANZ   KNEISEL,  xst  Violin  LOUIS  SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin         ALWIN   SCHROEDER,  Violoncello 

Programme 

SCHUMANN Quartet  in  A  minor,  Op.  41,  No.  i 

BACH       .......  Sonata  in  C  major  for  Violoncello 

(Without  accompaniment.) 

Mr.  Alwin  Schroeder 

BRAHMS  .  .         Sextet  in  G  major,  for  Two  Violins,  Two  Violas,  and  Two 

Violoncellos 


Assisting  Artists 
Mr.  Max  Zach,  Viola  Mr.  J.  Keller,  Violoncello 

(968) 


Uhe  Choral  Jlrt  Society 

of  Boston 
MR.  WALLACE  GOODRICH,  Conductor 

WILL   RENDER   ITS   SECOND    PROGRAM    IN   TRINITY   CHURCH 
ON    FRIDAY   EVENING,    MARCH  13,   AT   8.30   O'CLOCK  J>  jk  J. 


Program 

CRUCIFIXUS  (ten  parts) Lotti 

AVE  MARIA Arcadelt 

MOTET,  Tristis  est  anima  mea  .        .        .        .       O.  di  Lasso 

MOTET,  O  filii  et  filiae  (double  chorus)       ...         V.  Leisring 

Stabat  Mater  Speciosa G.  W.  Chadwick 

(For  women's  voices) 
PATERNOSTER Verdi 

CHERUBIM  SONG Tschaikowsky 

MOTET  for  double  chorus,  Komm,  Jesu,  komm  .         J.  S.  Bach 

THREE  ANTHEMS  for  eight-part  chorus        .        .        .      Mendelssohn 
riorgenhymne,  with  organ  and  harp      ....  Henschel 


ADMISSION    ONLY    BY    ANNUAL    SUBSCRIPTION.      INFORMA- 
TION   REGARDING    SUBSCRIPTION     MAY    BE    OBTAINED    OF 

CHARLES  G.  SAUNDERS,  Secretary, 
95  Milk  Street,  Boston. 

(9G9) 


firs.  H.  H.  A.  Beach  will  give  a  concert  of  her  own 
compositions,  for  the  benefit  of  the  Boston  Nursery  for  Blind 
Babies,  in  Steinert  Hall,  Wednesday,  March  18,  at  a.30  p.m. 
Mrs.  Beach  will  be  assisted  by  firs,  Kileski-Bradbury, 
Soprano;  firs.  Homer  E.  Sawyer,  Contralto;  and  fir. 
George  J.  Parker,  Tenor.  Many  of  the  compositions  on 
the  program  are  still  in  manuscript.  All  seats  reserved.  Tickets, 
1 2. 00,  for  sale  at  Steinert's. 

EDWI/N   H.  LEMARE 

The  noted  English  Organist,  will  give 

THE  OPENING  RECITAL  on  the  New  Berkeley  Temple  Organ 

BERKELEY  TEMPLE,  corner  Berkeley  Street  and  Warren  Avenue 

THURSDAY    EVENING,    MARCH    19,    \  903,    at    8 

Reserved  seat  tickets,  50c.  and  $1.00,  on  sale  at  Herrick's,  Berkeley  Temple  church 
office  (telephone,  Tremont  1011),  and  at  the  door. 


"  He  plays  with  authority.'' — Philip  Hale. 

"  That  Mr.  Lemare  is  a  phenomenal  organist  must  be  at  once  conceded." — Louis  C.  Elson. 

"  What  Paderewski  is  to  the  piano,  Lemare  is  to  the  organ." —  Organist  Duncan,  New  York. 


SANDERS  THEATRE,  CAMBRIDGE 


The  Boston  Symphony  Orchestra 

70  TERFORMERS.    Stir.   WILHELM  GERICKE,  Conductor 


Thursday  Evenings 

MARCH   \2  APRIL  2  APRIL  23 

at  7.45 


SOLO  ARTISTS 

MISS  WINIFRED  SMITH  MR.  GEORGE  PROCTOR 

MR.  CARL  STASNY  MME.  BLOOMFIELD-ZEISLER 

MR.  ADOLF  BAK 

AND    OTHERS   TO    BE    ANNOUNCED. 


TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 

at  the  door. 

(970) 


MUSICAL   INSTRUCTION. 


Miss  HARRIET  S.  WHITTIER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
J  183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 
HiSS  GERTRUDE  EDMANDS,  Vocal  Instruction. 

EXETER    CHAMBERS. 


Mr.  CHARLES  B.  STEVENS, 


Specialist  in  the  Science  of 
Tone  Production  and  the  Art  of  Singing. 

Studio  20,  Steinert  Hall  Building. 


Telephone,  1331  Oxford. 


Hiss  ANNA  MILLER  WOOD, 

flEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Hiss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


(971) 


Miss  SDZA  DOANE. 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


Miss  JESSIE  DAVIS 


Pupil  of  Harold  Bauer. 


CONCEPTS  and    RECITALS. 
...LESSONS... 

Studio,   163    flassachusetts  Avenue. 


Miss  HARRIET  A,  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TENOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mi.  6DSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Violin,  Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 


79  Gainsboro  Street. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEdBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 
DAVID   POPPER. 

STUDIO:  171A    TREflONT  STREET. 


JOHN  G.  MANNING, 


Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHBSI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Hrs.  riabel  Hariri  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 
MANDOLIN,  GUITAR,  AND  BANJO 
INSTRUCTION." 
8  St.  Botolph  Street,  Boston. 


(972) 


The  Famous  French  Pianist 

FIRST 
AMERICAN  TOUR 


MANAGEMENT 

L.  M.  RUBEN 

J08  FIFTH  AVENUE 
NEW  YORK 


THE  WEBER  TIANO  USED 


.JEAP*R£KK£ 
EDOUAKD*KESZKt 

......"While  cifcumjtancej 

have  sometime^  rendered  the  temporary 
U5e  of  other  instruments  nece#ary,  J 
our  preference,  conviction  and 
artistic  judgment  have  been 
and  are  for  your  5Uperb 
"™(a$ter  works'' 


STEIN  WAY   PIANOS 


M.  STEINEPT  &  SONS  CO. 

162  to  165  Boylston  Street,  Boston,  Mass. 


PRoGRAiWE 


§f|8ll 


Conductor  of  the  Handel  and  Haydn  Society, 
Conductor  of  the  Apollo  Club,  Conductor  of 
the  Boston  Festival  Orchestra,  Musician,  Vio= 
linist,  Pianist,  writes  to 

Mason  (Si  Hamlin  Co. 

December  12,  1901 
Mason  &  Hamlin  Co. 

Gentlemen, —  The  Grand  pianoforte  of  your  make 
which  I  purchased  of  you  two  years  or  so  ago  has 
proven  itself  a  most  superb  instrument. 

It  stands  remarkably  well,  and,  in  fact,  like  a 
Stradivarius  violin,  it  improves  with  age.  I  am  sure 
you  are  to  be  congratulated  on  your  production,  and 
I  am  sure  the  artist  must  be  grateful  to  you  for  your 
production.  The  instruments  you  are  now  producing 
are  not  only  fine  pianofortes,  but  they  are  a  potent 
influence  working  for  the  best  in  the  highest  of  all  the 
arts, —  music. 

With  admiration  for  the  loyalty  with  which  you 
work  toward  your  lofty  ideal,  and  with  sincere  wishes 
for  your  continued  success,  I  am, 

Very  truly  yours, 

(Signed)  EMIL  MOLLENHAUER. 


M.  vSteinert  (Si  Soi\s  Co- 

New  England  Representatives 


Boston   Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY -SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

EIGHTEENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     J    *    J*    J* 


FRIDAY  AFTERNOON,  MARCH  13, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  MARCH  14, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS.  Manager. 

(! 17.(1 


ME  S  S  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


974) 


TWENTY-SECOND  SEASON,  1902-1903. 


Eighteenth  Rehearsal   and  Concert* 


FRIDAY  AFTERNOON,  MARCH  13,  at  2.30  o'clock. 

SATURDAY  EVENING,  MARCH  14,  at  8.00  o'clock. 


Georg  Schumann 

Weber       . 

Tschaikowsky 
Beethoven 


PROGRAMME. 

Overture,  "The  Dawn  of  Love/'  Op.  28 

(First  time.) 

Romance,  "'Neath  the  Almond  Blossom,"  from 
"Euryanthe"  (Act  I.,  No.  2) 

"  Romeo  and  Juliet,"  Overture-fantasia  after 
Shakespeare 

Cantata,  "  Adelaide,"  Op.  46 

(With  orchestral  accompaniment.) 


Charpentier 


"  Impressions  of  Italy,"  Orchestral  Suite 


I.     Serenade. 
II.     At  the  Fountain. 
On  Muleback. 
On  the  Summits. 
Naples. 


III. 

IV. 

V. 


SOLOIST : 

Mr.  ELLISON  VAN  HOOSE. 


There  will  be  an  intermission  of  ten  minutes  before  the  Charpentier  selection. 


There  will  be  no  Public  Rehearsal  and  Concert  next  week. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.  _____^^^ 

City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 
(978) 


L.  P.  Hollander  &  Co. 

Ready-to-wear  Department  (Second  Floor). 

NEW  STYLES  IN 

Ladies'  Tailor  Costumes,  Walking  Suits, 
and  Top  Coats  now  ready. 

When   the    desired    sizes    are   not   found   in   stock,  SPECIAL 
ORDERS  will  be  taken  without  extra  charge. 


Waist  Department  (same  floor), 

NEW  MODELS  IN 

Crepes,  Pongees,  and  India  Silk  WAISTS* 

We  are  having  all  waists  made  in  our  own  workrooms  this 
season,  thus  securing  exclusive  designs. 


DIAMONDS 

Watches,  Clocks, 

Silverware,  Cut  Glass, 

Fine  Jewelry,  Bric-a-Drac. 

One  of  the  Largest  Assortments 
in  the  Country 

Reliable  Goods 

Prices  Moderate 

SMITH, 
PATTERSON 

C    PA     Wholesale  ijl&^a* 

**     V/V*.        and    Potnil  jjjk  >-^,\ .  ■jfiS-tfGfc ~&k£ 


(65 


«J^ 


"^  *  **  wvr*  and  Retai| 

g  4^o-   52  Summer  St. 


Overture,  "The  Dawn  of  Love,"  Op.  28        ...     Georg  Schumann. 

(Born  Oct.  25,  1866,  at  Konigstein;  now  living  at  Berlin.) 

This  overture,  entitled  "  Fruhlingsfeier "  ("The  Celebration  of  the 
Return  of  Spring  "),  was  produced  at  a  concert  of  the  Philharmonic  Or- 
chestra, Berlin,  Mr.  Nikisch  conductor,  for  the  benefit  of  its  Pension  Fund, 
April  1,  1 90 1.  The  programme  of  that  concert  stated  that  the  composer 
intended  to  picture  in  music  "  not  only  the  mood  of  Nature  in  the  height 
of  bloom,  but  still  more  the  jubilation  which  bursts  forth  from  the  full 
feelings  of  man  in  the  flush  of  his  being."  The  overture  was  criticised  at 
the  time  as  being  too  energetic  an  expression  of  the  musical  thoughts  sug- 
gested by  the  title.  Perhaps  it  was  for  this  reason  that  Schumann  changed 
the  title  to  "  The  Dawn  of  Love." 

The  overture  was  performed  at  an  Arion  Concert,  New  York,  Nov.  16, 
1902. 

It  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2  bassoons, 
double-bassoon,  4  horns,  1  cornet  a.  pistons,  2  trumpets,  3  trombones, 
bass  tuba,  kettle-drums,  triangle,  cymbals,  strings.  It  is  dedicated  to  the 
Grand  Duchess  Elisabeth  von  Oldenburg. 

Schumann  in  this  overture  stands  on  classic  ground.  However  modern 
the  material  may  be,  the  form  is  conventional  and  long  approved.  The 
overture  is  based  practically  on  two  themes.  The  first  rises  in  the  'cellos 
against  lively  triplets  of  wood-wind  and  after  a  few  pizzicato  strokes.  This 
theme  broadens,  is  taken  up  by  the  wood-wind,  in  which  violins  join,  then 
appears  in  horns  and  trumpets,  and  is  finally  played  by  the  whole  string- 
band.  It  reaches  a  high  pitch  of  intensity.  Fragments  of  this  theme  are 
used  independently,  and  lead  to  the  song-section,  un  poco  tranquillo,  which 
is  in  strong  contrast  with  the  preceding  pages.  This  second  theme,  sung 
gently  by  flutes  and  clarinets,  grows  more  emotional,  until  it  assumes 
brilliance  (strings).  There  is  repeated  alternation  of  double  and  triple 
rhythm.  A  subsidiary  theme  developed  from  the  rhythm  of  the  first 
theme  appears,  and  leads  by  a  fortissimo  to  the  working-out  section,  which 
is  contrapuntally  conspicuous,  yet  concise  rather  than  spun  out.  There 
are  new  and  characteristic  features  in  the  repetition  of  the  two  themes. 


NEW  ENGLAND  CONSERVATORY  OF  MUSIC. 

GEORGE  W.  CHADW1CK,    Director. 
Huntington  Avenue,  Boston,  one  block  from  Symphony  Hall. 

SECOND   SESSION 
Begins  Thursday,  February  5. 


Registration   begins  January  29. 

(977) 


V.  Ballard   & 
Sons 

SPRING,  1903 

New   models    now  ready 

Mr 

7F 

j^ancj/  Street  Sowns 

Carriage  Costumes 

Tjai'lor   Cloth   Sowns 

tsrivi'ng    Coats    and    u/sters 

Zj  A  eat  re  Coats 

Cft/ding  jfcabits 

■  \lr 

256  BOYLSTON  STREET 
BOSTON 


(978) 


Toward  the  end  of  the  overture  a  new,  fresh  motive  appears  in  horns  and 
wood-wind.  It  gives  way  to  the  chief  theme,  which  brings  the  exultant 
end. 


Romance,  "'Neath  the  Almond  Blossom."     Carl  Maria  von  Weber. 

(Born  at  Eutin,  Oldenburg,  Dec.  iS,  17S6;  died  at  London,  June  5,  1826.) 

"  Euryanthe,"  grand  heroic-romantic  opera  in  three  acts,  book  founded 
by  Helmina  von  Chezy,  on  an  old  French  tale  of  the  thirteenth  century, 
"  Histoire  de  Gerard  de  Nevers  et  de  la  belle  et  vertueuse  Euryant  de 
Savoye,  sa  mie,"' —  a  tale  used  by  Boccaccio  (Decameron,  second  day,  ninth 
novel)  and  Shakespeare  (*'  Cymbeline  "), —  music  by  von  Weber,  was  pro- 
duced at  Vienna,  Oct.  25,  1825.  This  romance,  first  sung  by  Anton 
Haizirger  *  (1796-1869),  is  the  second  number  of  the  first  act. 

The  German  text  has  been  versified  in  English  by  some  unknown  as 
follows :  — 

'Neath  the  almond  blossom  waving, 

By  the  Loire's  flowing  stream, 
Where  my  loved  one  first  did  charm  me, 

There  of  her  I  fondly  dream. 
She,  the  purest,  sweetest,  dearest, 

Chaste  as  snow,  a  rose  most  rare  I 
'Neath  the  almond  blossom  waving, 

She  appears  in  vision  fair. 

When  the  golden  stars  were  shining 

On  the  Loire's  fertile  shore, 
Flash'd  to  heav'n  her  radiant  glances, 

Pledging  love  forevermore. 
Joyful,  hopeful,  fond,  and  faithful, 

Eye  to  eye  spoke  love  to  love ; 
'Neath  the  stars  forever  shining 

Hearts  were  knit  by  Ileav'n  above. 

*Anton  Haizinger,  celebrated  operatic  tenor,  born  at  Wilfersdorf,  1796,  died  at  Vienna  in  1869.  A 
teacher  at  Vienna,  he  studied  under  Salieri,  sang;  at  the  Theater  an  der  Wien,  and  was  afterward  engaged  for 
his  life  at  Carlsruhe.  He  sang  as  "  guest  "  at  London  as  well  as  at  Paris.  Chorley  saw  him  in  "  Fidelio" 
with  Schroder-Deviient  at  London  in  1S31  :  "The  tenor  who  played  with  her,  Herr  liailzinger  (sic),  a  man 
of  great  German  reputation,  was  a  meritorious  musician,  with  an  ungainly  presence  and  a  disagreeable,  throaty 
voice  —  an  actor  whose  strenuousness  in  representing  the  hunger  of  the  imprisoned  captive  in  the  dungeon 
trenched  closely  on  burlesque.     How  he  patted  his  stomach,  I  well  remember  " 


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Lovely  rose,  of  faith  the  token, 

On  the  Loire's  verdant  strand, 
E'en  when  storm  and  wave  are  raging, 

Thou  the  pledge  of  spring  shalt  stand. 
Fondest,  purest,  sweetest,  dearest ! 

I  am  thine,  and  thou  mine  own, 
Lovely  rose,  of  faith  the  token, 

Grace  my  darling's  breast  alone. 

This  romance  was  sung  for  the  first  time  at  these  concerts  by  Mr. 
William  J.  Winch,  Jan.  25,  1890. 

The  opera  was  performed  in  New  York  at  the  Metropolitan  Opera 
House  as  late  as  Dec.  23,  1887,  when  Alvary  tcok  the  part  of  Adolar. 
The  Liederkranz  of  New  York  gave  the  first  act  in  concert  fotm,  Dec.  1, 
1884. 

The  accompaniment  of  the  romance  is  scored  for  2  flutes,  2  clarinets, 
2  bassoons,  2  horns,  and  strings. 


•'  Romeo  and  Juliet,"  Overture-fantasia  after  Shakespeare. 

Peter  Iljitsch  Tschaikowsky. 

(Born  at  Votkinsk,  in  the  government  of  Viatka,  Russia,  May  7,  1840;  died 
at  St.  Petersburg,  Nov.  5-6,  1893.) 

The  "  Romeo  and  Juliet "  overture-fantasia  as  played  to-day  is  by  no 
means  the  work  as  originally  conceived  and  produced  by  the  composer. 

Kashkin  told  us  a  few  years  ago  about  the  origin  of  the  overture,  and 
how  Tschaikowsky  followed  Mily  Balakireff's  suggestions  :  "  This  is  always 
associated  in  my  mind  with  the  memory  of  a  lovely  day  in  May,  with  ver- 


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dant  forests  and  tall  fir-trees,  among  which  we  three  were  taking  a  walk. 
Balakireff  understood,  to  a  great  extent,  the  nature  of  Tschaikowsky's 
genius,  and  knew  that  it  was  adequate  to  the  subject  he  suggested.  Evi- 
dently he  himself  was  taken  with  the  subject,  for  he  explained  all  the 
details  as  vividly  as  though  the  work  had  been  already  written.  The  plan, 
adapted  to  sonata  form,  was  as  follows :  first  an  introduction  of  a  religious 
character,  representative  of  Friar  Laurence,  followed  by  an  Allegro  in 
B  minor  (Balakireff  suggested  most  of  the  tonalities),  which  was  to  depict 
the  enmity  between  the  Montagues  and  Capulets,  the  street  brawl,  etc. 
Then  was  to  follow  the  love  of  Romeo  and  Juliet  (second  subject,  in  D- 
flat  major),  succeeded  by  the  elaboration  of  both  subjects.  The  so-called 
'development' — that  is  to  say,  the  putting  together  of  the  various  themes 
in  various  forms  —  passes  over  to  what  is  called,  in  technical  language, 
the  '  recapitulation,'  in  which  the  first  theme,  Allegro,  appears  in  its  origi- 
nal form,  and  the  love  theme  (D-flat  major)  now  appears  in  D  major,  the 
whole  ending  with  the  death  of  the  lovers.  Balakireff  spoke  with  such 
conviction  that  he  at  once  kindled  the  ardor  of  the  young  composer." 
(Englished  by  Mrs.  Rosa  Newmarch.) 

After  Kashkin's  Reminiscences  of  Tschaikowsky  appeared,  Modest 
Tschaikowsky's  Life  of  his  illustrious  brother  was  announced ;  and  the 
minute  and  extremely  interesting  biography,  published  in  parts,  acquaints 
us  with  the  composer's  career  up  to  December,  1879.  (I  refer  now  to  the 
translation  into  German.)  Let  us  see  what  Modest  says  about  the  origin 
and  early  years  of  this  overture. 

The  first  mention  of  "  Romeo  and  Juliet  "  is  in  a  digression  concerning 
the  influence  of   Henri  Litolff,  the  composer  of  the  "  Robespierre "  and 


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He  thinks  and  plans  how  you  can  harmonize 
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"  The  Girondists  "  overtures,  over  Tschaikowsky ;  and.  if  we  wonder  at  this, 
it  is  a  good  thing  to  remember  that  the  flamboyant  Litolff  was  once  taken 
most  seriously  by  Liszt  and  others  who  were  not  ready  to  accept  the 
claims  of  every  new-comer.  But  it  is  not  necessary  for  us  to  examine  now 
any  questions  of  opinion  concerning  real  or  alleged  influence. 

It  was  during  the  winter  of  1868-69  tnat  Tschaikowsky  fell  madly  in  love 
with  the  singing-woman,  Marguerite  Josephine  Desiree  Artot.  The  story  of 
this  passion,  of  his  eagerness  to  marry  her,  of  her  sudden  choice  of  the 
baritone  Padilla  as  a  husband, —  the  tale  has  already  been  told  in  a 
programme-book  as  an  entr'acte.  It  is  enough  to  say  that  in  1869  Tschai- 
kowsky was  still  passionately  fond  of  her,  and  it  was  not  for  some  years 
that  he  could  even  speak  her  name  without  emotion. 

In  August,  1869,  Tschaikowsky  wrote  to  his  brother  Anatole  that  Mily 
Balakireff,  the  head  of  the  neo-Russian  band  of  composers  (among  whom 
were  Rimsky-Korsakoff,  Borodin,  Cesar  Cui),  was  then  living  at  Moscow. 
"  I  must  confess  that  his  presence  makes  me  rather  uncomfortable  :  he 
obliges  me  to  be  with  him  the  whole  day,  and  this  is  a  great  bore.  It's 
true  he  is  a  very  good  man,  and  he  is  deeply  interested  in  me :  but  — 
I  don't  know  why  —  it  is  hard  work  for  me  to  be  intimate  with  him.  The 
narrowness  of  his  musical  opinions  and  his  brusque  manner  do  not  please 
me."  He  wrote  a  few  days  later  :  "  Balakireff  is  still  here.  We  meet 
often,  and  it  is  my  firm  belief  that,  in  spite  of  all  his  virtues,  his  company 
would  oppress  me  like  a  heavy  stone,  if  we  should  live  together  in  the 
same  town.  The  narrowness  of  his  views  and  the  arrogance  with  which 
he  holds  them  are  especially  disagreeable  to  me.  Nevertheless,  his  presence 
has  helped  me  in  many  ways."  And  he  wrote  August  18  :  "  Balakireff 
went  away  to-day.  If  he  was  in  my  opinion  irritating  and  a  bore,  justice 
compels  me  to  say  that  I  consider  him  to  be  an  honorable  and  a  good 
man,  and  an  artist  that  stands  immeasurably  higher  than  the  crowd.  We 
parted  with  true  emotion." 

Tschaikowsky  began  work  on  "  Romeo  and  Juliet  "  toward  the  end  of 
September,  1869.  Balakireff  kept  advising  him,  urging  him  on  by  letter. 
Thus  he  wrote,  October  4 :  "It  seems  to  me  that  your  inactivity  comes 
from    the   fact    that   you   do    not  concentrate   yourself,  in  spite  of   your 


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'  friendly  hovel '  of  a  lodging."  (Yet  Tschaikowsky  had  been  working 
furiously  on  twenty-five  Russian  songs  arranged  for  pianoforte,  four 
hands,  "  in  the  hope  of  receiving  money  from  Jurgenson,"  the  publisher.) 
Balakireff  went  on  to  tell  him  his  own  manner  of  composition,  and  illus- 
trated it  by  his  "  King  Lear  "  overture.  "  You  should  know,"  he  added, 
"  that  in  thus  planning  the  overture  I  had  not  as  yet  any  determined  ideas. 
These  came  later,  and  began  to  adjust  themselves  to  the  traced  outlines  of 
the  forms.  I  believe  that  all  this  would  happen  in  your  case,  if  you  would 
only  first  be  enthusiastic  over  the  scheme.  Then  arm  yourself  with  ga- 
loshes and  a  walking-stick,  and  walk  along  the  boulevards.  Begin  with 
the  Nikitsky,  let  yourself  be  thoroughly  impregnated  with  the  plan,  and 
I  am  convinced  that  you  will  have  found  some  theme  or  an  episode  by  the 
time  you  reach  the  Sretensky  Boulevard.  At  this  moment,  while  I  think 
of  you  and  your  overture,  I  myself  am  aroused  involuntarily,  and  I  picture 
to  myself  that  the  overture  must  begin  with  a  raging  '  Allegro  with  sword- 
cuts,'  something  like  this  "  (Balakireff  sketched  five  measures,  to  which 
Tschaikowsky  evidently  paid  little  heed)  ;  "  I  should  begin  something  like 
this.  If  I  were  to  compose  the  overture,  I  should  thus  grow  enthusiastic 
over  this  egg,  and  should  hatch  it,  or  I  should  carry  about  the  kernel  in 
my  brain  until  something  living  and  possible  in  this  fashion  were  devel- 
oped from  it.  If  letters  just  now  would  exert  a  favorable  influence  over 
you,  I  should  be  exceedingly  happy.  I  have  some  right  to  lay  claim  to 
this,  for  your  letters  are  always  a  help  to  me."  In  November  he  wrote 
again  in  words  of  lively  interest ;  he  asked  Tschaikowsky  to  send  him 
sketches,  and  promised  that  he  would  say  nothing  about  them  until  the 
overture  was  finished. 

Tschaikowsky  sent  him  his  chief  themes,  and,  lo,  Balakireff  wrote  a  long 
critical  review  :  "  The  first  theme  does  not  please  me  at  all ;  perhaps  it 
will  come  out  all  right  in  the  development,  but  as  it  now  is,  in  its  naked 
form,  it  has  neither  strength  nor  beauty,  and  does  not  adequately  charac- 
terize Friar  Laurence.  Here  is  the  place  for  something  after  the  manner 
of  a  choral  by  Liszt  ('  Der  nachtliche  Zug,'  '  Hunnenschlacht,'  and 
'  Die  heilige  Elisabeth  ')  in  old  Catholic  style  ;  but  your  theme  is  of  a 
wholly  different  character,  in  the  style  of  a  quartet  by  Haydn,  bourgeois 


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music  which  awakens  a  strong  thirst  for  beer.  Your  theme  has  nothing 
antique,  nothing  Catholic  about  it ;  it  is  much  nearer  the  type  of  Gogol's 
'  Comrade  Kunz,'  who  wished  to  cut  off  his  nose  so  that  he  should  not  be 
obliged  to  pay  out  money  for  snuff.  It  is  possible  your  theme  will  be  very 
different  in  the  development  —  and  then  I'll  take  all  this  back.  As  for 
the  theme  in  B  minor,  it  would  serve  as  a  very  beautiful  introduction  for 
a  theme.  After  the  running  about  in  C  major  must  come  something  very 
energetic,  powerful.  I  take  it  that  this  is  really  so,  and  that  you  were 
too  lazy  to  write  out  the  continuation.  The  first  theme  in  D-flat 
major  is  exceedingly  beautiful,  only  a  little  languishing ;  the  second 
in  D-flat  major  is  simply  wonderful.  I  often  play  it,  and  I  could  kiss  you 
heartily  for  it.  There  is  love's  ardor,  sensuousness,  longing,  in  a  word, 
much  that  would  be  exactly  to  the  taste  of  the  immoral  German  Albrecht. 
I  have  only  one  criticism  to  make  about  this  theme:  there  is  too  little 
inner,  psychical  love,  but  rather  fantastical,  passionate  fervor,  with  only 
slight  Italian  tinting.  Romeo  and  Juliet  were  no  Persian  lovers:  they 
were  Europeans.  I  don't  know  whether  you  understand  what  I  wish  to 
say — I  always  rind  a  great  difficulty  in  expression;  I  launch  into  a 
musical  treatise,  and  I  must  take  refuge  in  illustrative  examples:  the 
theme  in  Aflat  major  in  Schumann's  'Kraut  von  Messina'  overture  is  a 
good  example  of  a  motive  in  which  there  is  expression  of  inner  love. 
This  theme,  I  admit,  has  its  weaknesses;  it  is  morbid  and  too  sentimental 
toward  the  end,  but  the  ground-mood  is  exceedingly  well  caught.  I  await 
impatiently  the  whole  score  for  a  just  view  of  your  overture,  which  is  full 
of  talent.  It  is  your  best  work,  and  your  dedication  of  it  to  me  pleases 
me  mightily.  This  is  the  first  piece  by  you  which  fascinates  by  the  mass 
of  its  beauties,  and  in  such  a  way  that  one  without  deliberation  can  call  it 
good.  It  is  not  to  be  likened  to  the  old  drunken  Melchisedek,  who 
breaks  into  a  horrible  trepak  *  in  the  Arbatsky  Place,  from  sheer  misfort- 
une.    Send  me  the  score  as  soon  as  possible.     I  pant  to  know  it." 

Tschaikowsky  made  some  changes  ;  and  still  Balakireff  was  not  satisfied. 
He  wrote  Jan.  22,  187  1  :  "  I  am  much  pleased  with  the  introduction,  but  I 
do  not  at  all  like  the  dose.  It  is  impossible  for  me  to  write  explicitly  about 
it.     It  would  be  better  for  you  to  come  here,  where  we  could  talk  it  over. 


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You  have  made  something  new  and  good  in  the  middle  sect'on,  the  alter- 
nating chords  on  the  organ-point  above,  a  little  '  a  la  Ruslan.'*  There  is 
much  routine  in  the  close ;  the  whole  part  after  the  end  of  the  second 
theme  (D  major)  is,  as  it  were,  pulled  violently  out  of  the  head.  The 
very  end  itself  is  not  bad,  but  why  these  blows  in  the  last  measures  ?  They 
contradict  the  contents  of  the  drama,  and  it  is  coarse.  Nadeshda  Nikola- 
jewna  j  has  stricken  out  these  chords  with  her  pretty  little  hand,  and  would 
fain  close  her  pianoforte  arrangement  with  a  pianissimo." 

Nor  was  Balakireff  content  with  these  criticisms.  He  wrote  :  "  It's  a 
pity  that  you,  or,  rather,  N.  Rubinstein,  was  in  such  a  hurry  about  the 
publication  of  the  overture.  Although  the  new  introduction  is  far  more 
beautiful,  I  had  the  irresistible  wish  to  change  certain  passages  in  the  over- 
ture, and  not  to  dismiss  it  so  quickly,  in  the  hope  of  your  future  works.  I 
hope  that  Jurgenson  will  not  refuse  to  give  the  score  of  the  newly  revised 
and  finally  improved  overture  to  the  engraver  a  second  time." 

Tschaikowsky  wrote,  Oct.  7,  1869,  that  the  overture  was  completed.  It 
was  begun  Sept.  25.  1869  ;  the  sketch  was  finished  October  7  ;  by  Nov.  15, 
1869,  it  was  scored.  In  the  course  of  the  summer  of  1870  it  was  wholly 
rewritten  :  there  was  a  new  introduction,  the  dead  march  toward  the  close 
was  omitted,  and  the  orchestration  was  changed  in  many  passages. 

"  Balakireff  and  Rimsky-Korsakoff  were  here  yesterday,"  Tschaikowsky 
wrote  on  Jan.  13,  1870;  "  Balakireff  begins  to  honor  me  more  and  more.t 
.  .  .   My  overture  pleased  them  very  much,  and  it  also  pleases  me. 

A  day  or  so  before  the  performance  Tschaikowsky  wrote  his  brother 
Modest:  "There  has  already  been  one  rehearsal.  The  piece  does  not 
seem  to  be  ugly.     As  for  the  rest —  that  is  known  only  to  the  dear  Lord  !  " 

The  first  performance  of  the  overture  was  on  March  4,  1870,  at  a  con- 
cert of  the  Musical  Society,  Moscow.  The  work  was  not  successful. 
Nicolas  Rubinstein,  who  conducted,  had  just  been  sentenced  to  a  fine  of 
twenty-five  roubles  on  account  of  some  act  of  executive  severity  in  the 
Conservatory.     A  newspaper  on  the  day  of  the  concert  suggested  that  the 

*  After  the  manner  of  Glinka  in  his  opera,  "  Ruslan  und  Ludmilla  '*  (St.  Petersburg,  1842). 

t  The  wife  of  Rimsky-Korsakoff.     In  his  final  version  Tschaikowsky  himself  struck  out  the  chords. 

t  Tschaikowsky  some  years  afterward  wrote  letters  in  which  he  defined  clearly  his  position  toward  the 
"  Cabinet  "  of  the  neo-Russian  school,  and  also  put  forth  his  views  on  "  national  music.-'  In  a  letter  written 
to  Mrs.  von  Meek  (Dec.  24,  1877)  he  described  Balakireff  as  "  the  most  important  individuality  of  the  circle; 

NEW   IMPORTATIONS. 

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GAS  and  ELECTRIC  READING  LIGHTS 
in  dainty  and  artistic  designs. 

FINE   LAMPS  AND  ALL  ACCESSORIES. 

David  R-  Craig, 

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(988) 


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(989) 


admirers  of  Rubinstein  should  take  up  a  collection  at  the  concert,  so  that 
he  should  not  be  obliged  to  serve  out  the  fine  in  jail.  This  excited  such 
indignation  that,  when  Rubinstein  appeared  on  the  stage,  he  was  greeted 
with  great  enthusiasm,  and  no  one  thought  of  overture  or  concert. 
Tschaikowsky  wrote  to  Klimenho :  "  My  overture  had  no  success  at  all 
here,  and  was  wholly  ignored.  .  .  .  After  the  concert  a  crowd  of  us  supped 
at  Gurin's  restaurant.  During  the  whole  evening  no  one  spoke  to  me  a 
word  about  the  overture.  And  yet  I  longed  so  for  sympathy  and 
recognition." 

During  a  sojourn  in  Switzerland  that  summer  Tschaikowsky  made 
radical  changes  in  "Romeo  and  Juliet."  Through  the  assistance  of 
N.  Rubinstein  and  Karl  Klindworth,  the  overture,  dedicated  to  Mily 
Alexejewitsch  Balakireff,'  was  published  by  Bote  and  Bock,  of  Berlin,  in 
187 1.     It  was  soon  played  in  German  cities. 

But  Tschaikowsky  was  not  satisfied  with  his  work.  He  made  still 
other  changes,  and,  it  is  said,  shortened  the  overture.  The  second  edition, 
published  in  1881,  contains  these  alterations. 

The  first  performance  of  "  Romeo  and  Juliet  "  in  America  was  by  the 
Philharmonic  Society  of  New  York,  Carl  Bergmann  conductor,  April  22, 

but  he  has  grown  mute  and  has  done  little.  He  has  an  extraordinary  talent,  which  has  been  choked  by 
various  fatal  circumstances.  After  he  had  made  a  parade  of  his  infidelity,  he  suddenly  turned  devote.  Now 
he  is  always  in  church,  fasts,  prays  to  all  sorts  of  relics  —  and  does  nothing  else.  In  spite  of  his  extraor- 
dinary gifts,  he  has  stirred  up  much  mischief.  It  was  he  that  ruined  the  early  years  of  Rimsky-Korsakoff 
by  persuading  him  that  he  had  nothing  to  learn.  He  is  the  true  inventor  of  the  doctrines  of  this  remarkable 
circle,  in  which  so  much  undeveloped  or  falsely  developed  strength,  or  strength  that  prematurely  went  to 
waste,  is  found."  Balakireff,  bom  in  1836,  still  lives  in  St.  Petersburg.  He  has  not  been  idle  of  late  years, 
but  has  written  a  symphony  as  well  as  ingenious  pianoforte  pieces.  Among  his  earlier  orchestral  works  are 
symphonic  poems  ("  Tamara  "  and  "  King  Lear  ")  and  overtures  with  Russian,  Czech,  and  Spanish  themes. 
His  oriental  fantasia,  "  Islamei,"  for  pianoforte,  is  well  known  in  this  country,  and  his  "Tamara  "  was 
played  by  the  Chicago  Orchestra  in  1896. 


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(991) 


1876.     The  first  performance  in  Boston  was  by  the  Symphony  Orchestra, 
Feb.  8,  1890. 

The  work  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  cor  anglais, 
2  bassoons,  4  horns,  2  trumpets,  3  trombones,  bass  tuba,  a  set  of  3  kettle- 
drums, bass  drum,  cymbals,  harp,  strings. 


# 
#  # 


The  overture  begins  Andante  non  tanto,  quasi  moderato,  F-sharp  minor, 
4-4.  Clarinets  and  bassoons  sound  the  solemn  harmonies,  which,  accord- 
ing to  Kashkin,  characterize  Friar  Laurence ;  and  yet  Hermann  Teibler 
finds  this  introduction  symbolical  of  "  the  burden  of  fate."  * 

A  short  theme  creeps  among  the  strings.  There  is  an  organ-point  on 
D-flat,  with  modulation  to  F  minor  (flutes,  horns,  harp,  lower  strings). 
The  Friar  Laurence  theme  is  repeated  (flutes,  oboes,  clarinets,  cor  anglais), 
with  pizzicato  bass.  The  ascending  cry  of  the  flutes  is  heard  in  E  minor, 
instead  of  F  minor  as  before. 

Allegro  giusto,  B  minor,  4-4.  The  two  households  "  from  ancient 
grudge  break  to  new  mutiny."  Wood-wind,  horns,  and  strings  picture  the 
hatred  and  fury  that  find  vent  in  street  broils.  There  is  a  brilliant  pas- 
sage for  strings,  which  is  followed  by  a  repetition  of  the  strife  music. 
Then  comes  the  first  love  theme,  in  D-flat  major  (muted  violas  and  cor 
anglais,  hor  s  in  syncopated  accompaniment,  with  strings  pizz.).  This 
motive  is  not  unlike  in  mood,  and  at  times  in  melodic  structure,  Tschai- 
kowsky's  famous  melody,  "  Nur  wer  die  Sehnsucht  kennt  "  (Op.  6,  No.  6), 
which  was  composed  early  in  December,  1869.  In  the  "  Duo  from  '  Romeo 
and  Juliet,'  "  found  among  Tschaikowsky's  sketches  and  orchestrated  by 
S.  Taneieff,  this  theme  is  the  climax,  the  melodic  phrase  which  Romeo 
sings  to  "O  nuit  d'extase,  arrete  toi,  O  nuit  d'amour,  etends  ton  voile  noir 
sur  nous !  "  ("  Oh,  tarry,  night  of  ecstasy,  O  night  of  love,  stretch  thy  dark 

*"  I  do  not  think  that  Romeo  is  designed  merely  as  an  exhibition  of  a  man  unfortunate  in  love.  I  con- 
sider him  to  be  meant  as  the  character  of  an  unlucky  man, —  a  man  who,  with  the  best  views  and  fairest 
intentions,  is  perpetually  so  unfortunate  as  to  fail  in  every  aspiration,  and,  while  exerting  himself  to  the 
utmost  in  their  behalf,  to  involve  all  whom  he  holds  dearest  in  misery  and  ruin."  This  is  the  view  of  Dr. 
William  Maginn,  who  contrasted  Romeo,  the  unlucky,  with  Bottom,  the  lucky  man. 


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veil  over  us ■!  ")  Divided  and  muted  violins,  with  violas  pizz.,  play 
most  delicate  and  mysterious  chords  (D-flat  major),  which,  in  the  duet  above 
mentioned,  serve  as  accompaniment  to  the  amorous  dialogue  of  Romeo  and 
Juliet  in  the  chamber  scene.     Flutes  and  oboes  take  up  the  first  love  theme. 

There  is  a  return  to  tumult  and  strife.  The  theme  of  dissension  is 
developed  at  length,  and  the  horns  intone  the  Friar  Laurence  motive. 
The  strife  theme  at  last  dominates  in  fortissimo  until  there  is  a  return  to 
the  mysterious  music  of  the  chamber  scene  (oboes  and  clarinets,  with 
murmurings  of  violins,  and  horns).  The  song  grows  more  and  more  pas- 
sionate until  Romeo's  love  theme  breaks  out,  this  time  in  D  major,  and  is 
combined  with  the  strife  theme  and  the  motive  of  Friar  Laurence  in 
development.  A  tremendous  burst  of  orchestral  fury,  and  there  is  a 
descent  to  the  depths,  until  'cellos,  basses,  bassoons,  alone  are  heard  ; 
they  die  on  low  F-sharp  with  roll  of  kettle-drums.     Then  silence. 

Moderato  assai,  B  minor,  4-4.  Drum-beats,  double-basses,  pizz.,  and 
Romeo's  song  arises  in  lamentation.  Soft  chords  (wood-wind  and  horns) 
bring  the  end. 


* 
*  * 


There  are  other  references  to  "  Romeo  and  Juliet "  in  Modest's  biog- 
raphy. 

W.  W.  Stassoff  recommended  certain  subjects  to  Tschaikowsky  for  like 
overtures.  Shakespeare's  "  Tempest "  was  finally  chosen.  Stassoff 
sketched  the  scenario,  and  wrote  in  a  letter  (Jan.  21,  1873):  "  As  I  have 
thought  this  all  out  in  the  indicated  order,  I  do  not  think  it  possible  to 
leave  out  the  sea  at  the  beginning  and  the  end,  and  to  call  the  overture 
'  Miranda.'     In  your  first  overture  you  unfortunately  omitted  Juliet's  nurse, 


SHREVE,  CRUMP  3  LOW  CO. 


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that  original  character,  and  you  also  left  out  the  picture  of  the  early 
morn,  from  which  the  love  scene  is  developed.  Your  overture  is  won- 
drously  beautiful,  but  it  might  have  been  still  more  beautiful."  * 

Tschaikowsky  wrote  Jurgenson  early  in  1873  that  "Romeo  and  Juliet" 
had  fallen  inlo  the  hands  of  Bessel,  the  publisher,  because  Bote  and  Bock, 
of  Berlin,  had  asked  thirty-five  thalers  for  printing  expenses.  "  I  told 
Bessel  this,  and  he  asked  leave  to  pay  this  sum  for  me,  and  to  receive 
and  keep  for  his  own  use  the  two  pianoforte  arrangements,  which  were 
still  at  Bote  and  Bock's. 

"Romeo  and  Juliet"  was  performed  under  Pasdeloup  at  a  Concert 
Populaire,  Paris,  Nov.  26,  1876.  The  overture  excited  lively  discussion. 
Noel  and  Stoullig  noted  at  the  time:  "The  nervous  audience  of  these 
concerts,  which  cannot  give  a  cool  welcome  to  music  that  displeases  it  or 
is  unintelligible  to  it,  hissed  stoutly  this  orchestral  work.  The  work  is 
too  long,  but  Pasdeloup,  after  all,  did  a  good  thing  in  acquainting  us  with 
it."  Serge  Tane'i'eff  was  in  Paris  at  the  time.  He  wrote  Tschaikowsky 
that  "  Romeo  and  Juliet  "  was  mangled  shockingly  in  the  performance. 
"  The  tempi  were  all  taken  too  fast.  Everything  was  blotted.  The  wind 
instruments  played  the  side-theme  as  though  their  duty  was  to  support 
the  harmony :  they  did  not  appear  to  know  that  they  should  play  the 
melody.  .  .  .  When  the  second  section  of  the  love  theme  was  repeated  in 
D  major,  the  bassoons  played  the  fifths  in  the  bass  so  forcibly  that  they 
covered  everything.  There  were  no  false  notes,  but,  in  spite  of  this  fact, 
the  piece  sounded  miserably.     Pasdeloup,  between  you  and   me,  did  not 

*"The  Tempest,"  Op.  iS,  was  performed  for  the  first  lime  Dec.  7,  1873,  at  Moscow.  It  was  composed 
between  Aug.  7  and  Oct.  ic,  1873. 

When  you  go  to  Paris 

And  order  a  gown,  you  will  find  that  the  Tailleur  will  insist 
upon  a  perfect-fitting  Corset  before  he  begins  his  work.  Seven 
out  often  of  them  will  insist  upon  a 


CLASSIQUE. 


This  Corset  is  generally  acknowledged  to  be  the  most  perfect-fitting  in  the  world. 
At  least,  Paris  says  so  ;  and  Paris  dictates  in  such  matters.  It  is  used  by 
the  most  exclusive  modistes  in  the  French  capital,  the  leaders  who  rule  the 
world  of  dress. 

One  of  the  greatest  distinctions  of  our  establishment  is  the  fact  that  the  "  Clas- 
sique  "  Corset  has  for  years  been  sold  in  Boston  exclusively  by  us  We  have 
just  received  the  new  spring  models.  The  prices  range  from  $5. 75  upwards. 
We  can  fit  any  figure. 

Remember  that  the  "  Classique  "  is  hand-fashioned  by  the  most  skilful  corsetiers 
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comprehend  the  music,  and  he  has  no  idea  of  how  such  a  piece  should  be 
played.  No  wonder  that  the  audience  did  not  like  the  overture,  and  gave 
it  a  very  cool  reception.  I  was  as  much  distressed  as  though  I  myself 
had  played ;  but  the  fault  was  wholly  with  Pasdeloup,  not  with  the  audi- 
ence. This  overture  is  by  no  means  beyond  the  comprehension  of  the 
crowd,  but  it  must  be  well  played.  I  have  played  your  pianoforte  con- 
certo to  Saint-Saens.  He  was  mightily  pleased  with  it.  As  for  that,  the 
musicians  here  are  much  interested  in  your  compositions." 

Tschaikowsky  replied:  "Good  fortune  and  bad  luck  always  come 
together,  and  I  am  not  at  a'l  surprised  that  my  overture  failed,  as  just  at 
present  all  my  pieces  fail  everywhere."  Not  discouraged,  he  thought  of 
going  to  Paris  to  give  a  concert  of  his  own  works  at  the  Chatelet  with 
Colonne's  orchestra,  and  he  framed  a  programme  which  should  begin  with 
"Romeo  and  Juliet."  Taneieff  answered  (Dec.  16,  1876):  'I  talked 
yesterday  morning  with  Saint-Saens.  He  advises  you  to  give  a  concert 
here,  especially  after  this  production  of  '  Romeo  and  Juliet.'  He  says 
that  the  musicians  with  whom  he  talked  after  the  concert  praised  the 
overture  highly  ;  that  the  attitude  of  some  of  the  audience  meant  nothing 
(I  did  not  tell  you  that  there  were  some  hisses,  which  were  quickly  drowned 
in  applause) ;  that  it  would  have  been  much  worse  if  the  audience  had 
shown  indifference."  And  Taneieff  gave  these  details  :  the  concert  would 
be  given  in  the  Herz  Hall,  for  the  Chatelet  could  not  be  rented  ;  the 
orchestra  would  be  Colonne's  ;  all  the  expenses,  with  the  charge  for  two 
rehearsals,  would  amount  to  1,500  francs;  but  three  rehearsals  would  be 
necessary,  and  the  concert  would  cost  at  the  most  2,000  francs.  "An 
orchestral  player  receives  5  francs  for  each  rehearsal  and  10  francs  for 
the  concert."     Tschaikowsky  could  not  raise  the  money  at  that  time. 

In  the  spring  of  1878  (March  19)  Tschaikowsky  wrote  from  Clarens  to 
Mrs.  von  Meek:  "If  you  remember  that  in  my  many  journeys  I  have 
never  visited  influential  persons,  never  sent  my  compositions  to  them,  and 
never  made  the  first  advances  to  acquaintances  outside  Russia,  you  should 
be  satisfied  with  the  small  success  that  my  works  enjoy.  All  my  pianoforte 
pieces  have  been  reprinted  in  Leipsic,  and  so  have  my  songs  with  trans- 
lated text.  In  all  the  larger  cities  my  chief  works  (with  the  exception  of 
the  operas)  can  be  obtained  without  difficulty.     I  myself  have  bought  in 


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'cellos,  by  the  old  Italian  and  other  makers, 

also  a  tine  collection  of  old  and  new  artists' 

bows,  Italian  strings,  silver  G's,  leather  cases, 

F.  A.  OLIVER, 

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JORDAN   MARSH   CO. 


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Vienna  the  arrangement  for  four  hands  of  my  third  symphony,  also  my 
third  quartet.  I  have  even  found  transcriptions  that  were  unknown  to  me  : 
for  instance,  the  pianoforte  barcarolle  (Op.  37  bis)  for  violin  and  piano- 
forte ;  the  andante  from  the  first  quartet — for  flute.  Brandus  in  Paris 
has  all  my  works  in  stock.  There  are  many  reasons  why  my  orchestral 
works  are  so  seldom  played  in  foreign  countries.  In  the  first  place  I  am 
a  Russian,  and  this  inspires  a  certain  prejudice  against  me  in  the  mind  of 
a  Westerner.  And  because  I  am  Russian  there  is  something  strange  and 
distressing  in  my  music  to  a  West- European.  My  overture  to  '  Romeo  and 
Juliet '  has  been  played  in  all  the  chief  cities,  but  it  has  never  been  successful. 
It  was  hissed  at  Vienna  *  and  Paris,  and  it  fared  no  better  at  Dresden 
a  short  time  ago.  It  had  better  luck  in  some  other  towns,  as  at  London 
and  Hamburg,  and  yet  I  have  not  been  received  into  the  standing  reper- 
tory of  Germany  and  other  musical  countries.  My  existence  is  not  un- 
known in  foreign  musical  circles'  Some  have  manifested  a  lively  interest 
in  me,  and  have  taken  the  trouble  to  make  my  name  at  home  on  concert 
programmes.  They  have,  however,  run  up  against  energetic  opposition, — 
for  instance,  Hans  Richter,  he  who  has  conducted  at  Bayreuth.  In  spite 
of  lively  protests  he  put  last  year  my  overture  on  the  programme  of  one  of 
the  eight  Philharmonic  Concerts  conducted  by  him.  In  spite  of  the  want 
of  success,  he  wished  to  perform  my  third  symphony  this  year.  After  a  re- 
hearsal the  management  of  the  Philharmonic  Society  found  the  symphony 
too  Russian,  and  rejected  it  unanimously.  There  is  no  doubt  I  could  con- 
tribute much  to  the  spreading  of  my  works  abroad  if  I  should  pay  vis  ts  to 

*"  Romeo  and  Juliet "  was  produced  in  Vienna  in  1876.     See  Hanslick's  incredible  review  of  the  work 
in  his  "  Concerte,  Componisten,  und  Virtuosen  der  letzten  fiinfzehn  Jahre,  1870-85,"  pp.   174-176  (Berlin, 


|(AKflQ    WW  FUR  STORE 

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TELEPHONE,  OXFORD  48 

BLANCHARD,  RING  <&  CO. 

HABERDASHERS 

and  makers  of 

LADIES'  SHIRT  WAISTS 

and 

SHIRT  WAIST  SUITS  TO  ORDER. 

Our  twelfth  annual  importation  of  exclusive  materials,  comprising 
the  largest  and  choicest  selection  we  have  ever  shown,  is  now 
ready  for  inspection. 

MATERIALS  SOLD  BY  THE  YARD. 

Men's  shirts  for  all  occasions  in  stock  and  to  order. 

Under  the  Thomdike,  Boylston  Street. 

(1000) 


the  '  Great '  and  impose  my  pieces  upon  them.  Yet  do  I  prefer  to  give  up 
all  the  joys  of  life  than  do  this  thing.  O  God,  how  many  torments  must 
one  suffer,  how  many  affronts  to  his  ambition  must  one  put  up  with,  before 
he  captures  the  attention  of  these  men  !  I  give  you  an  example.  Suppose 
that  I  wish  to  make  a  name  in  Vienna.  Brahms  is  the  most  famous  man 
in  that  city.  Therefore  I  must  visit  him.  Brahms  —  a  light  —  and  I  —  an 
unknown.  I  say  to  you,  without  any  false  modesty,  that  I  value  myself 
much  higher  than  I  do  Brahms.  What  could  I  say  to  him  ?  If  1  am 
an  honorable  man,  a  lover  of  truth,  I  must  say  to  him  :  '  Mr.  Brahms,  I 
consider  you  to  be  a  composer  without  talent,  a  pretentious  composer,  and 
one  without  any  creative  force.  I  do  not  give  you  a  high  rank,  and  I 
proudly  look  down  on  you.  Nevertheless,  I  have  need  of  you,  and  for  this 
reason  I  pay  you  a  visit.'  If  I  were  a  dishonorable  man,  I  should  say  ex- 
actly the  contrary  to  him.  I  can  do  neither  the  one  thing  nor  the  other." 
And  to  Mrs.  von  Meek  he  wrote  (May  23,  1878)  :  "  Do  you  know  with 
what  I  am  now  very  busy  ?  As  I  sat  alone  the  other  evening  at  Kieff, 
while  my  sister  and  Modest  were  seeing  a  performance  of  '  Romeo  and 
Juliet'  at  the  theatre,  with  Rossi  as  the  hero,  I  again  read  the  play 
through.  I  immediately  thought  seriously  of  making  an  opera  on  this 
subject.  The  operas  by  Bellini  and  Gounod  do  not  frighten  me.  Shake- 
speare is  not  to  be  recognized  in  them.  Do  you  not  think  that  this 
supreme  work  of  genius  is  admirably  suited  to  inspire  a  composer  ?  I 
have  already  consulted  Modest  about  it,  but  he  shrinks  from  the  greatness 
of  the  task.  Yet  he  that  risks  nothing  gains  nothing.  I  shall  ponder  the 
scenario ;  and  I  should  like  to  put  all  my  energies  into  the  work,  and  I 
still  have  energies  in  store." 


EVERY  LITTLE   DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUGNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDEN  FOR  HIS   CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  Hass. 


And  he  wrote  Modest  two  days  later :  "  Modi,  since  I  have  read  '  Romeo 
and  Juliet'  again,  Undine,  Berthalde,  Gulbrand,  etc.,  seem  to  me  as  the 
greatest  childish  nonsense.  Of  course,  I  shall  write  a  '  Romeo  and  Juliet.' 
All  your  answers  vanish  before  the  enormous  enthusiasm  which  has  seized 
hold  upon  me.  It  shall  be  my  greatest  work.  It  seems  to  me  ridiculous 
that  I  have  not  known  before  this  that  I  was  foreordained  to  set  music  to 
this  drama.  There  is  nothing  more  suitable  to  my  musical  character. 
No  kings,  no  marches, —  in  a  word,  nothing  of  the  ordinary  material  and 
trimmings  of  opera.  Only  love,  love,  and  again  love.  And  then  what 
charming  minor  characters, —  Friar  Laurence,  Tybalt,  Mercutio  !  You  need 
not  fear  the  one-sidedness  of  it.  The  first  love  duet  will  be  very  different 
from  the  second.  In  the  first  all  is  sunny  and  clear  :  the  tragedy  comes  in 
the  second.  Romeo  and  Juliet  will  be  turned  from  ingenuous,  loving  chil- 
dren into  loving  and  suffering  man  and  woman,  involved  in  a  tragic  situa- 
tion.    Oh,  what  joy  I  feel  in  entering  on  the  work !  " 

Was  the  duet  found  among  Tschaikowsky's  papers,  completed  by 
Taneieff  and  published  in  1896,  written  during  this  period  of  enthusiasm  ? 
A.  A.  Jaeger  in  a  letter  published  in  the  Musical  Times  (London,  July, 
1896)  says  concerning  this  duet:  "A  great  deal  of  the  music  has  been 
used  in  the  overture  almost  without  altering  a  note.  I  may  first  remark 
that  the  text  of  the  duet  seems  to  \  e  a  more  or  less  free  adaptation  of  the 
scene  in  Juliet's  chamber  (Act  III.,  Scene  5),  the  words  being  repeated  a 
good  deal  to  suit  the  composer's  purpose.  The  piece  should  really  be 
called  a  trio,  for  there  is  a  part  for  the  Nurse,  and  this  makes  me  wonder 
whether  Tschaikowsky  did  not,  perhaps,  intend  this  scene  to  form  part  of 
an  opera  on  the  subject  of  Shakespeare's  tragedy.  After  a  few  pages  of 
very  mel  dious  recitative-like  dialogue  referring  to  the  lark  and  the  night- 
ingale, we  come  to  the  strange  series  of  chords  of  which  so  much  use  is 
made  in  the  overture.  A  climax  is  reached  at  the  following  passage,  .  .  . 
which  will  be  recognized  as  the  second  subject  proper  of  the  overture. 
It  is  interesting  to  observe  that  in  the  overture  the  order  of  these  two 
passages  is  reversed,  as  if  Tschaikowsky  had  intended  to  fix  first  the 
situation  by  quoting,  as  it  were,  the  words  '  O  unit  iVextase'  etc.,  and  giv- 
ing the  music  to  the  same  the  significance  of  a  leitmotiv  before  proceeding 
with  the  treatment  of  this  subject  and  its  pendant." 


BY    ROYAL     APPOINTMENT 
TO    THE    BRITISH    COURT. 


MACKENZIE-JACKSON 

LADIES'  TAILOR 

Glasgow  2J8  Boylston  Street,  Boston  Oban 

(1002) 


The  overture-fantasia,  "  Romeo  and  Juliet,"  has  been  performed  at 
these  concerts  Feb.  8,  1890;  Feb.  21,  1891  ;  April  1,1893;  April  4,  1896; 
Jan.  28,  1899.  It  was  played  by  the  Boston  Philharmonic  Orchestra, 
Mr.  Listemann  conductor,  Nov.  16,  1890. 


"  Adelaide,"  Op.  46 Ludwig  van  Beethoven. 

(Born  at  Bonn,  Dec.  16  (?),  1770;  died  at  Vienna,  March  26,  1827.) 
This  song,  composed  in  1796,  was  published  at  Vienna  in  1797,  and  the 
title  was  as  follows:   "  '  Ad-laide,'  by  Matthison  :   A  cantata  for  voice   and 
pianoforte  accompaniment,  set  to  music  and  dedicated  to  the  poet  by  Lud- 
wig van  Beethoven."     The  original  price  of  the  song  was  forty  kreutzers. 

Einsam  wandelt  dein  Freund  in  Friihlings-garten, 
Mild  vom  lieblichen  Zauberlicht  umflossen, 
Das  durch  wankende  Bliithen-zweige  zittert, 

Adelaide ! 
In  der  spiegelnden  Fluth,  im  Schnee  der  Alpen, 
In  des  sinkenden  Tages  Goldgewolken, 
Im  Gefilde  der  Sterne  strahlt  dein  Bildniss, 

Adelaide ! 
Abend-Kiftchen  im  zarten  Laube  fliistern, 
Silbergldckchen  des  Mais  im  Giase  sauseln, 
Wellen  rauschen,  und  Nachtigallen  floten, 

Adelaide ! 
Einst,  O  Wunder !  entbliiht  auf  meinem  Grabe, 
Eine  Blume  der  Asche  meines  Herzens; 
Deutlich  schimmert  auf  jedem  Purpurblattchen  : 

Adelaide  ! 

John  Oxenford's  English  version  is  as  follows :  — 

Through  the  garden  of  Spring  I  freely  wander, 
While  soft  light  with  its  magic  falls  around  me, 
Having  first  through  the  branches  flitted  trembling, 

Adelaide ! 
On  the  face  of  the  lake,  on  snowy  mountains, 
In  the  clouds  that  the  setting  sun  has  tinted, 
'Mid  the  stars  scatter'd  o'er  us,  beams  thy  image, 

Adelaide  ! 


WILLIAM  C.  CARL 

SOLO  ORGANIST 

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Through  the  leaves  the  sweet  breath  of  ev'ning  whispers, 
May's  bright  bells  through  the  grass  are  lightly  tinkling, 
Streamlets  murmur,  and  nightingales  are  hymning, 
Adelaide  ! 

Soon,  oh,  wonder,  upon  my  tomb  will  blossom 
One  small  flow'r,  from  my  fond  heart's  ashes  springing, 
On  its  petals  one  name  will  brightly  glisten, 
Adelaide ! 

Orchestral  Suite,  "Impressions  of  Italy."  Gustave  Charpentier. 
(Born  at  Dieuze,  France,  June  25,  i860  ;  now  living  at  Paris.) 

Charpentier,  a  prix  de  Rome  of  1887,  wrote  the  suite,  "  Impressions 
d'ltalie,"  at  the  Villa  Medici,  Rome.  The  finale,  "  Napoli,"  was  first  per- 
formed at  the  Institute,  Paris,  Oct.  31,  1891  ;  it  was  also  performed  at  a 
Lamoreux  Concert,  Nov.  15,  1891.  The  suite,  as  a  whole,  was  played 
for  the  first  time  at  a  Colonne  Concert,  March  13,  1892.  The  first  per- 
formance in  the  United  States  was  under  Mr.  Theodore  Thomas  at 
Chicago,  Nov.  24,  1893. 

Alfred  Ernst  *  wrote  an  explanatory  programme  of  the  five  movements. 
This  programme  has  been  Englished  by  Mr.  William  Foster  Apthorp  as 
follows :  — 

J.  Serenade.  It  is  nearly  midnight.  Coming  out  from  the  osterie, 
the  young  fellows  of  the  neighborhood  sing  long,  burning  songs,  at  times 
sad,  often  with  a  savage  accent,  under  their  betrothed's  windows.  These 
love-sick  phrases  are  answered  by  mandolines  and  guitars.  Then  the  song 
of  the  young  men  sounds  again,  and  dies  away,  little  by  little. 

II.  At  the  Fountain.  Toward  the  ravines,  where  the  waterfalls 
spread  out,  march  the  girls,  bare-armed,  bare-legged,  with  their  white 
chemisette  wide  open  over  their  shoulders  and  tanned  bust.  Serious, 
peaceful,  without  voice    and  without  a  thought,  they  walk  on,  to  a  calm 

*Alfred  Ernst,  who  died  May  15,  1898,  about  forty  years  old,  was  librarian  of  the  Bibliotheque  Sainte- 
Genevieve,  Paris,  and  music  critic  of  La  Paix.  A  pupil  of  the  Ecole  Polytechnique,  he  abandoned  science  for 
literature.  A  perfervid  Wagnerian,  he  translated  into  French  the  book  of  "Die  Meistersinger,"  and  his 
version  was  used  when  the  opera  was  produced  at  the  Opera  (Nov.  10,  1897).  He  translated  the  book  of 
"Das  Rheingold  "  also.  A  frequent  contributor  to  journals,  magazines,  encyclopaedias,  he  published  these 
volumes  :  "  L'GEuvre  Dramatique  de  Hector  Berlioz"  (1884) ;  "  Richard  Wagner et  le  Drame  Contemporain  " 
(18S7);  "L'Artde  Richard  Wagner,  l'CEuvre  PoeUque  "  (1893) ;  and  in  company  with  Elie  Poiree\  "Etude 
sur  '  Tanhauier  '  de  Richard  Wagner  "  (1895).  This  simple,  modest,  industrious  man  died  from  overwork 
and  the  care  and  anxiety  spent  on  his  three  sick  little  children. 


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Personal  attention  given  to  Mourning. 
Take  elevator. 


(1004) 


SVPERLATIVE  QVALITT 

Pure  Colonial 

Our  new  model 
No.  214,  here  pict- 
ured, is  an  excellent 
example  of  the  purer 
period  of  Colonial 
design.  All  carving 
and  relief  ornamen- 
tation have  been 
omitted,  even  the 
customary  mould- 
ings giving  way  to 
squared  edges. 
Beautifully  figured  South  African  mahogany  in  rich 
antique  coloring  is  employed.  This  and  a  superb  finish 
alone  relieve  the  severity  of  the  design.  The  effect  is 
highly  dignified.  May  we  send  you  a  catalogue  showing 
all  our  designs,  with  explanation  of  our  rental  purchase 
plan, —  buying  a  piano  by  renting  it  ? 


•  I  VERS   ©  POND    • 

•  PIANO    CO  • 

114BOYLSTON  ST.  BOSTON 


(1005) 


rhythm  that  is  almost  religious,  carrying  bronze  jugs  on  their  heads,  with 
a  slight  swaying  of  the  hips  beneath  the  rigidity  of  their  head  and  shoul- 
ders. And  it  is  like  a  procession  of  priestesses,  proud  and  passive,  march- 
ing their  silent  march  through  the  burning  brightness  of  the  sunlight, 
while  at  times  the  gay  refrain  of  the  shepherds  sounds  down  from  the 
mountain. 

III.  On  Muleback.  Toward  evening,  along  the  road  that  winds 
through  the  Sabine  Mountains,  the  mules  trot  at  an  even  gait,  to  the  bright 
rhythm  of  their  bells.  That  melody  of  the  violoncello  is  the  canzone,  sung 
with  full  voice  by  the  mill atti ere ;  and  those  sweet  thirds  of  the  flutes  that 
follow  are  the  loving  song,  murmured  by  the  fair  girls  with  deep  eye^, 
seated,  or  rather  kneeling,  in  the  big  carts  that  go  up  toward  the  village. 

IV.  On  the  Summits.  It  is  noon  in  the  lofty  solitudes,  in  this 
"  Desert  of  Sorrento  "  which  overlooks  the  town,  from  whence  the  eye 
embraces  the  islands  and  the  sea.  The  strings  with  their  long-sustained 
notes,  paint,  as  it  were,  the  background  of  the  picture,  that  extent  of  sea 
and  country  burnt  by  the  sun,  that  glowing  atmosphere ;  a  horn  suggests 
the  far-off  bell  of  a  monastery.  The  flutes,  clarinets,  harps,  tell  of  the 
twittering  of  birds,  vociferously  trilling,  as  if  drunk  with  warmth  and  light. 
Those  violas  and  'celli  that  sing,  that  gradually  swell  their  tones,  are  the 
soul,  the  enthusiasm  of  the  poet,  the  voice  that  rises  up  in  the  solitude, 
while  the  church  bells  grow  louder,  and  the  chimes  from  Sorrento,  from 
Massa,  even  from  Malfi,  awaken  those  from  the  hills,  interlace  their  sounds 
over  a  compass  of  several  octaves,  pass  over  the  desert  of  summits,  and 
are  lost  far  off  over  the  blue  sea.  All  is  peace,  some  sounds  of  bells  are 
still  heard,  feeble  and  sweet,  in  the  distant  immensity. 


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(1006) 


V.  Naples.  In  this  last  part  of  his  "Impressions,"  the  composer  has 
attempted  to  paint  a  musical  picture  of  Naples,  its  population,  its  wholly 
outdoor  life,  its  joyfulness.  ...  At  first  we  hear  scattered  vibrations  : 
heat,  light,  the  swarming  crowd.  It  seems  as  if  songs  came  from  every 
street,  dance  rhythms,  the  amorous  languor  of  violins,  the  amusing  plunk- 
ing of  guitars.  Calls  answer  to  calls,  military  bands  play  proudly  their 
brazen  symphony ;  dancers  strike  the  ground  with  their  feet,  carry  the 
rocking  rhythm  of  tarantellas  from  group  to  group.  'Tis  like  the  great 
song  of  a  people,  the  hymn  of  Naples  on  the  shore  of  its  azure  bay,  with 
the  intermittent  rumbling  of  Vesuvius  overcrowding  the  sentimental  songs 
the  singers  sing  on  the  quays  in  their  nasal  voice.  .  .  .  And  evening  falls, 
while  fireworks  burst  forth  in  gerbes  of  light,  in  bouquets  of  stars,  which 
soar  and  go  out  over  the  boundless  mirror  of  the  waves. 


* 
*  * 


The  suite  is  scored  for  3  flutes  (one  interchangeable  with  piccolo),  3 
oboes  (one  interchangeable  with  cor  anglais),  3  clarinets  (one  interchange- 
able with  bass  clarinet),  1  soprano  saxophone  (interchangeable  with  alto 
saxophone),  4  bassoons,  4  horns,  2  cornets,  2  trumpets,  3  trombones,  bass 
tuba  (a  second  bass  tuba  ad  libituni),  kettle-drums,  snare-drum,  bass  drum, 
tambourine,  triangle,  cymbals,  2  small  bells,  2  harps,  strings. 

I.  Serenade.  Assez  vite,  A  major,  2-4.  Love  theme  in  'cellos. 
Harps  and  strings  (allegretto,  2-4)  are  as  answering  mandolins  and  gui- 
tars.    Theme  for  flutes  and  violins.     Viola  solo  off  the  stage. 

II.  At  the  Fountain.  Tranquille,  assez  lent,  B-flat  major,  2-4. 
Theme  for  oboes.  Slow  march  for  strings.  Shepherd's  call  (wind 
instruments). 

III.  On  Muleback.     Allegretto,  G  minor,   2-4  ;  andantino,  G  major, 

3-4- 

IV.  On  the  Summits.     Moderato,  A  major,  3-4. 

V.  Naples.     Allegro  non  troppo,  D  major,  2-4. 


# 
#   # 


This  suite  was  first  performed  in  New  York  at  Mr.  Courtlandt  Palmer's 
concert,  conducted  by  Mr.  Seidl,  in  1894.  The  first  performance  in 
Boston  was  at  a  Symphony  Concert,  March  30,  1901.     The  suite,  with  the 


146  Tremont  Street. 
FRESH,    PURE,    DELICIOUS 

BONBONS  and 
CHOCOLATES. 

Hot   Chocolate   and    Ice  cream 
Soda. 


MISS  QAFFNEY 

384  Boylston  Street. 

Hygienic  Treatment   of  Head, 
Face,  and  Neck. 

MISS   GAFFNEY'S 

SUPERIOR   HYGIENIC  SKIN  FOOD 

Reduced  to  Fifty   Cents 

per  jar. 

Testimonials  from  distinguished  men  and 
women  of  Boston. 

Manicuring  and  Shampooing. 

AMIRAL  SOAP 

Made  in  France,  for  reducing  corpulency  by 
external  application.  Recommended  and  pre- 
scribed by  the  medical  profession. 


(1007) 


exception    of    the  finale,  was   played  in  Boston  by  the  Boston  Women's 

Symphony   Orchestral   Society,  Mr.    Arthur   Thayer  conductor,  April   16, 

i go i.     The  first  four  movements  were  also  played  by  the  Orchestral  Club, 

Mr.  Georges  Longy  conductor,  April  23,  1901. 

* 
*  * 
Gustave  Charpentier  studied   under  Stappan,  a  violinst   at  Tourcoing, 

whither  his  parents  moved  after  the  Franco- Prussian  War.  To  support 
himself,  he  worked  as  an  accountant  in  a  factory.  He  then  went  to  the 
Conservatory  at  Lille,  where  he  made  for  himself  such  a  reputation  that  the 
municipality  of  Tourcoing  gave  him  a  pension  of  1,200  francs  to  study  at 
Paris.  He  entered  the  Paris  Conservatory  in  188 1.  and  took  violin  lessons 
of  Messart  and  harmony  with  Pessard.  He  was  obliged  to  perform  mili- 
tary service,  and  on  his  return  to  Paris  he  became  a  pupil  of  Massenet. 
He  took  the  prix  de  Rome  in  1887  with  his  cantata  "Dido,"  performed 
Oct.  29,  1887,  at  the  Salle  de  l'lnstitut. 

Prix  de  Rome  in  1887,  and  his  first  genuine  success  was  his  opera 
"  Louise,"  produced  after  long  delay  and  bitter  struggles  in  1900  !  It  was 
Ernest  Legouve,  who  sung  in  his  libretto,  "  L' Amour  Africain  "  (music  by 
Paladilhe,  Opera-Comique,  Paris,  May  8,  1875),  tne  misfortunes  of  these 
crowned  musicians  :  — 

Oyez  les  tristes  contretemps 

D'un  melancolique  jeune  horame, 

D'un  jeune  homme  de  soixante  ans, 

Que  Ton  appelle  un  prix  de  Rome. 

Listen  to  the  wretched  plight 

Of  a  melancholy  man, 

A  young  man  of  sixty  years, 

Whom  they  call  "  itn  prix  de  Rome." 

Charpentier  sent  from  the  Villa  Medici  as  the  fruits  of  his  work  this 
suite  of  "  Impressions  "  ;  also  a  symphony-drama,  "  La  Vie  du  Poete,"  in 
four  movements,  for  orchestra,  chorus,  solo  voices,  and  he  wrote  the  text 
as  well  as  the  music  of  this  extraordinary  work,  which  was  first  performed 
at  the  Paris  Conservatory,  May  18,  1892.  In  the  last  movement  Charpen- 
tier introduced  "  all  the  noises  and  echoes  of  a  Montmartre  festival,  with 
its  low  dancing-rooms,  its  drunken  cornets,  its  hideous  din  of  rattles,  the 
wild  laughter  of  bands  of  revellers,  and  the  cries  of  hysterical  women." 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(1008) 


Charpentier's  next  composition  was  a  strange  set  of  songs,  "  Impres- 
sions fausses,"  performed  at  a  Colonne  Concert,  March  3,  1895.  The  com- 
poser was  inspired  by  two  of  Paul  Verlaine's  poems,  "  La  Veillee  rouge  " 
and  "La  Ronde  des  Compagnons."  The  music,  described  as  anarchistic, 
met  with  lively  opposition,  which  was  met  in  turn  by  warm  eulogies  of  the 
mastery  in  workmanship.  In  "  La  Ronde  des  Compagnons  "  Charpentier 
interpolated  as  a  gloss  on  Verlaine's  poetry,  for  the  chorus  of  prisoners, 
verses  of  the  "  Marseillaise  "  and  cries  of  "  Hum,  Vaillant,  Sh  !  "  ''  Hum, 
Henri,  Sh  !  "  "  Hum,  Ravachol  Sh  !  "  As  Gustave  Robert  wrote,  the 
poetry  of  Verlaine,  charming  by  the  gentle  irony  of  its  melancholy,  was 
turned  into  a  sort  of  declamatory  hymn  of  anarchists.  "  Not  that  I  blame 
Charpentier  for  having  socialistic,  anarchistic,  or  any  other  theories  he 
may  choose  to  entertain,  but  I  wish  that  he  would  expose  them  on  a  more 
opportune  occasion."     The  solo  singers  were  Taskin  and  Cheyrat. 

Still  more  extraordinary  were  the  "Trois  Poemes  chante's," — "Chanson 
du  Chemin  "  (Camille  Mauclair),  "Jet'  d'Eau"  (Baudelaire),  and  the  third, 
which  was  heard  with  frenetic  applause  and  fierce  hissing,  "  Les  Che- 
vaux  de  Bois  "  (Verlaine).  They  were  sung  by  Auguez,  Claeys,  Galand, 
and  a  chorus  at  a  Colonne  Concert,  Nov.  24,  1895. 

The  "  Se're'nade  a  Watteau  "  (poetry  by  Verlaine)  was  first  performed  at 
Charpentier's  own  house  before  a  circle  of  friends.  It  is  written  for  tenor 
solo,  six  female  voices,  string  quartet,  mandolines,  two  harps,  two  flutes,  a 
Mustel  organ,  and  a  tambourine.  It  was  performed  Nov.  8,  1896,  the  day 
of  the  inauguration  of  the  monument  to  Watteau  in  the  garden  of  the 
Luxembourg.  The  singers  were  Charlotte  Wyns  and  Mauguiere.  The 
piece  was  performed  for  the  first  time  in  concert  at  Colonne,  Nov.  29, 
1896.  "  R.  D.  C."  wrote  in  the  Guide  Musical,  "The  melodic  accent 
is  lacking  in  both  accuracy  and  freedom."  The  success  of  the  Serenade 
was  indisputable.  The  Academic  Palms  were  offered  to  Charpentier,  who 
refused  the  honor.  "  First  play  my  music,"  he  answered,  and  thus  re- 
ferred to  scores  which  were  ready,  but  over  which  no  manager  would  look. 

Montmartre  is  as  dear  to  Charpentier  as  the  camel  was  to  Fe'licien  David. 
In  1898,  when,  by  the  way,  he  applied  for  the  management  of  the  proposed 
Theatre-Lyrique,  he  saw  the  performance  of  his  "  Couronnement  de  la 
Muse,"  which,  written  the  year  before  for  a  Montmartre  festival,  was  finally 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COflPANY,    -    BOSTON 

(1009) 


produced  at  the  Grand  Theatre,  Lille,  June  5,  when  Blanche  Dassonville 
was  crowned  as  the  Muse.  Duffaut,  a  tenor  from  the  Ope'ra,  Paris,  repre- 
sented the  Poet,  and  Blanche  Mante  represented  Beauty.  Charpentier"s 
idea  was  that  each  year  and  in  each  town  a  Muse  should  be  chosen  from 
work  girls  and  crowned  solemnly.  The  piece  was  announced  for  the  14th 
of  July,  that  year,  the  national  fete  at  Paris,  but  it  was  postponed  on 
account  of  the  rain,  and  it  was  performed  in  the  Place  de  l'Hotel  de  Ville, 
July  24.  In  this  piece,  made  for  the  open  air,  Charpentier  gave  full  vent 
to  his  socialistic  ideas.  Street  cries  of  Paris  were  used  as  leading  themes. 
After  an  overture  there  was  a  Ballet  of  Pleasure. 

"  In  the  midst  of  the  dancing  appeared  Beauty,  personified  by  Mile. 
Mante,  of  the  Opera,  who  expressed  in  pantomime  her  desire  to  give 
eternal  form  to  the  efforts  of  Humanity.  She  was  followed  by  a  group  of 
poets,  who  assured  the  Muse  that  they  found  her  very  charming  (all  this 
in  pantomime,  of  course).  Beauty  thereupon  crowned  the  Muse  with 
white  roses ;  and  then  Suffering,  dressed  as  a  Pierrot,  made  his  appear- 
ance, this  role  being  filled  by  that  admirable  pantomimic  artist,  M.  Severin. 
He  expressed,  first  of  all,  the  eternity  and  the  consequent  hopelesness  of 
Suffering,  appealing  to  Heaven,  then  to  the  pity  of  man,  whose  egoism 
he  denounces  and  then  revolts  against,  dreaming  of  a  possible  revenge, 
amid  the  clamors  for  justice  which  burst  from  the  throats  of  others  like 
himself,  though  the  triumphant  march  of  victims  toward  the  ultimate  at- 
tainment of  happiness  still  continues.  But  his  hopes  of  a  millennium  are 
chimerical.  Suffering  can  only  cease  with  the  human  race.  A  choir,  how- 
ever, announces  the  arrival  of  the  Muse  of  Happiness,  who  clasps  the 
enchanted  Pierrot  by  the  hand,  and  Suffering  sinks  at  her  feet  in  adora- 
tion The  next  scene  was  extremely  pretty.  It  had  been  arranged  by 
the  well-known  artist,  Roedel,  and  consisted  chiefly  of  a  sort  of  allegori- 
cal   procession    in    honor   of    Michelet.     Behind  Michelet's   bust    figured 

A.  B.  CHASE  PIANO 


BEAUTY,  TONE,  DURABILITY, 

all  attained  in  this  celebrated  piano. 
Universally  recognized  as  a  guaran- 
tee of  supreme  excellence    :::::: 

HE  purchaser  of  every  A.  B.  CHASE  piano  is  assured  that, 
whatever  the  style  he  may  select,  he  will  obtain  an  instrument 
of  unquestioned  worth,  possessing  a  musical  tone  which  for 
purity  and  power  is  unsurpassed  by  any  other  piano,  a  sym- 
pathetic touch  and  action  that  will  be  a  constant  delight,  and  a 
durability  that  is  unlimited.  A  cordial  invitation  is  extended  to 
all  persons  to  call  and  examine   this   beautiful  piano  at  our 


spacious  warerooms. 


^u^^^] 


120  and   122  Boylston  Street, 


Boston,  flass. 


(1010) 


S.    S.    PIERCE    CO. 

IMPORTERS    AND    CROCERS 

BOSTON    AND    BROOKLINE 


(1011) 


We  are  constantly  receiving  new  things  in 
Veilings,  and  are  opening  at  the  present  time 
our  Spring  Line  of  Cotton  Neckwear  and 
Turn-over  Collars* 


Miss  M.  F.  FISK,  144  Tremont  Street 


New    Songs 

Fisher-wife's  Vigil.      A  beautiful   descriptive 
song  for  high  voice, 

Mrs.  M.  Gascoigne-Orr,  $0.60 
If  I  were  a  Violet.  George  H.  Cox,  Jr.,  .4.0 
When    You   are    Here.        Two   keys, 

K.  Vannah,      .50 
The  Rising  of  the  Surf      .  F.  P.  Flanders,      .60 

True  or  False F.  Boott,      .50 

Only  a  Dream  .  .  .  A.  A.  Painchaud,  .40 
Swift  and  Free  .  .  .  .  £.  R.  Noyes,  .50 
Swing  High,  Swing  Low  .  Ruth  Stevens,  .30 
Shepherd's  Love  Song    .      E.  M.  Ezerman,      .50 

C.  W.  THOHPSON  &  CO., 

13  West  Street,   Boston. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES   &   SCHOENHOF, 

128  Tremont  StM  2d  floor  north  of  Winter  St., 
over  Wood's  Jewelry  Slore     (Tel.,  < 'Xford  1099-2. 

LOST,  in  or  about  Symphony  Hall,  on 
Sunday  evening,  a  Diamond  Pin,  studded 
with  seven  stones.  A  suitable  reward 
will  be  given.  Address  Miss  E.  B. 
Rollotson,  60  Gardner  Street,  Allston, 
Mass.,    or  leave  it  with  Mr.  Comee. 


INDIVIDUALITY    AND    STYLE    IN   FUR     GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298    Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(1012) 


History  and  Poetry, —  two  young  ladies.  In  front  of  the  bust  were  a 
young  man  and  a  young  woman  representing  Youth  and  dressed  in  the 
fashion  of  1830.  They  turned  over  the  leaves  of  a  vast  book,  the  history 
of  France,  and,  as  each  leaf  was  turned,  persons  dressed  in  costumes  of 
the  period  passed  by  in  procession,  and  finally  grouped  themselves  at  the 
back  of  the  stage.  The  delegations  of  workmen,  schoolmasters,  students, 
freemasons,  and  choral  societies  then  paced  before  them.  This  was  the 
conclusion." 

But  this  was  not  the  first  time  that  street  cries  were  used  as  themes  in 
set  composition.  There  is  the  vocal  piece,  "  Les  Cris  de  Paris,"  by 
Clement  Jannequin  of  the  sixteenth  century.  Some  say  that  a  "  Ballet  des 
Cris  de  Paris  "  was  danced  in  the  reign  of  Louis  XIV.,  and  that  the  Grand 
Monarch  himself  took  part  in  it;  but  the  score  has  not  been  found. 
Adolphe  Adam  introduced  the  "moan  of  labor  "--"  Ohe  !  Ohe  !  "—  used 
by  the  boatmen  of  the  Seine  (No.  5  of  eight  male  choruses,  "  Les  Metiers  '). 
Felicien  David  took  one  of  his  most  popular  themes  from  a  strolling 
cheese-monger.  Halevy  composed  "  Quand paraitra  la phle  dtirore"  after 
hearing  the  cry  "Belles  bottes  (Tasperges."  In  1857  Georges  Kastner 
published  his  "Cris  de  Paris:  Symphonie  humoristique,"  an  elaborate 
score  of  171  pages,  as  a  supplement  to  his  incredibly  learned  and  curious 
essay,  "  Les  Voix  de  Paris." 

Charpentier  achieved  fame  and  fortune  —  he  had  been  miserably  poor 
—  by  his  "  Louise,"  a  musical  romance  in  four  acts,  produced  at  the  Opera- 
Comique,  Paris,  Feb.  2,  1900.  The  story,  written  by  him,  is  of  a  working- 
girl  of  Montmartre,  over  whom  the  city  of  Paris  casts  a  mighty  spell.  She 
leaves  her  home  to  live  with  Julien,  a  painter.  Remorseful,  she  returns 
and  is  forgiven  ;  but  the  routine  of  a  simple  household  bores  her.  The 
city,  seen  from  Montmartre,  calls  her  to  it.  Julien  reappears,  and  she  goes 
with  him ;  and  her  father,  broken-hearted,  curses  Paris,  which  has  robbed 
him  of  his  child.  Miss  Rioton  created  the  part  of  Louise.  The  opera 
is  still  exceedingly  popuhr  in  Paris  and  in  the  provinces,  and  it  has  made 
its  triumphant  way  through  Germany.  "  Louise  "  is  said  to  be  the  first 
opera  of  a  trilogy. 

Two  collections  of  songs  by  Charpentier  have  been  published, — 
"  Poemes  Chanted,"  "  Les  Fleurs  du  Mai." 


Don!  let  your  children  acquire  the  CoffeeHabit 

Get  out  of  the  rut  yourself!  AH  doctors 

recommend  COCOA  and  CHOCOLATE 

in  preference  to  coffee.    ,  m 

My  mtye!  Ik  Besl  ? 


UNEQUALLED    FOR 


grocers  everywhere  (/       QUALITY,  PURITY  &  FLAVOR. 


(1013) 


CLEANSING 

Clothing  of  ali  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

2S4  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(1014) 

Newport 

Nineteenth  Rehearsal   and   Concert* 


FRIDAY  AFTERNOON,  MARCH  27,  at  2.30  o'clock. 


SATURDAY  EVENING,  MARCH  28,  at  8.00  o'clock. 


PROGRAMME. 


Mozart  .         .  Symphony  No.  38,  in  D  major  (Koechel,  504) 


Saint-Saens 


Concerto  for  Pianoforte  in  G  minor,  No.  2 


Arthur  Foote 


Two  movements  from  Suite 


Svendsen u  Carnival  in  Paris  " 


SOLOIST: 

Mme.  ANTOINETTE  SZUMOWSKA 


U015j 


PIANOFORTE    RECITAL 

BY 


ANNA    JANSEN, 


Danish  Pianist 


STEINERT  HALL        J-         Friday  afternoon,  March  20,  at  three 

PROGRAM 

Beethoven        .         .           SONATA,  Op.  31,  No.  2  Neupert         ....  POETICAL    STUDY 

a.  Largo.     Allegro  Mendelssohn        .           CAPRICCIO,  F-sharp  minor 

b.  Adagio  Rachmaninoff PRELUDE 

c.  Allegretto  Delibes PASSEPIED 

Brahms        ....       RHAPSODIE  No.  2  Liszt    .        ETUDE  DE  CONCERT,  D-flat  major 

Rubinstein.        .        .      BARCAROLLE,  G  major  Wagner-Liszt     .           ISOLDEN'S   LIEBESTOD 

TJie  Mason  &  Hamlin  Pianoforte  Tickets,  $1.00  and  S1.50.    For  sale  at  the  hall 

STEINERT  HALL  J>        Sunday  afternoon,  march  15,  at  4,30 

Miss  Elsie  Lincoln,  Soprano  Miss  Gertrude  Lufkin,  Accompanist 

Mrs.  Langdon  Frothingham,  Pianist  Mr.  Ellison  Van  Hoose,  Tenor 

Mr.  Stephen  Townsend,  Baritone 


Program.  — Part  I. 

i.    Trio.     "  Attila  " 

Miss  LINCOLN,  Mr.  VAN  HOOSE,  Mr.  TOWNSEND 
(  Etude,  B-flat        .......  Mendelssohn 

2.  1  Prelude,  Op.  45  .......  Chopin 

f  Waltz      .........  Zarzyiki 

Mrs.  FROTHINGHAM 

3.  Aria.     "  Vision  Fugitive "  ......  Massenet 

Mr.  TOWNSEND 

Part  II. 

"THE  FLIGHT  OF  THE  EAGLE" 

Text  from  WALT  WHITMAN 
Set  to  music  for  SOPRANO,  TENOR,  and  BARITONE  by  HOMER  NORRIS 

1.  Recitatives  for  baritone  and  soprano  4.   Tenor  solo  and  trio 

"  One's-self  I  sing.     Strains  musical  "  "  I  pass  death  with  the  dying  " 

2.  Rhapsody  for  tenor  with  soprano  obligato  5.    Canon 

"  I  am  he  that  walks  with  the  tender  and  grow-  "  The  whole  earth  and  all  the  stars" 

°  6.    Soprano  solo  and  trios 

3.  Recitatives  for  baritone  _  "  Song  of  the  Universal " 
Air  for  baritone,  "  Clearand  sweet  is  my  soul 

Trio,  "  Clear  and  sweet "  7.    Finale 

Recitatives  for  baritone  Trios  in  stretti 

Fourth  of  the  Sunday  Concerts  for  the  benefit  of  the  Hount  Pleasant  Home 

Tickets,  50c.  and  ?i.oo,  are  now  for  sale  at  the  hall  The  Mason  &  Hamlin  Pianoforte 

RECITAL  of  COMPOSITIONS  for  TWO  PIANOS 
BY  THE  MISSES 

OTTYLE  -SONDHEIM-  JULIETTE 

Wednesday  afternoon,  SMarch  25,  at  3  o'clock,  Steinert  Hall 

PROGRAM 

1.  Variations Duprosse        3.   Caprice  Melancolique  .    Reynaldo  Hahn 

Concerto  Bach  Romanze  )  Henselt 

2.  Romanze Carl  Them  "  Si  oiseau  j'etais "    I 

Caprice Philipp  Tarantelle Saint-Saens 

Andantino  pastorale  ....       Brutl 

Rondo,  Op.  73  •         ■        •        •        ;  Chopin 

Valse-paraphrase,C-sharp  minor,     Chopin-Schutt 

STEINWAY  PIANOS  Reserved  seats,  75c,  $1.00,  and  #1.50.   Tickets  for  sale  at  the  hall 

(1018) 


M.  BOGEA  OUMIROFF 

Bohemian  Baritone 
Announces  a   SONG    RECITAL 

to  be  given 

In  Steinert  Hall  on  Thursday  evening,  March  26 

Tickets  are  for  sale  at  the  hall 


THIRD  AND  LAST  RECITAL 


HELEN  HOPEKIRK 


SATURDAY  AFTERNOON 
4th  APRIL,  at  3 


PIAINOfORTE    RECITAL  by 

Madame  Antoinette  Szumowska- Adamowska 

Steinert  Hall,  Thursday  afternoon,  April  2,  at  3 

PROGRAM 

i.  ii. 

#.  Suite.     D  minor       .....     Handel  a.  Fantaisie.     F  minor  ^j 

b.  Caprice.     B  minor    ....  Brahms  b.  Nocturne.     B  major  !  ... 

c.  Rondo.     D  minor     ....  Mozart  c.  Impromptu.     G-flat  major  |  *         *-»opin 

d.  Allegris»imo     .....  Scarlatti  d.  Valse.     A-flat  major  J 

III. 

a.  Theme  Varie        ....  Chaminade 

b.  Etude  de  Concert         .         .         .  Schloetzer 

c.  Paraphrase  on  "  Rigoletto  "  of  Verdi  .        Liszt 

The  Mason  &  Hamlin  Pianoforte  Tickets,  $i-oo  and  $1.50,  for  sale  at  the  hal  ) 

(1017) 


CHIOKERING    HALL 


Mr.    DANIEL  FROHMAN   announces 

two  Piano  Recitals 

...  ON ... 

Monday  Evening,  March  J  6,  at  8  <£*£ 
Saturday  Afternoon,  March  2  J,  at  2,30 

<A>  GABRIL0W1TSCH 

Programme 

fflonday  €vcninqt  March  16 

Schumann  ......  Phantasie,  C  major,  Op.  17 

I.    Durchaus  phantastisch  und  leidenschaftlich  — 
Im  Legendenton  —  Tempo  I. 
II.    Massig.     Durchaus  energisch. 
III.    Langsam  getragen. 
Bach-Saint-Saens       .......        Gavotte,  B  minor 

(  Nocturne,  G  major 
Chopin       ........    <  Valse,  E  minor 

(  Polonaise,  A-flat  major 


j  Bigarrure 

{  "  Pres  de  la  Mer  "  (esquisse) 

Henselt 

.     "  Si  Oiseau  j'etais  " 

Rubinstein 

Valse,  "Le  Bal,"  Op.  16 

Saturday  Jlfternoon,  lflarcb  21 

Beethoven 

Sonata  quasi  una  Fantasia,  C-sharp  minor,  Op.  27 

Adagio              Allegretto              Finale 

Chopin 

(  Nocturne,  B  major 
(  £tude,  C  major 

Mendelssohn 

.  Variations  Se'rieuses 

Gabrilowitsch    . 

Caprice  Burlesque  (by  request) 

7schaiko7C>skv     . 

"Nuits  de  Mai" 

Leschetizkx 

Toccata,  D  minor 

Liapounow 

.    Berceuse 

Schubert-  Tausig 

Marche  Militaire 

Tickets,  50c,  75c,  $J.00,  and  $J.50,  at  Symphony  Hall. 
Everett  Piano  used 

(1018) 


Carl    Faeltein's 

SIXTH    PIANOFORTE    RECITAL, 

Wednesday  Evening,  April  22,    1903,  at  8  o'clock. 

Programme. 

Prelude  and  Fugue,  G  major,  Well-tempered  Clavichord, 

Part  2 Bach 

Theme  and  Variations,  B-flat  major,  Op.  142,  No.  2        .         .   Schubert 
Huntington       Novelette,  D  njajor,  Op.  21,  No.  2  ....  Schumann 

Chambers         Rhapsody,  B  minor^  Op.  79,  No.  2  ^ 

„  „  Ballade,  D  major,  Op.  10,  No.  2      > Brahms 

P*V*  Scherzo,  E-flat  minor,  Op.  4  ) 

Sonata,  "  Les  Adieux,"  Op.  Sia Beethoven 

TICKETS,  $1.00.    J*     **     <£     J*    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur    Recitals 

SEATS  420 
APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 
CHICKERINQ   HALL 

Tuesday  afternoon,  March  17,  at  3  o'clock 
Hrs.  WALDO  RICHARDS 

RECITALS   FROH 

"  HIAWATHA  " 

Tickets,  75c.  and  $1,  reserved,  now  on  sale  at  Herrick's  and  Chickering  Hall 

(1019) 


SYMPHONY  SEATS 


For  BALANCE  OF  SEASON, 

•  vHJ    AND 


5 


UPWARD. 


SINGLE 

JM.00 


REHEARSAL 

or   CONCERT, 


AND 


UPWARD. 


CONNELLY'S   Ticket  Office,  Adams  House. 

'Phone,  Oxford  942 

FOUR  HISTORICAL  ART  SONG  RECITALS 

At  the  Tuileries,  270  Commonwealth  Avenue 
MARCH  19  and  26,  APRIL  2  and  9 

Assisted  by  Miss  Marguerite  Hall,  Contralto ;  Miss  Florence  Mirick,  Contralto ;  Mr.  Francis  Rogers,  Bari- 
tone; Mr.  Heinrich  Schue'cker,  Harpist. 

March  19.     English  Song.     Assisted  by  Miss  Marguerite  Hall. 

March  26.     German  Song.     Assisted  by  Mr.  Francis  Rogers. 

April  2.     French  Song.     Assisted  by  Mr.  Heinrich  Schuecker. 

April  9.     Italian  Song.     Assisted  by  Miss  Florence  Mirick. 

Subscription  ticket  for  the  course,  $5.     Single  ticket,  £1.50,  which  will  be  promptly  remitted  upon 

application  to 

WILHELH  HEINRICH,  149a  Tremont  Street,  Boston,  Hass. 

Circulars  to  be  found  at  the  principal  music  stores. 

.  .  CHICKERING  HALL  .  . 

TUESDAY  EVENING,  MARCH  17,  at  quarter  after  eight  o'clock. 

Miss  LUCIE   A.   TUCKER,  Contralto  Soloist, 

announces   a    Program  of  Songs  and   Arias. 

Hiss  LAURA   HAWKINS,  Pianist. 


PROQRAH. 

The  March  of  the  Mountains 


Pauvre  Jacques 
Cieco  si  fuisi  amor  . 
Jockey  to  the  Fair 
Divinites  du  Styx  (Alceste) 


William  Schuyler 

Early  French 

Early  Italian 

Early  English 

.     Gluck 


Gypsy  Song 

The  Blood-red  Ring 

Im  Herbst  . 


Out  of  the  Past . 

The  Year's  at  the  Spring 

Wiegenlied 

Serenade      .... 

Air  de  Pygmalion  (Galathee) 


.  Dvorak 

Coleridge  Taylor 

Robert  Franz 

.     Margaret  I.ang 

.   Mrs.  Beach 

Brahma 

.  Richard  Strauss 

Victor  Masse 


TICKRTS  for  ONE  DOLLAR  may  he  ordered  by  mail,  accompanied  by  check,  from  Miss 
TUCKER,  at  357  Parkway,  Chelsea,  Mass.,  or  may  be  secured  at  Chickering  Hall. 

Mrs.  ALICE  BATES   RICE 

Announces    a    program    of   SONGS    and   ARIAS   in   Huntington 

Chambers  Hall,  Wednesday  evening,   March  18, 

at  quarter  after  eight  o'clock. 

Mrs.  JESSIE    DOWNER    EATON,  Pianist. 

Tickets,  One  Dollar,  on  sale  at  Herrick's  and  the  evening  of  the  recital 

at   the  hall. 
(1020) 


The  Knabe  Pianos 

Enjoy  the  confidence  that  fifty 
years  of  unpurchased  recommen- 
dations, artistic  endorsements,  and 
satisfied  patrons  naturally  pro- 
duce. The  present  Grand  and 
Upright  Pianos  now  offered  by 
Knabe  &  Co.  embody  the  highest 

principles   of  fine   piano   construction,   and   have  their  place  in 

the  front  van  of  High-Grade   Pianofortes. 


The  ANGELUS  p,anp°l 


The   ANGELUS 

gives  you  the  means      /',-*  ^ua. 


to  be  a  musician.    It    -^^^k 
will    enable    you   t0  ffw  ^^J^ 
play    any     and     all  jS*^L,j5*5if 
music    as    only    the    '^BffJK  >^\ 
world's    greatest  pi- 
anists play  it. 


PLAYER 


The  ANGELUS 
at  all  times  faith- 
fully reflects  the 
feelings  b  y  which 
the  performer  i  s 
dominated,  and  the 
^playing  is  not  me- 
chanical only  to  that 
degree  to  which  the 
performer  is  m  e  - 
chanical. 


C.    C   HARVEY    &   CO. 

Sole  Representatives 

No.  144  BOYLSTON  STREET 


(1021) 


RECITAL 

STEINERT    HALL  ] 

Monday  evening,  March  16,  8  p.m. 

LEOPOLD  WINKLER 

PIAINIST 


-  PROGRAMME  - 
i.  a.  Sonata,  Op.  57,  F  minor    ........    Beethoven 

Allegro  assai.     Andante  con  moto.     Allegro  ma  non  troppo,  Presto. 

2.  a.   In  the  Evening  .........     Schumann 

b.  Study.     C  major        .........  Chopin 

c.  Love's  Message  .         .         .  •       .         .         .         .         .     Schubert-Liszt 

d.  At  the  Spring R.  Joseffy 

3.  a.  Air  and  Variations    .........  Handel 

b.  To  a  Water-lily E.  A.  MacDowell 

c.  Rhapsodie  Hongroise,  No.  6      ......         .        Fr.  Liszt 

4.  Fantasie,  F  minor  .........  Chopin 

5.  a.  Gavotte,  A  minor      ..........     Silas 

b,   Marche  Militaire Schubert-Taussig 


Mr.  Winkler  plays  the  Wissner  Piano 
Direction  Miss  ANNA    MILLAR 


Note.— Mr.  Winkler  was  born  in  Glei  witz,  Silesia.  He  showed  decided  talent  at  the  age  of  four,  and 
when  he  was  seven  years  old  he  appeared  at  his  first  concert  in  Breslau,  Germany.  He  was  sent 
to  the  Conservatory  at  Vienna,  which  accepted  him  free  of  charge  on  account  of  his  unusual 
talent.  On  leaving  the  Conservatory  he  was  the  possessor  of  the  first  prize,  a  gold  medal,  and  of 
the  Music  Society  medal,  which  latter  is  only  given  to  the  best  pupil  of  the  piano  class.  After 
this  he  was  introduced  to  Anton  Rubinstein,  who  took  a  very  great  interest  in  him,  and  with 
whom  he  studied  for  some  time.  He  made  many  concert  tours  before  coming  to  this  country, 
winning  his  greatest  successes  in  Germany  and  Austria.  He  has  been  a  resident  of  New  York  for 
the  last  few  years,  and  has  played  with  great  success  in  many  important  concerts. 

(1022) 


Miss  ANNA  MILLAR 

has  the  honor  to  announce  a 

PIANOFORTE  RECITAL 


BY 


nus  J  ESSIE  SHAY 

=  IN  - 

STEIINERT     HALL 

-  ON  -  • 

Thursday  Afternoon,  March  19,  at  3  o'clock 


Reserved  seats,  75c,  $1,  $1.50.       Tickets  now  on  sale  at  the  hall 


Miss  Shay  may  be  remembered  from  her  lour  of  the  United  States,  1901-1902,  with 
Kubelik,  and  from  her  appearances  with  the  New  York  Philharmonic  Orchestra,  the  Boston 
Symphony  Orchestra,  the  Pittsburgh  Symphony  Orchestra,  and  others. 


Miss  Shay  uses  the  Wissner  Pianoforte 


STEINERT   HALL, 
MONDAY  EVENING,  APRIL  6. 


Mr.  Herman  HEBERLEIIN 

ANNOUNCES  A 

VIOLONCELLO  RECITAL. 


FURTHER  DETAILS  LATER. 

(1023) 


**  In  ten  years  there  will  not  be  a 
horse-drawn  vehicle  in   Paris." 

Extract  from  a  recent  speech  by  Baron  Rothschild 


ATTEND       THE 

AUTOMOBILE 
SHOW 

t 

SYMPHONY  HALL 
MARCH   16  to    21 

And  see  what  the  engineers   and  inventors 
are  doing  to  save  your  time 
and  emancipate  the  horse  ^ 

$100,000  worth   of   new   autos 
under  one  roof 

Concerts  afternoon  and  evening  by  the 

vSalem   Cadet   Band 


(1024) 


*Uhe  Choral  Jxrt  Society 

of  Boston 

MR.  WALLACE  GOODRICH,  Conductor 

WILL   RENDER   ITS   SECOND    PROGRAM    IN   TRINITY   CHURCH 
ON    FRIDAY   EVENING,    MARCH  13,    AT   8.30   O'CLOCK  jft  j*  J> 


{Program 

CRUCIFIXUS  (ten  parts) Lotti 

AVE  MARIA Arcadelt 

MOTET,  Tristis  est  anima  mea  .        .        .        .       O.  di  Lasso 

MOTET,  0  filii  et  filise  (double  chorus)       ...         V.  Leisring 

Stabat  Mater  Speciosa G.  W.  Chadwick 

(For  women's  voices) 
PATERNOSTER Verdi 

CHERUBIM  SONG Tschaikowsky 

MOTET  for  double  chorus,  Komm,  Jesu,  komm  .         J.  S.  Bach 

THREE  ANTHEMS  for  eight-part  chorus        .        .        .      Mendelssohn 
riorgenhymne,  with  organ  and  harp      ....  Henschel 


ADMISSION    ONLY    BY    ANNUAL    SUBSCRIPTION.      INFORMA- 
TION   REGARDING    SUBSCRIPTION     MAY    BE    OBTAINED    OF 

CHARLES  G.  SAUNDERS,  Secretary, 
95  Milk  Street,  Boston* 

(1025) 


fll*S.  H.  H.  A.  Beach  will  give  a  concert  of  her  own 
compositions,  for  the  benefit  of  the  Boston  Nursery  for  Blind 
Babies,  in  Steinert  Hall,  Wednesday,  March  18,  at  2.30  p.m. 
•Mrs.  Beach  will  be  assisted  by  firs.  Kileski-Bradbury, 
Soprano;  Hrs.  Homer  E.  Sawyer,  Contralto;  andHr. 
George  J.  Parker,  Tenor.  Many  of  the  compositions  on 
the  program  are  still  in  manuscript.  All  seats  reserved.  Tickets, 
$2.00,  for  sale  at  Steinert's. 

EDWI/N   H.  LEMARE 

The  noted  English  Organist,  will  give 

THE  OPENING  RECITAL  on  the  New  Berkeley  Temple  Organ 

BERKELEY  TEMPLE,  corner  Berkeley  Street  and  Warren  Avenue 

THURSDAY    EVENING,    MARCH    J9,    1903,    at    8 

Reserved  seat  tickets,  50c.  and  #1.00,  on  sale  at  Herrick's,  Berkeley  Temple  church 
office  (telephone,  Tremont  ion),  and  at  the  door. 


"He  plays  with  authority." —  Philip  Hale. 

"  That  Mr.  Lemare  is  a  phenomenal  organist  must  be  at  once  conceded." — Louis  C.  Elson. 

"  What  Paderewski  is  to  the  piano,  Lemare  is  to  the  organ." —  Organist  Duncan,  New  York. 


Sixth  Annual  Concert 

OF    THE 

!Peopie  's    Choral    7/ni'on 

WILL    BE    GIVEN    IN 

SYMPHONY  HALL,  Sunday  Evening,  March  22,  \  903, 

At  8  o'clock. 
Mr.  SAMUEL  W.   COLE,  Conductor. 


THE   CHORUS    WILL    BE    ASSISTED    BY 

Mrs.  Kileski  Bradbury,  Soprano  Miss  Alice  Mabel  Stanaway,  Alto 

Mr.  Clarence  B.  Shirley,  Tenor  Mr.  Leverett  B.  Merrill,  Bass 

AND    THE 

Boston  Festival  Orchestra 


Synopsis  of  the  Program 

For  Chorus,  Soloists,  and  Orchestra 

The  Nativity,  a  Cantata,  by John  K.  Paine 

In  Constant  Order,  a  Cantata,  by Carl  Maria  von  Weber 

Ave  Verum  and  Glory,  Honor,  Praise,  and  Power, 

Two  Motets,  by      ......         .  Wolfgang  Amadeus  Mozart 

For  Chorus  and  Piano 
Captain,  O  my  Captain,  by Edgar  Stillman  Kelly 

Tickets,  50  cents,  75  cents,  $1.00 

(1026) 


MUSICAL   INSTRUCTION. 


Miss  HARRIET  S.  WHITT1ER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 
MiSS  GERTRUDE  EDMANDS,  Vocal  Instruction. 

EXETER    CHAMBERS. 


Mr.  CHARLES  B.  STEYENS, 


Specialist  in  tbe  Science  of 
Tone  Production  and  the  Art  of  Singing. 

Studio  20,  Steinert  Hall  Building. 


Telephone,  1331  Oxford. 


Miss  ANNA  MILLER  WOOD, 

flEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


(1027) 


Miss  SUM  DOANE, 


MASON  TOUCH  and  TECHNIC. 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


96  Dartmouth  Street. 


Miss  JESSIE  DAVIS, 

Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...  LESSONS  w 

Studio,   163    flassachusetts  Avenue. 


Miss  HARRIET  A,  SHAW, 


HARPIST. 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TENOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  GUSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Violin,  Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEI1BLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 
DAVID  POPPER. 

STUDIO:  171A    TREHONT STREET. 


JOHN  G.  MANNING, 


Rianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


nrs.  flabel  riann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(1028) 


The  Famous  French  Pianist 

FIRST 
AMERICAN  TOUR 


MANAGEMENT 

L.   M.  RUBEN 

108  FIFTH  AVENUE 
NEW  YORK 


THE  WEBER  <P.ANO  USED 


STEIN  WAY  &  SONS 

Grand  and  Upright  Pianos. 


MANUFACTURERS  BY  APPOINTMENT  TO 

His  Majesty. 

WILLIAM  II., 


His  Majesty, 

NICHOLAS  II., 

CZAR.  OF  RUSSIA. 


EMPEROR  OF  GERMANY  AND 
KING  OF  PRUSSIA. 


His  Majesty. 

FRANCIS 
JOSEPH  I., 

EMPEROR   OF      Q 


KING  OF  HUNGARY.  Hungary. 


•"Their  Royal  Highnesses. 

THE  PRINCE  AND: 
PRINCESS  OF     ! 
WALES. 


His  Majesty. 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty, 

ALEXANDRA, 

QUEEN  OF  GREAT  BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  Majesty. 

VICTORIA, 

QUEEN  OF  GREAT  BRITAIN 
AND  EMPRESS  OF  INDIA. 


Hts  Royal  Highness. 

THE   DUKE  OF 
EDINBURGH. 


His  Majesty. 

UMBERTO  I., 

KING  OF  ITALY. 


His  Majesty. 

ALBERT, 

KING    OF    SAXONYA 


Her  Majesty. 


MARIACHRIST1NA,!        OSCAR  II., 


QUEEN  REGENT  OF  SP.A1N. 


KING  OF  SWEDEN 

and  NORWAY. 


NORWAY  AND  SWEDEN. 


His  Majesty, 


MOUSAFFER-ED-DIN J  ABDUL  HAMID  II.. 


SHAH  OF  PERSIA. 


SULTAN  OF  TURKEY! 


AND  THEIR    RESPECTIVE   COURTS. 
rcBSIAt  ILLUSTRATED   CATALOGUE  MAILED   FREE  ON  APPLICATION.  turkey. 


STEINWAY    PIANOS. 


H.  STEINERT    &    SONS    COflPANY, 

162  to  168  Boylston  Street,  Boston,  Hass. 


PRoGRSiWE 


ANTOINETTE 
SZDMOWSKA-ADAMOWSKA 

TO 

Brookline,  March  9,  1903. 
Mason  &  Hamlin  Co.  : 

Gentlemen, —  I  have  admired  your  pianofortes  for  a  long  time, 
even  on  slight  acquaintance  with  them,  but  since  having  used  them 
exclusively  for  this  season  I  have  come  to  a  fuller  appreciation  of 
their  many  wonderful  qualities. 

The  tone  of  the  Mason  &  Hamlin  Pianofortes  is  beautiful 
and  noble,  and  "  it  carries,"  a  most  important  quality.  As  to 
their  action  I  can  only  say  that  I  never  yet  used  a  piano  which 
responded  as  readily .  to  every  most  delicate  as  well  as  fortissimo 
effect  whicli  I  wished  to  produce. 

It  gives  me  pleasure  to  tell  you  that  I  have  often  been  compli- 
mented, after  my  concerts,  on  the  beauty  of  the  piano  on  which  I 
had  been  performing,  and  I  want  to  congratulate  you  heartily  on 
the  great  success  achieved  by  the  constant  and  untiring  work  de- 
voted to  the  perfection  of  your  instruments. 

Believe  me 

Sincerely  yours, 

(Signed)     Antoinette  Szumowska-Adamowska. 


M.  ^Steinert  (Si  Sans  Co, 

New  England  Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES, 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

NINETEENTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     J*    J*    J*    Jt 


FRIDAY  AFTERNOON,  MARCH  27, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  MARCH  28, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 

(1029) 


ME  S  S  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest    Grand    Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


1030) 


TWENTY-SECOND   SEASON,  1902-1903. 


Nineteenth  Rehearsal   and  Concert* 


FRIDAY  AFTERNOON,  MARCH  27,  at  2.30  o'clock. 

SATURDAY  EVENING,  MARCH  28,  at  8.00  o'clock. 

PROGRAMME. 

Mozart       .         ♦  Symphony  in  D  major,  "  without  minuet "  (K.,  504) 

I.     Adagio.    Allegro. 
IT.     Andante. 
III.     Finale:  Presto. 

Saint-Saens         .       Concerto  in  G  minor,  No.  2,  for  Pianoforte,  Op.  22 

I.     Andante  sostenuto. 
II.     Allegretto  scherzando. 
III.     Presto. 


Foote  * Suite  in  D  minor,  Op.  36 

I.     Allegro  energico,  con  brio. 
II.     Espressivo,  non  troppo  adagio. 

Svendsen    .         .         "  Carnival  at  Paris,"  Episode  for  Orchestra,  Op.  9 


SOLOIST : 
Mme.  ANTOINETTE  SZUMOWSKA 


THE    PIANOFORTE    IS    A    HaSON    &    HAnLIN. 


There  will  be  an  intermission  of  ten  minutes  after  the  Saint-Saens  concerto. 


The  doors  of  the  hall  Will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end.  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.  

City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City   Clerk. 

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L.  P.  Hollander  &  Co. 


Ready-to-wear  Department  (Second  Floor). 

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When   the    desired    sizes    are   not   found   in   stock,  SPECIAL 
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Waist  Department  (same  floor). 

NEW  MODELS  IN 

Crepes,  Pongees,  and  India  Silk  WAISTS. 

We  are  having  all  waists  made  in  our  own  workrooms  this 
season,  thus  securing  exclusive  designs. 


Easter  Gifts. 


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Symphony  in  D  major  (Kochel,  No.  504),  Wolfgang  Amadeus  Mozart, 
(Born  at  Salzburg  on  Jan.  27,  1756;  died  at  Vienna  on  Dec.  5,  1791.) 

This  symphony  was  composed  in  December,  1786.  Performed  in  Prague 
at  a  concert  given  by  Mozart  early  in  1787,  it  awakened  extraordinary 
enthusiasm.  Franz  Niemtschek,  of  Prague,  who  wrote  a  biography  of 
Mozart  (1798),  said  of  the  two  concerts  (the  first  was  on  January  19): 
"The  symphonies  which  he  chose  for  this  occasion  are  true  masterpieces 
of  instrumental  composition,  full  of  surprising  transitions.  They  have  a 
swift  and  fiery  bearing,  so  that  they  at  once  tune  the  soul  to  the  expecta- 
tion of  something  superior.  This  is  especially  true  of  the  great  symphony 
in  D  major,  which  is  still  a  favorite  of  the  Prague  public,  although  it  has 
been  heard  here  nearly  a  hundred  times." 

The  compositions  played  at  these  concerts  were  all  by  Mozart,  and  he 
played  the  piano  and  improvised.  The  soprano,  Anna  Selina  Storace, 
told  Mozart's  father  that  his  son  Wolfgang  made  the  net  sum  of  1,000 
florins  by  the  concerts. 

The  orchestra  of  the  Prague  Opera  House  was  not  numerically  strong 
at  the  time ;  there  were  6  violins,  2  violas,  2  basses.  '  At  Vienna  the 
Opera  orchestra  of  the  same  year  had  12  violins  in  all,  4  violas,  3  'cellos, 
and  3  double-basses.  This  orchestra,  it  is  true,  was  strengthened  on 
grand  occasions, —  always  for  the  concerts  given  in  aid  of  the  pension 
fund  for  musicians,  when  one  hundred  and  eighty  to  two  hundred  players 
took  part.  An  orchestra  of  two  hundred  assisted  in  the  performance  of  an 
oratorio  by  Dittersdorf,  and  Risbeck  spoke  in  his  letters  of  four  hundred 
musicians   playing    together  in  Vienna  for  the  benefit  of   the  widows  of 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC. 

GEORGE   W.  CHADWICK,    Director. 
Huntington  Avenue,   Boston,  one  block  from  Symphony  Hall. 

SECOND   SESSION 
Begins  Thursday,  February  5. 


Registration   begins  January  29. 

(1033) 


V.  Ballard   & 

Sons 


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Fancy  Street  and 
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Made  from  exclusive  styles 


IMPORTED 
MODELS  * 


256  BOYLSTON  STREET 
BOSTON 


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colleagues.  Mozart  himself  mentioned  in  17S1  a  performance  of  a  sym- 
phony by  him  with  forty  violins  and  the  wind  instruments  all  doubled, 
"also  10  violas,  10  double-basses,  8  'cellos,  and  6  bassoons.''  But  as  a 
rule  the  compositions  of  this  period  were  designed  for  small  orchestras. 

This  symphony  is  noteworthy  in  two  respects  :  there  is  an  introductory 
slow  movement,  and  there  is  no  minuet.  Kochel  attributes  forty-nine 
symphonies  to  Mozart.  Only  four  (44,  45,  46,  and  47)  begin  with  an 
introduction,  in  these  instances  adagio.  It  is  to  be  noticed  that  the 
symphony  which  precedes  chronologically  (1783)  the  one  played  at  this 
concert  has  such  an  introduction  and  is  also  without  a  minuet.  The 
"Parisian"  symphony,  No.  39  (K.  297),  composed  in  1778,  is  r.lso  in  D 
major  and  without  a  minuet.  It  was  in  his  sixth  symphony  (K.  43),  com- 
posed in  1767,  that  Mozart  used  the  minuet,  here  without  a  trio.  It  is 
true  that  the  second  symphony,  with  the  alleged  date  1760  (London),  con- 
tains two  minuets,  but  the  authenticity  of  the  date  has  been  disputed  on 
apparently  good  grounds. 

This  symphony  is  scored  for  2  flutes,  2  oboes,  2  bassoons,  2  horns  z 
trumpets,  kettle-drums,  strings. 

The  introduction,  Adagio,  D  major,  4-4,  is  free  in  form.  A  strong  unison 
and  octave  D  in  the  full  orchestra,  followed  by  ascending  figures,  leads  to 
a  rambling  violin  theme,  chords  over  an  arpeggio  bass,  which  alternate 
with  an  ascending  series  of  turns  in  the  first  violins,  and  then  a  piano 
hold  on  the  dominant. 

The  first  movement,  Allegro,  in  D  major,  4-4,  begins  piano  with  the  first 
theme,  which  in  more  than  one  way  rem  nds  the  hearer  of  the  first  theme 
in  the  overture  to  "  Don  Giovanni,"  written  about  ten  months  afterward.. 
There  is  also  the  prophecy  of  a  figure  in  the  overture  to  "  The  Magic 
Flute."     The     second    theme    is    of    a     quieter    nature  and   in   A   major. 

SELECTED  COMPOSITIONS  by  Arthur  Foote. 

PIANOFORTE    SOLOS. 


Op.  15,  No.  1.  Prelude  and  Fugue,  ^0.75 
Op.  27.  Caprice  No.  1  in  B-flat  .  .25 
Op.  30.  Suite  in  C  minor  ...  1.25 
Op.  34,  No.  1.     Pierrot      ....         .40 

No.  2.     Pierrette 40 

Op.  41.     Five  Poems.     (After  Omar 

Khayyam) 1.00 

Op.  45.     Serenade  in  F  major   .     .         .75 


SONGS. 

<  >p.  :  1,  Xo.  2.     The  March  Wind  .                  .  ?n..)c 
Op.  43,  No.  1.     The  Nightingale  lias  a  Lyre 

of  Gold 40 

Op.  43,  No.  5.     O  Love,  stay  by  and  sing       .  .40 

Op.  51,  No.  4.     Ashes  of  Roses        .         .         .  .30- 

Meninon*        ....  .40 

Elaine's  Song          .         .         .  .40 

O  Swallow,  Swallow,  flying 

South           ....  .50 


SENT  FREE.    Catalogue  of  Arthur  Foote's  Compositions,  containing  Portrait 

and  Biography. 

ARTHUR     F\    SCHMIDT, 

BOSTON,  LEIPZIG.  NEW  YORK, 

146  Boylston  Street.  136  Fifth  Avenue. 

a035) 


The  free  fantasia  is  rather  long.  The  movement  is  characteristically 
Mozartian. 

The  second  movement,  Andante,  G  major,  6-8,  has  been  praised  by 
German  commentators  for  its  "spring  freshness,"  and  Ferdinand  Hand,  in 
his  ".^Esthetik  der  Tonkunst,"  quoted  it  as  a  perfect  example  of  Mozart's 
"  exquisite  grace."  The  drums  and  trumpets  are  silent.  The  movement 
is  in  sonata  form. 

Finale,  Presto,  D  major,  2-4,  is  a  brilliant  rondo  on  three  themes. 
"Michel  Brenet  is  reminded  by  the  first  of  an  aif  from  "  The  Marriage  of 
Figaro."     The  resemblance  is  not  striking. 

* 
#  * 

When  was  this  symphony  first  produced  in  Boston  ?  Was  it  at  a 
concert  of  the  Orchestral  Union,  led  by  Mr.  Zerrahn,  at  Tremont  Temple, 
Feb.  :i,  i860  ?     The  programme  as  a  whole  is  worth  quoting  :  — 

Symphony  No.  i,  in  three  parts Mozart 

(First  time.) 

Waltz,  Sanderi.inge  (sic) Lanner 

Overture,  "  Der  Freischutz" Weber 

Elegy  of  Tears Schubert 

Introduction  and  Aria,  "  Belisario  " ...       Donizetti 

Allegretto  from  Symphony-cantata Mendelssohn 

Quadrille,  "  Ncvrth  Star" Strauss 


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WHOLESALERS,  IMPORTERS,  AND  RETAILERS 


S~~UR  representative  is  now  in 
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—  tion  to  commissions  forwarded  by  us. 
We  solicit  commissions  for  Oriental 
Carpets  in  unusual  designs  or  colorings. 
Special  consideration  given  to  the  carrying  out 
of  orders  for  whole  carpets,  which  are  woven 
without  seam  and  to  fit  any  space.  We 
especially  recommend  the  Scotch  Chenille 
Axminsters. 

Whole  Carpets,  in  India  and  Turkish 
weaves,  can  be  furnished  in  from  six  to  twelve 
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Except  in  extraordinary  sizes  and  colorings,  we 
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Oriental   Carpets,  either    Modern   or  Antique. 


PRAY  BUILDING,  646-658  Washington  St. 

OPPOSITE  BOYLSTON 


(1037) 


The  concert  began  at  three  p.m.  Single  tickets  were  sold  for  twenty-five 
cents,  and  a  package  of  six  cost  one  dollar. 

*  * 

It  is  often  stated  loosely,  and  with  the  air  of  Macaulay  with  his  "  every 
school-boy  knows,"  that  the  minuet  was  introduced  into  the  symphony  by 
Haydn.  Gossec  in  France  wrote  symphonies  for  large  orchestra  before 
Haydn  wrote  them,  and  these  works  were  performed  at  Paris.  But  just 
when  Gossec  introduced  the  minuet  as  a  movement  is  not  determined 
beyond  doubt  and  peradventure.  Sammartini  wrote  his  first  symphony  in 
1734,  Stamitz  wrote  symphonies  before  Haydn,  and  there  were  other 
precursors.  Even  a  Viennese  composer  introduced  the  minuet  before 
Haydn,  one  Georg  Matthias  Monn,  whose  symphony  of  1740  with  a 
minuet  is  now  in  the  Vienna  Court  Library. 

* 

*  # 

The  symphony,  it  is  said,  was  the  successor  of  the  old  suite.  It  should 
not  be  forgotten  that  "the  ultimate  basis  of  the  suite -form  is  a  contrast  of 
dance-tunes ;  but  in  the  typical  early  symphony  the  dance-tunes  are  almost 
invariably  avoided."  Nor  can  the  introduction  of  the  minuet  in  the  sym- 
phony be  regarded  as  a  vital  bond  between  symphony  and  suite.  The 
minuet  is  not  so  characteristic  an  elerflent  in  the  old  suite  as  is  the  alle- 
mande,  courante,  sarabande,  gigue,  gavotte,  or  bourree. 

UP    TO    1903. 


Every  year  the  demand  is  for  better  furni- 
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tion, a  beauty  which  shall  endure  and  be  a 
perpetual  delight  to  its  owner. 

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warerooms  and  see  three  and  a  half  acres  of 
this  new  furniture,  representing  the  best  survi- 
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this  country. 

Here  is  a  piece  at  random,  a  bureau  from 
a  set.  The  finest  of  tough  San  Domingo  mahogany,  inside  and  out,  with 
cross-banded  mouldings,  edges,  and  borders.  Of  a  color  like  a  ripe  horse- 
chestnut,  relieved  by  old-fashioned  wrought  trimmings  of  antique  brass. 

Every  detail  is  historically  true. 

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Mozart  preserved  the  type  of  the  old  minuet,  as  it  is  found  in  the  old 
suites  :  he  kept  the  moderate  movement,  the  high-bred,  courtly  air.  But 
Haydn  accelerated  the  pace,  gave  a  lighter  character,  and  supplied  whim- 
sical and  humorous  incidents.* 

There  were  some  who  thought  in  those  early  days  that  a  symphony 
worthy  of  the  name  should  be  without  a  minuet.  Thus  the  learned 
Hofrath  Johann  Gottlieb  Carl  Spazier  (176 1-1805)  wrote  a  strong  pro- 
test, which  appeared  in  the  number  of  the  Musikalisches  Wochenblatt 
after  that  which  contained  the  news  of  Mozart's  death.  Spazier  objected 
to  the  minuet  as  a  destroyer  of  unity  and  coherence.  In  a  dignified  work 
there  should  be  no  discordant  mirth.  Why  not  a  polonaise  or  a  gavotte,  if 
a  minuet  be  allowed  ?  The  first  movement  should  be  in  some  prevailing 
mood,  joyful,  uplifted,  proud,  solemn,  etc.  A  slow  and  gentle  movement 
brings  relief  and  prepares  the  hearer  for  the  finale  or  still  stronger  presen- 
tation of  the  first  mood.  The  minuet  is  disturbing,  it  reminds  one  of  the 
dance-hall  and  the  misuse  of  music  ;  and  "  when  it  is  caricatured,  as  is 
often  the  case  with  minuets  by  Haydn  and  Pleyel,  it  excites  laughter." 
The  minuet  retards  the  flow  of  the  symphony,  and  it  should  surely  never 
be  found  in  a  passionate  work  or  in  one  that  induces  solemn  meditation. 
Thus  the  Hofrath  Spazier  of  Berlin.  The  even  more  learned  Johann 
Mattheson  had  said  half  a  century  before  him  that  the  minuet,  played, 
sung,  or  danced,  produced  no  other  effect  than  a  moderate  cheerfulness. 
The  minuet  was  an  aristocratic  dance,  the  dance  of  noble  dames  with 
powder  and  patches  and  of  men  renowned  for  grace  and  gallantry.  It  was 
so  in  music  until  Haydn  gave  it  to  citizens  and  their  wives  with  loud 
laugh  and  louder  heels. 

*  For  interesting  remarks  concerning  the  infancy  of  the  symphony,  especially  at  Vienna,  see  "  Mozarts 
Jugendsinfonien '  "  by  Detlef  Schultz  (Leipsic,  1900). 


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Concerto  in  G  minor,  No.  2,  for  Pianoforte,  Op.  22. 

Camille  Saint-Saens. 

(Born  at  Paris,  Oct.  9,  1835 ;  now  living  at  Paris.) 
This  concerto  was  composed  in  1868.  It  was  played  for  the  first  time 
with  the  composer  as  pianist  at  a  Concert  Populaire,  Paris,  Dec.  13,  1868. 
The  first  performance  in  Boston  was  at  a  concert  of  the  Harvard  Musical 
Association,  Feb.  3,  1876,  when  Mr.  B.  J.  Lang  was  the  pianist.  Mr.  Lang 
was  the  pianist  when  the  work  was  produced  at  New  York  by  the  Phil- 
harmonic Society,  Dec.  9,  1876,  and  in  the  published  records  of  the  Phil- 
harmonic it  is  stated  that  this  performance  was  the  first  in  America. 

The  orchestral  portion  of  the  concerto  is  scored  for  2  flutes,  2  oboes, 
2  clarinets,  2  bassoons,  2  horns,  2  trumpets,  kettle-drums,  strings,  and  for 
the  third  movement  a  pair  of  cymbals  ad  libitum  is  indicated.  The  score 
is  dedicated  to  Mme.  A.  de  Viliers,  nee  de  Haber. 

The  following  analysis  was  written  by  Mr.  William  Foster  Apthorp  :  — 
"  The  first  movement  opens  with   a  free  contrapuntal  cadenza  for  the 
pianoforte  alone,  Andante  sostenuto  in  G  minor  (4-4  time,  but  with  no  bars 
marked  in  the  score  up  to  the  point  where  the  orchestra  enters). 

"  This  cadenza  begins  with  a  sort  of  free  adaptation  of  the  old  clavecin 
style  to  the  modern  pianoforte,  but  grows  more  brilliant  and  modern  in 
character  as  it  goes  on.  Then  the  orchestra  enters  fortissimo  with  two 
great  chords  of  the  tonic  and  dominant  (first  inversion),  very  like  those 
which  introduce  the  opening  slow  movement  of  Mozart's  overture  to  '  Don 
Giovanni '  followed  by  a  vigorous  phrase  in  a  strongly  marked  rhythm.  A 
recitative-like  phrase  in  the  oboe,  accompanied  at  first  by  the  pianoforte, 


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Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


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then  by  the  strings  pizzicati,  leads  to  the  presentation  of  the  first  theme  by 
the  pianoforte  alone,  the  strings  soon  coming  in  with  an  accompaniment 
during  the  development.  Some  imitations  between  the  pianoforte  and  the 
strings  and  wood-wind  lead  to  a  subsidiary  theme  in  the  relative  major  (B- 
flat)  given  out  by  the  pianoforte,  some  of  the  phrases  being  reinforced  by 
the  wood-wind.  A  new  episodic  phrase  in  the  clarinet,  accompanied  by 
repeated  chords  in  the  flutes  and  horns  and  rapid  running  passages  in  the 
pianoforte  leads  to  a  change  of  tempo,  Piii  animato,  and  the  solo  instru- 
ment begins  a  long  climax  of  brilliant  passage-work,  rapid  double  thirty- 
second  notes  in  the  right  hand  against  slow  arpeggj  in  the  left  being  suc- 
ceeded by  more  and  more  brilliant  '  double-shuffle '  octaves  and  chords, 
accompanied  at  first  by  sustained  harmonies  in  the  strings  and  wood-wind, 
then  by  the  whole  orchestra.  The  climax  goes  on,  sempre  piii  animato  e  cres- 
cendo, until  the  tempo  becomes  twice  as  fast  as  before  ;  then,  with  a  sudden 
return  to  the  original  slower  tempo,  the  first  theme  returns  fortissimo  in  G 
minor  in  the  violins,  violas,  and  'celli  in  octaves  against  a  perfect  whirlwind 
<5f  octaves  and  double  arpeggj  in  the  pianoforte.  This  outburst  is  followed 
by  a  continuation  of  the  theme  in  the  pianoforte  alone,  the  right  hand 
playing  the  melody  in  octaves  and  the  left  rolling  out  long  rising  and 
falling  arpeggj ;  soon  the  melody  passes  into  the  flute,  oboe,  and  clarinet 
in  octaves,  the  solo  instrument  keeping  up  its  arpeggio  accompaniment. 
A  brilliant  unaccompanied  cadenza  for  the  pianoforte  follows,  in  which 
figures  from  the  first  theme  are  worked  out.  Toward  the  end  the  orches- 
tra comes  in  again  and  leads  to  a  coda,  in  which  we  hear  once  more  the 
contrapuntal  passage  with  which  the  movement  opened,  but  now  accom- 
panied by  the  orchestra.  It  ends  with  a  repetition  of  the  strong  orchestral 
passage  which  first  introduced  the  principal  theme.  This  movement  has 
nothing  of  the  symphonic  form  usual  in  first  movements  of  concertos. 
Indeed  it  is  really  the  slow  movement  of  the  composition.    The  cyclical 

TO    THE    P  ROFESSIOM 

The  increasing  demand  for  GOOD  English  songs,  and  the 
seeming  difficulty  in  procuring  the  same,  compel  us  to  draw 
the  special  attention  of  the  profession  generally  to  the  fact 
that,  in  addition  to  our  extensive  catalogue,  we  represent  the 
three  leading  catalogues  in  Europe.  We  can  offer  a  variety 
unsurpassed  of  compositions  by  the  best  composers  in  the 
English  and  French  languages  on  the  same  date  of  publica- 
tion as  in  Europe.  Ask  for  BOOSEV  &  COMPANY'S 
publications,  and,  if  there  is  any  difficulty  in  obtaining  them, 
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(1043) 


form  of  this  concerto  is,  accordingly,  defective,  like  that  of  Beethoven's 
Sonata  in  C-sharp  minor,  Op.  27,  No.  2  ;  what  would  be  technically  the 
first  movement  is  omitted  by  the  composer. 

"The  second  movement,  Allegretto  scherzando,  in  E-flat  major  (6-8 
time),  corresponds  to  the  scherzo  in  character,  though  its  form  is  that  of  a 
first  movement.  A  pizzicato  chord  in  the  strings  and  some  rapid  rhythmic 
pulsations  in  the  kettle-drums  lead  to  the  exposition  of  the  dainty,  nimble 
first  theme  by  the  pianoforte  alone;  this  theme  is  then  further  de- 
veloped by  both  pianoforte  and  orchestra,  either  in  alternation  or  alto- 
gether. The  second  theme  appears  in  B-flat  major,  the  melody  being 
sung  by  various  wind  and  stringed  instruments  against  a  sort  of  guitar 
accompaniment  in  a  very  original  rhythm  in  the  pianoforte.  The  solo 
instrument  soon  takes  part  in  the  development,  which  is  followed  by  a 
light,  breezy  little  conclusion  theme  in  the  pianoforte,  accompanied  by  a 
tremolo  in  the  strings,  with  now  and  then  a  soft  chord  in  the  wood-wind. 
Then  comes  a  short  free  fantasia,  and  a  third  part  which  bears  quite  the 
conventional  relations  to  the  first.  The  movement  ends  pianissimo  with  a 
brief  coda. 

"  The  third  movement,  Presto,  in  G  minor  (4-4  —  really  12-8  —  time),  is 
a  brilliant,  rushing  Saltarello.  Two  measures  of  rapid  triplets  in  the  bass 
of  the  pianoforte  are  followed  by  a  repetition  of  the  figure  by  all  the 
strings  against  a  loud  G  minor  chord  in  the  wind  and  kettle-drums.  Then 
the  solo  instrument  launches  out  upon  the  first  theme,  which  it  develops, 
sparingly  accompanied  by  the  orchestra.  Some  subsidiary  passage-work 
leads  to  a  sudden  modulation  to  A  major,  in  which  key  the  second  theme 
enters.  The  12-8  saltarello  rhythm  is  now  abandoned;  the  melody  is 
played  on  the  pianoforte  to  a  chattering  accompaniment  of  repeated 
eighth  notes  in  the  wood-wind  and  horns.  Some  more  subsidiary  pas- 
sage-work in  which  the   12-8  rhythm  returns  once  more,  and  a  short  con- 

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elusion-theme,  end  the  first  part  of  the  movement.  In  the  free  fantasia 
the  first  and  second  themes  are  elaborately  worked  out  by  the  pianoforte, 
the  working-out  of  the  first  theme  being  accompanied  by  sustained  har- 
monies in  the  strings,  which  make  way  for  the  chattering  of  the  wind- 
instruments  whenever  the  second  theme  appears.  This  working-out  is 
followed  by  an  episode  in  which  the  wood-wind  and  horns,  reinforced 
later  on  by  the  strings,  play  a  solemn  choral  in  full  harmony  against  an 
obstinately  repeated  trill-figure  in  the  pianoforte.  This  figure  of  the  piano- 
forte is  taken  from  the  second  theme.  After  the  choral  has  been  thus 
played  through  in  even  whole  notes,  it  is  repeated  more  strongly  in  half 
notes,  the  pianoforte  still  keeping  up  its  repetitions  of  the  trill.  Some 
brilliant  passage-work  for  the  pianoforte  leads  over  to  the  third  part  of 
the  movement.  This  stands  in  wholly  regular  relations  to  the  first  part, 
the  second  theme  now  coming  in  D  major  (dominant  of  the  principal  key). 
A  dashing  coda,  in  which  there  are  some  striking  effects  like  the  tolling 
of  great  bells,  ends  the  movement." 

* 
#  # 

The  Concerto  in  G  minor  has  been  played  at  these  concerts :  — 

1882,  Dec.  9.     Mr.  Otto  Bendix. 

1883,  Dec.  8.     Mme.  Helen  Hopekirk. 
1888,  April  7.     Mr.  Alfred  Hollins. 


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ENTR'ACTE. 
A    NOTE   ON    MOZART  S    "DON    GIOVANNI." 

BY    VERNON     BLACKBURN. 
(Apropos  of  the  operatic  fortnight.) 

It  has  been  made  a  matter  of  considerable  comment  and,  one  may  add, 
of  natural  satisfaction,  that  within  the  last  three  or  four  weeks  Berlin  has 
celebrated  its  six-hundredth  performance  of  "  Don  Giovanni."  When  you 
come,  however,  to  reckon  the  matter  out  soberly,  it  will  be  seen  that  the 
opera  has  thus  accomplished  this  record  during  a  matter  of  some  hundred 
and  twelve  years.  While  we  in  England  can  look  within  recent  memory  to 
the  thousandth  performance  of  an  opera  by  Gilbert  and  Sullivan  taking 
place  within  the  limits  of  only  some  twenty  years,  the  Berlin  achievement 
can  scarcely  be  said  to  reach  a  very  imposing  proportion. 

The  New  York  Musical  Courier  publishes  some  illustrations  of  certain 
scenic  pieces  in  the  Berlin  performance,  and,  to  judge  from  "the  counter- 
feit presentment "  there  given,  the  revival  was  peculiarly  gorgeous.  Com- 
paring this  again  with  the  recent  production  at  Covent  Garden,  which  we 
so  unstintedly  praised  the  other  day  in  these  columns,  and  again  recalling 
to  mind  the  lovely  Munich  setting  over  which  the  managerial  genius  of 
Von  Possart  expended  so  much  pains,  it  would  really  seem  as  though  the 


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wheel  had  turned  full  circle,  and  that  Mozart  is  at  last  attaining  to  his 
position  of  supreme  right,  from  which  temporary  causes  had  excluded  him. 
That  his  work  should  still  endure  with  so  much  vigor  at  the  present  day 
would  probably  have  astonished  the  most  ardent  of  Wagnerians  had  they 
been  able  to  foresee  this  development  some  twenty  odd  years  ago. 

The  reasons  for  the  immortality  of  "Don  Giovanni"  can  n  ver  become 
any  less  reasonable  owing  to  the  sudden  fanaticism  which  selects  a  single 
artist  for  single  approbation.  We  do  not  in  the  least  find  fault  with  the 
tendency  which  led  even  critical  minds  to  pass  over  the  achievements  of 
elder  masters  with  the  advent  of  Wagner's  glorious  career.  One  only 
claims  the  tolerance  that  one  grants  to  others. 

If  we  were  asked  what  particular  quality  it  is  which  keeps  Mozart's 
operas  on  the  stage  when  the  operas,  say,  of  Handel  are  quite  impossible 
productions  for  the  present  generation,  we  should  most  certainly  attribute 
it  to  the  younger  master's  dramatic  quality.  It  is  that  which  has  kept 
Mozart's  operatic  skiff  still  dancing  over  the  waves  of  living  musical  art, 
where  all  that  we  have  left  of  Handel's  operas  are  the  few  pearls  of  great 
price  which  have  been  rescued  from  the  cargo,  as  it  were,  long  after  his 
operatic  ship  had  gone  hopelessly  out  of  repair.  Thus  you  have  such 
exquisite  melodies  as  "  Ombra  mai  fu  "  or  "  Lascia  ch'  io  pianga  "  still 
living  and  immortal,  where  the  operas  from  which  they  come  have  dis- 
appeared into  the  night.     (It  was  wonderful  enough   that  Handel  could 


SHREVE,  CRUMP  Q  LOW  CO. 


Pearl  Ropes,  Pendants,  Collarettes,  Rare 
Gems,   Diamonds. 


ARTISTIC    JEWELRY. 
FANS,  OPERA   GLASSES,  UNIQUE   DESIGNS   IN   SILVER. 


In   our  Art  rooms  we  are  showing  a  splendid  exhibit  of 
Objets  d'Art,  Classical  Bronzes,  Florentine  Statuary. 


147  TREMONT  STREET 


(1051) 


even  conceive  a  fine  air  for  words  so  ridiculous  as  "  Ombra  mai  fu,"  in 
which  a  lady  declares  that  no  shade  could  be  dearer  or  more  "amiable" 
than  that  of  the  "vegetable"  under  which  she  is  reclining  —  though,  of 
course,  we  here  somewhat  parody  the  words  in  translation.) 

With  Mozart,  however,  even  when  he  was  dealing  with  words  that  were 
not  far  removed  from  absurdity,  he  kept  up  a  sort  of  sub-conscious  sense 
of  the  dramatic  continuance  of  his  story,  so  subtle  and  so  significant,  that 
he  seems  in  a  certain  sense  even  to  transmute  literary  absurdities  into 
appropriate  drama  rather  by  a  kind  of  super-subtle  sense  of  what  they 
ought  to  mean  than  by  dwelling  insistently  upon  their  bald  and  unadorned 
meaning.  In  "  Die  Zauberfiote,"  for  example,  the  dramatic  significance  is 
altogether  Mozart's,  and  that  he  should  have  succeeded  as  he  did  is 
almost  a  miraculous  achievement.  For,  though  we  do  not  join  utterly  in 
the  abuse  which  has  been  poured  on  the  head  of  Schickaneder,  there  is 
little  enough  of  the  purely  dramatic  in  the  windings  of  that  lengthy  fairy 
tale.  It  was  this  sense,  then,  to  sum  all  up,  of  dramatic  insight  and  of  a 
musico-dramatic  situation  which,  combined  with  the  divinest  melody  that 
the  world  has  heard,  still  makes  Mozart's  work,  as  a  whole,  fresh,  young, 
and  ever  acceptable. 

It  is  rash  to  prophesy,  but  whether  the  "  Ring  "  will  outlast  Wagner's 
other  works  by  reason  of  its  stupendous  ambition,  and  the  Herculean 
labour  that  was  spent  upon  it,  may  be  doubted   if  only  for  this  reason, 

When  you  go  to  Paris 

And  order  a  gown,  you  will  find  that  the  Tailleur  will  insist 
upon  a  perfect-fitting  Corset  before  he  begins  his  work.  Seven 
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At  least,  Paris  says  so  ;  and  Paris  dictates  in  such  matters.  It  is  used  by 
the  most  exclusive  modistes  in  the  French  capital,  the  leaders  who  rule  the 
world  of  dress. 

One  of  the  greatest  distinctions  of  our  establishment  is  the  fact  that  the  "  Clas- 
sique"  Corset  has  for  years  been  sold  in  Boston  exclusively  by  us.  We  have 
just  received  the  new  spring  models.  The  prices  range  from  $5. 75  upwards. 
We  can  fit  any  figure. 

Remember  that  the  "  Classique  "  is  hand-fashioned  by  the  most  skilful  corsetiers 
of  Paris.  Only  genuine  whalebone  is  used.  We  urge  you  to  try  the  effect 
of  one  of  these  French  corsets  upon  your  figure. 


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that  its  drama  is  more  episodic,  more  fragmentary,  less  coherent  than  is 
the  magnificent  drama,  for  example,  of  "Tristan,"  "Lohengrin,"  and 
"  Parsifal."  For  this  seems  to  have  been  the  test  in  the  past,  and  it  is  a 
curious  thing  that  even  at  the  present  moment  the  two  sections  which  in 
themselves  are  the  most  completely  dramatic,  "  Die  Walkiire "  and 
"  Siegfried,"  are  by  far  and  away  the  best  known  to  opera-goers. 

FAUST    IN    MUSIC. 

BY   VERNON    BLACKBURN. 
(Apropos  of  the  operatic  fortnight.) 

The  fascination  which  the  subject  of  Faust  has  had  for  musicians  is  a 
natural  one.  The  story  has  the  elusiveness  which  is  rather  emotional  than 
articulate,  rather  mysterious  than  realistic,  rather  of  an  atmosphere  than  of 
a  place.  And  these  things  necessarily  make  for  musical  inspiration.  The 
real  things  of  life,  the  actual  sounds,  may  lead  the  mind  on  to  the  dreams 
of  musical  creation  ;  but,  as  Wagner  once  wrote  in  a  moment  of  sublime 
insight,  it  was  the  dream  within  the  dream  that  made  for  the  inner  taber- 
nacles of  art.  It  is  perhaps  for  this  reason  that  many  musicians  have 
sought  after  a  story  which,  from  the  beginning,  has  advanced  along  the 
path  of  their  desire,  of  their  dream ;  already,  as  it  may  be  said,  in  such  a 
selection  something  has  been  accomplished  in  preparation  •  the  ground 
has  been  laid  out  and  prepared. 

That  Wagner  himself  dallied  with  the  subject  is  known.  Of  course 
the  transcendentalism  of  the  theories  involved  in  the  legend  of  Faust 
was  enough  to  attract  that  mind  which,  while  being  in  reality  far  more 
emotional  than  philosophical,  would  sooner  have  been  taken  seriously  as 
a  well  of  human  thoughtfulness  and  of  meditative  contemplation  than 
as  a  fount  of    music  merely  —  profoundly    aware  though  he  was  of    the 


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value  of  his  glorious  music.  But  Wagner  was  soon  in  hue  and  cry  after 
his  own  ideal ;  and  he  found  in  himself  more  than  sufficient  to  struggle 
with  during  the  threescore  years  and  ten  which  literally  were  his. 

Other  musicians,  however,  have  not  possessed  so  many-sided  a  per- 
sonality that  they  were  able  to  regard  so  profound  a  source  of  inspiration 
as  this  in  the  light  of  an  external  episode,  which  might,  if  encouraged,  cast 
a  dimness  upon  their  creative  powers.  So,  to  name  but  three,  Gounod, 
Berlioz,  and  Boito  have  taken  up  the  subject  —  it  is  to  be  noted,  perhaps, 
rather  of  Mephistopheles,  in  reality,  than  of  Faust ;  but  that  is  no  more 
than  an  explanatory  detail  —  each  in  his  own  way  ;  and  it  is  extremely 
interesting  to  note  how  the  personalities  of  the  three  men  are  to  be  com- 
pared through  their  handling  of  this  eternally  impressive  subject. 

Boito  is  the  philosopher  of  the  three.  He,  with  that  curious  and  keen 
intelligence  which  marks  his  other  better-known  work  —  in  his  capacity 
of  librettist,  that  is  —  goes  at  once  to  the  essentials  of  his  subject.  He 
calls  his  opera,  for  a  beginning,  "  Mefistofele,"  thereby,  as  one  may  sup- 
pose, frankly  taking  the  metaphysical  rather  than  the  humanly  passionate 
side  of  the  matter.  Whether  or  not  that  is  the  reason  for  his  title,  the 
fact  is  that  this  is  the  province  which  he  chooses  for  interpretation  and 
enlargement.  The  canonization  of  the  fleeting  moment  —  the  capture 
of  the  all-satisfying,  the  completely  fulfilling  atom  of  time  —  this  vain 
ambition,  made  doubly  vain  by  the  interference  of  the  Spirit  of  Evil  in  its 


BROS. 


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achievement,  is  the  foundation  of  Boi'to's  most  subtle  woof  and  weft  of 
thought.  The  libretto  is  a  superb  bit  of  writing ;  but  the  music  cannot 
frankly  be  said  to  reach  the  level  of  the  literary  idea.  There  is  much 
that  is  thoughtful,  there  is  nothing  that  is  commonplace  ;  there  is  much, 
too, —  and  this  is,  of  course,  highly  important  in  connection  with  such  a 
book, —  of  subtlety  in  the  phrasing ;  but  the  fact  remains  that  the  music 
is  rather  an  interpretation,  in  the  strictest  and  most  declamatory  sense  of 
the  term,  line  upon  line,  word  upon  word,  of  the  poem,  than  its  great  ful- 
filment, its  large  emotional  elaboration. 

Gounod,  on  the  other  extreme  hand,  is  without  any  sort  of  subtlety  at 
all.  The  book  prepared  for  him  dealt  with  both  Faust  and  Mephisto  from 
the  purely  popular  —  even,  it  may  be  said,  from  the  pantomime — point 
of  view.  Charming  melodies,  broad  comedy  in  music,  sexually-conceived 
musical  dialogue,  facile  choruses,  here  in  the  composition  of  these  acces- 
sories Gounod  found  his  element.  With  a  gesture,  as  it  were,  he  dismissed 
from  his  scheme  the  dreadful  possibilities,  the  interior  significance  of 
the  great  subject  provided  for  him.  To  some  extent  the  librettist  is  here 
responsible ;  but  it  is  quite  clear  that  the  musician  found  this  particular 
book  absolutely  to  his  taste.  He  deserved  his  success,  for  he  spoke 
deliberately  to  a  large  public,  and  the  large  public  responded  enthusias- 
tically ;  but  he  has  assuredly  not  left  anything  authentically  new  in  his 
interpretation  of  the  world-legend  of  "  Faust." 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  J900. 


RAOUL      PUCNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS   CONCERT  TOUR  IN  THE 

UNITED  STATES. 


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To  Berlioz,  indeed,  as  fulfilling  each  side  of  his  chosen  subject,  book 
and  music,  the  highest  praise  can,  however,  be  unhesitatingly  assigned. 
The  mystical  and  the  spiritual  sides  of  the  story  were  treated  by  him  with 
a  perfect  sense  of  proportion  as  opposed  to  the  more  human  matter  of  the 
book;  and  the  music  remains  classically  magnificent  —  a  momentous  and 
noble  score,  the  work  of  a  mind  which  knew  nothing  common  or  mean, 
and  was  content  to  wait  for  his  harvest.  Of  the  Faust  legend  in  music, 
Berlioz  remains  the  greatest  and  unapproached  master. 

THE   SLAYER   OF    SWANS. 
(Englished  freely  by  P.  H.  from  the  French  of  le  Comte  de  Villiers  de  l'lsle  Adam.) 

"  Les  cygnes  comprennent  les  signes." 

—  Victor  Hugo. 

After  he  had  examined  volume  after  volume  concerning  natural  history, 
my  illustrious  friend,  Doctor  Tribulat  Bonhomet,  was  of  the  opinion  that 
the  swan  really  sings  just  before  dying.  He  confessed  to  me  the  other 
day  that  this  music  alone,  since  he  has  heard  it,  aids  him  in  enduring  the 
deceptions  of  life,  and  all  other  music  is  to  him  a  charivari  or  Wagnerian. 

How  did  he  procure  for  himself  this  joy  of  a  music  lover  ?     Listen. 

in  the  environs  of  the  very  ancient  walled  town  wherein  he  lived,  the 
practical  old  fellow  discovered,  one  fine  day,  in  a  time-honored  and 
neglected  park,  an  old  pond  under  the  shade  of  tall  trees.  On  the 
sombre  looking-glass  of  this  pond,  so  old  that  it  seemed  sacred,  glided 
a  dozen  or  more  peaceful  swans.  The  Doctor  studied  carefully  the 
approaches,  pondered  the  distances  ;  and  he  took  special  notice  of  the 
black  swan,  their  watchman,  who  was  asleep,  lost  in  a  sun-ray. 

Every  night  the  black  swan  kept  open  his  great  eyes.  A  polished  stone 
was  in  his  long  rosy  beak.  At  the  least  noise  he  suspected  danger  for 
those  whom  he  guarded;  then,  by  a  movement  of  his  neck,  he  threw  sud- 


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denly  into  the  water,  into  the  middle  of  the  white  circle  of  sleepers,  this 
awakening  stone.  The  herd  of  swans,  at  the  signal,  guided  by  him,  darted 
across  the  darkness  toward  far-off  swards  or  some  fountain  that  reflected 
gray  statues,  or  some  other  asyle  that  they  remembered  well.  And 
Bonhomet  watched  them  long,  in  silence  ;  and,  as  he  watched,  he-  smiled 
on  them.  He  dreamed  of  cloying  his  ears,  as  an  accomplished  amateur, 
with  their  last  song. 

Sometimes  —  when  an  autumnal  midnight  sounded,  and  there  was  no 
moon  —  Bonhomet,  fretted  by  sleeplessness,  would  start  up  and  dress  him- 
self especially  for  the  concert  which  he  must  needs  hear  once  more.  The 
bony,  gigantic  physician  hid  his  legs  in  enormous  rubber  boots.  He 
added  a  waterproof  coat  heavily  lined  with  fur.  He  put  his  hands  into 
steel  armorial  gauntlets;  some  mediaeval  armorer  had  made  them.  (Bon- 
homet bought  them  at  a  curiosity  shop.  Lucky  fellow,  he  paid  only  thirty- 
eight  cents  for  them,  a  ridiculously  low  price  !)  Then  he  put  on  his 
enormous  hat,  blew  out  the  light,  pocketed  the  latch-key,  and  turned  his 
respectable  steps  toward  the  edge  of  the  abandoned  park. 

Soon  he  was  a-venturing  through  dark  paths  to  the  retreat  of  his  favorite 
singers,  toward  the  pond  whose  shallow  water  did  not  mount  above  his 
waist.     And  under  leafy  vaults  he  groped  his  way. 

When  he  was  close  to  the  pond,  slowly,  oh,  so  slowly,  and  without  the 
least  noise,  he  risked  one  boot  after  the  other ;  he  made  his  way  in  the 
water  with  unheard-of  precaution  ;  he  did  not  dare  to  breathe.  The  melo- 
maniac  awaiting  the  cavatina !  To  go  the  twenty  steps  that  separated  him 
from  the  dear  virtuosos  took  him  as  a  rule  from  two  hours  to  two  hours 
and  a  half,  he  was  so  afraid  of  alarming  the  keen  black  watchman. 

The  breath  of  a  starless  sky  mourned  through  the  high  leafage  in  the 
darkness  around  and  above  the  pond ;  but  Bonhomet,  unvexed  by  the 
mysterious  murmur,  kept  advancing  almost  imperceptibly,  so  that  by  three 


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o'clock  in  the  morning  he  found  himself,  unseen,  only  half  a  step  from  the 
black  swan,  who  seemed  wholly  unaware  of  any  one  so  near  him. 

Then  the  good  doctor  smiled  in  the  darkness,  and  scratched  gently, 
very  gently,  so  that  he  just  touched  with  mediaeval  forefinger  the  surface 
of  the  water  in  front  of  the  watchman.  And  he  scratched  with  such  deli- 
cacy that  the  black  swan,  although  somewhat  astonished,  judged  the  vague 
alarm  hardly  worthy  of  the  signal.  The  swan  was  listening.  His  instinct 
appreciated  finally  and  vaguely  the  idea  of  danger ;  and  his  heart,  ah,  his 
poor  heart  began  to  beat  terribly.     This  heated  Bonhomet  with  joy. 

Lo  and  behold,  the  beautiful  swans,  one  after  the  other,  disturbed  by 
the  noise  in  their  deep  sleep,  drew  lazily  the  head  from  beneath  their  pal- 
lid silvern  wings  :  they  began  to  feel  the  shadow  of  Bonhomet.  Agony 
mastered  them  little  by  little.  They  had  a  confused  consciousness  of  the 
deadly  peril  that  was  threatening.  But  in  their  infinite  delicacy  of  spirit 
they  suffered  silently,  as  did  the  watchman.  They  could  not  escape,  because 
the  stone  had  not  been  thrown  !  The  hearts  of  the  white  exiles  throbbed  in  dull 
agony.  The  throbs  were  i?itelligible  and  distinct  to  the  ravished  ear  of 
the  estimable  physician,  who  well  knew  that  his  proximity  alone  was  the 
moral  cause  of  the  wild  beatings.  Incomparable  were  his  itchings  of  joy 
at  the  terrific  sensation  awakened  by  his  immobility. 

"  How  sweet  it  is  to  encourage  artists  !  "  he  said  to  himself. 

He  would  not  have  bartered  for  a  kingdom  this  ecstasy  which  lasted 
about  three  quarters  of  an  hour.  A  ray  of  the  morning  star  gliding 
across  the  branches  threw  sudden  light  on  Bonhomet,  the  black  water, 
and  the  swans  with  dreamful  eyes. 

The  watchman,  terror-stricken,  threw  the  stone.  Too  late !  Bonhomet 
with  a  loud  and  horrible  cry,  with  which  seemed  to  cast  off  his  syrupy 
smile,  pounced  with  raised  claws  upon  the  sacred  birds.  Swift  were  the 
iron-fingered  clutches  of  this  modern  knight ;  and  the  pure,  snowy  necks 


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114BOYLSTON  ST.  BOSTON 


(1061) 


of  two  or  three  singers  were  twisted  or  broken  before  the  radiant  flight  of 
the  other  bird-poets. 

Then  the  soul  of  the  expiring  swan,  forgetful  of  the  good  Doctor,  went 
forth  in  a  song  of  immortal  hope,  deliverance,  and  love  toward  the 
unknown  heaven. 

The  rationalistic  Doctor  smiled  at  this  sentimentality.  As  a  serious 
connoisseur  he  deigned  to  enjoy  only  one  thing, —  the  Timbre.  As  a 
musician,  he  appreciated  only  the  singular  sweetness  of  the  timbre  of 
these  symbolic  voices,  which  sang  Death  as  though  it  were  a  melody. 

Bonhomet,  with  closed  eyes,  inhaled  the  harmonious  vibrations.  Then 
he  tottered  as  in  a  fit,  fell  down  on  the  bank,  stretched  himself  on  the 
grass,  and  rested  on  his  back  in  his  warm  and  impervious  clothes. 

And  there  this  Maecenas  of  our  period,  lost  in  voluptuous  sluggishness, 
retasted,  to  the  very  bottom  of  his  being,  the  remembrance  of  the  delicious 
song  of  these  dear  artists,  although  it  was  tainted  with  a  sublimity, 
which,  to  his  mind,  was  out  of  fashion. 

And,  plunged  in  an  ecstatic  coma,  he  chewed  thus,  in  true  bourgeois 
fashion,  the  exquisite  impression  even  unto  the  rising  of  the  sun. 

Suite  in  D  minor,  Op.  36 Arthur  Foote. 

(Horn  at  Salem,  Mass.,  March  5,  1853;  nmv  living  at  Dedham,  Mass.) 
Mr.  Foote's   suite,  as  played  for  the  first  time  at  a  Symphony  Concert  in 


Dominion  Line 

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Boston,  March  7,  1896,  consisted  of  four  movements:  allegro  energico,  con 
brio ;  espressivo,  non  troppo  adagio ;  andante  espressivo  con  moto  and 
variations,  presto  assai.  The  suite  was  produced  in  Chicago  by  Mr. 
Thomas  and  his  orchestra,  April  1,  1899.  Only  the  first  two  movements 
will  be  played  at  this  concert. 

"  The  suite  is  scored  for  2  flutes  (one  of  which  is  interchangeable  with 
piccolo),  2  oboes  (one  interchangeable  with  cor  anglais),  2  clarinets,  2  bas- 
soons, 4  horns,  2  trumpets,  3  trombones,  bass  tuba,  kettle-drums,  triangle, 
harp,  strings." 

I  take  the  following  analysis  from  Mr.  Foote's  notes,  prepared  for  the 

performance  at  Chicago. 

Allegro  energico,  con  brio,  6-4.  "  The  first  movement,  in  D  minor,  opens 
directly  with  the  first  theme.  After  its  natural  exposition  and  a  modula- 
tion to  A  major  the  second  theme  enters  in  that  key,  but  quickly  changes 
to  the  usual  relative  major,  in  which  the  codetta  also  is,  ending  the  first 
part  of  the  movement  pianissimo.  Then  comes  a  rather  extended  working- 
out  portion,  based  entirely  on  these  two  themes,  and  the-  first  theme 
returns  at  the  end  of  this,  scored  more  strongly.  The  second  theme  then 
comes  in  D  major,  and  a  strenuous  coda  in  D  minor  closes  the  movement." 

Espressivo,  non  troppo  adagio,  2-4.  "  The  second  movement,  in  B-P.at 
major,  is  quiet  and  melodic,  opening  with  the  strings  alone.  The  wood 
and  horns  are  soon  added  ;  and,  after  this  first  theme  is  fully  stated,  the 
horns,  trumpets,  and  trombones  give  out  another  theme,  fortissimo.  This 
becomes  softer  and  quieter  in  character,  and  is  transferred  to  the  wood- 
wind with  a  waving  accompaniment  in  the  strings.  It  then  returns  again 
with  the  full  orchestra,  and  leads  to  the  coming  back  of  the  first  theme, 
played  by  horns  and  'cellos  as  a  solo,  with  a  varied  accompaniment  by  the 
strings  and  wood-wind." 


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"  The  Carnival  at  Paris,"  Episode  for  Full  Orchestra,  Op.  9. 

johan  svendsen. 
(Born  at  Christiania,  Norway,  Sept.  30,  1840;  now  living 
at  Copenhagen,  Denmark.) 

"The  Carnival  at  Paris"  was  published  at  Leipsic  in  1877. 

Carl  Siewers  states  in  his  biographical  sketch  of  Svendsen  that  the  piece 
was  written  at  Bayreuth  soon  after  Wagner  had  made  that  town  his  dwell- 
ing-place. It  was  in  187 1  (Jan.  12)  that  Svendsen's  symphony  in  D  was 
performed  at  a  Gewandhaus  concert  in  Leipsic.  "  He  composed  in  that 
year  his  concerto  for  'cello  in  D.  In  the  autumn  he  went  to  America  to 
be  married  to  an  American  lady,  whom  he  had  met  in  Paris,  and  returned 
the  same  year  to  Leipsic,  where,  after  the  end  of  the  war,  he  undertook 
the  leadership  of  the  Euterpe  concerts  for  one  year.  There  he  fin- 
ished the  overture  to  "  Sigurd  Slembe,"  which  was  played  at  the  Euterpe 
then,  and  in  the  following  year  at  the  musical  festival  at  Cassel,  where 
Liszt  was  present,  and  both  times  with  great  success.  This  year  was  one 
of  the  most  momentous  in  Svendsen's  life,  since  in  it  he  met  Wagner  at 
Bayreuth,  and  soon  became  his  intimate  associate.  He  took  the  oppor. 
tunity  of  making  himself  fully  acquainted  with  Wagner's  music  and  ideas. 
In  Wagner's  house  he  met  the  Countess  Nesselrode,  who  formed  a  warm 
friendship  for  the  Norwegian  composer,  and  whose  talents  and  experience 
became  of  great  benefit  to  him.  In  Bayreuth  some  of  his  happiest 
days  were  spent,  and  it  was  during  this  stay  he  composed  his  '  Car- 
naval  a  Paris,'  .  .  .  which  depicts  .  .  .  the  varied  aspects  of  the  capital  of 
pleasure."* 

*  It  is  a  curious  fact  that  Svendsen's  name  is  not  mentioned  in  the  many  volumes  of  letters  written  by  and 
to  Liszt,  who  was  always  zealous  in  bringing  forward  young  composers  of  merit. 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(1064) 


The  overture  is  dedicated  to  W.  Th.  Seifferth.  It  is  scored  for  piccolo, 
2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones, 
bass  tuba,  kettle-drums,  tambourine,  cymbals,  strings.  The  first  per- 
formance in  Boston  was  at  a  Philharmonic  Concert,  Mr.  Listemann  con- 
ductor, Oct.  24,  1879.  There  is  a  pianoforte  arrangement  for  two  hands 
by  W.  Sapellnikoff  and  one  for  four  hands  by  Alois  Reckendorf. 

Allegro  con  brio,  E  major,  6-8.  A  swelling  trumpet  tone  over  roll  of 
drums  leads  to  a  full  orchestral  entrance,  fortissimo.  A  horn  passage  is 
answered  by  trumpets  and  trombones.  The  pace  grows  livelier,  piii 
mosso,  after  a  chromatic  headlong  run  of  wood-wind  instruments  in  uni- 
son. The  chief  theme  is  announced  at  first  in  modest  and  delicate  fashion 
by  flutes  and  clarinets.  There  are  repetitions,  and  then  follows  a  stormy 
outbreak  of  full  orchestra.  The  divided  first  and  second  violins  lead  to 
the  second  theme,  pianissimo.  In  the  development  there  is  a  continued 
alternation  of  6-8  and  2-4  time,  and  the  opening  theme  for  full  orchestra 
and  the  chief  theme  furnish  the  prevailing  material.  This  chief  theme 
appears  in  the  bassoons.  It  is  modified  several  times  in  eighth  notes 
(bassoons  and  flutes).  It  appears  in  original  form  in  'cellos  and  double- 
basses.  It  is  developed  broadly  by  'cellos  and  bassoons,  transformed  by 
strings  and  wind  instruments,  and  it  again  appears  in  its  first  form.  The 
second  theme  appears  in  modified  form  (trombones),  and  it  leads  to  an 
idyllic  episode,  Moderato,  C  major,  with  a  theme  for  divided  violins,  which 
is  further  developed.  There  is  a  long  drum-roll,  which,  with  calls  of  muted 
horn,  opens  in  a  powerful  crescendo  the  closing  section,  tempo  primo, 
in  which  all  the  earlier  motives  return  in  manifold  modifications. 


# 

#      i 


The  Carnival    at   Paris  is  now  described    as   "  lugubre,  bete,  surannL" 
The  two  chief  features  are  the  procession  of  the  been/ gras  and  the  ball  at 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,  GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COriPANY,    -    BOSTON 

(IOCS) 


the  Opera.  These  balls,  by  the  way,  were  established  in  17 15.  The  Car- 
nival in  the  earlier  days  was  often  reproached  for  its  malicious  and  licen- 
tious character.  Henry  III.  with  his  mignons  went  about  the  streets, 
tormenting  and  insulting  the  citizens.  Louis  XIII.  viewed  the  sports 
with  sour  eyes.  Under  Louis  XIV.  there  were  striking  processions, 
tableaux,  and  masks.  The  Republic  chilled  the  spirits  of  revellers,  but 
in  1799  there  was  a  revival  of  frolic  and  license.  During  the  first  Empire 
military  balls  distinguished  the  Carnival. 

The  Carnival  at  Venice,  Rome,  Vienna,  has  furnished  subjects  for 
dramatic  and  orchestral  composers,  but  the  Carnival  at  Paris  has  received 
scanty  attention.     How  was  Svendsen's  attention  drawn  to  it? 

Svendsen,  as  a  boy,  showed  unmistakable  talent  for  the  violin  ;  but  his 
parents  were  poor,  and  he  entered  the  light  infantry  of  the  Norwegian 
army.  No  sooner  was  he  a  soldier  according  to  his  own  wish,  than  he 
thought  of  a  musical  career.  He  played  the  clarinet  and  then  the  flute 
in  a  band,  nor  did  he  neglect  the  violin.  He  was  allowed  to  play  for 
dancing,  and  they  say  that  he  twisted  etudes  of  Kreutzer  and  Paganini 
into  suitable  tunes  for  the  dancers.  When  he  was  twenty  one,  he  left  the 
army  and  wandered  about  in  Sweden  and  Northern  Germany  as  a  virtuoso. 
The  Scandinavian  consul  at  Lubeck,  Dr.  Leche,  happened  to  hear  him, 
and  was  so  much  interested  in  him  that  he  obtained  a  pension  for 
Svendsen  from  Charles  XV.,  by  which  the  violinist  was   enabled  to  study 


APOLLO  RECITAL. 

CHANDLER  W.  SMITH  CO.  announce  an  Apollo  Recital,  to  be 
given  at  J  22  Boylston  Street,  Saturday  afternoon,  March  28,  at  3.30 
o'clock.    Soloist,  HERBERT  Y.  FOLLETT,  Baritone. 

By  special  request  the  programme  given  at  the  Boston  Athletic  Club, 
March  21,  will  be  repeated. 

PROGRAMME. 


1.  Caprice.     La  Polka  dk  la  Reine         .        Raff 

2.  Transcription.     Rigolbtto    .         .     Verdi-Liszt 

3.  Cavatina.     Dio  possente  (Faust)  .        .    Gounod 

Mr.  Herbert  Y.  Follett. 
(Accompanied  by  the  "Apollo.") 

4.  a.  Caprice.     Badinage         .         .         .     Herbert 
£.    Etude Rubinstein 


5.  Songs,    a.  The  Rosary        .        .        .        Nevin 

b.  Gipsy  John  .        .         .  Cluy 

Mr.  Herbert  V.  Follett. 
(Accompanied  by  the  "  Apollo.") 

6.  Rhahsodie  Hongroise,  No.  2     .         .  Liszt 


The  A  .  B.  Chase  Small  Grand  used . 

COHPLiriENTARY. 


120  and  122  Boylston  Street,        ....         Boston,  Hass. 

(106U) 


S.    S.    PIERCE    CO. 

IMPORTERS    AND    GROCERS 

BOSTON    AND    BROOKLINE 


(1W7) 


We  are  constantly  receiving  new  things  in 
Veilings,  and  are  opening  at  the  present  time 
our  Spring  Line  of  Cotton  Neckwear  and 
Turn-over  Collars* 


Miss  M.  F.  FISK,  144  Tremont  Street 


New    Songs 


Fisher-wife's  Vigil.      A  beautiful   descriptive 
song  for  high  voice, 

Mrs.  M.  Gascoigne-Orr,  $0.60 

If  I  were  a  Violet.      George    H.  Cox,  Jr.,  .40 
When   You  are   Here.       Two   keys, 

K.  Vannah,  .50 

The  Rising  of  the  Surf      .  F.  P.  Flanders,  .60 

True  or  False F.  Boott,  .50 

Only  a  Dream    .      .      .   A.  A.  Painchaud,  .40 

Swift  and  Free    .      .      .      .     E.  R.  Noyes,  .50 

Swing  High,  Swing  Low   .  Ruth  Stevens,  .30 

Shepherd's  Love  Song   .      E.  M.  Ezerman,  .50 


C.  W.  THOHPSON  &  CO., 

13  West  Street,  Boston. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES   &  SCHOENHOF, 

128  Tremont  St.,  2d  door  north  of  Winter  St., 
over  Wood's  Jewelry  Store.    (Tel.,  Oxford  1099-2.; 

SPRING    OPENING 

Imported  Hats  and  Bonnets. 

Last  week  in  March. 

Mile.   CAROLINE, 

486  Boylston  Street,    .     .     Boston. 

Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(1068) 


at  the  Leipsic  Conservatory  (1863-67)  under  David,  Hauptmann,  and 
Richter.  In  1867  Svendsen  gave  concerts  in  Denmark,  Great  Britain, 
Norway.  He  then-  went  to  Paris,  where  he  remained  two  years,  and  to 
support  himself  he  became  a  member  of  the  orchestra  at  the  Ode'on  the- 
atre. After  various  adventures  in  Europe  and  America,  he  returned  to 
Paris  in  1878,  where  he  lived,  helped  in  large  measure  by  a  pension 
granted  him  by  Oscar  II.  In  1880  he  went  back  to  Christiania  as  con- 
ductor. He  had  already  led  the  Music  Society  concerts  of  that  city  from 
1872  to  1877.     In  1883  he  was  called  to  Copenhagen  as  Court  Conductor. 


* 


Here  is  a  list  of  Svendsen's  compositions  for  orchestra  as  played  in 
Boston  :  — 

Overture  to  Bjornson's  drama,  "  Sigurd  Slembe,"  Op.  8  :  Thomas  Con- 
cert, Nov.  28,  1873  ;  Philharmonic  Concert,  March  10,  1881. 

Coronation  March  for  Oscar  II.,  Op.  13  :  Thomas   Concert,  Jan.  23, 

"875- 

"  Carnival  at  Paris,"  Episode,  Op.  9  :  Philharmonic  Concerts,  Oct.  24, 
1879,  Dec.  13.  1879;  Symphony  Concerts,  Dec.  5,  1S91,  Dec.  1,  1894. 

Overture  to  "Romeo  and  Juliet,"  Op.  18:  Philharmonic  Concerts, 
Nov.  5,  1880,  Nov.  9,  1890;  Roberts  course,  1883-84;  Orchestral  Club, 
1885-S6  ;  concert  led  by  Mr.  Listemann  at  the  Boston  Theatre,  June  13, 
1886. 

"Zorahayde,"  legend  after  Washington  Irving,  Op.  11:  Philharmonic 
Conceit,  April  4,  1883;  Symphony  Concert,  Nov.  26,  1892. 

Rhapsodie   Norvegienne:  Orchestral  Club,  1884-85. 

Symphony  in  B-flat,  No.  2,  Op.  15  :   Symphony  Concert,  Jan.  5,  1884. 

Rhapsodie  Norvegienne,  No.  2,  Op.  19:  Symphony  Concert,  Nov.  16, 

l88q. 


COCOA-  CHOCOLATE 

GRdCERS      EVERYWHERE. 


(1<W9) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real   Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York  Providence 

17  Temple  Place 

Philadelphia  Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(1070) 

Newport 

Twentieth  Rehearsal   and   Concert* 


FRIDAY  AFTERNOON,  APRIL  3,  at  2.30  o'clock. 


SATURDAY  EVENING,  APRIL  4,  at  8.00  o'clock. 


PROGRAMME. 


Schumann 


Overture,  Scherzo,  and  Finale 


Dohnanyi 


Symphony  in  D  minor 


(First  time.) 


(1071) 


Fourth  of  the  Sunday  Concerts  for  the  benefit  of  the  Mount  Pleasant  Home 

..STEINERT   HALL.. 

SUNDAY  AFTERNOON,  MARCH  29,  at  4.30 


Miss  Elsie  Lincoln,  Soprano 

Mrs.  Langdon  Frothingham,  Pianist 


Mr.  Ellison  Van  Hoose,  Tenor 
Mr.  Stephen  Townsend,  Baritone 


Program.  — Part  I. 

From  "  Attila  "        . 

Miss  LINCOLN,  Mr.  VAN  HOOSE,  Mr.  TOWNSEND 
Etude,  B-flat        .... 

2.  <  Prelude,  Op.  45  ... 
(  Waltz      ..... 

Mrs.  FROTHINGHAM 

3.  Aria.     "  Vision  Fugitive  "  ... 

Mr.  TOWNSEND 


i .    Trio. 


Verdi 

Mendelssohn 

Chopin 

Zarzyiki 

Massenet 


Part  II. 

"THE  FLIGHT  OF  THE  EAGLE " 

Text  from  WALT  WHITMAN 

Set  to  music  for  SOPRANO,  TENOR,  and  BARITONE  by  HOMER  NORRIS 

The  Mason  &  Hamlin  Piano 


Fifth  Concert,  Sunday  Afternoon,  April  5 

Hiss  ELSIE  LINCOLN,  Soprano  Hiss  JANET  SPENCER,  Contralto. 

Hr.  OTTO  Q.  FRITZSCHE,  Clarinettist 


Last  Concert,  Sunday,  April  19 


Reserved  seats,  50c.  and  #1.00 


Tickets  for  sale  at  the  hall 


PIANOFORTE  RECITAL 

-BY- 

Madame  Antoinette  Szumowska- Adamowska 

Steinert  Hall,  Thursday  afternoon,  April  2,  at  3 


PROGRAM 


ii. 


a.  Suite.     D  minor 

i.  Caprice.     B  minor    . 

c.  Rondo.     D  minor 

d.  Allegrissimo     . 


.    Handel  a.    Fantaisie.     F  minor 

Brahms  b.    Nocturne.     B  major 

Mozart  c.    Impromptu.     G-flat  major 

Scarlatti  d.   Valse.     A-flat  major 

III. 

a.  Theme  Varie         ....  Chaminade 

b.  Ktude  de  Concert                   .         .  Schloetzer 

c.  Paraphrase  on  "  Rigoletto  "  of  Verdi  .       Liszt 


Chopin 


The  Mason  &  Hamlin  Pianoforte 


Tickets,  $1.00  and  $1.50,  for  sale  at  the  hall 


(1072) 


SO^nVK^RT     HAIvIv 


STEINERT  HALL,   BOSTON 

SATURDAY  AFTERNOON,  4th  APRIL,  1903,  AT  3 

THIRD    RECITAL 

(Last  of  the  season) 

HELEN  HOPEKIRK 

PROGRAMME 


Faschingsschvvank  aus  Wien 


Marionettes      .... 

Romance    

Poesie,  "  Lorelei  "... 
Memories,  lona  1902 

a.  Allaban.     (Wandering) 

b.  Cronan.     (Hushing  Song) 

c.  Ann  an  laraichean.     (In  the  Ruins) 

d.  Beannachd  leibh.     (Farewell) 


Schumann 

Stcherbatcheff 

Rubinstein 

Liszt 

Helen  Hopekirk 


"Pour  le  Piano" Claude  Debussy 

Sicilienne  ...........  Gabriel  Faure 

Valse,  Op  64,  No.  3  J ch     .„ 

Scherzo,  B  minor       j  .  r 

STEINWAY   PIANO   USED 

Tickets,  Parterre,  one  dollar;  Balcony,  fifty  cents 


RECITAL  OF 

ORIGINAL  MONOLOGUES 

BY 

BEATRICE   HERFORD 


STEINERT  HALL 
TUESDAY  AFTERNOON 
APRIL  28,  AT  3 

Orders  for  tickets  may  be  sent  by  mail  or  telephone  (Oxford  1330), 

and  will  receive  prompt  attention 


(1073) 


»        CHIOKERING    HALL        ft 

..CHICKERING  HALL.. 

Saturday   afternoon,  April  4,   at  3   o'clock 


Mrs.  Martha  S.  Gielow 


ANNOUNCES  HER 

FAREWELL  RECITAL 

OF 


Plantation    Songs    and    Stories 

(BENEFIT  SOUTHERN  SCHOLARSHIP  FUND) 


Tickets,  75c.  and  $1.00,  now  on  sale  at  the  hall 
CHICKERING  HALL 

Mr.  DANIEL  FROHMAN 

.  .  Announces  . . 

TWO  PIANO  RECITALS 

.  .  on  . . 

.  SATURDAY  AFTERNOON,  APRIL   18,  and 
WEDNESDAY  AFTERNOON,  APRIL  22,  by 

OSSIP 

GABRILOWITSCH 

Tickets,  50c,  75c,  $1,  and  $1  50,  at  Symphony  Hall.       Mail  orders  now  being  received 

am) 


Carl    Faeltein's 

SIXTH    PIANOFORTE    RECITAL, 

Wednesday  Evening,  April  22,    1903,   at  8  o'clock. 

Programme. 

Prelude  and  Fugue,  G  major,  Well-tempered  Clavichord. 

Part  2 Bach 

Theme  and  Variations,  B-flat  major,  Op.  142,  No.  2        .         .   Schubert 
Huntington       Novelette,  D  major,  Op.  it,  No.  2  ....  Schumann 

Chambers         Rhapsody,  B  minor,  Op.  79,  No.  2  ) 

„.  )t  Ballade,  D  major,  Op.  10,  No.  2  Brahms 

HaU*  Scherzo,  E-flat  minor,  Op.  4  ) 

Sonata,  "  Les  Adieux,"  Op.  81a       .....  Beethoven 

TICKETS,  $1.00.   *    <£    J*    J*    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur    Recitals 

SEATS  420 
APPLY   TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO    ROTOLI, 
...Vocal    I  nstruction ... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Mme.  Antoinette  Szvmowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 

(1075) 


Grand  Opera 


Choice  Seats  in  Orchestra,  Dress 
Circle,  and  Family  Circle  for  every 
opera. 

BEST    SEATS    FOR    ALL    THEATRES 


Horse  Show 


Boxes  for  the  Season  and  for  Single 
afternoons  or  evenings,  also  seats 
in  first  row  of  balcony. 


CONNELLY'S   Ticket  Office,  Adams  House. 

'Phone,  942  Oxford 

FOUR  HISTORICAL  ART  SONG  RECITALS 

At  the  Tuileries,  270  Commonwealth  Avenue 
MARCH  19  and  26,  APRIL  2  and  9 

Assisted  by  Miss  Marguerite  Hall,  Contralto;  Miss  Florence  Mirick,  Contralto;  Mr.  Francis  Rogers,  Bari- 
tone; Mr.  Heinrich  Schuecker,  Harpist. 

March  19.     English  Song.     Assisted  by  Miss  Marguerite  Hall. 

March  26.     German  Song.     Assisted  by  Mr.  Francis  Rogers. 

April  2.     French  Song.     Assisted  by  Mr.  Heinrich  Schuecker. 

April  9.     Italian  Song.     Assisted  by  Miss  Florence  Mirick. 

Subscription  ticket  for  the  course,  $5.     Single  ticket,  $t.5o,  which  will  be  promptly  remitted  upon 

application  to 

WILHELn  HEINRICH,  149a  Tremont  Street,  Boston,  riass. 

Circulars  to  be  found  at  the  principal  music  stores. 

CECILIA  SOCIETY 

Mr.  B.  J.  LANG,  Conductor 


SYMPHONY   HALL 
TUESDAY  EVENING,  APRIL  7,  AT  8  O'CLOCK 


Bach's  B  minor  Mass 


FOR  CHORUS,  SOLO  SINGERS, 
ORCHESTRA,  AND  ORGAN  ^ 


Tickets,  $1.50  each,  on  sale  at  the  Box  Office 

(107G) 


PIANOS 


DO    YOU    WANT    A 
GENUINE    BARGAIN? 

Hundreds  of  Upright  Pianos  from  our  purchase  of 
the  Oliver  Ditson  Company  stock,  and  returned  from 
their  and  our  rentals,  to  be  disposed  of  at  once.  They 
include  Knabes,  Chickerings,  Steinways,  Fischers, 
Sterlings,  and  other  well-known  makes. 
Many  cannot  be  PR  ARJI  distinguished  from- 
new,  yet    all    are  IIUIWI  offered  at   a    great 

discount.  Uprights  as  low  as  $100,  and  good  values. 
New  Uprights  from  $225  upwards.  A  fine  instru- 
ment for  $290,  fully  equal  to  many  for  which  $400 
is  asked.  Monthly  payment  plan,  but  strictly  one- 
price,  honest  system. 

C.  C.  HARVEY  &  CO. 

144  BOYLSTON   STREET 

Telephone,  134  Oxford 

(1077) 


SYMPHONY  HALL 


SATURDAY  AFTERNOON,    APPTT      4  and 


SUNDAY  EVENING, 


The  Great  Italian  Band  Leader 


Tickets,  50  cents,  75  cents,  and  $J«00,  on  sale  on  and  after 
Monday,  March  30 

CHICKERING    HALL 


MONDAY    EVENING,    APRIL    6,   AT    8 


The  Kneisel  Quartet 

FRANZ    KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin         ALWIN   SCHROEDER,  Violoncello 


PROGRAMME 


Schubert      . Unfinished  Quartet 

Lekeu  ....  Sonata  in  G  major  for  Violin  and  Piano 

Beethoven   .......    Quartet  in  E  minor.  Op.  59 


ASSISTING  ARTIST 

Mme.  ANTOINETTE  SZUMOWSKA 

(1078) 


MUSICAL   INSTRUCTION. 


Hiss  HARRIET  S.  WHITT1ER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Hiss  GERTRUDE  EDHANDS, 


Concert  and  Oratorio. 

Vocal  Instruction. 

EXETER    CHAMBERS. 


Specialist  in  the  Science  of 

Kr.  CHARLES  B.  STEYENS.  Tane  Pro,lllCtio,1  ui  tbe  Att  of  mm 


>  Studio  20,  Steinert  Hall  Building. 


Telephone,  1331  Oxford. 


Hiss  ANNA  HILLER  WOOD, 

riEZZO-CONTRALTO. 


Teaching- room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Hiss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 
Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


(1079) 


Miss  SUZA  DOANE. 


Solo  Pianist  with  Gericke,  Nikisch,  and 
Van  der  Stucken. 


MASON  TOUCH  and  TECHNIC. 

196  Dartmouth  Street. 


Miss  JESSIE  DAVIS, 


Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,    163    Hassachusetts  Avenue. 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston. 


Mr.  GDSTAY  STRDRE 

(Member  of  Boston  Symphony  Orchestra). 


Teacber  of  Violin,  Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEflBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 
DAVID  POPPER. 

STUDIO:  171A    TREHONT  STREET. 


JOHN  G.  MANNING, 


Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Arenue. 


Miss   ROSE    STEWART, 

Pupil  of  nARCHESl. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


nrs.  /label  flann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(1080) 


WEBER 
PIANOS 

ARE 

USED  EXCLUSIVELY 

BY 

THE  GREAT  ARTISTS 

OF 

The  cMaarice  Grau  Opera 
Company* 

The    BOSTON    REPRESENTATIVES   of   the   WEBER 

ARE 

Geo.  H.  CHamplin  (Si  Co. 

m  TREMONT  STREET 


PLAIN    DEALER,    TUESDAY,    APRIL    15,    1908.V 


^*M 


s 


>& 


>(>(:<:- 


II  be 


on 


y'  Action 

\>s :   j  that 
w 

"to 


Views  of  the  Great  Pianist 

on  the  Subject  of 

Pianos. 


Declares  That  No  Other 

Piano  Approaches  the 

Stein  way. 


■- 


NEW  YORK,  April  14.— Josef  Hof- 
mann,  tie  great  pianist,  was  asked  today 
by  .a.  press  representative  his  opinion  as 
to'  which  is  the  best  pianot  to  which  ques- 
tion he  replied: 

"There  is  but  one  best  picno,  and  that 
Is  tbe  Stein  way,  and  no  other  piano  ap- 
proaches it.  I  want  to*  give  the  greatest 
possible  pleasure  and  satisfaction  to  ttf 
audience.  By  accomplishing  {hat  I  gain 
the  greatest  reputation,  ,and  vthat  Is  wbat 
I  want.  This  end  I  attain  by  using  the1 
Steinway.  I  desire  you  to  distinctly  un- 
derstand that-  there  Is  no  money  consid-" 
eratio'n  whatever  to'  influence  me  in  my 
opinion.  There  may  be  some  pianists  who' 
are  paid  for  using  and  praising  the  pianos 
they  play  upon,  but.  certainly.  1  do  not. 
belong  to  that  class.  Those  who  sell  their 
services  against  their  own  convictions  are 
on  the  downward  path  and  have  nothing' 
more  to  lose.  You  have  asked  me  my 
candid  opinion, about  pianos  for  the  bene-' 
BY  of  the  public,  and  I  have  told  you  wha| 

honestly  tbinfc  on  the  subject." 

- o    ■  '■ 


Ne^ 


Frai 
turnij 

ton, 

to 

lattj 
o»»f 


STEIN  WAY    PIANOS. 


r\.  STEINERT    &    SONS    COflPANY, 

162  to  168  Boylston  Street,  Boston,  flass. 


PRoGRTTOVE 


STATi^l 


ANTOINETTE 
SZIMOWSKA-ADAMOWSKA 

TO 

Brookline,  March  9,  1903. 
Mason  &  Hamlin  Co.  : 

Gentlemen, —  I  have  admired  your  pianofortes  for  a  long  time, 
even  on  slight  acquaintance  with  them,  but  since  having  used  them 
exclusively  for  this  season  I  have  come  to  a  fuller  appreciation  of 
their  many  wonderful  qualities. 

The  tone  of  the  Mason  &  Hamlin  Pianofortes  is  beautiful 
and  noble,  and  "  it  carries,"  a  most  important  quality.  As  to 
their  action  I  can  only  say  that  I  never  yet  used  a  piano  which 
responded  as  readily  to  every  most  delicate  as  well  as  fortissimo 
effect  which  I  wished  to  produce.  ' 

It  gives  me  pleasure  to  tell  you  that  I  have  often  been  compli- 
mented, after  my  concerts,  on  the  beauty  of  the  piano  on  which  I 
had  been  performing,  and  I  want  to  congratulate  you  heartily  on 
the  great  success  achieved  by  the  constant  and  untiring  work  de- 
voted to  the  perfection  of  your  instruments. 

Believe  me 

Sincerely  yours, 

(Signed)     Antoinette  Szumowska-Adamowska. 


M.  \Steinert  (Si  Sans  Co. 

New  England  Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-1903.       . 

WILHELM  GERICKE,  CONDUCTOR. 


J  PROGRAMME 

OF  THE 

TWENTIETH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      J*    jt    jt    jt 


FRIDAY  AFTERNOON,  APRIL  3, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  APRIL  4, 

AT  8.00  O'CLOCK. 


Published  by  C  A.  ELLIS,  Manager. 

(1081) 


MESSRS. 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


1082) 


TWENTY-SECOND  SEASON,  1902-1903. 


Twentieth  Rehearsal   and   Concert* 


FRIDAY  AFTERNOON,  APRIL  3,  at  2.30  o'clock.  ■ 

SATURDAY  EVENING,  APRIL  4,  at  8.00  o'clock. 


PROGRAMME. 

Witkowski Symphony  in  D  minor 

I.     Lent  et  solennel.      Anime. 
II.     Tres  lent. 
III.     Anime. 

(First  time.) 

SONGS  WITH  PIANOFORTE. 

a.  Martini "  Plaisir  d'Amour " 

b.  Wekerlin Menuet  d'Exaudet 

c.  Wekerlin .   "  Jeunes  Fillettes ft 

(Old  Songs  of  the  Eighteenth  Century.) 

Reinhold       .         .         Prelude,  Minuet,  and  Fugue  for  Strings,  Op.  JO 

SONGS  WITH  PIANOFORTE. 

a.  Massenet "  Pensee  d'Automne f* 

b.  Masse  ....  Chanson  from  "  Paul  et  Virginie  " 

Schumann        ....    Overture,  Scherzo,  and  Finale,  Op.  52 

I.     Overture  :  Andante  con  moto.     Allegro. 
II.     Scherzo  :  Vivo.     Trio  :  L'  istesso  tempo. 
III.     Finale:  Allegro  molto  vivace. 

SOLOIST  : 

Mr.  CHARLES  GILIBERT. 

THE    PIANOFORTE    IS    A   STEINWAY. 

There  will  be  an  intermission  of  ten  minutes  before  the  Reinhold  selection. 

SDCCicll   NotiCC      Because  of  Good  Friday  the  next  Public  Rehearsal  will  be  on 
*    Thursday,  April  9. 

The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  program  me.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.         

City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 
Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
ttruct  such  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 
(1083) 


L.  P.  Hollander  &  Co. 


WE  WISH  TO  CALL  ATTENTION  TO  A 

UNIQUE  DEPARTMENT         j 

in  our  store,  in  which  a  special  kind  of 

READY-MADE    CLOTHES   FOR    WOMEN 

can  be  found,  in  Muslin,  Silk,  Mull,  and  Linen.  These  gowns  are  all  I 
carefully  MADE  IN  OUR  OWN  ESTABLISHMENT,  designed! 
and  under  the  direct  supervision  of  the  head  of  Order  Department. 


THIS  DEPARTMENT  IS  ON  THE  THIRD  FLOOR 


Easter  Gifts. 


(J 


lllttl'.  -i     — nj>         \«1 


a 


LATEST   DESIGNS  IN 

Fine  Jewelry, 

Rich  Cut  Glass, 

Sterling  Silver, 

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L/U.        and  Retail.         >*»  ^^*jK^I 

52    SUMMER    ST.  rZ 


Symphony  in  D  minor  ...::.     :     .     .     G.  M.  Witkowski. 

This  symphony  was  performed  for  the  first  time  at  a  concert  of  the 
Societe  Nationale  de  Musique,  Paris,  on  March  16,  1901.  Vincent 
d'Indy  was  the  conductor.  It  was  performed  at  Brussels  under 
Ysaye's  direction,  Feb.  16,  1902.  It  has  also  been  performed  at  Nancy 
and  Monte  Carlo. 

I  have  been  unable  to  gain  satisfactory  information  concerning  Wit- 
kowski. He  is  a  lieutenant  of  cuirassiers  in  the  French  army,  and  he 
studied  theory  and  composition  with  d'Indy.  His  quintet  was  pro- 
duced at  a  concert  of  the  Societe  Nationale  de  Musique,  Paris,  on 
March  5,  1898,  and  Mr.  Gustave  Robert  spoke  of  the  composer  as  "an 
officer  who  signs  his  name  Witkowski,"  which  gives  color  to  a  queer 
story  that  the  officer  assumed  the  name  because  he  thought  he  might 
thereby  be  treated  more  respectfully  by  publishers  and  conductors. 
Yet  Mr.  Henry  Gauthier-Villars,  in  "Accords  Pcrdus"  (an  account  of 
concerts  at  Paris  during  the  season  of  1896-97),  wrote  of  Witkowski 
the  uncle,  broken-hearted  because  no  musical  work  by  his  nephew,  the 
cuirassier,  was  on  a  certain  programme;  and  Gauthier-Villars  in  1895 
was  acquainted  with  a  "Wittkowski"  (with  two  t's),  "who  knows  how 
to  cuirass  himself  against  the  naughty  methods  of  publishers." 

This  symphony  in  three  movements  is  scored  for  piccolo,  2  flutes, 

2  oboes,  cor  anglais,   2  clarinets,  bass  clarinet,   2  bassoons,  4  horns, 

3  trumpets,  3  trombones,  bass  tuba,  kettle-drums,  triangle,  cymbals, 
2  harps,  strings.     It  is  dedicated  to  J.  Guy  Ropartz.* 

*  J.  Guy  Ropartz,  composer,  conductor,  poet,  essayist,  playwright,  and  director  of  a  conservatory,  was  born 
at  Guingamp,  France,  on  June  15,  1864.  After  studies  with  Jesuit  fathers  he  was  admitted  to  the  bar  at 
Rennes.  He  entered  the  Paris  Conservatory  to  study  with  Dubois  and  Massenet,  but  he  left  them  and  joined 
the  disciples  of  Cesar  Franck.  The  list  of  his  works  includes  incidental  music  to  plays  (especially  to  Loti 
and  Tiercelin's  "  Pecheur  d'Islande,"  Eden  Theatre,  Paris,  Feb.  18,  1893);  two  symphonies,  two  suites  derived 
from  the  music  to  the  above  mentioned  play;  "  Les  Landes,"  a  Breton  landscape  for  orchestra;  Fantaisie  in 
D  major  for  orchestra  (1898)  ;  "  Cinq  pieces  breves  "  for  orchestra;  "  Dimanche  Breton,"  suite  in  four  move- 
ments ;  "  Carnaval,"  symphonic  impromptu  for  orchestra  ;  "  Le  Convoi  du  Fermier,"  for  orchestra  ;  SeVdnade 
for  strings  ;  Quartet  in  G  minor  (1894) ;  "  Priere,"  for  baritone  and  orchestra  ;  Adagio  for'cello  and  orchestra  ; 

NEW  ENGLAND  CONSERVATORY  OF  MDSIC 

GEORGE  W.  CHADWICK,  Director 

Mid-session  Begistration,  April  16 

School  Year  ends  June  24 


You  are  cordially  invited  to  visit  the  new  Conservatory  Build- 
ing on  Huntington  Avenue,  one  block  from  Symphony  Hall 


(1065) 


V.  Ballard  & 

Sons 


Fancy  Street  and 
Calling  Costumes 

Made  from  exclusive  styles 

IMPORTED 
MODELS  j» 

256  BOYLSTON  STREET 
BOSTON 


(1086) 


The  symphony  has  a  generative  theme;  i.e.,  the  thematic  material  of 
all  the  movements  is  derived  from  one  chief  motive.  This  scheme  is  in 
favor  among  some  ultra-moderns,  especially  the  disciples  of  Franck  : 
dTndy  has  employed  it,  Ropartz  built  his  first  symphony  on  a  Breton 
choral  (1895)  according  to  this  plan.  vSome  argue  against  it,  and 
insist  that  it  betrays  poverty  of  ideas;  but,  surely,  to  vary  effectively 
such  a  theme  throughout  a  symphony  requires  as  much  fancy  and 
imagination  as  to  invent  other  themes.  The  danger  in  using  the  gen- 
erative theme  has  been  pointed  out  by  the  most  acute,  brilliant,  poetic, 
of  modern  French  music  critics.  I  allude  to  Mr.  Pierre  de  Breville, 
who  is  himself  a  composer  of  rare  gifts: — 

"This  process,  invented  and  practised  by  some  great  masters  to 
give  unity  to  movements  which,  although  separate  and  different  in 
character,  are  planned  to  form  a  whole,  is,  nevertheless,  a  process  as 
feeble  and  ready  to  fall  into  decay  as  any  formula  in  the  hands  of  imi- 
tators. Moreover,  as  by  changing  little  by  little  the  features  of  a 
face  you  soon  come  to  caricature  (Leonardo  da  Vinci  has  left  immortal 
examples  of  such  deformations),  so,  in  modifying  continually  the  inter- 
vals and  rhythm  of  a  theme,  you  arrive  at  parody,  unless  you  preserve, 
by  constant  vigilance  in  these  very  changes,  the  primeval  character. 
And  this  Mr.  dTndy  well  understood  in  carrying  out  his  "Symphonie 
sur  un  Theme  Cevenol"  ;  for  the  first  idea,  a  simple  impression  of  nature, 
an  impression  wholly  external,  is  developed  according  to  its  primary 
character,  and  remains  picturesque  to  the  end. " 

A  technical  analysis  of  the  symphony  would  be  mere  verbiage  with- 

Festival  March  for  orchestra  ;  "  Lamento,"  for  oboe  and  orchestra;  "  Quatre  Poemes,"  after  Heine's  Inter- 
mezzo, for  baritone  and  orchestra  (Nancy,  i8o.g);  pianoforte  pieces,  among  them  one  in  B  minor  for  two 
pianofortes  (Nancy,  1899);  136th  Psalm,  for  chorus,  organ,  and  orchestra  (Nancy,  1S9S,  afterward  performed  at 
Paris,  Diisseldorf,  Mainz,  Liege);  "  Les  Fileuses  de  Bretagne,"  for  female  voices  ;  organ  pieces  ;  a  few  songs; 
and  some  music  for  the  church.  He  was  appointed  director  of  the  Conservatory  of  Nancy,  Sept.  18,  1894, 
which,  founded  in  1880  and  subsidized  by  the  government  since  1884,  now  flourishes.  De  Ropartz  is  the 
onductor  of  ten  symphony  concerts  given  at  Nancy  each  year,  and  the  programmes  of  these  concerts  are  dis- 
tinguished by  catholicity  and  line  taste. 


JUST  ISSUED 
FOUR  SONGS 

By  Mrs.  H.  H.  A.  BEACH 


Op.  51.  No.  1. 
No.  2. 
No.  3. 

No.  4. 


Silent  Love "  .  .  $0.50 
1  We  Three"  .  .  .60 
;June" 50 

For  my  Lo-.  e  "      .         .50 


Sent  free,  Catalogue  of  Mrs.  Beach's 
Compositions,  containing  Portrait  and 
Biography. 


ARTHUR   P.  SCHMIDT, 


BOSTON,  LEIPZIG.  NEW  YORK, 

146  Boyteton  Street.  136  Fifth  Avenue. 


NEW  SALON 
MUSIC 

Ganne,  Louis,  "  L'Eternelle  Ivresse,"  #0.90 
Marie,  Gabriel,  "  In  Cheerful  Mood,"  .60 
Hummel,  J.  E.,  "  Water-lilies  "  .  .  .  .65 
Horvath,  Geza,  "  Dance  of  Columbine,"  .60 
Ilorvath,  Geza,  "  Marquita"  ...  .60 
Wachs,  Paul,  "  The  Mill-wheel  "     .     .     .50 

All   music    performed    at    these    concerts 
constantly  on  hand. 


CHARLES  W.  HOHEYER  &  CO., 
165  TREHONT  STREET, 


BOSTON. 


out  the  illustrations  in  notation  of  the  theme  and  the  many  trans- 
formations. The  three  movements  are  successive  rhythmical  and 
tonal  metamorphoses  of  the  chief  theme,  which,  as  it  first  appears,  is 
a  melody  of  Lower  Brittany,  of  folk  origin  and  liturgic  character; 
and  all  the  developments  have  their  source  in  this  theme.  The  barest 
outline  must  suffice. 

The  symphony  begins  with  a  slow  and  solemn  introduction  (Lent 
et  solennel,  D  minor,  4-2,  3-4).  The  generative  theme  is  announced 
as  a  whole  and  in  the  original  form.  "The  twro  constituent  periods 
of  the  theme  are  indicated  in  the  introduction."  (I  quote  from  the 
original  programme  notes  (Paris,  1901).  The  basses  expose  it,  and 
developments  follow.  A  second  part,  and  of  lively  pace,  transforms 
this  theme  into  another,  which  is  secondary,  and  a  change  of  tonality 
still  further  alters  the  physiognomy.  The  sections  of  this  movement 
are  thus  indicated:  Lent  et  solennel;  anime;  un  peu  moins  anime  (A 
major,  wind  instruments  lead) ;  lent  et  solennel;  moderement  anime,  and 
then  the  pace  quickens  to  anime;  there  is  a  mighty  crescendo  to  the 
original  tonality;  a  return  of  the  section  un  peu  moins  anime,  this  time 
in  D  major,  wood-wind;  lent  et  solennel  ///,  wind  instruments,  with 
ascending  figures  in  the  strings;  modere,  the  pace  grows  still  slower. 

Second  movement:  Tres  lent,  G  major,  4-4.  The  strings  sing  a 
broad    and    sonorous    phrase,  which   is    developed    by  full    orchestra. 


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Finale:  Anime,  D  minor,  7-4.  The  movement  abounds  in  rhythmic 
variations.  The  theme  reappears,  given  forth  by  the  basses  and  ac- 
companied by  strings  and  wood-wind  instruments.  A  figure  in  the 
violins  follows  the  opening  figure  for  violas  and  then  bassoons.  After 
short  oboe  solos,  a  section,  un  peu  inoins  anime,  4-4.,  in  G-flat  major, 
with  a  warm  melody  for  strings,  and  as  passion  rises  other  instru- 
ments take  part;  moderement  anime,  7-4;  and  the  rhythm  changes, 
5-4,  7-4,  4-4,  with  the  quickening  of  pace;  large  et  modere,  4-4, 
theme  in  basses,  with  wood-wind  in  opposition  and  with  figuration 
for  the  strings;  assez  anime,  D  major;  coda,  anime,  as  at  the 
beginning. 

This  finale  is  said  to  be  the  musical  portrayal  of  a  kermesse,  or 
kermis.  The  kermis  was  originally  the  mass  or  service  on  the  anni- 
versary of  the  dedication  of  a  church,  on  which  also  was  held  a  yearly 
fair  or  festival;  but  now  in  the  Low  Countries  the  term  is  applied 
to  a  periodical  fair  or  "carnival,"  characterized  by  much  noisy  merry- 
making. Thus  Whitaker  in  161 1  described  a  "carmas"  as  "a  kind 
of  drunken  Dutch  faire  held  on  Sundaies  and  holidaies  in  after- 
noones  in  Sommer  time."  Some  found  fault  with  Witkowski  for 
building  a  kermesse  on  a  liturgic  tune.  Thus  de  Breville  wrote: 
"Formerly  there  was  no  Suite  and  Variations  without  a  funeral 
march.     To-day  there   is   nothing  which    does    not    blossom    out    in 


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cross-banded  mouldings,  edges,  and  borders.  Of  a  color  like  a  ripe  horse- 
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some  form  of  a  folk-dance.  Mr.  Witkowski  adopts  this  usage,  and 
his  finale  is  a  kermesse.  His  chosen  theme  is  well  known  in  Brit- 
tany. It  reveals  itself  as  inherently  religious  and  liturgic,  even  if 
one  were  ignorant  of  the  text,  'Disons  Ic  chapeleV  Is  there  not  a 
sort  of  profanation  in  turning  it  by  dislocations  into  a  derobee,  a 
branle,  or  a  musette?  The  finale  is  witty,  skilfully  contrapuntal,  mu- 
sically entertaining.  I  grant  this,  and  the  movement  is  ingenious  with- 
out effort  and  as  amusing  as  possible.  But  is  this  the  impression 
of  intellectuality  which  one  would  like  to  take  away  from  the  hear- 
ing of  a  work  which  constantly  bears  witness  of  emotions  and  heart 
(the  second  movement  opens  with  a  phrase  of  marked  intensity),  and 
should  not  one  regret  an  error  of  conception  in  this  idea,  which,  is- 
suing from  that  which  is  divine,  diminishes  till  it  incarnates  human- 
ity in  its  cups?"  De  Breville*  here  speaks  as  a  devout  Norman  of  the 
old  school  as  well  as  a  musician  of  perhaps  too  fastidious  taste. 

*  Pierre  Onfroy  de  Breville,  born  Feb.  21,  1861,  studied  at  the  Paris  Conservatory,  which  he  left  to 
become  a  pupil  of  C&ar  Franck.  "  I  lost  much  time  in  useless  study,"  he  once  said.  Thus  did  he  refer  to 
the  labor  spent  in  the  study  of  law  and  preparatory  work  for  the  pursuit  of  a  diplomat's  career.  He  pre- 
sented himself  at  the  competition  for  the  prix  de  Rome.  "But  you  do  not  come  from  the  Conservatory." 
"  What  of  it?  "  answered  de  BreVille  :  "  I  am  a  Frenchman  ;  I  am  not  thirty  years  old,  and  I  fulfil  the  con- 
ditions demanded  by  the  law.  Here  are  the  papers  in  evidence."  He  obtained  only  two  votes  at  the  pre- 
paratory trial,  and  thus  found  out  that  lessons  from  Cesar  Franck  were  a  serious  handicap  to  one  ambitious 
for  a  career.  His  chief  works  are:  "La  Nuit  de  Dexembre,"  symphonic  poem  after  de  Musset ;  "Medita- 
tion," for  orchestra,;  overture  to  Maeterlinck's  "  La  Princesse  Maleine";  prelude  and  incidental  music  to 
Maeterlinck's  "  Les  Sept  Princesses";  "  Hymne  a  Venus,"  for  female  voices  and  orchestra;  "  Mediea,"  for 
soprano,  female  chorus,  and  orchestra;  "  L'Ondine  et  le  Pecheur,"  for  mezzo-soprano  and  orchestra;  "Sainte 
Rose  de  Lima,"  for  soprano,  female  chorus,  and  orchestra;  "  La  Tete  de  Kenwarc'k,"  for  baritone,  chorus, 
and  orchestra;  a  mass;  motets;  pianoforte  pieces, —  Fantaisie,  Portraits  des  Musiciens  (Faure,  d'Indy, 
Franck,  Chausson);  Stamboul,  Eyoub,  Galata;  variations;  incidental  music  for  A.  F.  Herold's  adaptation  of 
"  L'Anneau  de  C,akuntala  "  (Theatre  de  l'CEuvre,  Paris,  Dec.  16,  1895);  and  some  fascinating  songs,  as  "  Le 
Furet  de  Bois  joli,"  "  Bernadette,"  "Les  Lauriers  sont  coupees,"'  "II  ne  pleut  plus  Bergere,"  etc.  From 
early  in  February,  1898,  de  Breville  wrote  for  the  Meratre  de  France  admirable  articles  on  music,  articles 
full  of  delicate  appreciation,  brave  in  spirit,  hostile  to  ancient  and  modern  chapel-master  music,  articles  char- 
acterized by  subtlety  of  suggestion.  Early  in  1902  he  resigned  his  position  on  account  of  his  health,  and  he 
now  is  one  of  the  faculty  of  the  Schola  Cantorum.  M.  Gauthier-Villars  described  de  Breville  as  "  the  enemy 
of  the  late  Bizet,  the  bitter  censor  of  Berlioz,  the  accomplished  gentleman  whom  the  fear  of  vulgarity  (in 
music,  I  mean)  impels  to  strangle  ideas  as  soon  as  they  are  born  ;  an  exquisitely  refined  musician ;  a  searcher 
after  rare  and  precious  harmonies." 


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Ceaude  Charles  Marie  Gilibert,  baritone,  was  born  at  Paris  on 
Nov.  19,  1866.  He  studied  singing  at  the  Paris  Conservatory,  and 
took  these  prizes, — Solfege:  second  medal,  1888;  Chant:  first  accessit, 
1887;  second  prize,  1889;  Opera:  first  accessit,  1888;  second  prize, 
1889;  Opera-Comique:  first  accessit,  1888;  first  prize,  1889.  His 
teachers  were  Barbot,  Giraudet,  and  Ponchard.  He  was  a  member  of 
the  Opera-Comique  Company  1889-91,  where  he  made  his  real  debut 
as  Gil  Perez  in  Auber's  "Le  Domino  Noir, "  although  he  had  before 
that  taken  the  part  of  the  Bishop  in  Massenet's  "Esclarmonde."  He 
appeared  in  repertory  pieces,  and  created  the  part  of  De  Cagli  in  Diaz's 
"Benvenuto"  (Dec.  3,  1900).  In  1891  he  joined  theMonnaie  Com- 
pany, Brussels.  He  sang  at  the  Monnaie  and  for  several  seasons  at 
Covent  Garden,  until  he  became  a  member  of  the  Metropolitan  Opera 
House  Company,  New  York.  His  first  appearance  in  Boston  was  as 
the  Sacristan  in  "Tosca, "  April  4,  1901  (he  also  played  the  part  April 
11,  1 90 1,  and  March  11,  1902).  He  has  also  impersonated  Schaunard 
in  "La  Boheme"  (April  6,  1901,  March  28,  1903),  Duke  of  Verona  in 
"Romeo  and  Juliet"  (April  8,  1901),  the  Danca'ire  in  "Carmen" 
(March  12,  1902),  the  King  in  Massenet's  "The  Cid"  (March  14,  1902), 
Bartolo  in  "The  Marriage  of  Figaro"  (March  18,  1902),  Sulpice  in 
"The  Daughter  of  the  Regiment"  (March  23,  1903),  Masetto  in 
"Don  Giovanni"  (March  30,  1903),  Don  Pasquale  in  Donizetti's  opera 
(March  31,  1903).  He  sang  at  Calvd's  concert  in  Symphony  Hall, 
March  25,  1902. 

Song,  "Pensee  d'Automne"    .     ::::..    Jules  Massenet. 

(Born  at  Montaud  (Loire),  France,  May  12,  1842;  now  living  at  Paris.) 
The  words  of  this  song,  dedicated  to  Sibyl  Sanderson,  who  created 
the  part  of  Esclarmonde  in  Massenet's  opera  of  the  same  name,  and 


Keep  Your  Stomach  Well 

Horsford's  Acid  Phosphate  cures  habitual 
stomach  weakness,  improves  the  appetite 
and  digestion,  and  removes  the  cause  of 
headache  and  wakefulness. 


Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


mamrrss 

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then  made  her  debut  at  the    Opera-Comique,   Paris  (May   14,    1889), 
are  by  Armand  Silvestre  (1 839-1901). 

L'an  fuit  vers  son  declin,  comme  un  ruisseau  qui  passe, 

Emportant  du  couchant  les  fuyantes  clartes; 

Et,  pareil  a  eelui  des  oiseaux  attristes, 

Le  vol  des  souvenirs  s'allanguit  dans  l'espace. 

Un  peu  d'ame  erre  encore  aux  calices  defunts 
Des  lents  volubilis  et  des  roses  tremieres; 
Et  vers  le  firmament  des  lontaines  lumieres, 
Un  reve  monte  encore  sur  l'aile  des  parfums. 

Une  chanson  d' adieu  sort  des  sources  troublees; 
S'il  vous  plait,  mon  amour,  reprenons  le  chemin 
Oil,  tons  deux,  au  printemps  et  la  main  dans  la  main, 
Nous  suivions  le  caprice  odorant  des  allees. 

Une  chanson  d'amour  sort  de  mon  coeur  fervent, 
Qu'un  Avril  eternel  a  fleuri  de  jeunesse. 
Que  meurent  les  beaux  jours!     Que  l'apre  hiver  renaisse ! 
Comme  un  hymne  joyeux  dans  la  plainte  du  vent. 

Une  chanson  d'amour  vers  ta  beaute  sacree, 
Femme,  immortel  ete!     Femme,  immortel  printemps! 
Soeur  de  l'etoile  en  feu  qui,  par  des  cieux  flottants. 
Verse  en  toute  saison,  sa  lumiere  doree. 


Chanson,  "L'Oiseau    s'envolE    la-bas!"    from    "Paul    et     Yir 
ginie" Victor  Masse. 

(Born  at  Lorient,  France,  March  7,  1822;  died  at  Paris,  July  5,  1884.) 

"Paul  et  Virginie,"  opera  in  three  acts,  book  by  Michel  Carre  and 
Jules  Barbier,  after  the  romance  by  Bernardin  de  Saint-Pierre,  music 
by  Felix  Marie  Masse,  known  as  Victor  Masse,  was  produced  at  the 
Opera  National  Lyrique,  Paris,  Nov.  15,  1876.     The  part  of  Paul  was 


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"  Extase."     Valse  Lente    . 

"Tout  Passe."     Valse  Langoureuse 

••  Valse  Folic"  . 

"Nuages  Roses."     Valse 

•«Les  Soldats  qui  passent."     March 


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created  by  Victor  Capoul,  that  of  Virginie  by  Ceale  Ritter,  that  of 
Domingue  by  Jacques  Bouhy. 

The  song  "L/Oiseau  s'envole, "  is  sung  by  Domingue  in  the  first  scene 
of  the  second  act.  Virginie,  who  has  been  told  that  she  will  inherit 
a  large  sum  on  the  condition  that  she  shall  set  out  for  France,  asks 
advice  of  Domingue,  who  answers  while  working  at  his  mat  of  rushes : 

L'oiseau  s'envole 
La-bas!  la-bas! 
L'oiseau  s'envole 
Et  ne  revient  pas 
Ah !  pauvre  f olle ! 
Reste  a  la  maison, 
Crois  a  ma  chanson. 
L'oiseau  s'envole 
Et  ne  revient  pas. 

Oiseau  fidele 
Que  Dieu  benit, 

Oiseau  fidele, 
Reste  en  ton  doux  nid. 

Ferme  ton  aile, 
Tu  dormiras  raieux 
Que  sous  d'autres  cieux. 

Oiseau  fidele, 
Que  Dieu  benit, 

Oiseau  fidele, 
Reste  en  ton  doux  nid. 

Jacques  Bouhy,  the  first  to  sing  this  song,  was  born  at  Pepinster, 
Belgium,  June  18,  1848.  He  made  his  debut  at  the  Opera,  Paris,  as 
Mephistopheles  in  187 1.  He  joined  the  Opera-Comique  Company  in 
1872,  and  went  to  the  Theatre  Lyrique  in  1876.  He  also  sang  several 
seasons  in  Russia  and  at  London.  In  the  later  eighties  he  taught 
singing  at  Mrs.  Thurber's  Conservatory  in  New  York.  He  reappeared 
at  the  Opera,  Paris,  in  1892,  and  still  sings  occasionally,  but  he  is 
now  chiefly  known  as  a  teacher  at  Paris. 

The  first   performance  of  this  opera   in   Boston  was  at   the   Park 

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Theatre  by  the  Hess  Company,  Oct.  23,  1879,  when  Emma  Abbott 
and  Tom  Karl  were  the  lovers,  and  Ellis  Ryse  took  the  part  of  Do- 
mingue.  The  performance  was  in  English,  and  the  orchestral  score 
was  faked.  The  first  performance  in  this  country  was  by  the  same 
company  at  New  Orleans  early  in  February,  1879. 

Other  operas  on  this  subject  were  written  by  Tarchi  (Venice,  1789), 
P.  C.  Guglielmi  (Naples,  about  1790),  Kreutzer  (Paris,  1791),  Teseur 
(Paris,  1794),  Migliorucci  (Milan,  1813)," Alpa  (Rome,  1843),  Robert 
and  Laban  (Port  Louis,  Oct.  30,  1876).  Ballets  by  Reeve  and  Maz- 
zinghi  (London,  1800),  Gahrich  (Berlin,  about  1840).  Operetta  by 
Rogel  (Madrid,  1861,  enlarged  1867). 


ENTR'ACTE. 

CONCERNING  AN  ALLEGED  DECAY  IN  THE  ART  OF  SONG. 

Many  insist  to-day  that  song  is  among  the  lost  arts,  as  forgotten 
as  those  enrolled  in  the  treatise  of  Pancirollus.  They  allege,  as  reasons 
for  this  decay,  ignorance  of  the  teacher;  haste  and  superficial  con- 
tentment of  the  pupil;  carelessness  and  lack  of  knowledge  shown  by 
the  enthusiasm  of  hearers;  abuse  of  the  voice  by  composers;  the 
longing  for  realism   that  substitutes    spasmodic   declamation   for  bel 


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canto;  blunting  of  the  ear  through  a  passionate  enjo3^ment  of  disso- 
nances; habitual  employment  in  vocal  practice  of  the  pianoforte,  an 
instrument  which  is  inherently  a  compromise  and  untuneful;  loss  or 
neglect  of  traditions;  the  fact  that  singing  is  regarded  by  many  other- 
wise estimable  persons  as  a  necessary  accomplishment  which  is  easily 
within  the  reach  of  all  owners  of  property. 

Some  say  that  German  singers  have  corrupted  the  taste  of  the 
American  singer  and  hearer.  But  in  Germany  there  is  the  same  lam- 
entation over  a  lost  art. 

We  are  told  by  others  that  song  is  the  birthright  of  the  Italian.  But 
the  Italians  shrug  shoulders,  and  mourn  the  singers  of  the  past. 

We  are  reminded  of  the  great  masters  of  song  of  the  seventeenth 
and  eighteenth  centuries,  whose  voices  were  long  ago  choked  with 
dust;  of  the  men  and  women  of  the  early  decades  of  this  century, 
who  sang  before  Wagner  dreamed  of  endless  melody  or  a  Bayreuth 
show-house. 

But  in  those  days  of  golden  song  were  there  no  complaints,  no 
longings  for  the  dead,  longings  injurious  to  the  living? 

Pier  Francesco  Tosi,  born  at  Bologna  in  1647,  grew  up  to  be  a  soprano 
of  towering  fame.  The  cities  of  Europe  applauded  him;  he  was 
courted  by  monarchs  and  noble  dames;  he  was  crowned  with  riches 
and  honor.  His  voice  failed  him,  and  he  taught;  and  then  the  great- 
est of  his  contemporaries  heard  him  gladly  and  without  envy.  In 
1692  he  made  London  his  abiding-place,  and  there  he  died  in  1727. 
In  1723  he  wrote  in  Italian  a  book  entitled  "Opinions  concerning 
Ancient  and  Modern  Singers,"  which  is  to-day  held  by  the  judicious 
to  be  a  masterpiece.     First    published  at  Bologna,  it  was    Englished 


EDITED    BY    THOMAS    TAPPER 


COIltCtttS        COVEI*   PORTRAIT Herbert  I.  Wallace 

_  A  WANDERING  CAPELLMEISTER    ....    Thomas  Tapper 

TOT  COLERIDGE-TAYLOR Israfel 

THE  YOUNG  HAN  IN  HUSIC W.  J.  Baltzell 

THE  MODERN  ARTISTIC  PIANOFORTE  .  .  Henry  Lowell  Mason 
A  SERIAL  SUITE  (Water  Music)         .        .        .        .   Jacques  de  Lyon 

VIOLIN  TEACHING Eugene  Griinberg 

Home  Lessons  in  Music  by  Benjamin  Cutter,  Dr.  Percy  Goetschius, 
A.  L.  Manchester,  and  Thomas  Tapper.  Notes  of  the  Music  World. 
Significant  Concerts.  New  Books.  New  Music.  Teachers  Depart- 
ment.   Two  Piano  Pieces.    Two  Songs. 


April 

1903 


OLIVER   DITSON   CO.,   Boston.  C.   H.   DITSON  &  CO.,   New  York. 

J.   E.   DITSON  &  Co.,   Philadelphia. 

r  2  

(1100) 


Millinery  Opening 


The  head  of  the  Millinery  Department  has  just 
returned  from  Paris,  and  at  this  opening  will  show 
French  Models  and  the  last  products  of  our 
own  workrooms. 

Parasols  Opening 

Early    Novelties    for    1903 

Lace  and  Chiffon  trimmed,  Shirred  Pongee,  All- 
over  tucks,  Persian  borders,  Taffetas  with  borders 
of  French  knots,  Hand-embroidered  Taffetas. 
Full  line  of  Carriage  Parasols.  Special  orders 
taken  for  parasols  to  match  gowns. 

K#  II.   otearns  it  Company 


(1101) 


(1102) 


in  1742  by  John  Ernest  Galliard,  oboe  player  and  composer  of  much 
music,  to  whom  occurred  the  singular  idea  of  writing  a  piece  for  twenty- 
four  bassoons  and  four  double-basses.  There  was  a  second  edition  of 
Galliard 's  version  in  the  following  year.  Agricola  turned  Tosi's 
book  into  German  in  1757  and  added  many  notes,  and  in  1874  Lemaire 
made  a  French  translation. 

We  know  by  the  testimony  of  men  associated  with  him  that  Tosi 
was  fair-minded  and  lovable;  his  judgments  were  respected  as  final; 
but  Tosi  wrote  as  one  might  write  to-day. 

It  is  a  little  book,  this  translation  by  Mr.  Galliard,  and  it  is  dedi- 
cated to  the  Earl  of  Peterborough,  who  met  Tosi  in  his  "Travels  be- 
yond Sea."  This  Peterborough,  who  sat  for  a  portrait  in  George 
Meredith's  gallery,  was  the  famous  Charles  Mordaunt  described  by 
Swift :  — 

In  journeys  he  outrides  the  post, 

Sits  up  till  midnight  with  his  host, 

Talks  politicks  and  gives  the  toast. 

*  *     * 

A  skeleton  in  outward  figure, 

His  meagre  corps,  though  full  of  vigor, 

Would  halt  behind  him,  were  it  bigger. 

*  *    * 

Shines  in  all  climates  like  a  star ; 
In  senates  bold,  and  fierce  in  war, 
A  land  commander  and  a  tar. 

Heroic  actions  early  bred  in, 

Ne'er  to  be  matched  in  modern  reading, 

But  by  his  name-sake,  Charles  of  Sweden. 


SHREVE,  CRUMP  &  LOW  CO. 


Diamonds,  Pearl  Pendants, 
Collarettes,    Rare   Gems 


ARTISTIC    JEWELRY. 


CHATELAINE    WATCHES   in   Gold,  Diamond,  and  Enamelled  Cases 
Our  own  designs  in  STERLING  SILVER 


In  our  Art  rooms  a  superb  exhibit 


147  TREMONT  STREET 


(1103) 


Was  Peterborough  fond  of  music?  Tosi  speaks  in  his  dedication 
of  the  uncommon  penetration  of  the  judgment  of  this  general  of  ma- 
rines, and  he  compliments  him  on  the  possession  of  a  soul  sensible  of 
the  charms  of  singing. 

Walter  Savage  Landor  introduces  Peterborough  in  an  imaginary 
conversation  with  William  Penn,  and  Peterborough  applauds  Penn 
cynically,  when  the  latter  declares:  "There  is  something  in  a  violin, 
if  played  discreetly,  that  appeareth  to  make  hot  weather  cool,  and  cold 
weather  warm  and  temperate;  not,  however,  when  its  chords  have 
young  maidens  tied  invisibly  to  the  end  of  them,  jerking  them  up  and 
down  in  a  strange  fashion  before  one's  eyes,  and  unless  one  taketh  due 
caution,  wafting  their  hair  upon  one's  face  and  bosom,  and  their 
very  breath,  too,  between  one's  lips,  if  peradventure  one  omitteth  to 
shut  them  bitterly,  and  hold  tight." 

Peterborough  surely  was  fond  of  music.  Otherwise  he  would  not 
have  married  Anastasia  Robinson,  the  famous  singing-woman.  Did  he 
not  cane  vSenesino  behind  the  scenes  for  an  insult  offered  her,  and  did  he 
not  make  that  singer  confess  on  his  knees  that  Anastasia  was  a  nonpareil 
of  virtue  and  beauty?  Lady  Mary  Wortley  Montagu  gave  an  amus- 
ing account  of  the  incident  in  a  letter  to  the  Countess  of  Mar  in  1723. 
The  marriage  was  long  held  secret,  otherwise  Lady  Mary  would  not 
have  written :  ' '  By  the  providence  of  Heaven  and  the  wise  cares  of  his 
majesty,  no  bloodshed  ensued.  However,  things  are  now  tolerably 
accommodated ;  and  the  fair  lady  rides  through  town  in  triumph  in  the 
shining  berlin  of  her  hero,  not  to  reckon  the  more  solid  advantage 
of  ,£100  a  month,  which  'tis  said  he  allows  her." 

When  you  go  to  Paris 

And  order  a  gown,  you  will  find  that  the  Tailleur  will  insist 
upon  a  perfect-fitting  Corset  before  he  begins  his  work.  Seven 
out  often  of  them  will  insist  upon  a 


CLASSIQUE. 


This  Corset  is  generally  acknowledged  to  be  the  most  perfect-fitting  in  the  world. 
At  least,  Paris  says  so  ;  and  Paris  dictates  in  such  matters.  It  is  used  by 
the  most  exclusive  modistes  in  the  French  capital,  the  leaders  who  rule  the 
world  of  dress. 

One  of  the  greatest  distinctions  of  our  establishment  is  the  fact  that  the  "  Clas- 
sique"  Corset  has  for  years  been  sold  in  Boston  exclusively  by  us.  We  have 
just  received  the  new  spring  models.  The  prices  range  from  $5. 75  upwards. 
We  can  fit  any  figure. 

Remember  that  the  "  Classique  "  is  hand-fashioned  by  the  most  skilful  corsetiers 
of  Paris.  Only  genuine  whalebone  is  used.  We  urge  you  to  try  the  effect 
of  one  of  these  French  corsets  upon  your  figure. 


B.  SOMMER  &  CO., 


44  and  46  WINTER   STREET. 

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(1104) 


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(1105) 


This  same  Charles  Mordaunt  was  fond  of  Tosi,  and  he  invited  him 
to  his  "delightful  seat  at  Parson's  Green,"  where  there  was  a  tulip-tree 
in  a  garden. 

Tosi's  book  tempts  to  continual  quotation,  but  let  us  confine  our- 
selves to  extracts  which  show  that  even  in  his  day,  the  day  of  un- 
equalled song,  there  was  harsh  faultfinding  with  contemporaries, 
there  was  hurrahing  for  the  ancients ;  and  by  the  ancients  Tosi  meant 
"those  who  lived  about  thirty  or  forty  years  ago." 

Note  the  modesty  of  the  man:  "The'  abuses,  the  defects,  and  the 
errors  divulged  by  me  in  these  observations  were  once  almost  all  faults 
I  myself  was  guilty  of;  and  in  the  flower  of  my  youth,  when  I  thought 
myself  to  be  a  great  man,  it  was  not  easy  for  me  to  discover  them. 
But  in  a  more  mature  age  the  slow  undeceit  comes  too  late.  I  know 
I  have  sung  ill,  and  would  I  have  not  writ  worse!  but  since  I  have 
suffered  by  my  ignorance,  let  it,  at  least,  serve  for  a  warning  to  amend 
those  who  wish  to  sing  well." 

Does  not  Tosi  here  speak  of  many  teachers  of  to-day?  "Let  the 
master  hear  with  a  disinterested  ear  whether  the  person  desirous  to 
learn  hath  a  voice  and  a  disposition,  that  he  may  not  be  obliged  to 
give  a  strict  account  to  God  of  the  parent's  money  ill  spent,  and  the 
injury  done  to  the  child,  by  the  irreparable  loss  of  time  which  might 
have  been  more  profitably  employed  in  some  other  profession.  .  .  .  Very 
few  modern  masters  refuse  students,  and,  provided  they  are  paid,  little 
do  they  care  if  their  greediness  ruins  the  profession." 

Tosi  reproaches  certain  professors  of  his  acquaintance  for  igno- 
rance of  their  own  language.  It  seems  that  also  in  his  day  there  were 
men  who,  although  they  might  have  been  respectable  in  other  call- 
ings, preferred  rashly  the  teaching  of  singing.  "There  are  nowadays 
as  many  masters  as  there  are  professors  of  music  in  any  kind.  I 
am  now  speaking  of  those  who  take  upon  them  the  part  of  a  legislator 
in  the  most  finished  part  in  singing;  and  should  we  then  wonder  that 
the  good  taste  is  near  lost,  and  that  the  profession  is  going  to  ruin? 
So  mischievous  a  pretension  prevails,  not  only  amongst  those  who 
can  barely  be  said  to  sing,  but  among  the  meanest  instrumental  per- 


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OLD  VIOLINS. 


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(1106) 


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(1107) 


formers,  who,  though  they  never  sung,  nor  know  how  to  sing,  pre- 
tend not  only  to  teach,  but  to  perfect,  and  find  some  that  are  weak 
enough  to  be  imposed  on." 

Nor  does  Tosi  neglect  the  fond  parents.  "The  ignorance  of  the 
parents  does  not  let  them  perceive  the  badness  of  the  voice  of  their 
children,  as  their  necessity  makes  them  believe  that  to  sing  and  grow 
rich  is  one  and  the  same  thing,  and,  to  learn  music,  it  is  enough  to 
have  a  pretty  face."  This  reads  as  though  it  were  an  extract  from 
Marcello's  "II  Teatro  alia  Moda"  (1720). 

In  Tosi's  time — that  golden  age — there  was  surely  no  false  intona- 
tion in  the  opera-house.  But  listen:  "One  who  has  not  a  good  ear 
should  not  undertake  either  to  instruct  or  to  sing,  it  being  intolerable 
to  hear  a  voice  perpetually  rise  and  fall  discordantly.  One  that 
sings  out  of  tune  loses  all  his  other  perfections.  I  can  truly  say  that, 
except  in  some  few  professors,  the  modern  intonation  is  very  bad." 

And  how  about  the  enunciation?  "If  the  syllables  are  not  dis- 
tinguished, the  singer  deprives  the  hearer  of  the  greatest  part  of 
that  delight  which  vocal  music  conveys  by  means  of  the  words.  For, 
if  the  words  are  not  heard  so  as  to  be  understood,  there  will  be  no 
great  difference  between  a  human  voice  and  a  hautboy.  This  defect, 
though  one  of  the  greatest,  is  nowadays  more  than  common,  to  the 
greatest  disgrace  of  the  professors  and  the  profession." 

And,  oh,  the  tricks  of  the  trade!  One  singer  trilled  until  the 
"eruption  of  an  Kviva  or  bravo  from  the  populace."  Another  affected 
coldness  so  that  "one  would  believe  that  the  science  of  music  implored 
his  favor,  to  be  received  by  him  as  his  most  humble  servant."     An- 


KAKAS  BROS. 


J  FUR  STORE 

1 79  Tremont  St.,  near  Tremont  Theatre 

FURS  STORED  AND   INSURED.      REASONABLE  RATES 
THE   MOLEL   FUR  STORE  OF   BOSTON 

TELEPHONE,  OXFORD  48 

BLANCHARD,  RING  <&  CO. 

HABERDASHERS 

Announce  the  arrival  of  their  Spring  Importations  of 

Easter  Gloves  and  Ties 

and  all  the  latest  novelties  for  men's  wear.     Our  exclusive  patterns  of 
Scotch  Shirtings,  in  almost  endless  variety,  are  awaiting  your  inspection. 

Under  the  Thorndike,  Boy  Is  ton  Street. 

(1108) 


other  talked  and  laughed  on  the  stage  "to  induce  the  public  that 
such  a  singer  who  appeared  the  first  time  did  not  deserve  his  atten- 
tion, when  in  reality  he  was  afraid  of  or  envied  his  gaining  applause." 
Another,  "full  of  himself  from  the  little  he  had  learned,  was  so  taken 
with  his  own  performance  that  he  seemed  falling  into  ecstasy,  pre- 
tending to  impose  silence  and  create  wonder,  as  if  his  first  note  said 
to  the  audience,  'Hear  and  die';  but  they,  unwilling  to  die,  talked 
loud,  and  perhaps  not  much  to  his  advantage. " 

Then  there  were  singers  "who  imagined  to  satisfy  the  public  with 
the  magnificence  of  their  habits."  Tosi  was  not  unduly  impressed: 
"They  who  have  nothing  but  the  outward  appearance  pay  that  debt 
to  the  eyes  which  they  owe  to  the  ears." 

We  read  in  the  books  of  such  enthusiasts  as  "Vernon  Lee"  about 
the  wonderful  phrasing  that  was  apparently  universal  in  Tosi's 
century.  Yet  Tosi  forbids  the  singer  to  take  breath  in  the  middle 
of  a  word,  and  adds:  "Anciently  such  cautions  were  not  necessary 
but  for  the  learners  of  the  first  rudiments.  Now  the  abuse,  having 
taken  its  rise  in  the  modern  schools,  gathers  strength,  and  is  grown 
familiar  with  those  who  pretend  to  eminence.  There  are  singers 
who  give  pain  to  the  hearer,  as  if  they  had  an  asthma,  taking  breath 
every  moment  with  difficulty,  as  if  they  were  breathing  their  last." 

But  at  least  the  audience  was  discriminative,  made  up  as  it  was  of 
skilled  amateurs.  Tosi  thought  otherwise.  "There  are  numbers 
who  blindly  applaud  everything  that  has  an  appearance  of  novelty. 
An  audience  that  applauds  what  is  blamable  cannot  justify  faults  by 
their  ignorance:  it  is  the  singer's  part  to  set  them  right."     In  another 


EVERY  LITTLE   DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUGIMO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS   CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  Hass. 


place  he  speaks  of  "the  scarcity  of  excellent  performers  and  the  stu- 
pidity of  auditors."  He  marvels  at  the  "bewitched  age  in  which  so 
many  are  paid  so  well  for  singing  ill." 

Tosi  knew  the  eternal  failings  of  his  race.  "A  discreet  person  will 
never  use  such  affected  expressions  as  'I  cannot  sing  to-day';  I've  got 
a  deadly  cold' ;  and,  in  making  his  excuse,  falls  a-coughing.  I  can  truly 
say  that  I  have  never  in  my  life  heard  a  singer  own  the  truth  and  say, 
'I'm  very  well  to-day.'  They  reserve  the  unseasonable  confession  to 
the  next  day,  when  they  make  no  difficulty  to  say,  'In  all  my  days  my 
voice  was  never  in  better  order  than  it  was  yesterday.'  " 

"At  first  sight  arrogance  has  the  appearance  of  ability;  but  upon  a 
nearer  view  I  can  discover  ignorance  in  masquerade.  This  arrogance 
serves  them  sometimes  as  a  politick  artifice  to  hide  their  own  failings ; 
for  example,  certain  singers  would  not  be  unconcerned,  under  the  shame 
of  not  being  able  to  sing  a  few  measures  at  sight,  if  with  shrugs,  scorn- 
ful glances,  and  malicious  shaking  of  their  heads,  they  did  not  give  the 
auditors  to  understand  that  those  gross  errors  are  owing  to  him  that 
accompanies  or  to  the  orchestra." 

"He  is  still  more  to  be  blamed  who,  when  singing  in  two,  three,  or 
four  parts,  does  so  raise  his  voice  as  to  drown  his  companions ;  for,  if  it 
is  not  ignorance,  it  is  something  worse." 

A  mirror  of  the  thoughts  and  affectations  of  singers  of  all  time !  He 
that  is  tempted  to  believe  in  the  utter  worthlessness  of  the  modern 
singer  should  read  this  old  book  and  become  saturated  with  the  reflec- 
tions of  Pier  Francesco  Tosi,  who  meditated  his  art  near  the  tulip-tree 
that  grew  in  the  garden  of  Charles  Mordaunt,  Earl  of  Peterborough. 


MUSIC    OF    LENT. 

(From  the  Pall  Mall  Gazette.) 

In  the  ecclesiastical  year  it  is  natural  that  different  periods  take,  in 
their  expression  of  song,  the  different  characteristics  which  the  litur- 
gical seasons  are  supposed  to  be  celebrating;  and  among  those  eccle- 


BY   ROYAL    APPOINTMENT 
TO    THE    BRITISH    COURT. 


MACKENZIE-JACKSON 

LADIES'  TAILOR 
Glasgow  2J8  Boylston  Street,  Boston  Oban 

(1110) 


siastical  periods  there  is  not  one  which  has  so  particular  and  special 
an  interest  as  has  the  time  of  Lent.  Such  differences  in  the  Anglican 
musical  appeal  are,  of  course,  chiefly  noticeable  in  the  hymnody;  but 
in  the  music  of  the  Greek  and  Roman  Churches  at  this  time,  no  less 
than  in  that  of  the  synagogues  (which  almost  simultaneously,  of  course, 
celebrate  the  Passover),  there  is  a  distinct  body  of  specialized  music, 
dealing  with  the  penitential  aspect  of  the  season  and  with  the  natural 
austerities  that  accumulate  about  the  idea  of  fasting  and  mortification, 
that  has  a  province  altogether  its  own, — a  province,  that  is,  not  involv- 
ing the  mere  expression  of  religious  emotion,  but  also  the  expression 
of  that  religious  emotion  in  terms  of  very  considerable  art. 

In  the  Roman  Catholic  Church  the  playing  of  the  organ,  save  on  the 
Sunday  of  "Mi-Careme,"  is  entirely  suspended  throughout  the  season; 
and  accordingly  it  was  necessary  that  quite  a  specialized  body  of  music, 
written  solely  for  the  voice,  should  engage  the  attention  of  com- 
posers; and  very  beautiful,  indeed,  is  a  great  deal  of  the  work  which 
has  grown  up  to  celebrate  the  grave  events  for  which  the  solemn  pen- 
ances of  the  season  are  ordained.  The  old  Italians,  of  course,  are  fa- 
mous. Palestrina,  Allegri,  and  many  another  have  contributed  exqui- 
site flowers  to  this  penitential  wreath.  And  in  every  instance  with 
very  exquisite  art  they  have  caught  the  significance  of  Lent  and  the 
meaning  of  mortification.  We  know,  by  the  way,  of  a  composer  now 
long  dead,  once  the  president  of  a  famous  Catholic  college  in  the  North, 
whose  study  of  such  men  as  Byrd  and  Tallis  produced  in  a  modern- 
ized form  very  exceptional  music  of  penance,  culminating  in  a  "Re- 
quiem" perfectly  simple  and  yet  extremely  beautiful;  and  what  could 
be  more  penitential  than  a  requiem? 

The  intention  of  contrasting  the  austerity  of  the  music  of  Lent  with 
the  music  of  other  liturgical  seasons  is  seen  to  come  from  a  profoundly 


WILLIAM  G  CARL 

W.  A.  Moffitt 

SOLO  ORGANIST 

Can  be  secured  for  Recitals  and  the  Inau- 

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(1111) 


direct  source  when  one  remembers  the  ceremonial  ordered  during  the 
intonation  of  the  "Glory  be  to  God"  on  the  Saturday  before  Easter 
vSunday.  Bells,  orchestra,  organ,  and  voices  join  in  full  jubilation. 
Thus  is  it  clearly  perceived  that  it  is  no  fanciful  selection  which  chooses 
the  music  of  Lent  as  a  music  to  be  specially  discussed  from  the  music 
of  the  church  year.  Just  as  you  divide  a  symphony  upon  the  classi- 
cal lines  into  four  separate  movements,  each  representing  a  certain 
mood  of  the  composer,  so,  pursuing  the  analogy,  Lent  may  be  called 
in  the  musical  world  the  adagio  of  the  long  religious  year.  That 
adagio  reaches  a  great  height  indeed  in  Palestrina's  wonderful  "Pas- 
sion Music,"  and  in  the  more  or  less  traditional  music  of  the  "Lamen- 
tations." Here  one  finds,  of  course,  Palestrina  fulfilling  every  mood 
of  the  moment,  just  as  he  would  have  fulfilled  the  need  of  any  other 
moment,  joyous,  simple,  or  complex,  in  any  musical  age  to  which  he 
was  born.  In  examining  his  "Passions,"  one  notes  at  once,  as  was  of 
course  natural,  how  much  less  complex  they  are  than  those  of  Bach, 
where  Bach  happened  to  deal  with  the  same  text;  for,  of  course,  it 
must  be  remembered  that,  whereas  Palestrina  wrote  the  historical 
narratives  direct  from  the  Gospels,  with  no  extraneous  word  inter- 
polated and  omitting  naught,  Bach's  "Passions"  were  more  or  less 
a  series  of  libretti  of  which  the  Gospel  narratives  form  the  basis. 
Palestrina  uses  the  most  amazingly  significant  recitatives  over  and 
over  again,  characteristically  assigned  to  four  "lectores"  of  the  Holy 
Writ,  in  conjunction  with  choruses  which  are  sometimes  vigorous, 
sometimes  tender,  always  most  musicianly.  He  adds,  too,  duets,  of 
which  perhaps  the  finest  specimens  are  those  known  as  ' '  Non  scinda- 
mus"  and  in  "Vere  Filius  Dei  erat  Iste.". 

Just  as  individual,  but  not  nearly  so  various,  is  the  music  which 
attaches  to  the  Jewish  Festival  of  Passover,  as  one  hears  it  at  this 


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(1112) 


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(1113) 


time  of  the  year,  or  perhaps  a  little  later,  in  the  synagogues.  This 
music,  however,  is  untainted  by  Western  feeling,  and  seems  to  be 
transplanted  straight  out  of  the  East,  with  its  beautiful  and  dirge-like 
monotony  and  its  antique  Eastern  flavour.  Anglican  music  of  Lent  is 
set  in  a  more  formal  mould.  If  it  can  claim  Bach  and  Spohr  upon  its 
side,  it  has  therein,  of  course,  a  singular  treasure;  but,  as  we  have  said, 
it  is  chiefly  in  its  Lenten  hymnody  that  Anglican  music  is  found  to  pos- 
sess appropriately  fine  music  to  this  particular  time  of  the  year. 


Prelude,  Minuet,  and  Fugue  for  Strings,  Op.  io. 

Hugo  Reinhold. 

(Born  at  Vienna,  March  3,  1854;  now  living  at  Vienna.) 

This  work  consists  of  a  Prelude  in  D  major,  andante,  4-4 ;  a  Minuet 
in  F  major,  grazioso,  3-4;  a  Fugue  in  D  minor,  allegro,  4-4.  It  is 
dedicated  to  Constantin  Zimmer. 

Reinhold  was  a  choir  boy  of  the  Court  chapel  and  a  pupil  at  the 
Conservatory  of  Friends  of  Music  at  Vienna.  He  has  published  a 
string  quartet  (Op.  18),  pianoforte  pieces,  songs,  a  suite  for  piano- 
forte and  strings,  a  concert  overture  in  A  major,  which  was  played 
here  at  a  Symphony  Concert  on  Dec.  4,  1886,  etc.  The  Prelude,  Min- 
uet, and  Fugue  were  played  here  for  the  first  time  at  a  Symphony  Con- 
cert on  Jan.  23,  1886. 


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Or  any  local  steamship  agent, 

(1114) 


Menuet ::    i    :::::::::::    :   Joseph  Exauuet. 

(Born  at  Rouen  about  1710;  died  at  Paris  toward  1763.) 
The  words  of  this  song  are  taken  from  Favart's  comedy,  "La  Ro- 
siere de  Salency,"*  a  comedy  with  ariettas,  in  three  acts,  music  by 
several  composers,  among  them  Blaise  and  Philidor.  This  minuet 
was  sung  and  danced.  The  steps  were  arranged  by  Exaudet,  who 
had  written  the  music  apparently  before  Favart  planned  his  comedy. 
Exaudet  was  appointed  violon  repetiteur  of  the  ballet  at  the  Opera'in 
1749.  This  minuet  became  immediately  popular,  and  was  danced  in 
parlors  and  at  the  court,  and  it  rivalled  the  famous  menuet  de  la  Cour 
composed  by  Vestris.  The  minuet  was  re-established  in  1893  at 
Paris  by  G.  Desrat,  who  gives  an  analysis  of  the  dance  in  his  "Dic- 
tionnaire  de  la  Danse"  (Paris,  1895). 

Cet  etang, 
Qui  s'etend 
Dans  la  plaine, 

*  L^on  Gozlan,  in  his  "  CEcvres  de  M.  et  Mme.  Favart  '  (Paris,  1853),  does  not  mention  the  comedv  in 
which  this  "  leger  pastel  "  to  which  Exaudet's  music  was  fitted  occurs.  Desrat  gives  the  title  as  "  La  Rosiere 
deSolenes."  The"  Annales  Dramatiques  "  (Paris,  1811)  refers  to  the  comedy  as  La  Rosiere  de  Salency."  But 
see  the  "  Con-espondance  Litteraire  "  of  Grimm  and  Diderot,  first  part,  vol.  6  (Paris,  1813),  pp.  417-424,  478, 
for  an  amusing  account  of  "  La  Rosiere  "  herself.  The  article  begins :  "  The  Rosiere  of  Salency  is  one  of 
the  persons  who  have  bored  me  most  acutely  for  some  years."  Then  there  is  an  account  of  the  coronation  of 
the  girl  and  the  origin  of  the  practice.  It  appears  from  this  account  that  Favart's  comedy  was  first  performed 
before  the  king  at  Fontainebleau,  Oct.  25,  1769.  "  The  music  is  a  pasticcio,  in  which  Philidor  and  Monsigny 
have  the  chief  part.  .  .  .  The  majority  of  the  airs  are  parodies,  that  is,  the  music  was  made  before  the  words, 
and  the  poet  set  the  music  to  his  verses  as  best  he  could.''  The  review  is  in  contemptuous  spirit,  nor  did 
Favart  fare  better  in  the  article  apropos  of  the  performance  in  Paris.  "  In  spite  of  the  ecstasies  «xcited  in  the 
parterre  by  the  parodied  couplets,  I  do  not  think  the  success  will  be  lasting.  .  .  .  Couplets  without  end,  a 
chaconne  by  Rameau  and  the  menuet  of  Exaudet  parodied,  and  other  masterpieces  of  this  kind  have  carried 
away  the  audience  with  delight."  From  which  it  appears  that  the  music  of  this  minuet  is  older  than  Favart's 
text. 


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(1115) 


Repete  au  sein  de  ses  eaux 
Ces  verdoyants  ormeaux 
Oil  le  pampre  s'enchaine; 

Un  ciel  pur, 

Un  azur 

Sans  nuages, 
Vivement  s'y  refit-chit; 
Le  tableau  s'enrichit 

D'images. 
Mais',  tandis  que  Ton  admire 
Cette  onde  ou  le  eiel  se  mire, 

Un  zephyr 

Vient  ternir 

Sa  surface : 
D'un  souffle  il  confond  les  traits; 
L'eclat  de  tant  d'objets 

S'efface. 


"JEUNES    FlLLETTES.  " 

This  song,  with  the  sentiment  of  Herrick's  "Gather  ye  Rosebuds 
while  ye  may,"  is  to  be  found,  as  are  the  two  preceding  songs,  in  J.  B. 
Weckerlin's  collection  of  "Bergerettes,  Romances,  et  Chansons  du 
Dix-huitieme  Siecle." 

Jeune  fillette, 
Profitez  du  temps, 
La  violette 
Se  cueille  au  printemps. 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(1116) 


La  la  la  rirette, 
La  ri  Ion  Ian  la. 

Cette  fleurette 
Passe  en  peu  de  temps. 
Toute  amourette 
Passe  £galement. 

Dans  le  bel  age 
Prenez  un  ami ; 
S'il  est  volage, 
Rendez  le  lui. 


Overture,  Scherzo,  and  Finaee,  Op.  52      .      Robert  Schumann. 

(Born  at  Zwickau,  June  8,  1810;  died  at  Endenieh,  July  29,  1856.) 

This  work  in  symphonic  form  was  first  performed  at  a  Gewandhaus 
concert,  Leipsic,  on  Dec.  6,  1841.  It  was  the  year  of  three  symphonic 
works:  the  Symphony  in  B-flat;  the  "Symphonistische  Phantasie," 
performed  under  the  title  of  "Second  Symphony"  at  the  concert  on 
Dec.  6,  1 84 1,  and  published  in  1851,  with  revised  orchestration,  etc.,  as 
the  Fourth  Symphony;  the  third  orchestral  work,  with  a  revised 
finale,  brought  out  in  1845  under  the  title  "Overture,  Scherzo,  and 
Finale."  Although  it  is  said  that  at  first  Schumann  intended  to  call 
it  "Sinfonietta,"  he  refused  to  recognize  it  as  a  symphony.  Scnti| 
matin  wrote  in  a  letter  dated  Leipsic,  Jan.  8,  1842,  apropos  of  the  con- 


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COLLINS   &   FAIRBANKS   COHPANY,   -    BOSTON 

(1117) 


cert:  "The  two  orchestral  works — a  second  symphony  and  an  Over- 
ture, Scherzo,  and  Finale,  which  were  performed  at  our  last  concerts  — 
were  not  so  successful  as  the  first.  It  was  really  too  much  for  one  time, 
I  think;  and  then  they  missed  Mendelssohn's  direction.  But  it's  no 
matter.  I  know  they  are  not  at  all  inferior  to  the  first,  and  must 
succeed  sooner  or  later." 

The  first  performance  in  Boston  was  at  a  concert  of  the  Harvard 
Musical  Association,   Dec.   2,    1869. 

The  work  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  2 
horns,  2  trumpets,  kettle-drums,  strings,  and  3  trombones  ad  libi- 
tum added  in  the  Finale. 

Schumann,  in  a  letter  written  to  Jean  J.  H.  Verhulst  (1816-91),  a 
composer  and  conductor  of  The  Hague,  who  was  also  busied  as  conduc- 
tor at  Leipsic  (1838-42)  and  at  Rotterdam,  praised  Verhulst's  quartet 
in  E-flat,  Op.  21,  which  was  dedicated  to  him,  and  promised  a  dedi- 
cation to  him  in  return.     He  fulfilled  this  promise  with  the  dedica- 


AP  O  L  L 


CONCERT  GRAND 


23  Notes  More 


88  Notes  Better 


Than  any  other  piano-player. 


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The  new  Apollo  Concert  Grand  piano  player  marks  a  radical  departure  from 
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Apollo,  or  a  roll  carrying  the  7  1-3  octaves  of  the  piano, —  88  notes. 

One  can  have  no  adequate  conception  of  the  possibilities  of  the  Apollo  Concert 
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BOSTON    AND    BROOKLINE 


(1119) 


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Foreign  Books. 
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(1120) 


tion  of  the  Overture,  Symphony,  and  Finale,  and  wrote  on  the  score 
which  he  gave  to  Verhulst:  "R.  Schumann  presents  with  old  sympathies 
the  score  of  this  old  work  to  J.  J.  Verhulst,  Rotterdam,  Dec.  18,  1853." 

When  Schumann  intended,  in  1842,  to  publish  this  "second  sym- 
phony," he  wrote  to  a  publisher  as  follows:  "This  work  differs  from  the 
form  of  a  symphony  in  this  respect,  that  the  movements  may  be  played 
separately;  and  I  am  confident  that  the  overture  may  be  thus  played 
with  much  success.  The  whole  work  has  a  light  and  agreeable  char- 
acter. I  wrote  it  in  right  joyful  mood."  But  the  score  was  not  pub- 
lished until  1853. 

The  overture  is  in  the  classic  sonata  form.  There  is  a  rather  short 
Introduction,  Andante  con  moto,  E  minor,  4-4,  in  which  a  figure  is 
worked  up  in  imitative  counterpoint.  This  soon  leads  into  the  main 
body  of  the  overture,  Allegro,  E  major,  2-2.  The  overture  as  a  whole  is 
rather  light  and  buoyant. 

The  Scherzo,  Vivo,  C-sharp  minor,  6-8,  opens  with  a  lively  theme 
and  with  the  rhythm  of  the  dotted  triplet,  dear  to  Schumann.  The 
trio,  D -fiat  major,  returns  twice;  and  after  the  second  appearance 
the  scherzo  is  not  repeated,  but  a  short  coda  is  added,  in  which  a  rec- 
ollection of  the  chief  theme  of  the  overture  is  introduced. 

The  Finale,  Allegro  molto  vivace,  E  major,  2-2,  is  in  the  sonata 
form.  There  is  a  short  prelude,  which  leads  into  the  first  theme,  an- 
nounced fugally  by  the  strings.  The  second  theme  is  more  melodious. 
New  thematic  material  is  introduced  in  the  development,  and  there 
is  a  long  and  spirited  coda. 


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(1122) 

Newport 

Twenty-first  Rehearsal   and  Concert* 


THURSDAY  AFTERNOON,  APRIL  9,  at  2.30  o'clock. 

SATURDAY  EVENING,  APRIL  U,  at  8.00  o'clock. 


PROGRAMME. 

Litolff Overture, "  King  Lear ( 

(First  time.) 

Mozart Aria,  "  Don  Juan ' 


F.  S.  Converse    .        .         .  Romance  for  Full  Orchestra,  "  Endymion's 

Narrative,"  Op.  10 

(First  time.) 

A.  Goring  Thomas    .         .         .      Aria,  "  O  Vision  Entrancing,"  from 

"Esmeralda" 

Guilmant  .        .        .  Symphony  No.  I,  in  D  minor,  with  Organ 

(First  time  at  these  concerts.) 
(Organ,  Mr.  Wallace  Goodrich.) 


SOLOIST : 
Mr.  BEN  DAVIES. 


(1123) 


13th  Century  20th  Century 

STEINERT   HALL,  .*         Thursday  evening,  April  16,  at  8.15 


An  evening  with  Ancient  and  Modern  Spanish  Composers 
1250  VOCAL  AND  INSTRUMENTAL  ■*» 

Solos  and  Quartets  sung  in  Spanish 

ISIDORA  8MARTINEZ 


ASSISTED    BY 


Mrs.  Sawyer  Mr.  MacKenzie  Mr.  Morawski 

Mrs.  del  Castillo  Miss  Gorham 

and  Miss  Rebecca  R.  Joslin,  President  Castilian  Club 


Tickets,  $1.50  and  $1.00.     Subscription  list  no<w  open 


Direction,  RICHARD  NEWMAN,  Steinert  Hall 


RECITAL  OF 

ORIGINAL  MONOLOGUES 

BY 

BEATRICE   HERFORD 


STEINERT  HALL 
TUESDAY  AFTERNOON 
APRIL  28,  AT  3 

Orders  for  tickets  may  be  sent  by  mail  or  telephone  (Oxford  1330), 
and  will  receive  prompt  attention 


(1124) 


the  PIANOLA 

AS  AN  EDUCATOR  •£! 

The  Pianola,  giving  as  it  does  to  every  one  the  possibility  of 
playing  on  the  piano  any  of  the  8,643  different  selections  in 
its  repertoire,  enables  one  to  become  familiar  with  all  of  the 
great  masterpieces .  of  classic  and  modern  music,  from  a  Bach 
fugue  to  the  latest  symphonic  poem  by  Richard  Strauss. 
Why  not  purchase  a 

PIANOLA 

AND  HAVE  A  SHARE 

in  these  musical  treasures,  which  at  present  are  hidden  in  your 
piano?  May  be  purchased  by  moderate  monthly  payments 
if  desired.  Call  and  hear  the  Pianola.  You  will  be  welcome, 
whether  or  not  you  intend  purchasing. 


Price, 


$250. 


Take  Elevator  to  Third  Floor 


M.  STEINERT  &  SONS  CO. 

'Piano    Warerooms 
162  BOYLSTON  STREET,  BOSTON 

(1125) 


CH  IGKERI  NG    HALL 


TWO       PIANO 

RECITALS  . . . 


. . ON . . 


Saturday  Afternoon,  April  18,  at  230 


Wednesday  Afternoon,  April  22,   at  230 


By   OSSIP 

GABRILOWITSCH 


Direction  Mr.  DANIEL  FROHMAN 


Tickets,  50c,  75c,  $J»  $1,50,  on  sale  at  Symphony  Hall 


fcThe  Pianoforte  is  an  Everett. 

(1126) 


Carl    Faeltein's 

SIXTH    PIANOFORTE    RECITAL, 

Wednesday  Evening,  April  22,    1903,  at  8  o'clock. 

Programme. 

Prelude  and  Fugue,  G  major,  Well-tempered  Clavichord, 

Part  2 Bach 

Theme  and  Variations,  B -flat  major,  Op.  142,  No.  2        .         .   Schubert 
Huntington       Novelette,  D  major,  Op.  21,  No.  2  ....  Schumann 

Chambers         Rhapsody,  B  minor,  Op.  79,  No.  2  ) 

„  „  Ballade,  D  major,  Op.  10,  No.  2      f Brahms 

HaU*  Scherzo,  E-flat  minor,  Op.  4  ) 

Sonata,  "  Les  Adieux,"  Op.  Sia Beethoven 

TICKETS,  $1.00.   .*    J*    J*    J*    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 

APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction 


■  ■  ■ 


Address,    New    England    Conservatory    of   Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Mmc.  Antoinette  Szvmowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 

(1127) 


Grand  Opera 

Choice  Seats  in  Orchestra,  Dress 
Circle,  and  Family  Circle  for  every 
opera. 


Horse  Show 

Boxes  for  the  Season  and  for  Single 
afternoons  or  evenings,  also  seats 
in  first  row  of  balcony. 


BEST    SEATS     FOR    ALL     THEATRES 


CONNELLY'S   Ticket  Office.  Adams  Hcuse. 


'i 

'Phone,  942  Oxford 


lOTOWITI^UH 


CECILIA  SOCIETY 


Mr.  B.  J.  LANG,  Conductor 


SYMPHONY   HALL 
TUESDAY  EVENING,  APRIL  7,  AT  8  O'CLOCK 


Bach's  B  minor  Mass 


FOR  CHORUS,  SOLO  SINGERS, 
ORCHESTRA,  AND  ORGAN  j* 


Tickets,  $1.50  each,  on  sale  at  the  Box  Office 


(1128) 


PIANOS 


DO    YOU    WANT    A 
GENUINE    BARGAIN? 

Hundreds  of  Upright  Pianos  from  our  purchase  of 
the  Oliver  Ditson  Company  stock,  and  returned  from 
their  and  our  rentals,  to  be  disposed  of  at  once.  They 
include  Knabes,  Chickerings,  Steinways,  Fischers, 
Sterlings,  and  other  well-known  makes. 
Many  cannot  be  f"f|  Aitj|  distinguished  from 
new,  yet    all    are  IlUlfl  offered  at  a    great 

discount.  Uprights  as  low  as  $100,  and  good  values. 
New  Uprights  from  $225  upwards.  A  fine  instru- 
ment for  $290,  fully  equal  to  many  for  which  $400 
is  asked.  Monthly  payment  plan,  but  strictly  one- 
price,  honest  system. 

C.C.  HARVEY  &  CO. 

144  BOYLSTON  STREET 

Telephone,  134  Oxford 

(1129) 


SYMPHONY  HALL 


SATURDAY  AFTERNOON,    APPTT     4  an<1 
SUNDAY   FVF.NTTVa.  l\l    fVlJLf  5 


SUNDAY  EVENING, 


The  Great  Italian  Band  Leader 


PROGRAMME 

SATURDAY     AFTERNOON 

March,  "  American  Navy "  .         .         .         .         .         .         .  Creatore 

Overture,  "Orpheus"          .......  Offenbach 

Traeumerei          .........  Schumann 

Organ  Offertorio       ........  Batiste 

March,  "  Tannhaeuser  ".......  Wagner 

Minuet        . .  Paderewski 

Bombardino  Solo,  "  Evening  Star  '' Wagner 

Sig.  Iafisco 
Grand  Selection,  "  Traviata  ".......     Verdi 


SUNDAY     NIGHT 

March,  "  Royal  Purple  " 

Overture,  "  Zampa  "   . 

Largo 

Ride  of  the  Valkyries 

Hungarian  Rhapsodie,  No. 

Soprano  Solo,  "  Ernani  Involami  " 


Mme.  Barili 


Sextette,  "  Lucia  " 
Ballet  Music,  *'  Excelsior  " 


Creatore 

Herold 

Handel 

Wagner 

Liszt 

.     Verdi 


Donizetti 
Marengo 


Tickets,  50  cents,  75  cents,  and  $1.00,  now  on  sale 

(1130) 


BOSTON     SYMPHONY     HALL 

Handel^  Haydn  Society 

Mr.  EMIL  MOLLENHAUER,  Conductor 

Mr.  H.  G.  TUCKER,  Organist 
Mr.  ALFRED  DE  VOTO,  Pianist 
AND   A  FULL  ORCHESTRA 

Easter     Sunday,    April     12,     \ 903,    7.30    P.M. 

"Israel    in     Egypt" 

The  Handel  and  Haydn  Society  will  sing  this  colossal  oratorio 
of  Handel  for  the  tenth  time  on  Easter  Sunday  at  7.30  p.m. 
This  oratorio,  the  "Messiah"  perhaps  excepted,  is  generally 
conceded  to  be  the  giant  Handel's  greatest  work.  To  the  lover 
of  chorus  singing  the  stupendous  choruses  of  "  Israel  in 
Egypt  "  furnish  a  light  and  shade,  a  grandeur  and  sublimity, 
unequalled  in  any  musical  composition.  In  this  work  the  story 
is  told  by  the  chorus.  There  are  twenty-six  choruses,  most  of 
them  double  choruses,  and  some  of  them  quite  difficult. 
It  is  hardly  necessary  to  say  that  the  Handel  and  Haydn  chorus, 
composed  of  four  hundred  voices,  carefully  selected  and  thor- 
oughly drilled  by  the  ablest  conductor  of  the  day,  will  perform 
the  work  in  a  manner  that  will  give  the  highest  satisfaction. 

SOLOISTS 

Soprano,  Mrs.  KILESKI  BRADBURY 

<Alto,  Mrs.  BERTHA  CUSHING  CHILD 
Tenor,  Mr.  GEORGE  HAMLIN 
Bass,  Mr.  L.  WILLARD  FLINT 

Bass,  Mr.  L.  B.  MERRILL 

The  price  of  tickets  will  be  $2.00,  $1.50,  and  $1.00.  The  sale  will  begin  Monday, 
April  6,  at  8.30  A.M.,  at  Symphony  Hall  {telephone,  'Back  'Bay  1492)  and  at 
Schirmer's  Music  Store,  26  West  Street  {telephone,  Oxford  783). 

Information   in   regard  to  the  sale  of  tickets,  etc.,   can   be  obtained  by  addressing  the 

Secretary. 

WILLIAM   F.  BRADBURY,  Secretary 
April  3,  1903 
369  Harvard  Street,  Cambridge 

(1131) 


"PIWAFORE" 


IN  AID  OF  THE 


Convalescent  Home  oi  the  Children's  Hospital 

BIJOU    THEATRE 

Tuesday  evening,  April  14,  Wednesday  Matinee,  April  15 

CAST. 

Josephine  .......         Mrs.  Alice  Bates  Rice 


Little  Buttercup 
Hebe 


Sir  Joseph  Porter,  K.C.B. 
Captain  Corcoran 
Dick  Deadeye    . 
Ralph  Rackstraw    .    . 
Boatswain 


Mrs.  S.  Henry  Hooper 
Miss  Adah  Campbell  Hussey 


Mr.  John  P.  Tucker 

Mr.  Frederic  A.  Turner,  Jr. 

Mr.  Howard  W.  Brown 

Mr.  George  E.  Hills 

Mr.  Lincoln  Bryant 

The  "  Boatswain's  Song  *'  will  be  sung  by  Mr.  Sullivan  A.  Sargent 


Conductor,  Mr.  Frank  O.  Nash 
The  Opera  will  be  under  the  stage  direction  of  Mr.  James  A.  Gilbert 

Tickets,  $2.00  and  $1.50,  are  on  sale  at  Herrick's,  Copley  Square,  and  at  Homeyer's  Music 
Store,  165  Tremont  Street,  near  Keith's  Theatre. 


Olive  ]Mead, 

VIOLINIST. 

Address  F.  R.  Comee,  Symphony  Hall,  Boston,  or 

N   Vert   i  9  East  i;th  Street>  New  York- 
'  |  6  Cork  Street,  London. 


(113 


CHICKERING    HALL 


MONDAY    EVENING,    APRIL    6,   AT    8 


The  Kneisel  Quartet 

FRANZ   KNEISEL,  ist  Violin  LOUIS   SVECENSKI,  Viola 

J.  THEODOROWICZ,  2d  Violin         ALWIN    SCHROEDER,  Violoncello 


PROGRAMME 


Schubert 


Unfinished  Quartet 


Lekeu 


Sonata  in  G  major  for  Violin  and  Piano 


Beethoven 


.    Quartet  in  E  minor,  Op.  59 


ASSISTING  ARTIST 


Mme.  ANTOINETTE  SZUMOWSKA 


(1133) 


SANDERS  THEATRE,  CAMBRIDGE 


LAST  CONCERT  * 


BY 


The  Boston  Symphony 
Orchestra 

70  "PERFORMERS.    SMr.   WILHELM  GERICKE,  Conductor 


Thursday  Evening,  April  23, 

AT  7.45 


TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 

at  the  door. 


(1134) 


MUSICAL   INSTRUCTION. 


Miss  HARRIET  S.  WHITT1ER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Cliarles  R.  Aduai 


Concert  and  Oratorio. 

Hiss  GERTRUDE  EDHANDS,  vocai  instruction. 

EXETER   CHAMBERS. 


Specialist  in  the  Science  of 
Mr  CHARLES  B  STEVENS    Tone  Prodllction  Md  fta  Art  of  ^^, 

'  '  '  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 


Miss  ANNA  MILLER  WOOD, 

nEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 

CLASSES  IN  OPERA, 

Under  the  direction  of  Slgnor  Vlanesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


ARTHUR  BERESFORD, 


BASS  BARITONE. 

Vocal  Instruction. 
Coaching  in  Oratorio  a  Specialty. 

404  Huntington  Chambers. 


(1136) 


Miss  JESSIE  DAYIS, 


Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...  LESSONS ... 

Studio,    163    flassachusetts  Avenue. 


Miss  HARRIET  A.  SHAW, 


HARPIST, 


186  Commonwealth  Avenue. 


CLARENCE  B,  SHIRLEY, 


TENOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston 


Mr.  GDSTAY  STRUBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacber  of  Violin,  Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO   ENSEnBLE  CLASSES 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 
DAVID   POPPER. 

STUDIO:  171A    TREHONT  STREET. 


JOHN  G.  MANNING, 


Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  j  to  6. 

Residence,  183  Huntington  Arenue. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHBSI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


firs.  Habel  Harm  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


The   Boston   Symphony    Orchestra    Programme 

For  the  twenty-four  Boston 
Concerts,  with  Historical  and 
Descriptive  Notes  by  Philip  Hale. 

Bound  copies    of   the  Programme  for  the    entire  season  can  be  had  at  $1.50  by  apply- 
ing before  the  last  concert.     Address  all  communications  to 

F.  R.  COMEE,  Symphony  Hall,  Boston. 

(1136) 


Special  Sale  of 

Grand  and  Uprig'ht 

WEBER 
PIANOS 

The  instruments  used  by  the  artists  of  the  Maurice  Grau  Opera 
Company  during;  the  Boston  season  (among  the  finest  productions 
of  the  Weber  factory  and  in  all  respects  practically  equal  to 
ne<zv)  will  be  sold  next  week  at 

VERY    LARGE    REDUCTIONS 

FROM    REGULAR    PRICES 

cAn  unusual  opportunity  for  judges  of  musical  quality  to 
secure  the  BEST  at  much  less  than  real  value.  Terms  liberal. 
Other  instruments  taken  in  exchang-e.  Further  particulars  on 
application. 

Geo.  H.  Champlin  (Si  Co. 

181  TREMONT  STREET 


JEAN*RtfZK£ 
EDOUARD*KESZKE 

Mcyfrf.  ^tcinwdy&ybn^, 

*-•- "While  circumstances 
have  sometime^  rendered  the  temporary 
use  of  other  in/trumenty  necejfary,  J 
our  preference,  conviction  an a 
artictic  judgment  have  been 
an  J  <are  for  your  5Uf)erb 
master  works" 


:V 


^r ■.■ <£*^&ir 

STEIN  WAY   PIANOS 


1 


M.  STEIN  ERT  &  SONS  CO. 

1 62  to  1 65  Boylsfon  Street,  Boston,  Mass. 


PRSGRHflflE 


s&mz 


ANTOINETTE 
SZIMOWSKA-ADAMOWSKA 

TO 

Brookline,  March  9,  1903. 
Mason  &  Hamlin  Co.  : 

Gentlemen, —  I  have  admired  your  pianofortes  for  a  long  time, 
even  on  slight  acquaintance  with  them,  but  since  having  used  them 
exclusively  for  this  season  I  have  come  to  a  fuller  appreciation  of 
their  many  wonderful  qualities. 

The  tone  of  the  Mason  &  Hamlin  Pianofortes  is  beautiful 
and  noble,  and  "  it  carries,"  a  most  important  quality.  As  to 
their  action  I  can  only  say  that  I  never  yet  used  a  piano  which 
responded  as  readily  to  every  most  delicate  as  zvell  as  fortissimo 
effect  which  I  wished  to  produce.   ' 

It  gives  me  pleasure  to  tell  you  that  I  have  often  been  compli- 
mented, after  my  concerts,  on  the  beauty  of  the  piano  on  which  I 
had  been  performing,  and  I  want  to  congratulate  you  heartily  on 
the  great  success  achieved  by  the  constant  and  untiring  work  de- 
voted to  the  perfection  of  your  instruments. 

Believe  me 

Sincerely  yours, 

(Signed)     Antoinette  Szumowska-Adamowska. 


M.  vSteinert  <&  Sons  Co. 

New  England  Representatives 


Boston   Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  J  492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

TWENTY=  FIRST 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      J*    &    *    J 


THURSDAY  AFTERNOON,  APRIL  9, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  APRIL  U, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 
fl!37) 


MB  SSR  S. 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


1138) 


TWENTY-SECOND  SEASON,  1902-1903. 


Twenty-first    Rehearsal   and   Concert* 


THURSDAY  AFTERNOON,  APRIL  9,  at  2.30  o'clock. 

SATURDAY  EVENING,  APRIL  It,  at  8.00  o'clock. 


PROGRAMME. 


Litolff Overture,  "  King  Lear  " 

(First  time.) 

Mozart        .        .         .     Aria,  "II  mio  Tesoro,"  from  "  Don  Giovanni ** 

F.  S.  Converse     .       u  Endymion's  Narrative/'  Romance  for  Orchestra, 
Op.  10 

(First  performance.) 
A.  Goring  Thomas    .         .         .       Aria,  "O  Vision  Entrancing,"  from 

"Esmeralda" 


Goilmant  .         .         .       Symphony  No.  1,  in  D  minor,  for  Organ  and 

Orchestra,  Op.  42 

I.     Largo  e  maestoso.     Allegro. 
II.     Pastorale:  Andante  quasi  allegretto. 
III.     Finale  :  Allegro  assai. 

(First  time  at  these  concerts.) 


SOLOISTS : 

Mr.  BEN  DAVIES. 

Mr.  WALLACE   GOODRICH. 


There  will  be  an  intermission  of  ten  minutes  before  the  symphony. 


The  doors  of  the  hall  will  he  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  -requested  to  do  so  in  the  interval  be- 
tween the  numbers.         

City  of  Boston,  Revised  Regulation  of  August  5,  1898  —Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 
Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 
(1139) 


L  P.  HOLLANDER  &  CO. 


WE  WISH  TO  CALL  ATTENTION  TO  A 

UNIQUE  DEPARTMENT 

in  our  store,  in  which  a  special  kind  of 

READY-MADE    CLOTHES   FOR    WOMEN 

can  be  found,  in  Muslin,  Silk,  Mull,  and  Linen.  These  gowns  are  all 
carefully  MADE  IN  OUR  OWN  ESTABLISHMENT,  designed 
and  under  the  direct  supervision  of  the  head  of  Order  Department. 


THIS  DEPARTMENT  IS  ON  THE  THIRD  FLOOR 


Easter  Gifts. 


LATEST   DESIGNS  IN 

Fine  Jewelry, 

Rich  Cut  Glass, 

Sterling  Silver, 

Art  Glass,  Potteries,  Bronzes,  (fed 


SMITH,  PATTERSON  %$ 


&C(\      Wholesale 
\^\J*       and  Retail.  a*  £^£$iMR&l 


Overture,  "King  Lear"  :;:::::::     Henri    Litolff. 

(Born  at  London,  Feb.  6,  1818;  died  at  Bois  Colombes,  near  Paris, 
Aug.  6,  1891.) 

This  overture  is  the  prelude  to  an  opera,  "Le  Roi  Lear, "  libretto 
based  on  Shakespeare  and  Holinshed  by  Jules  and  Eugene  Adenis, 
music  by  Henri  Charles  Litolff.  The  opera  was  finished,  according  to 
some,  in  1890,  but  it  has  not  been  produced. 

The  overture  was  performed  at  a  concert  given  by  Edgard  Tromaux 
and  other  admirers  of  Litolff  .at  the  Gaite  Theatre,  Paris,  April  29,  1897, 
for  the  purpose  of  raising  money  for  a  monument*  to  the  composer. 
Paderewski  assisted,  and  played  Chopin's  Concerto  in  F  minor,  the 
scherzo  from  Litolff's  Concerto  in  D  minor,  and  Liszt's  Concerto  in  E- 
flat.  Litolff's  overture,  "Les  Girondins,  "  was  performed,  as  well  as  the 
"King  Lear"  overture;  and  a  poem  by  Armand  Silvestre  was  read  by 
Silvain  of  the  Comedie-Francaise. 

The  overture  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2  bas- 
soons, 4  horns,  2  trumpets,  2  cornets,  3  trombones,  bass  tuba,  kettle- 
drums, drum,  big  drum,  cymbals,  strings. 

There  is  an  introduction  in  C  major,  Molto  maestoso  quasi  andante, 
4-4.  The  main  body  of  the  work  is  molto  allegro  con  impeto,  C  minor, 
2-2.  It  opens  with  wild  violin  figures  with  opposing  theme  in  violas, 
'cellos,  double-basses,  and  wind  instruments.  The  second  theme,  at 
first  of  a  gentle  character,  is  announced  by  flute  and  violins,  afterward 
by  clarinet  solo.     This  second  theme,  of  which  much  is  made  in  the 

•This  monument,  surmounted  with  a  bust  by  Lucien  Pallez,  was  dedicated  at  Colombes,  July  n,  1900. 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

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development,  assumes  at  times  a  more  passionate  character.  The  devel- 
opment is  for  the  most  part  dramatic  opposition  of  the  two  motives, 
which  may  be  taken  to  typify  the  proud  and  rebellious  Lear  rnd 
Cordelia,  whose  "voice  was  ever  soft,  gentle,  and  low — an  excellent 
thing  in  woman." 


The  following  sketch  of  Litolff  s  career,  written  by  the  Paris  corre- 
spondent of  the  New  York  Tribune,  was  published  in  that  journal  of 
August  23,  1 89 1 :  — 

"The  'last  of  the  Bohemians'  passed  away  in  a  modest  little  house 
near  Paris  the  other  day.  It  is  necessary  to  possess  a  memory  at  least 
forty  years  old  to  recall  the  fact  that  Henri  Litolff,  with  his  marvellous 
playing,  and  Jenny  kind,  with  her  great  voice,  were  rivals  in  public 
favor,  at  one  time.  Litolff  never  went  to  America,  and  is  probably 
little  known  there.  His  life  reads  like  a  romance.  Lie  was  a  character 
such  as  Georges  Sand  might  have  utilized  with  effect.  There  was  noth- 
ing villanous  enough  in  his  career  to  point  a  moral  with,  but  there  was 
plenty  that  might  well  have  served  to  adorn  a  not  very  moral  tale. 

"He  was  born  in  London  in  18 18.  His  father  was  an  Alsatian,  who 
had  served  in  the  armies  of  both  the  Republic  and  the  Empire.  Taken 
prisoner  during  the  Spanish  War,  he  was  conveyed  to  Kngland,  with 
which  country  he  was  so  well  pleased  that  he  married  an  English  woman, 
and  settled  down  quietly  in  London  for  the  rest  of  his  life.  Henri  was 
the  only  child.  His  genius  for  music  manifested  itself  early,  and  seems 
.to  have  been  encouraged  by  his  parents.  At  twelve  years  of  age  he 
played  before  Moscheles,  who  was  so  charmed  that  lie  insisted  on  tak- 
ing the  boy  under  his  tuition.  He  kept  him  three  years,  and  indeed 
was  the  only  master  Litolff  ever  had. 


Pavl  Bevere's   Ride 

FOR  THE  PIANOFORTE 

An  Interpretation  of  Longfellow's  Poem 

By  FRANK    LYNES 

Op.  38.    No.  1.  "  The  Two  Sentinels  " 

No.  2.  "  From  Shore  to  Shore  " 

No.  3.  "The  March  of  the  Grena- 
diers " 

No.  4.  "  The  Churchyard  " 

No.  5.  "  The  Signal  " 

No.  6.  "  The  Ride  " 


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Op.  47- 


No.  1 
No.  2 
No.  3 
No.  4 
No.  s 
No.  6 


"  The  Brownies  " 

"  Robin  Redbreast  " 

"  Twilight  " 

"  Katydids  '' 

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"At  eighteen  Henri  fell  in  love  with  a  little  English  girl  a  year  younger 
than  himself.  They  eloped  to  Gretna  Green,  and,  the  parental  wrath 
being  unabated,  took  up  their  residence  in  France.  The  town  of  Melun 
received  the  youthful  pair  sympathetically,  and  for  a  time  made  much 
of  them.  They  remained  there  several  years,  L,itolff  giving  lessons, 
and  practising  diligently  himself.  Any  kind  of  a  respectable  existence 
was  bound  to  pall  on  him  at  last,  and  he  finally  left  his  young  wife,  and 
went  first  to  Paris  and  afterward  to  Brussels,  where  his  first  composi- 
tion was  played.*  It  was  one  of  the  concertos-symphonies  on  which 
his  fame  largely  rests.  This  first  one  was  a  little  crude,  but  full  of  feel- 
ing and  rather  original, — enough  so  at  any  rate,  to  create  a  small  furor 
in  musical  circles.  Litolff's  life  in  Brussels  was  so  full  of  wild  and 
extravagant  debauchery  that  he  succeeded  in  attracting  the  attention 
of  the  city  officials,  who,  after  several  incredible  pieces  of  depravity 
on  his  part,  forced  him  to  leave  the  country.f 

"It  is  needless  to  say  that  Litolff  had  long  since  forgotten  his  little 
English  wife,  who  had  returned  to  her  parents.  In  1846  he  had  the 
temerity  to  go  to  England,  but  scarcely  had  he  landed  when  his  irate 

*  He  made  a  sensation  at  Brussels  in  1839  by  playing  Beethoven's  Third  Concerto  at  a  Conservatory  Con- 
cert. The  Due  de  Looz  was  much  interested  in  him,  and  took  him  to  his  estate  near  Wavre.  The  "Con- 
certo Symphonie,"  to  which  reference  is  made,  is  the  one  in  D. —  Ed. 

t  Litolff  ran  away  from  Brussels  som;  time  in  the  winter  of  1841-42.  For  two  years  he  disappeared,  and 
the  stories  told  about  his  vagabond  life  are  most  contradictory.  He  reappeared  in  the  winter  of  1844-45,  and 
played  at  the  Gewandhaus,  Leipsic,  at  Prague,  and  at  Berlin  with  overwhelming  success.  At  Berlin  his 
triumph  rivalled  that  of  Jenny  Lind.—  Ed. 

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father-in-law  had  him  arrested  and  thrown  into  prison.  Escaping 
somehow  or  other,  Litolff  fled  to  Holland,  and  resumed  his  eccentric 
wanderings.  His  health,  never  robust,  had  suffered  much  from  his 
•rregular  habits;  and  he  brought  up  in  Brunswick  sorely  afflicted  with 
hypochondria  and  sick  unto  death. 

"He  was  nursed  back  to  life  by  the  widow  of  his  sometime  boon 
companion,  a  music  publisher  named  Meyer.  The  English  wife  was 
either  dead  or  had  a  divorce,  and  Litolff  married  the  widow  of  his 
friend.  One  of  his  spasms  of  respectability  took  possession  of  him 
after  his  marriage.  He  settled  down  in  Brunswick,  and  devoted  him- 
self to  building  up  the  fortunes  of  the  publishing  house.  With  the 
aid  of  his  wife  he  soon  put  the  establishment  in  a  flourishing  condition, 
and  at  the  present  day  it  is  one  of  the  most  important  of  its  kind  in  the 
city. 

"The  old  impatience  of  restraint,  the  fever  for  publicity,  returned 
after  three  years  or  so,  and  Litolff  set  out  for  Holland,  where  his  con- 
certos were  greatly  liked.  In  Brussels  was  produced  for  the  first  time 
his  overtures  to  'The  Girondins '  and  'Robespierre.'*  This  was  his  great- 
est triumph,  and  vastly  increased  his  fame  as  a  composer.  Shortly 
afterward  he  fell  violently  ill,  and  was  again  nursed  back  to  health  by 

*  These  overtures  were  written  at  Brunswick.  The  Pianoforte  Concerto,  No.  4.  was  written  during  a 
sojourn  in  the  Netherlands,  1S54-55,  and  played  at  a  Brussels  Conservatory  Concert  under  Fetis's  direc- 
tion in  1S55. —  Ed.  _ 


UP    TO    1903. 


Every  year  the  demand  is  for  better  furni- 
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his  wife.  He  returned  with  her  to  Brunswick,  but  the  old  life  of  busi- 
ness had  completely  lost  its  charm.  It  was  pleasant  to  make  money, 
but  the  intoxication  of  artistic  success  was  even  more  inviting.  In 
Paris  he  repeated  his  triumph  of  the  preceding  year  at  Brussels.  His 
fourth  concerto -symphonie  was  produced  to  great  enthusiasm,  and 
his  playing  was  much  admired  at  the  Conservatoire. 

"Madame  Litolff-Meyer  got  a  divorce,  and  he,  quite  satisfied,  re- 
signed all  claim  to  the  business,  which  she  still  manages  in  spite  of  her 
advanced  age. 

"Litolff  seems  to  have  been  a  man  of  great  personal  magnetism.  In 
i860,  although  his  continued  ill  health  had  given  him  an  appearance 
of  age  which  his  forty-two  years  did  not  at  all  warrant,  his  charm  was 
great  enough  to  win  the  heart  of  Mile.  Louise  de  Larochefoucauld, 
daughter  of  Count  Wilfrid  de  Larochefoucauld,  a  young  lady  of  great 
beauty  and  many  accomplishments.  They  were  married,  and  lived 
very  happily  for  a  time.  Litolff  was  passionately  attached  to  her, 
and  her  early  death*  was  the  grief  of  his  varied  and  eccentric  life. 

"In  1863  his  first  grand  opera,  'Nahel,'t  was  produced,  and  shortly 
afterward  'L'Escadron  volant  de  la  Reine.'  Neither  was  particularly 
successful  at  the  time,  although  the  latter,  revived  at  the  Theatre-Co- 
mique  twenty-five  years  later,  was  accorded  tardy  recognition.  He  con- 
tinued to  live  in  Paris  a  Bohemian  existence,  full  of  everything  but 

*  She  died  during  the  siege  of  Paris.  He  then  took  to  himself  a  fourth  wife,  a  young  girl  who  had 
nursed  him  when  he  was  sick  nigh  unto  death. —  Ed. 

t  Here  is  a  list  of  Litolff's  operas:  "Die  Braut  von  Kynast"  (Brunswick,  1847);  "  Le  Chevalier  Nahel " 
(Baden,,  Aug.  10,  1863);  "  L'Escadron  volant  de  la  Reine,"  (OpeVa-Comique,  Paris, Dec.  14,  1888);  "  LaBoite" 
de  Pandore  "  (Folies  Dramatiques,  October,  1871)  ;  "Heloi'se  et  Abelard "  (Folies  Dramatiques,  Oct.  17, 
1872) ;  "  La  Belle  au  Bois  dormant,"  fairy  opera  (Chatelet,  April  4,  1874);  "  La  Fiancee  du  Roi  de  Garbe," 
ope>a  bouffe  (Folies  Dramatiques,  Oct.  29,  1874);  "La  Mandragore, "  opera  bouffe  (Fantaisies  Parisiennes, 
Brussels,  Jan.  29,  1876);  "  Les  Templiers,"  grand  opera  (Monnaie,  Brussels,  Jan.  25,  1886).  "Catherine 
Howard,"  ''  Rodrigue  de  Tolede,"  and  "  Le  Roi  Lear"  were  not  performed. —  Ed. 


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monotony.*  Sometimes  on  the  top  wave  of  popularity  and  wealth, 
often  inhabiting  the  traditional  garret.  Not  succeeding  at  the  larger 
theatres,  he  began  to  write  light  opera.  In  1871  %a  Boite  de  Pandore' 
was  wildly  applauded  at  the  Folies  Dramatiques.  'Hdloise  and  Abe- 
lard,'  which  really  contained  some  excellent  music,  was  equally  suc- 
cessful. This  easy  transformation  from  the  severely  classic  to  the 
purely  popular  style  was  only  too  characteristic  of  the  laisser-aller  of 
the  man's  disposition.  His  later  operettas  are  less  admired.  They 
were  all  hastily  written,  and  are  unequal  in  strength.  His  opera  'The 
Knight  Templar'  contains  many  fine  passages,  but  on  the  whole  was 
disappointing.  It  was  the  most  pretentious  of  his  later  efforts,  and 
proved  no  special  credit  to  the  composer.  He  was  old-fashioned  and 
out  of  date  in  his  ideas.  If  he  could  have  added  to  his  brilliant  and 
powerful  imagination,  his  admirable  talent  and  fine  taste,  a  few  mod- 
ern methods  of  arrangement,  etc.,  he  might  have  done  excellent  work. 
As  it  is,  his  early  compositions,  the  concertos  of  forty  years  ago,  are 
all  that  remain  high  in  public  esteem ;  and  it  is  in  them  that  his  mem- 
ory will  continue." 

*  * 
The  author  of  this  sketch  insists  too  much  on  LitolfT's  evil  days  of 
extravagance  and  poverty.  He  neglects  to  state  that,  after  the  composer 
was  obliged  to  leave  Brussels,  he  paid  all  his  creditors  in  full.  Nor  does 
he  speak  of  the  high  regard  in  which  Litolff  for  many  years  was  held  as 
a^composer  as  well  [as^a  pianist.  The  letters  of  Liszt  abound  with 
complimentary  references  to  Litolff,  and  Liszt  was  never  weary  of 
referring  to  his  genuine  talent,  although  he  recognized  the  fact  that 

*  During  the  summer  of  1876  Litolff  led  the  orchestra  at  a  ca/i  concert  of  the  Champs-Fjysees,  and  he 
for  a  time  fulfilled  like  duties  at  Frascati's.  In  1869  he  tried  to  establish  a  series  of  grand  concerts  in  the 
Salle  de  1'OpeVa  for  the  production  of  modern  orchestral  works,  and  the  series  was  begun  ;  but  the  plan  did 
not  succeed.     He  appeared  later  from  time  to  time  as  conductor  of  his  own  works. —  Ed. 


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this  talent  was  somewhat  flamboyant.  Litolff's  influence  over  other 
composers  of  his  brilliant  period  was  unmistakable.  Of  late  years  he  is 
known  chiefly  as  the  composer  of  the  overture  to  "Robespierre,"  but  his 
Pianoforte  Concerto  in  E-flat,  No.  3,  first  played  in  Boston  by  Alfred 
Jael  at  a  concert  of  the  Germanias  in  1853,  was  performed  here  at  a 
Symphony  Concert  by  Mrs.  Bloomfield-Zeisler,  Dec.  14,  1889.  The 
"Robespierre"  overture,  produced  here  Nov.  27,  1852,  was  performed 
at  a  Metropolitan  Opera  House  Company  concert  at  the  Boston  Theatre, 
March  23,  1902.  A  song  by  Litolff,  "Resignation,  "  was  sung  at  a  Sym- 
phony Concert  by  Mr.  Emil  Fischer,  Nov.  2,  1889. 

* 
*  * 

King  Lear  in  Music. 

Incidental  Music:  Joseph  Haydn  (for  the  theatre  at  Esterhaz) ; 
Johann  Andre,  for  Schroder's  version  (Berlin,  Nov.  30,  1778) ;  Joseph 
von  Blumenthal  (Vienna,  1828;  overture  performed  for  the  first  time, 
March  23,  1829);  J.  L.  Hatton  (London,  1858);  overture,  march,  and 
four  entr'actes  by  Mily  Balakireff . 

Operas:  "Cordelia,"  monodram  in  one  act,  with  choruses,  book  by 
Wolff,  music  by  Konradin  Kreutzer  (Donaueschingen  18 19,  Vienna 
and  Dresden  1823,  Munich  1824);  "Cordelia,"  libretto  by  Des 
Champs  and  Pacini,  music  by  Semeladis  (Versailles,  1854);  "Cor- 
delia," in  three  acts,  book  by  Carlo  d'Ormeville,  music  by  Gobati 
(Bologna,  Dec.  7,  1881);  "Le  Roi  Lear,"  in  four  acts,  libretto  by 
Henri  Lapierre,  music  by  Armand  Reynaud  (Toulouse,  June  1,  1888); 
Solowieff's  "Cordelia"  (1885)  is  founded  on  Sardou's  "La  Haine"; 
Verdi  at  one  time  thought  seriously  of  an  opera,  "King  Lear"  (see  his 
letters  published  in  "Re  Lear  e  Ballo  in  Maschera, "  Citta  di  Castello, 
1902);  "II  Re  Lear,"  Cagnoni. 

Overtures:  "Le  Roi  Lear,"  Op.  4,  by  Hector  Berlioz  (composed  at 

TO    THE    PROFESSION 

The  increasing  demand  for  GOOD  English  songs,  and  the 
seeming  difficulty  in  procuring  the  same,  compel  us  to  draw 
the  special  attention  of  the  profession  generally  to  the  fact 
that,  in  addition  to  our  extensive  catalogue,  we  represent  the 
three  leading  catalogues  in  Europe.  We  can  offer  a  variety 
unsurpassed  of  compositions  by  the  best  composers  in  the 
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(1151) 


Nice  and  Rome  in  1831,  first  performed  at  the  Paris  Conservatory, 
Dec.  9,  1832);  "Konig  Lear,"  by  Amandus  Leopold  Leidgebel  (Berlin, 
1851);  "Le  Roi  Lear,"  by  A.  Savart  (Lamoureux  Concert,  Paris, 
March  17,  1901);  "Le  Roi  Lear,"  by  Mme.  A.  de  Polignac  (Paris, 
May  4,  1902).         'Y^jMy>y^UL  . 

Symphonic  Poems:  "Konig  Lear,"  by  Felix  Weingartner  (Cologne, 
Oct.    20,    1896);  "Le  Roi  Lear,"  by  G.  Alary  (Paris,  Dec.  16,  1900). 

Symphony:  "Konig  Lear,"  by  Ludwig  Heidingsfeld  (1896). 

Miscellaneous:  "Le  Roi  Lear,"  lyric  scene  for  bass,  with  chorus 
and  orchestra,  by  Gustave  Hequet  (Paris  Conservatory,  1844-45); 
Four  Snatches  sung  by  the  Fool,  Act  I.,  scene  iv.,  in  Caulfield's  Col- 
lection; numbers  1  and  2,  by  W.  Linley,  1816,  in  Linley's  "Dra- 
matic Songs  of  Shakespeare";  Two  Snatches  for  the  Fool,  Act  II., 
scene  iv.,  in  Caulfield's  Collection;  "St.  Withold  footed  thrice  the 
Wold,"  sung  by  Edgar,  Act  III.,  scene  iv. ;  Sir  Henry  Bishop,  1819, 
duet  for  two  tenors,  and  sung  in  the  "Comedy  of  Errors,"  by  Messrs. 
Pyne  and  Durusett. 


Mr.  Benjamin  Grey  DaviES,  tenor,  was  born  at  Pontardawe,  near 
Swansea,  England,  Jan.  6,  1858.  He  sang  as  a  boy  in  chorus  and  in 
church.  In  1877  he  won  the  first  prize  at  an  Eisteddfod  held  at  Swan- 
sea. He  studied  at  the  Royal  Academy  of  Music,  London,  in  1878-80, 
with  Fiori,  and  he  was  much  assisted  by  Randegger.  At  the  Acad- 
emy he  won  medals  and  the  Evill  prize  "for  declamatory  English  sing- 
ing." He  made  his  d£but  in  opera  with  the  Carl  Rosa  Company  at  the 
New  Theatre  Royal,  Bristol,  Oct.  11,  1881,  as  Thaddeus  in  "The  Bo- 

NEW   IMPORTATIONS. 

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David  R.  Craig, 

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(1152) 


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hemian  Girl."  His  first  appearance  in  opera  in  London  was  as  Thad- 
dens  at  Her  Majesty's  Theatre,  Jan.  25,  1882;  and  he  created  parts  in 
Goring  Thomas's  "Esmeralda"  (1883),  Mackenzie's  "Colomba"  (1883), 
Stanford's  "Canterbury  Pilgrims"  (1884).  He  afterward  sang  the  part 
of  Wilder  in  "Dorothy"  for  more  than  two  years,  and  in  189 1  he  created 
the  part  of  Ivanhoe  in  Sullivan's  opera.  His  first  festival  was  that  of 
Norwich  in  1890.  In  1894  he  visited  Germany  for  the  first  time,  and 
sang  at  Berlin,  February  10.  His  first  visit  to  the  United  States  was  in 
1 893,  when  he  sang  in  concerts  of  the  World's  Fair  at  Chicago.  His  first 
appearance  in  Boston  was  with  the  Handel  and  Haydn  Society,  March 
23,  1894  (Bach's  "Passion  Music  according  to  Matthew").  Other 
performances  with  this  society:  March  25,  1894  ("St.  Paul");  April 
5,  1896  ("The  Creation");  March  19,  1899  ("The  Creation") ;  March 
30,  1902  ("The  Creation").  His  first  appearance  here  in  a  Symphony 
Concert  was  on  April  11,  1896  ("Waft  her,  Angels, "  from  "Jephthah" 
and  the  Prize  Song  from  "Die  Meistersinger").  He  has  also  appeared 
at  these  concerts:  April  3,  1897  ("Waft  her,  Angels,");  April  21,  1900 
("Waft  her,  Angels");  Cowen's  scena/'The  Dream  of  Endymion."  first 
time  in   Boston);    May  3,    1902    ("Onaway!"  from   Coleridge-Taylor's 


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(1154) 


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E.  E.  MILLER 

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EASTERN  REPRESENTATIVES 

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1308  Chestnut  Street,  Philadelphia 

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THE  W.  F.  TWAY  PIANO  COilPANY,  94  Fifth  Avenue,  New  York. 


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13-15     W.  PRATT     STREET 
BALTIMORE,   MD. 


(1156) 


"Hiawatha's    Wedding   Feast";    Siegmund's    Love   Song   from    "Die 
Walkure"). 

Aria,   "II  mio  Tesoro,"  from  "Don  Giovanni." 

Wolfgang  Amadeus  Mozart. 

(Born  at  Salzburg,  Jan.  27,  1756;  died  at  Vienna,  Dec.  5,  1791.) 
"II  Dissolutq  Punito  o  sia  II  Don  Giovanni:  dramma  giocoso  in  due 
atti :   la  Poesia  e   dell'  Abate  da  Ponte,  Poeta  de'  Teatri  Imperiali ;  la 
Musica  e  del  Sig.  Wolfgango  Mozart,  Maestro  di  Cap,"  was  first  per- 
formed at  Prague  on  Oct.  29,  1787.     Mozart  conducted. 

The  aria,  "II  mio  Tesoro"  (Act  II.,  No.  8),  is  sung  by  Don  Ottavio. 

II  mio  tesoro  intanto 
Andate  a  consolar! 
E  del  bel  ciglio  il  pianto 
Cercate  di  asciugar. 

Ditele,  che  i  suoi  torti 
A  vendicar  io  vado, 
Che  sol  di  stragi  e  morti, 
Nunzio  vogl'  io  tornar. 

The  scene  is  a  dark  courtyard  with  three  doors  before  the  house  of 
Donna  Anna.  Leporello  entreats  Donna  Elvira,  Zerlina,  Don  Ottavio, 
and  Masseto  for  pardon,  and  then  runs  away.  Don  Ottavio  says  in  reci- 
tative: "Friends,  this  confirms  me,  and  the  crimes  we  have  witnessed, 
we  no  further  can  doubt  that  Don  Giovanni  was    the  villanous  mur- 


IMPORTANT     TO     VIOLINISTS 


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IN   THEIR   MOST    IMPORTANT    FORMS 
By  EUGENE   GRUENBERG 

NEW  AND  ENLARGED  EDITION 
Part  I.  The  First  Position,  $LQO.     Part  II.   All  the  Positions,  $J.OO 
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OLIVER    DITSON    COMPANY,    Boston 

C.    H.  DITSON  &  CO.,  New  York  A874  J.  E.  DITSON  &  CO.,  Philadelphia 


(1156) 


Millinery  Opening 


The  head  of  the  Millinery  Department  has  just 
returned  from  Paris,  and  at  this  opening  will  show- 
French  Models  and  the  last  products  of  our 
own  workrooms. 

Parasols  Opening 

Early    Novelties    for    1903 

Lace  and  Chiffon  trimmed,  Shirred  Pongee,  All- 
over  tucks,  Persian  borders,  Taffetas  with  borders 
of  French  knots,  Hand-embroidered  Taffetas. 
Full  line  of  Carriage  Parasols.  Special  orders 
taken  for  parasols  to  match  gowns. 

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derer  of  Donna  Anna's  father.     Do  me  the  favor  to  stay  a  while  with 

her;  I  now  go  to  seek  the  law's  assistance.     The   day  of  reckoning  is 

at  hand,  O  thou  traitor,  and  thy  doom  sooner  or  later  is  assured." 

To  my  beloved,  O  hasten, 
To  comfort  her  sad  heart! 
Sweet  are  the  tears  that  chasten 
Yet  grieve  not  those  who  part. 

Tell  her,  to  see  her  righted, 
Ne'er  will  I  cease  pursuing, 
My  sword  and  faith  I've  plighted. 
Naught  my  resolve  shall  thwart. 

Englished  by  Natalia  Macjarren. 

The  aria  is  accompanied  by  2  clarinets,  2  bassoons,  2  horns,  and 
strings.* 

The  part  of  Don  Ottavio  was  created  by  Antonio  Baglioni,  who  also 

*The  orchestra  of  the  Prague  theatre,  managed  in  1787  by  Pasquale  Bondini,  consisted  of  4  first  violins, 
4  second  violins,  2  violas,  1  'cello,  2  double-basses,  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  2  horns,  2  trum- 
pets, kettle-drums.  Trombones  were  engaged  when  they  were  needed.  Possart,  of  Munich,  insists  that 
Mozart  could  easily  have  had  a  larger  orchestra.  We  know  that  rich  and  noble  patrons  in  Prague  offered 
him  the  services  of  their  household  musicians  ;  but  Possart,  who  has  restored  the  operas  of  Mozart  to  their 
just  proportions,  claims  that  Mozart  wrote  the  opera  for  the  orchestra  that  was  already  known  to  him  by  the 
production  "  Le  Nozze  di  Figaro."  The  musicians  of  Prague  were  then  celebrated  for  their  technic  and  musi- 
cal intelligence.  Mozart  paid  them  a  curious  tribute  in  his  own  fragmentary  translation  into  German  of  da 
Ponte's  text.  The  scene  is  where  Don  Giovanni  and  Deporello  are  feasting,  before  the  arrival  of  the  Stone 
Man.  The  music  is  sounding,  and  Don  Giovanni  asks  Leporello  how  he  likes  the  fine  concert.  Mozart 
introduces  this  gag :  Don  Giovanni:  "These  fellows  play  superbly."  Leporello:  "  Yes,  they  are  musicians 
of  Prague." 


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In    our    Art  rooms,  an  unrivalled  showing  of 
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J  47  TREMONT  STREET 


(1169) 


sang  the  part  when  the  opera  was  produced  at  Leipsic,  June  15,  1788. 
Little  is  now  known  about  this  tenor.  He  went  in  1796  to  Vienna, 
where  he  was  held  to  be  a  singer  of  high  rank.  There  is  dispute  over 
the  question  whether  he  created  the  part  of  Titus  in  Mozart's  "La 
Clemenza  di  Tito."  According  to  da  Ponte,  Baglioni  was  a  musican 
of  fine  taste  and  one  of  the  most  celebrated  of  Italian  singers.  There 
were  several  singers,  both  male  and  female,  named  Baglioni  during 
the  last  half  of  the  eighteenth  century  in  Italy. 

"Don  Giovanni"  was  performed  for  the  first  time  in  America  at  New 
York  by  Garcia's  company,  May  23,  1826.  Garcia  himself  was  the 
hero,  and  his  son,  who  is  now  a  teacher  at  London  at  the  age  of  ninety- 
eight,  was  the  Leporello.  Marie,  afterward  famous  as  the  Malibran. 
was  the  Zerlina.  The  part  of  Don  Ottavio  was  taken  by  one  Milon, 
Ireland,  in  his  history  of  the  New  York  stage,  says  he  "first  appeared 
as  a  vocalist  on  this  occasion,  and  proved  an  acceptable  addition  to  the 
company."  Da  Ponte,  who  was  then  living  in  New  York, — he  died 
there  in  1838, — tells  in  his  entertaining  memoirs  the  story  of  Milon's 
engagement.  "There  was  no  one  to  take  the  part  of  Ottavio.  I 
agreed  to  provide  one.  The  impresario  shook  his  head  at  the  expense. 
My  pupils,*  some  of  my  friends,  and  I  myself  made  up  the  sum." 

*  Da  Ponte  was  then  giving  Italian  lessons.  He  became  professor  of  Italian  literature  in  Columbia  Col- 
lege in  1825,  and  filled  this  position  for  four  years.  From  Mr.  Krehbiel's  interesting  chapter,  "  Da  Ponte  in 
New  York"  (see  "Music  and  Manners,"  by  H.  E.  Krehbiel,  New  York,  i8qS,  pp.  176,  177),  it  appears  that 
da  Ponte  in  1829  was  a  professor  without  pupils  or  salary.  "  His  proposition,"  in  November,  1829,  "  was  to 
give  two  lessons  for  forty  weeks  to  one  hundred  students,  each  to  pay  fifteen  dollars  for  the  eighty  lessons,  and 
then  to  present  one  thousand  volumes  to  the  college.  . 

When  you  go  to  Paris 

And  order  a  gown,  you  will  find  that  the  Tailleur  will  insist 
upon  a  perfect-fitting  Corset  before  he  begins  his  work.  Seven 
out  often  of  them  will  insist  upon  a 


CLASSIQUE. 


This  Corset  is  generally  acknowledged  to  be  the  most  perfect-fitting  in  the  world. 
At  least,  Paris  says  so  ;  and  Paris  dictates  in  such  matters.  It  is  used  by 
the  most  exclusive  modistes  in  the  French  capital,  the  leaders  who  rule  the 
world  of  dress. 

One  of  the  greatest  distinctions  of  our  establishment  is  the  fact  that  the  "  Clas- 
sique"  Corset  has  for  years  been  sold  in  Boston  exclusively  by  us.  We  have 
just  received  the  new  spring  models.  The  prices  range  from  $5. 75  upwards. 
We  can  fit  any  figure. 

Remember  that  the  "  Classique  "  is  hand-fashioned  by  the  most  skilful  corsetiers 
of  Paris.  Only  genuine  whalebone  is  used.  We  urge  you  to  try  the  effect 
of  one  of  these  French  corsets  upon  your  figure. 


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(1161) 


At  the  first  performance  of  "Don  Giovanni"  in  Boston,  April  8,  1850, 
the  part  of  Don  Ottavio  was  taken  by  Forti. 

When  "Don  Giovanni"  was  performed  for  the  first  time  at  Vienna, 
May  7,  1788,  the  tenor,  Francesco  Morella,  for  some  reason  or  other 
did  not  sing  "II  mio  Tesoro";  and  Mozart  wrote  for  him  the  aria. 
"Dalla  sua  Pace"  (Act  I.,  No.  106),  which  follows  the  "Vengeance" 
aria  of  Donna  Anna. 


"Endymion's  Narrative;,"  Romance  for  Orchestra,  Op.  10. 

Frederick  S.  Converse. 

(Born  at  Newton,  Mass.,  Jan.  5,  1871;  now  living  at  Westwood,  Mass.) 
This  is  the  second  of  Mr.  Converse's  orchestral  romances  founded 
on  episodes  in  Keats's  "Kndymion:  A  Poetic  Romance"  (1818).     The 
first,  "The  Festival  of  Pan,"  was  performed  for  the  first  time  at  a 
Symphony  Concert  in  Boston,  Dec.  22,  1900. 

"Endymion's  Narrative"  was  composed  in  1901.  It  is  scored  for 
3  flutes  (one  interchangeable  with  piccolo),  2  oboes,  cor  anglais,  2 
clarinets,  2  bassoons,  1  double-bassoon,  4  horns,  3  trumpets,  3  trom- 
bones, bass  tuba,  a  set  of  3  kettle-drums,  triangle,  snare-drum,  cymbals, 
harp,  and  strings. 

The  narrative  begins  with  a  slow  introduction  or  episode,  Largo, 
which  leads  to  the  main  body  of  the  work,  with  constantly  increasing 
tempo  and  emotional  force.  The  main  part  begins  Allegro  scherzando, 
and  it  may  be  described  as  in  large  rondo  form.  It  is  made  up  of 
various  episodes,  and  the  tempi  vary  widely. 


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OLD  VIOLINS. 


Mr.  Oliver  offers  his 

annual    collection    of 

rare    old    violins   and 

'cellos,  by  the  old  Italian  and' other  makers, 

also  a  fine  collection  of  old  and  new  artists' 

bows,  Italian  strings,  silver  G's,  leather  cases, 

etc. 

F.  A.  OLIVER, 

25    Winter    Street, 

Violin  Maker  and  Repairer, 

and  Dealer  in 

High-grade  Old  Instruments. 


Violins  used  in  the  Symphony  Orchestra. 


(1162) 


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* 

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Mr.  Converse  wrote  in  a  letter  to  the  compiler  of  these  programme- 
books:  "I  have  not  prefaced  either  of  the  romances  with  any  appro- 
priate quotations  from  the  poem,  because  I  wanted  them  to  be  heard 
and  judged  according  to  their  purely  musical  merits  or  demerits,  and, 
moreover,  because,  as  I  have  remarked  on  the  title-pages  of  these 
works,  they  were  suggested  by  certain  scenes  from  the  poem.  I  meant 
by  this  to  make  clear  that  there  was  no  desire  or  attempt  to  follow 
the  text  slavishly  and  in  detail,  but  merely  to  give  a  general  reflection 
of  its  emotional  phases.  As  a  clue  to  'Endymion's  Narrative,'  I  would 
say  that  its  idea  was  derived  from  the  scene  in  the  poem  where  En- 
dymion,  oppressed  with  melancholy  feeling  and  no  longer  cheered  by 
the  simple  pleasures  of  his  companions,  is  withdrawn  from  the  Festival 
by  Peona,  his  anxious  sister,  and  led  by  her  to  a  secluded  part  of  the 
wood,  where  she  strives  to  find  the  cause  of  his  despondency  and  to 
soothe  him  with  sisterly  affection.  Under  her  influence  he  reveals 
the  cause  of  his  sorrow.  He  then  relates  to  her  what  seems  to  me  the 
spiritual  essence  of  the  whole  poem,  the  struggle  of  a  mind  possessed 
of  an  ideal  beyond  the  common  view,  and  yet  bound  by  affection  and 


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Announce  the  arrival  of  their  Spring  Importations  of 

Easter  Gloves  and  Ties 

and  all  the  latest  novelties  for  men's  wear.     Our  exclusive  patterns  of 
Scotch  Shirtings,  in  almost  endless  variety,  are  awaiting  your  inspection. 

Under  the   ihorndikt,  Boylston  Street. 

(UC4) 


devotion  to  conditions  which  confine  and  stifle  its  urging  internal 
impulses, —  one  of  the  most  painful  spiritual  struggles  to  which  man 
is  subject,  whether  it  be  found  in  the  career  of  an  artist,  a  patriot,  or 
a  martyr. 

"The  piece  begins  with  despondency  and  indecision.  The  hero  is 
harassed  by  alluring  glimpses  of  the  ideal  and  soothed  by  simple 
affection  and  love.  There  is  a  sort  of  dramatic  growth  of  the  various 
elements,  until  finally  the  ideal  comes  victorious  out  of  the  struggle, 
and  the  ungovernable  impulse  rushes  exultantly  on  with  the  mad  joy 
of  determination." 

*  * 

Although  the  composer  wishes  this  romance  to  be  heard  and  judged 

first  of  all  as  absolute  music,  a  few  quotations  from  Keats's  poem  may 

not  be  impertinent. 

Yet  hourly  had  he  striven 
To  hide  the  cankering  venom,  that  had  riven 
His  fainting  recollections.     Now,  indeed, 
His  senses  had  swoon'd  off;  he  did  not  heed 
The  sudden  silence,  or  the  whispers  low, 
Or  the  old  eyes  dissolving  at  his  woe, 
Or  anxious  calls,  or  close  of  trembling  palms, 


EVERY  LITTLE    DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC   THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUGNO, 

THE  GREAT  FRENCH  PIANIST, 
SELECTED  THE  BALDWIN  FOR  HIS   CONCERT  TOUR  IN  THE 
•    UNITED  STATES. 


New  England  Representatives, 
PRIEST   &    BROOKS,  207  Tremont  Street,  Boston,  flass. 


Or  maiden's  sighs,  that  grief  itself  embalms; 
But  in  the  self- same  fixed  trance  he  kept, 
Like  one  who  on  the  earth  had  never  stept. 
Aye,  even  as  dead — still  as  a  marble  man, 
Frozen  in  that  old  tale  Arabian. 

Who  whispers  him  so  pantingly  and  close? 

Peona,  his  sweet  sister;  of  all  those, 

His  friends,  the  dearest.     Hushing  signs  she  made, 

And  breath' d  a  sister's  sorrow  to  persuade, 

A  yielding  up,  a  cradling  on  her  care. 

Her  eloquence  did  breathe  away  the  curse. 

Book  I.,  395-412. 

Peona  leads  Kndymion  to  her  favorite  bower  in  the  forest,  and  he 
tells  her  his  dream,  his  vision  of  the  goddess,  his  wild  ambitions,  his 
resolves : — 

Ambition  is  no  sluggard:  'tis  no  prize, 

That  toiling  years  would  put  within  my  grasp, 

That  I  have  sigh'd    for:  with  so  deadly  gasp 

No  man  e'er  panted  for  a  mortal  love. 

So  all  have  set  my  heavier  grief  above 

These  things  which  happen.     Rightly  have  they  done ; 

I,  who  still  saw  the  horizontal  sun 

Heave  his  broad  shoulder  o'er  the  edge  of  the  world, 

Out -facing  Lucifer,  and  then  had  hurl'd 

My  spear  aloft,  as  signal  for  the  chace  — 

I,  who,  for  very  sport  of  heart,  would  race 

With  my  own  steed  from  Araby;  pluck  down 

A  vulture  from  his  towery  perching;  frown 

A  lion  into  growling,  loth  retire  — 

To  lose,  at  once,  all  my  toil  breeding  fire, 

And  sink  thus  low!     (523-538). 


BY    ROYAL     APPOINTMENT 
TO    THE    BRITISH    COURT. 


MACKENZIE-JACKSON 

LADIES'  TAILOR 
Glasgow  218  Boylston  Street,  Boston  Oban 

(11GG) 


Endymion  describes  the  goddess,  his  bliss  in  her  embrace,  his  agony 
at  the  awakening. 


Peona !  ever  have  I  long'd  to  slake 

My  thirst  for  the  world's  praises:  nothing  base, 

No  merely  slumberous  phantasm,  could  unlace. 

The  stubborn  canvas  for  my  voyage  prepar'd — 

Though  now  'tis  tatter'd,  leaving  my  bark  bar'd 

And  sullenly  drifting;  yet  my  higher  hope 

Is  of  too  wide,  too  rainbow-large  a  scope, 

To  fret  at  myriads  of  earthly  wrecks. 
Wherein  lies  happiness?     In  that  which  becks 
Our  ready  minds  to  fellowship  divine, 
A  fellowship  with  essence;  till  we  shine, 
Full  alchemiz'd,  and  free  of  space.     (769-780.) 

Now  if  this  earthly  love  has  power  to  make 
Men's  being  mortal,  immortal;  to  shake 
Ambition  from  their  memories,  and  brim 
Their  measure  of  content;  what  merest  whim 
Seems  all  this  poor  endeavor  after  fame, 
To  one,  who  keeps  within  his  steadfast  aim 
A  love  immortal,  an  immortal,  too.     (843-849.) 


The  story  of  Endymion  has  been  treated  in  various  ways  by  many 
composers.  Operas  by  Tricarico  (Ferrara,  1665),  Boniventi  (Venice, 
1709),  Bononcini  (Vienna,  1706),  Bioni  (Breslau,  1727),  Buini  (Bologna, 
1729),  Jomelli  (Stuttgart,  about  1763),  Sigismondi  (Vienna,  1765), 
Keiser  (Hamburg,  1712),  Colin  de  Blamont  (Paris,  1731),  J.  M.  Haydn 
(Salzburg,  about  1770),  Aubert  and  de  Bourgeois  (Paris,  1721),  Schmitt- 


WILLIAM  G  CARL 

SOLO  ORGANIST 

Can  be  secured  for  Recitals  and  the  Inau- 
guration of  New  Organs. 

The  100th  Recital  in  the 

FIRST    PRESBYTERIAN     CHURCH 

New  York  City 

will  be  given  in  March 


Send  for  Circular       34  West  12th  Street,  New  York 


W.  A.  Moffitt 

CHIROPODIST 


128  A  Tremont  Street 


Man/curing,  Pedicuring, 

Hair  Shampooing,  Scalp  and  Facial 

Treatment. 


The  most  exclusive  list  of  patrons 
in  Boston. 


(I1C7) 


bauer  (Carlsruhe,  about  1772),  Scarlatti  (Naples,  1721),  Sigismondi 
(Vienna,  1765),  Fiorillo  (Cassel,  1676),  Piccini  (Paris,  1784),  Bernasconi 
(Mannheim,  1766),  Rey  (Paris,  1791),  Philidor  (Paris,  1698),  Sa- 
blieres  (Versailles,  1671),  Leo  (Naples,  1717),  Treu  (about  1725),  Alberti 
(Venice,  1737),  de  Sousa  Carvalho  (Lisbon,  1783). 

Ballets:  Struck  (Versailles,  about  171 5),  Campenhout  (Bordeaux, 
about  1820),  Stoumon  (Brussels,  i860). 

Cantatas,  etc.  Pescetti  (London,  1739),  Mele  (Madrid,  1749),  Liza 
Lelunann,  Cowen. 

Mythological  Pastoral:  Cahen  (Paris,  1875-83). 

Nor  is  this  list  complete. 


Aria,  "O  Vision  Entrancing,"  from  the  Opera,  "Esmeralda." 

Arthur  Goring  Thomas. 

(Born  at  Ralton  Park,  Sussex,  England,  Nov.  21,  1850;  committed  suicide  by- 
throwing  himself  in  front  of  a  railway  train  at  West  Hampstead  station,  March  20, 
1892) 

"Esmeralda,"  an  opera  in  four  acts,  libretto  arranged  by  Alberto 

Randegger,  verses  written  and  also  adapted  by  Theodore  Marzials  from 

verses  composed  by  Victor  Hugo  for  Louise  Berlin's  opera  of  the  same 

name  (1836),  music  by  Arthur  Goring  Thomas,  was  produced  by  the 

Carl  Rosa  Opera  Company  at  Drury  Lane  Theatre,  London,  on  March 

26,  1883.     The  chief  singers  were  Georgiana  Burns,  Barton  McGuckin, 

William   Ludwig,    Leslie   Crotty,    and   Ben    Davies.     The   opera   was 

afterward  given  at  Cologne,  Hamburg,  and  in  other  continental  towns. 


Hubbell  &  McGowan 

Opposite  Symphony  Hall 

Telephone  orders  will  receive  prompt 

attention  and  delivery 

Telephone,  Back  Bay  2023-4 


Our  prices  on  prescriptions  are  as  low  as 

possible  consistent  with  accuracy  and 

purity ;  and  bear  in  mind  the  fact, 

we  do  not  substitute 


F 


INEST  STOCKED 
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MILLINERY. 

Miss  M.  E.  Ford, 

Lawrence  Building,  149  A  Tremont  St., 

Importer  and  Designer  of 

HATS    AND    BONNETS. 

Personal  attention  given  to  Mourning. 
Take  elevator. 


(1168) 


SVPERLATIVE  QUALITY 

Pure  Colonial 

Our  new  model 
No.  214,  here  pict- 
ured, is  an  excellent 
example  of  the  purer 
period  of  Colonial 
design.  All  carving 
*  and  relief  ornamen- 
tation have  been 
omitted,  even  the 
customary  mould- 
ings giving  way  to 
squared  edges. 
Beautifully  figured  South  African  mahogany  in  rich 
antique  coloring  is  employed.  This  and  a  superb  finish 
alone  relieve  the  severity  of  the  design.  The  effect  is 
highly  dignified.  May  we  send  you  a  catalogue  showing 
all  our  designs,  with  explanation  of  our  rental  purchase 
plan, —  buying  a  piano  by  renting  it  ? 


•  I  VERS  ti  POND    • 

•  PIANO    CO  • 

114BOYLSTON  ST.  BOSTON 


(1169) 


The  composer  changed  portions  of  the  work,  and  "Esmeralda"  was 
performed  in  French  at  Covent  Garden,  July  12,  1890,  with  Melba, 
Jean  de  Reszke,  and  Lassalle,  as  the  gypsy  girl,  Phoebus,  and  Quasi- 
modo. 

The  first  performance  in  the  United  States  was  at  the  Metropolitan 
Opera  House,  New  York,  on  Nov.  19,  1900,  by  Mr.  Henry  W.  Savage's 
company.  The  cast  was  as  follows:  Esmeralda,  Grace  Golden! 
Phoebus,  Philip  Brozel;  Claude  Frolio,  Lempriere  Pringle;  Quasimodo, 
William  Paull. 

This  air  is  sung  by  Phoebus  de  Chateaupers  in  the  second  act.  Phoe- 
bus, after  a  scene  with  Fleur-de-Lys,  exclaims:  "And  she  says  true: 
the  bond  is  riven.  My  heart  beats  with  another  fear.  She  whom  I 
love  and  think  of  dawn  and  ev'n,  alas,  she  is  not  here." 

O  vision  entrancing! 

O  lovely  and  light, 

My  heart  at  thy  dancing 

Grows  faint  for  delight; 

It  throbs  and  it  flutters, 

It  flutters  and  throbs, 

And  strives  like  a  wild  bird 

To  follow  thy  flight. 


Dominion  Line 


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And  through  to  NAPLES  and  GENOA. 

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For  rates  and  further  information  apply  to  or  address 

DOMINION  LINE,  77-81  STATE  STREET,  BOSTON, 

Or  any  local  steamship  agent. 

(1170) 


Am  I  awake  or  dreaming? 

Am  I  near  or  afar? 

Her  beauty  around  me  is  beaming, 

Fair  as  the  evening  star. 

Fair,  so  fair,  yet  so  poor  and  lowly, 

Dear,  so  dear,  to  this  heart  of  mine 

Till  my  love  grows  pure  and  holy. 

As  before  a  saint  in  a  shrine. 

Oh,  she  is  the  star  of  my  even, 

The  sun  of  my  day, 

My  angel  in  heaven 

To  watch  me  and  pray. 

0  vision  entrancing, 

1  faint  for  delight! 

Barton  McGuekin*  was  the  Phoebus  at  the  first  performance,'  and 
Mr.  Ben  Da  vies  was  Gringoire,  the  poet. 


Other  operas  founded  on  Victor  Hugo's  romance  are: — 
"Esmeralda,"  in  four  acts,  libretto  by  Victor  Hugo,  music  by  Louise 
Bertin  (Op£ra,  Paris,  Nov.  14,  1836);  "Esmeralda,"  music  by  Ponia- 
towski  (Leghorn,  1847);  "Esmeralda,"  in  four  acts,  libretto  by  Victor 
Hugo,  music  by  Dargomyzski  (Moscow,  1847);  "Esmeralda,"  in  four 
acts,  libretto  by  Hugo,  music  by  Leban  (Brussels,  April  28,  1857); 
"Notre  Dame  of  Paris,"  music  by  W.  H.  Fry  (Philadelphia,  U.S.,  May 
9,    1864,    Mrs.    Borchard,    Mrs.    Kempton,    Castle,    Campbell,    Seguin; 

*  Barton  McGuekin,  tenor,  was  born  at  Dublin,  July  28,  1853.  A  choir  boy  and  cathedral  singer,  he 
studied  under  Robert  Turle  and  Joseph  Robinson.  He  studied  at  Milan,  1874-75,  under  Trevulsi.  After 
his  return  to  England  he  sang  at  festivals  and  in  concerts.  He  made  his  debut  in  opera  at  the  Theatre  Royal, 
Sept.  10,  1880,  as  Thaddeus  in  "  The  Bohemian  Girl,"  and  up  to  1896  was  a  member  of  the  Carl  Rosa  Com- 
pany. He  sang  in  opera  in  the  United  States  during  the  season  of  1887-88  with  the  National  English  Opera 
Company,  and  he  was  heard  at  the  Boston  Theatre  in  January,  1888,  as  Assad  in  Goldmark's  "  Queen  of 
Sheba,"  Faust,  Radames,  Lohengrin. 


146  Tremont  Street. 
FRESH,    PURE,    DELICIOUS 

BONBONS  and 
CHOCOLATES. 

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MISS  QAFFNEY 

384  Boylston  Street. 

Hygienic  Treatment   of  Head, 
Face,  and  Neck. 

MISS   GAFFNEY'S 

SUPERIOR   HYGIENIC  SKIN  FOOD 

Reduced  to  Fifty  Cents 

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Testimonials  from  distinguished  men  and 
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Made  in  France,  for  reducing  corpulency  by 
external  application.  Recommended  and  pre- 
scribed by  the  medical  profession. 


(1171) 


Theodore  Thomas,  conductor;  written  in  nineteen  days,  produced  for 
the  benefit  of  the  Sanitary  Fair,  performed  seven  times) ;  "Esmeralda," 
music  by  Mazzucato  (Mantua,  1838),  Battista  (Milan,  1851);  "Nos 
tra  Dama  di  Parigi,"  music  by  Campana  (St.  Petersburg,  1869);  "Es- 
meralda la  Gitana,"  music  by  Camps  y  Soler  (produced  in  concert 
form  at  Montevideo,  1879);  "Esmeralda,"  libretto  by  Eisner,  music 
by  Wetterhahn  (Chemnitz,  Nov.  24,  1866);  "Esmeralda,"  music  by 
Fr.  Miiller  (Laibach,  Dec.  10,  1867);  "Esmeralda,"  ballet  by  Pugni 
(Milan,  1845);  "Djihan-Ara,"  libretto  based  by  E.  Duprez  on  Hugo's 
romance,  music  by  the  Marquis  de  Colbert-Chabannais  (Paris,  1868); 
"Quasimodo,"  music  by  F.  Pedrell  (Barcelona,  1875). 

Symphony  for  Organ  and  Orchestra,  No.   i,  Op.  42. 

Alexandre  Guilmant. 

(Born  at  Boulogne,  France,  March  12,  1837;    now  living  at  Mendon,  near  Paris.) 

This  symphony  was  performed  for  the  first  time  at  the  Trocadero, 
Paris,  Aug.  22,  1878,  the  year  of  an  International  Exposition,  when  the 
French  government  paid  much  attention  to  music.  There  were  con- 
certs given  by  visiting  orchestras  and  choral  societies.  There  were 
Italian,  Russian,  Scandinavian,  English,  and  Dutch  concerts.  Faccio, 
Mancinelli,  Pedrotti,  were  among  the  conductors.  The  United  States 
was  represented  by  Gilmore's  Band. 

The  great  organ  built  by  Cavaelle-Coll  for  the  Trocadero  was  dis- 
played for  the  first  time  on  August  7,  when  Guilmant  was  the  organist: 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(1172) 


During  the  season  other  organists  played, —  Cesar  Franck  (who  pro- 
duced on  October  i  his  Fantaisie,  Cantabile,  and  Pifece  Heroique), 
Widor,  de  Lange,  Gigont,  Dubois,  de  Mailly,  Lemaigre,  Loret,  Messager, 
and  others. 

The  symphony  is  scored  for  solo  organ,  2  flutes,  2  oboes,  2  clarinets, 
2  bassoons,  4  horns,  2  trumpets,  3  trombones,  bass  tuba,  kettle-drums, 
big  drum,  cymbals,  strings.  It  is  dedicated  to  Leopold  II.,  king  of 
Belgium. 

I.  Largo  e  maestoso,  D  minor,  4-4.  The  organ  gives  out  a  digni- 
fied theme  in  full  harmony,  which  is  punctuated  by  orchestral  chords. 
Organ  and  orchestra  change  places,  and  lead  gradually  into  the  main 
body  of  the  movement,  Allegro,  D  minor,  2-2.  The  chief  theme  is 
given  out  by  the  organ  pedal  fortissimo.  This  theme  is  at  once  taken 
up  by  the  orchestra,  and  it  is  developed  by  both  orchestra  and  organ! 
The  second  theme,  F  major,  for  delicate  stops  of  the  choir  organ,  is 
treated  alternately  by  solo  instrument  and  orchestra,  and  furnishes 
with  the  other  motive  the  material  for  the  succeeding  measures. 

II.  Pastorale  andante  quasi  allegretto,  A  major,  12-8.  The  melody 
of  the  pastorale  is  at  first  played  alone  on  the  organ.  It  is  joined  by 
its  counterpart  in  canonic  imitation.  The  pastorale  is  given  in  varied 
tonalities  to  organ  and  orchestra  in  turn,  and  contrast  is  gained  by  the 
introduction  of  a  choral. 

III.  The  Finale,  Allegro  assai,  2-4,  is  a  piece  of  a  toccata-like  nature. 
Rapid  organ  figures,  accompanied  by  short  orchestral  chords,  are  at 
last  checked  by   restful  orchestral  interludes.     The  contrasting  sus- 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COJ1PANY,    -    BOSTON 

(1173) 


tained  theme  given  out  by  the  organ  opens  with  measures  like  unto  ah 
intonation  for  the  Magnificat.  There  is  extended  thematic  develop- 
ment, and  this  "Magnificat  theme"  is  used  in  D  major  for  the  perora- 
tion. 

*  * 

The  first  movement  of  this  symphony  was  played  here  at  a  Phil- 
harmonic Concert,  Charles  H.  Morse  organist,  Dec.  5,  1879.  The  sym- 
phony was  performed  as  a  whole  at  a  Philharmonic  Concert  in  Music 
Hall,  Nov.  29,  1882,  when  Frederick  Archer  was  the  organist. 

* 

*  * 

Felix  Alexandre  Guilmant,  one  of  the  most  distinguished  of  modern 
organists  and  composers  for  the  organ,  is  the  son  of  Jean  Baptiste  Guil- 
mant, who  was  organist  for  fifty  years  of  the  church  of  Saint  Nicolas, 
Boulogne,  and  died  in  May,  1890,  at  the  age  of  ninety-seven.  Alexandre 
studied  music  with  his  father  and  then  with  Gustave  Carulli,  a  pupil 
of  Paer  and  a  son  of  the  famous  guitarist.  Guilmant  was  hardly  six- 
teen when  he  was  appointed  organist  of  Saint  Joseph,  and  at  eighteen 
his  first  mass  was  performed  at  Saint  Nicolas,  of  which  church  he  be- 


APOLLO 


CONCERT  GRAND 


23  Notes  More 


88  Notes  Better 


Than  any  other  piano-player. 


Than  any  other  piano-player. 


ENTIRE    KEYBOARD    USED 

The  new  Apollo  Concert  Grand  piano-player  marks  a  radical  departure  from 
the  conventional  in  its  capacity  to  play  either  the  58-note  music  rolls  of  the  ordinary 
Apollo,  or  a.  roll  carrying  the  7  1-3  octaves  of  the  piano, —  88  notes. 

One  can  have  no  adequate  conception  of  the  possibilities  of  the  Apollo  Concert 
Grand  without  hearing  it.      We  solicit  a  critical  inspection. 


Apolloette $150 

Regular  Apollo     .    .    .   $225 

Unlimited  Music   Library. 


Apollo  Grand       .    .    .    $300 
Apollo  Concert  Grand   .    $400 

Unlimited  Music  Library. 


CHANDLER    W.    SMITH  CO. 

120  and  122  B01LST0N  ST.,  BOSTON,  MASS. 


(1174) 


S.    S.    PIERCE    CO 


IMPORTERS    AND    GROCERS 


BOSTON    AND    BROOKLINE 


(1175) 


We  arc  constantly  receiving  new  things  in 
Veilings,  and  are  opening  at  the  present  time 
our  Spring  Line  of  Cotton  Neckwear  and 
Turn-over  Collars* 


Miss  M.  F.  FISK,  144  Tremont  Street 


Have  you  seen  the  charming  little 
musical  book 

"Moments  with  Masters 
of  the  Oratorio" 

By  FAY  SIMMONS  DAVIS? 

It  is  beautiful  for  an  Easter,  Birthday,  or 
Wedding  Gift.  It  is  a  Little  Work  of  Ref- 
erence and  of  Inspiration.  On  sale,  for  fifty 
cents  a  copy,  by  the  publishers, 

C.  W.  Thompson  &  Co., 

13  West  Street,  Boston,  Mass., 

and  all  Music  Stores 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES   &  SCHOENHOF, 

128  Tremont  St..  2d  door  north  of  Winter  St., 
over  Wood's  Jewelry  Store.    (Tel.,  Oxford  1099-2.) 

SPRING    OPENING 

Imported  Hats  and  Bonnets. 

Last  week  in  March. 

Mile.   CAROLINE, 
486  Boylston  Street,    .    .    Boston. 

Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(117G) 


came  chapel -master  in  1857.  In  i860  he  became  a  pupil  of  Jacques 
Nicolas  Lemmens  (1823-81),  and  in  1862  his  playing  at  the  inaugura- 
tion of  the  organ  of  Saint  Sulpice  at  Paris  made  a  sensation.  Charles 
Alexis  Chauvet,  a  musician  of  rare  talent,  organist  of  the  Trinite,  Paris, 
died  in  1871  at  the  age  of  thirty-four.  Guilmant  was  called  to  succeed 
him,  and  he  filled  this  position  till  1902,  when  he  resigned  on  account  of 
differences  of  opinion  with  the  pastor  as  to  the  character  of  church 
music.  He  was  appointed  organist  of  the  Conservatory  Concerts  in 
1876,  and  professor  of  the  organ  at  the  Paris  Conservatory  in  1896. 
In  1894  he  joined  Vincent  d'Indy,  Charles  Bordes,  and  a  few  others  in 
founding  the  Schola  Cantorum,  which  is  not  only  devoted  to  the  culti- 
vation of  the  highest  forms  of  church  music,  but  is  now  the  music  school 
of  the  radical  wing  of  modern  French  musicians.  In  1902  the  Minister 
of  Fine  Arts  decreed  that  he  should  give  a  series  of  organ  concerts  at 
the  Trocadero  for  specific  purposes.  Guilmant's  concerts  at  the  Tro- 
cadero were  for  some  years  a  prominent  feature  of  musical  life  at  Paris. 

As  a  virtuoso  Guilmant  is  well  known  in  Russia,  Spain,  Italy,  Eng- 
land, the  Netherlands,  and  in  the  United  States.  He  first  visited  this 
country  in  1893,  and  he  gave  two  organ  recitals  in  Boston  at  the  New 
Old  South  Church,  September  25  and  26  of  that  year.  He  was  again  in 
Boston  in  1897,  and  gave  recitals  at  the  Mission  Church,  December  8 
and  9. 

The  list,  of  his  compositions  for  the  organ  is  a  long  and  varied  one. 
He  has  written  much  music  for  the  church  and  certain  scenes  for  con- 
cert use.  He  has  never  written  for  the  stage,  and  is  thus  a  rata  avis 
among  Frenchmen. 


Don't  let  your  children  acquire  the  CoffeeHabit 

Get  out  of  the  rut  yourself!  All  doctors 

recommend  COCOA  and  CHOCOLATE 

in  preference  to  coffee. 

My  wtye!  ffie  Besl  ? 


UNEQUALLED    FOR 
GROCERS  EVERYWHERE  (/        QUALITY,  PURITY  &  FLAVOR. 


(1177) 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real  Laces    Gloves    Feather   Work  of  all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York   Providence 

17  Temple  Place 

Philadelphia   Baltimore 

Hartford    New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(1178) 

Newport 

Twenty-second  Rehearsal   and  Concert* 


FRIDAY  AFTERNOON,  APRIL  I  7,  at  2.30  o'clock. 

SATURDAY  EVENING,  APRIL  18,  at  8.00  o'clock. 


PROGRAMME. 

Gluck Overture  to  **  Iphigenia  in  Aulis" 


Richard  Strauss         Burleske  in  D  minor,  for  Pianoforte  and  Orchestra 

(First  time.) 

Borodin A  Steppe-Sketch  from  Central  Asia 


Walter  Rabl Symphony  in  D  minor 

(First  time.) 

Raff's    "Lenore"    symphony     will     be  | 

played  this  week  at  the  Symphony  con-  I 

cert,  instead  of  Rabi's  symphony,  which 
.Was   announced. 

SOLOIST : 

Mr.  HEINRICH    GEBHARD. 


(1179) 


RECITAL  OF 

ORIGINAL  MONOLOGUES 


BY 


BEATRICE   HERFORD 

STEINERT  HALL,  TUESDAY  AFTERNOON,  APRIL  28,  AT  3 
Tickets  are  now  on  sale  at  the  box  office 


A  PIANOFORTE  RECITAL 

Will  be  given  by 

Signor  Giuseppe  Aldo  ft  ANDEGGEft 

In  STEINERT  HALL 
On  Monday  afternoon,  April  27,  at  3  o'clock 


Reserved  seats,  $1.00  and  $1.50  Tickets  are  now  on  sale  at  the  hall 

The  Steinway  Piano 


SECOND  CHAMBER  CONCERT 

BY  Mr.     FELIX     FOX 

Assisted  by  the  HOFFMANN   STRING  QUARTETTE 

Mr.   Jacques  Hoffmann,  Mr.  Adolf  Bak,  Mr.  Fritz  Zahn,  Mr.  Carl  Barth 
STEINERT  HALL,  &  Tuesday  evening,  April  2 J,  at  8 

Reserved  seats,  $i.oo  and  $1.50  Tickets  for  sale  at  the  hall 

THE  MASON  &  HAMLIN  PIANOFORTE 
(1180) 


13th  Century  20th  Century 

STEINERT   HALL,    J>     Next  Thursday  evening,  April  16,  at  8.J5 


An  evening;  with  Ancient  and  Modern  Spanish  Composers 
l**°  VOCAL,  INSTRUMENTAL  SOLOS,  *Hj 

Quartets  sung  in  Spanish 

ISIDORA  MARTINEZ 


ASSISTED     EY 


Mrs.  Sawyer  Mr.  MacKenzie  Mr.  Morawski 

Mrs.  del  Castillo  Miss  Gorham 

and  Miss  Rebecca  R.  Joslin,  President  Ca.stilia.n  Club 


Tickets,  $1.50  and  $1.00.     No<w  on  sale  at  the  hall 


Direction  RICHARD  NEWMAN,  Steinert  Hall 


Aeolian  Orchestrelle  and  Pianola  Becital 

STEINERT  HALL,  Wednesday  evening,  April  ip,  at  8J5 

SOLOISTS 

Miss  MABELLE  MONAGHAN,  Soprano 

Mr.  EMMANUEL  FIEDLER,   Violinist 


Oberon  Overture 

(a)  Norwegian  Bridal  March 
(6    Etude,  Op.  2,  No.  6 


PROGRAM 

^Eolian  Orchestrelle 


Repentance 
Eldorado  Polka 
Polonaise  Brilliant,  Op.  21 


Pianola 
Miss  Monaghan  (with  Violin  <  foligato  and  .Eolian  Orchestrelle) 
Pianola 
.Mr.  Fiedler 


(a\  Cradle  Song  and  Prayer  . 

(6)    Menuet  from  E'Arlesienne  Suite 

SONGS.    («■)  Summer 

(b)  At  Parting 

Zigeuuerweisen 

Deuxieuie  Valse 


Eolian  ( irchestrelle 

Miss  Monaghan 
Mr.  Fiedler 


Weber 

Grieg 
Henselt 

Goy,nod 

Iiartbtt 
IVieii'xiwski 

Quilmant 

Bizet 

<  'haminade 
Rogers 

Sm-asate 

Chaminadc 


Pianola 
THE    STRINWAY   PIANO   USED 

All  of  the  Pianoforte  accompaniments  will  be  played  with  the  Pianola 
A  limited  number  of  complimentarv  t  icke:s  may  be  obtained  on  application  to  the  .Eolian 
Department  of  M.  Steinert  &  Sins  Co.,  16'2  Boylston  Street. 

(1181) 


&        OH  ICK  E  Rl  NG    HALL       & 

CHICKERING  HALL 
TWO    PIANO    RECITALS 

On  Saturday  Afternoon,  April  J  8,  at  2.30 

Wednesday  Afternoon,  April  22,  at  2.30 
By   OSSIP 

GABRILOWITSCH 

Direction  Mr.  DANIEL  FROHMAN 

Tickets,  50c,  75c,  $1,  $1.50,  on  sale  at  Symphony  Hall 

The  Pianoforte  is  an  Everett. 

SONG  RECITAL 

-  BY  - 

Mrs.  JULIE  L.  WYMAN 

NEW    CENTURY    BUILDING 
177  Huntington  Avenue  .... 

Monday  afternoon,  April  27,  at  3  o'clock 


Mrs.  Wyman  has  been  invited  to  give  a  recital  of  French 
songs,  the  program  to  be  of  especial  interest  to  students. 


Tickets,   |i,   to   be   had   at   Checkering  Hall  or  of  Mrs. 
S.   B.   Field,   Hotel   Nottingham. 


(1182) 


Carl    Faeltein's 

SIXTH    PIANOFORTE    RECITAL, 

Wednesday  Evening,  April  22,   1903,  at  8  o'clock. 

Programme. 

Prelude  and  Fugue,  G  major,  Well-tempered  Clavichord, 

Part  2 Bach 

Theme  and  Variations,  B-flat  major,  Op.  142,  No.  2        .         .   Schubert 
Huntington       Novelette,  D  major,  Op.  21,  No.  2  ....  Schumann 

Chambers        Rhapsody,  B  minor,  Op.  79,  No.  2  ) 

H  „  Ballade,  D  major,  Op.  10,  No.  2      > Brahms 

HaU'  Scherzo,  E -flat  minor,  Op.  4  ) 

Sonata,  "Les  Adieux,"  Op.  Sia Beethoven 

TICKETS,  $1.00.   J*    &    **    J*    For  sale  at  the  School,  30  Huntington  Avenue 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 

APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
—Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 

Mme.  Antoinette  Szumowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 

(U83) 


Grand  Opera 

Chofce  Seats  in  Orchestra,  Dress 
Circle,  and  Family  Circle  for  every 
opera. 


Horse  Show 

Boxes  for  the  Season  and  for  Single 
afternoons  or  evenings,  also  seats 
in  first  row  of  balcony.     •. 


BEST    SEATS     FOR    ALL     THEATRES 


CONNELLY'S   Ticket  Office,  Adams  House. 

'Phone,  942  Oxford. 


TREMONT  THEATRE 
THURSDAY  AFTERNOON,  APRIL  16 

At  two  o'clock 

SPECIAL  MATINEE 

For  the  benefit  of  the 

ANIMAL    RESCUE    LEAGUE 

Mrs.   MINNIE   MADDERN   FISKE 

will  present  for  the  first  time  on  any  stage 

DOLCE 

A  ONE-ACT  PLAY  BY  JOHN  LUTHER  LONG. 


Mrs.  AGNES  BOOTH  AND  Mr.  LOUIS  MASSEN 

fWill  appear  in  Bronson  Howard's 

"OLD  LOVE  LETTERS" 


Messrs.  James   Young,  Henry  Woodruff,  and  William 
Norris  will  give  monologues. 

Tickets  fov  sale  at  Tremont  Theatre  and  Herrick's,  Friday,  April  10. 

(1184) 


PIANOS 


DO    YOU    WANT    A 
GENUINE    BARGAIN? 

Hundreds  of  Upright  Pianos  from  our  purchase  of 
the  Oliver  Ditson  Company  stock,  and  returned  from 
their  and  our  rentals,  to  be  disposed  of  at  once.  They 
include  Knabes,  Chickerings,  Steinways,  Fischers, 
Sterlings,  and  other  well-known  makes. 
Many  cannot  be  V"V%  AHJI  distinguished  from 
new,  yet    all    are  11  will  offered  at  a    great 

discount.  Uprights  as  low  as  $100,  and  good  values. 
New  Uprights  from  $225  upwards.  A  fine  instru- 
ment for  $290,  fully  equal  to  many  for  which  $400 
is  asked.  Monthly  payment  plan,  but  strictly  one- 
price,  honest  system. 

C.  C.  HARVEY  &  CO. 

144  BOYLSTON  STREET 

Telephone,  134  Oxford 


SYMPHONY  HALL 


FRIDAY  EVENING,  A  T>T> TT  W 
SATURDAY  AFTERNOON,  A  K K  „  18 
SUNDAY  EVENING,       x  Xi  x  XXi-'  19 


LAST  APPEARANCES  THIS  SEASON. 


AND  HIS  ITALIAN  BAND 


Evenings  at  8,  afternoon  at  2.30.     Popular  prices,  50  cents,  75  cents,  $1. 
Sale  opens  Monday,  April  13,  at  8,30. 


JEWETT  PIANO  USED. 


(1180) 


BOSTON     SYMPHONY     HALL 

Handel^  Haydn  Society 

Mr.  EMIL  MOLLENHAUER,  Conductor 
Mr.  H.  G.  TUCKER,  Organist 
Mr.  ALFRED  DE  VOTO,  Pianist 
AND   A  FULL  ORCHESTRA 

Easter    Sunday,    April     12,     1903,    7.30    RM. 

"Israel    in     Egypt" 

The  Handel  and  Haydn  Society  will  sing  this  colossal  oratorio 
of  Handel  for  the  tenth  time  on  Easter  Sunday  at  7.30  p.m. 
This  oratorio,  the  "  Messiah"  perhaps  excepted,  is  generally 
conceded  to  be  the  giant  Handel's  greatest  work.  To  the  lover 
of  chorus  singing  the  stupendous  choruses  of  "  Israel  in 
Egypt  "  furnish  a  light  and  shade,  a  grandeur  and  sublimity, 
unequalled  in  any  musical  composition.  In  this  work  the  story 
is  told  by  the  chorus.  There  are  twenty-six  choruses,  most  of 
them  double  choruses,  and  some  of  them  quite  difficult. 
It  is  hardly  necessary  to  say  that  the  Handel  and  Haydn  chorus, 
composed  of  four  hundred  voices,  carefully  selected  and  thor- 
oughly drilled  by  the  ablest  conductor  of  the  day,  will  perform 
the  work  in  a  manner  that  will  give  the  highest  satisfaction. 

SOLOISTS 

Soprano,  Mrs.  KILESKI  BRADBURY 

cAlto,  Mrs.  BERTHA  CUSHING  CHILD 
Tenor,  Mr.  GEORGE  HAMLIN 
Bass,  Mr.  L.  WILLARD  FLINT 

Bass,  Mr.  L.  B.  MERRILL 

The  price  of  tickets  will  be  $2.00,  $1.50,  and  $1.00.  The  sale  will  begin  Monday, 
April  6,  at  8.30  A.M.,  at  Symphony  Hall  (telephone,  <Back  <Bay  1492)  and  at 
Schirmer's  Music  Store,  26  West  Street  (telephone,  Oxford  783). 

Information  in  regard  to  the  sale  of  tickets,  etc.,  can  be  obta:ned  by  addressing  the 
Secretary. 

WILLIAM  F.  BRADBURY,  Secretary 
April  3,  1903 
369  Harvard  Street,  Cambridge 

(1187) 


44 


PINAFORE" 


IN   AID  OF  THE 


Convalescent  Home  of  the  Children's  Hospital 

BIJOU    THEATRE 

Tuesday  evening,  April  14,  Wednesday  Matinee,  April  15 


Josephine  . 
Little  Buttercup 
Hebe 

Sir  Joseph  Porter,  K.C.B 
Captain  Corcoran 
Dick  Deadeye    . 
Ralph  Rackstraw 
Boatswain 

The  ** Boatswain's  Song  " 


CAST. 

Mrs.  Alice  Bates  Rice 

Mrs.  S.  Henry  Hooper 

Miss  Adah  Campbell  Hussey 

Mr.  John  P.  Tucker 
Frederic  A.  Turner,  Jr. 
Mr.  Howard  W.  Brown 
Mr.  George  E.  Hills 
Mr.  Lincoln  Bryant 
will  be  sung  by  Mr.  Sullivan  A.  Sargent 


Mr. 


The  Harvard  Mandolin  Club  will  give  a  concert  between  the  acts 

Conductor,  Mr.  Frank  O.  Nash 

The  Opera  will  be  under  the  stage  direction  of  Mr.  James  A.  Gilbert 

Tickets,  $2.00  and  $1.50,  are  on  sale  at  Herrick's,  Copley  Square,  and  at  Homeyer's  Music 
Store,  165  Tremont  Street,  near  Keith's  Theatre. 


Olive  )Mead, 


VIOLINIST. 


Address  F.  R.  Comee,  Symphony  Hall,  Boston,  or 


-j   v  (  9  East  17th  Street,  New  York. 

'  )  6  Cork  Street,  London. 


(1188) 


SYMPHONY  HALL 

SUNDAY    EVENING,    APRIL    26,    1903,    at  eight 

SECOND    CONCERT 

BY    THE 

BOSTON 

SYMPHONY 

ORCHESTRA 

WILHELM  GERICKE,  Conductor 

IN  AID  OF  ITS 

PENSION     FUND 

Assisted  by  Miss  ADA  CROSSLEY 

PROGRAMME 

Rossini       ...  .  .  Overture,  "  William  Tell " 

Bizet  ........  Suite,  "  Roma  " 

Aria 
Handel      ....    Largo  for  Violins,  Four  Harps,  and  Organ 

Mr.  Wallace  Goodrich,   Organist 
Saint-Saens        .......  Danse  Macabre 

Aria 
Johann  Strauss  ........       Waltz  ■ 

Soloist,  Miss  ADA  CROSSLEY 


Orders  by  mail,  accompanied  by  check  made  payable  to  C.  A.  Ellis,  will  be  filled  in 
the  order  of  their  reception. 

Tickets,  $1.50,  $1.00,  and  75  cents,  on  sale  at  Symphony  Hall  on  and  after  Friday, 
April  17. 

(1189) 


SANDERS  THEATRE,  CAMBRIDGE 


LAST  CONCERT 


BY 


The  Boston  Symphony 
Orchestra 

70  "PERFORMERS,     8Mr.   WILHELM  GERICKE,  Conductor 


Thursday  Eveningt  April  23t 

AT   7.45 


SOLOIST 

Mr.  CARL  STASNY 


TICKETS  on  sale  at  the  University   Bookstore,    Harvard  Square,  and 

at  the  door. 

(1190) 


MUSICAL   INSTRUCTION. 


Miss  HARRIET  S.  WHITTIER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams 


Concert  and  Oratorio. 
HiSS  GERTRUDE  EDMANDS,  Vocal  Instruction. 

EXETER    CHAMBERS. 


Specialist  in  the  Science  of 

Mr.  CHARLES  B.  STEYENS.  Tone  Frodoction  aM  the  Art  of  *mi 


'  Studio  20,  Steinert  Hall  Building. 


Telephone,  1331  Oxford. 


Miss  ANNA  MILLER  WOOD, 

flEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vlanesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


Miss  JESSIE  DAVIS 


Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...LESSONS... 

Studio,   163    iTassachusetts  Avenue. 

(1191) 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TENOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston 


Mr.  GOSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacber  of  Violin,  Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHUR  HADLEY. 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSE/IBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 
DAVID   POPPER. 

STUDIO:  171A    TREriONT  STREET. 


JOHN  G.  MANNING, 


Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


J.  D,  BUCKINGHAM. 


PIANOFORTE.     Method  of  I.  Philipp. 

The   most   advanced   technics   of  the 
present  day. 
"A  teacher  of  the   first   magnitude." — Huneker,   on 
Philipp,  in  Mezzo-tints  in  Modern  Music. 

32  STEINERT  HALL,  BOSTON. 


Miss   ROSE    STEWART, 

Pupil  of  nARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


Hrs.  ilabel  Harm  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street.  Boston. 


The   Boston   Symphony    Orchestra    Programme 

For  the  twenty-four  Boston 
Concerts,  with  Historical  and 
Descriptive  Notes  by  Philip  Hale. 

Bound  copies    of   the  Programme   for   the    entire  season  can  be  had  at  $1.50  by  apply- 
ing before  the  last  concert.     Address  all  communications  to 

F.  R.  COMEE,  Symphony  Hall,  Boston. 

(li'.i'j) 


BEN  DAVIES 

THE    GBEAT   ENGLISH    TENOft 

PRAISES    THE 

WEBER 
PIANO 


New  York,  April  2,  1903. 
Messrs.  WEBER  &  CO.: 

Gentlemen, —  I  find  the  sympathetic  singing  quality  and 
richness  of  tone  of  the  Weber  Piano  delightful  and  peculiarly 
invaluable  for  accompanying  the  voice. 

Very  truly  yours, 

(Signed)  BEN  DAVIES. 

The  Boston  Representatives  of  the  Weber  are 

Geo.  H.  CHamplin  (&  Co. 

18  J  TREMONT  STREET 


PACHMAIT 

!The  Steinway. 
Ymolwrite  this  downlltis 

ivin€.ItislMine?f  in  the 


orn  an  interview  published  in 

reenter  .Spy,  Sept. 28, is?? 


'"^^ 


STEIN  WAY   PIANOS 


M.  STEIN  ERT  &  SONS  CO. 

162  To  165  Boglston  Street,  Boston,  Mass. 


sri-i 


PRoGRAttAE 


FELIX    FOX 

TO 


March  14,  1903. 

Mason  &  Hamlin  Co., 

Cambridge,  Mass. 

Gentlemen, —  After  now  having  played  your  Piano- 
fortes many  times  in  recitals,  in  chamber  concerts,  and 
with  orchestra,  I  feel  constrained  to  express  to  you  my 
great  appreciation  of  and  satisfaction  at  their  musical 
tone  and  their  superb  action.  In  short,  they  are  artistic 
creations  in  the  fullest  sense  of  the  word,  and  their  in- 
fluence is  paramount  in  the  advancement  of  music,  the 
greatest  of  all  the  arts. 

Wishing    you  much   continued  success,  believe  me 

to  be 

Yours  faithfully, 

FELIX  FOX. 


I 


M.  Steinert  <&  Sons  Co. 

New  England  Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR 


PROGRAMME 

OF  THE 

TWENTY=  SECOND 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE      J*    J*    J*    Jt 


FRIDAY  AFTERNOON,  APRIL  17, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  APRIL  18, 

AT  8j00  O'CLOCK. 


Published  by  C  A.  ELLIS,  Manager. 

(1193) 


ME  SS  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest    Grand    Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


(1194) 


TWENTY-SECOND  SEASON,  1902-1903. 


Twenty-second  Rehearsal   and   Concert* 


FRIDAY  AFTERNOON,  APRIL  17,  at  2.30  o'clock. 

SATURDAY  EVENING,  APRIL  J  8,  at  8.00  o'clock. 


PROGRAMME. 

Gluck        .....  Overture  to  u  Iphigenia  in  Aulis  " 

Richard  Strauss         Burleske  in  D  minor,  for  Pianoforte  and  Orchestra 

(First  time.) 

Borodin     .      On  the  Steppes  of  Central  Asia,  Orchestral  Sketch,  Op.  7 


Raff  .        .        .        .         "  Lenore,"  Symphony  No.  5,  in  E  major 

Part  I.    Happiness  in  Love. 

I.     Allegro. 

II.     Andante  quasi  larghetto. 

Partll.    Parting. 

III.  March  tempo.     Agitato. 

Part  III.    Reuniting  in  Death. 

Introduction  and  Ballad  (after  G.  Burger's  "  Lenore  "). 

IV.  Allegro.     L'  lstesso  tempo. 


SOLOIST : 

Mr.  HEINRICH    GEBHARD. 


THE    PIANOFORTE    IS    A    STEINWAY. 


There  -will  be  an  intermission  of  ten  minutes  before  the  symphony. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.  

City  of  Boston,  Revised  Regulation  of  Augrust  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 
Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct »uch  view,  may  be  worn.  . 

Attest:   J.  M.  GALV1N,  City  Clerk. 
(1195) 


L.  P.  HOLLANDER  &  CO. 

SALE  OF  SUMMER  DRESSES 

In  Order  Department  on  Third  Floor 

JUST  RETURNED  FROM  OUR  PALM    BEACH    STORE 

A  Large  Assortment  of  Sample  Gowns 

To  suit  the  season,  and  while  in  very  good  condition  are  still  not  such 
as  we  wish  to  put  in  our  new  Spring  Stock,  and  so  we  propose  to  sell 
them  at  a 

VERY  LOW  FIGURE 

PERCALES  and  UNLINED  MUSLINS  from  $  \  5.00  to  $35.00 

HANDSOME  MULLS,  FOULARDS,  CREPE  DE  CHINES,  and 
LINENS,  lined  and  unlined,  from  $35.00  to  $95.00 

Also  in  same  department  we  shall  offer  Monday  a  large  assortment  of 
beautiful  imported 

SILK  WAISTS 

Made  to  our  special  order  in  Paris.  They  are  unlike  anything  shown 
in  this  country.  Price,   $  X  2.50 


Overture  to  the  Opera,  "IphigEnia  in  Aulis." 

Christoph  Wilibald,  Ritter  von  Geuck. 

(Born  at  Weidemvang,  in  the  upper  Palatinate,  July  2,  17 14; 
died  at  Vienna,  Nov   15,  1787.) 

"Iphigenie  en  Aulide,"  a  lyric  tragedy  in  three  acts,  libretto  by  du 
Roullet,*  music  by  Gluck,  was  performed  for  the  first  time  at  the  Opera, 
Paris,  April  19,  1774.  It  was  the  first  of  the  operas  written  by  Gluck 
for  Paris,  and,  even  before  it  was  produced,  it  made  a  sensation.  We 
learn  from  Grimm  and  Diderot's  "Correspondance  Litteraire"  (Part 
II.,  vol.  iii.,  pp.  79-84)  of  the  discussions  provoked.  "For  a  fortnight 
no  one  thinks  or  dreams  here  of  anything  except  music.  It  is  the  theme 
of  all  our  talk  and  disputes,  it  is  the  soul  of  all  our  suppers,  and  to  be 
interested  in  anything  else  would  appear  ridiculous.  If  you  speak 
of  politics,  you  are  answered  with  a  harmonic  device;  if  you  make  a 
moral  reflection,  the  ritornello  of  an  arietta  is  the  reply ;  and  if  you  try 
to  recall  the  interest  produced  by  this  or  that  piece  of  Racine  or  Vol- 
taire, the  only  answer  is  a  remark  concerning  an  orchestral  effect  in 
Agamemnon's  fine  recitative.  .  .  .  All  the  parties  are  fired  with  like 
fury.  There  are  three  especially  conspicuous:  that  of  the  old  French 
opera,  which  has  sworn  to  recognize  no  other  gods  than  Lulli  and 
Rameau ;  that  which  stands  for  purely  Italian  music  and  believes  in  the 
song  only  of  the  Jumellis  {sic),  Piccinis,  Zachinis;  and  that  of  the 
Chevalier  Gluck,  who  pretends  to  have  found  the  most  appropriate 
music  for  dramatic  action, — music  whose  principles  are  drawn  from 
the  eternal  source  of  harmony  and  the  intimate  relationship  of  our 
sentiments  and  sensations;  this  music  belongs  to  no  special  country, 
but  the  genius  of  the  composer  has  known  how  to  adapt  his  style  to 
the  particular  idiom  of  our  language." 

*The  music  dictionaries  give  "  du  Rollet"  but  the  librettist  himself  spelled  his  name  with  a  u.  (See 
Desnoiresterre's  "  Gluck  et  Piccini,"  p.  78.)     Larousse  spells  the  name  Durollet. 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

GEORGE  W.  CHADWICK,  Director 

Mid-session  Registration,  April  16 

School  Year  ends  June  24 


You  are  cordially  invited  to  visit  the  new  Conservatory  Build- 
ing on  Huntington  Avenue,  one  block  from  Symphony  Hall 


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Makers  mid  Finders  of  the  Unusual 

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The  part  of  Iphigenia  was  taken  by  brilliant  Sophie  Arnould,  who 
might  have  disputed  with  Titus  the  title  "the  delight  of  mankind." 
The  opera  as  a  whole  was  coolly  received  the  first  night,  although  the 
librettist  had  prudently  organized  a  claque  with  a  friendly  hatter  at 
the  head.  At  the  second  performance  the  opera  was  praised  to  the 
skies.  The  memoirs  of  the  period  are  full  of  entertaining  gossip  con- 
cerning Gluck,  the  performance,  the  interpreters.  We  are  told  that 
Sophie  Arnould  was  tightly  laced  as  the  virgin  victim ;  that  she 
carried  the  tragic  handkerchief  of  ancient  stage  queens  and  princesses,, 
the  handkerchief  that  never  left  the  hand  in  moments  of  anguish  or 
rapture.*  When  the  opera-house  was  reopened  after  the  death  of  the 
king  and  the  banishment  of  Madame  du  Barry, t  "Iphigenia"  again 
became  the  rage,  and  the  coiffure  a  V I phigenie  was  in  high  fashion.  In 
those  days  of  enormous  structures  this  coiffure  was  comparatively 
simple :  it  consisted  of  a  wreath  of  black  flowers  surmounted  by  the 
crescent  of  Diana,  with  a  kind  of  veil  which  covered  half  the  back  of 
the  head. 

The  Abbe  Arnaud,  in  his  famous  letter  to  Madame  D.  (April,  1774), 
dwelt  at  length  on  the  grandeur  and  tenderness  of  the  overture,  which 
soon  became  a  favorite  concert  piece,  but  there  were  dissenting  voices. 
Forkel  wrote:  "This  overture,  which  is  brought  forward  as  an  exam- 
ple of  a  true  overture,  is  in  no  way  an  overture,  for  it  has  not  in  the 
slightest  degree  any  of  the  true  and  characteristic  features.  We  must 
therefore  put  it  in  the  class  of  symphonies,  and  it  must  then  be  said 
that  as  a  symphony  it  has  no  high  rank." 

The  overture,  as  written  by  Gluck,  is  connected,  as  that  of  "Don 
Giovanni,"  immediately  with  the  opening  scene.  Mozart,  it  is  said, 
wrote  an  ending  for  concert  performance,  but  this  ending  is  now  at- 
tributed by  some  to  J.  B.  S.  Schmidt  (1 779-1853).  The  overture  is 
scored  for  2  flutes,  2  oboes,  3  bassoons,  4  horns,  3  trumpets,  kettle- 
drums, strings.  Gluck  dedicated  the  score  of  his  opera  to  the  King  of 
France. 

•Emma  Albani,  as  Desdemona  in  Verdi's  "  Otello,"  carried  the  traditional  handkerchief  at  Mechanics' 
Building  in  March,  1890. 

t  These  accidents  inspired  Sophie  to  say  of  herself  and  the  other  damsels  of  the  Opera,  "We  are  orphans, 
who  have  lost  both  father  and  mother." 

FOUR   PIECES     Collections  of 


By  L.  BOCCHERINI 


Children's  Songs 


Transcribed  for  the  Pianoforte  Hm>*\  ,?',      FiV6    S°ngS    (R°U,ld      . 

Rabbit)  ....    #0.75 

By  GIUSEPPE  HARTUCCI       Shepard,  Thos.  G.    "Me"(Cvcle)  .       1.00 
Gilchrist,  W.  W.  Songs  for  the  Chil- 

Largo       .     $0.60  Presto       .     $0.65  dren 1.00 

,„.  An  t>     j  e.c       Gaynor,  Jessie  L.    Songs  from  the 

Mmuetto.         .40  Rondo      .        .65  child  World     .  .       i.oo 


The  four  transcriptions  which  make 
up  this  set  are  modern  in  presentation,  and 
retain  the  delicate  flavor  of  their  time. 


Smith,  Gerritt.     Song  Vignette  1.25 

Abt,  Franz.      Thirty  German  Chil- 
dren Songs        ....        .75 

All    music  performed  at  these  concerts 
constantly  on  hand. 


ARTHUR   P.  SCHMIDT,  CHARLES  W.  HOHEYER  &  CO., 

BQSTON,  LEIPZIG.  NEW  YORK,    j  16S    TREflONT  STREET, 

146  Boylston  Street.  136  Fifth  Avenue.   |  BOSTON. 

ai99) 


When  Wagner  was  conductor  of  the  Royal  Opera  House  at  Dresden, 
he  arranged  and  revised  the  opera  for  performance,  and  his  version  was 
first  performed  there,  Feb.  22,  1847.  His  ending  to  the  overture  was 
written  later  and  at  Zurich. 


Wagner  wrote  an  article,  dated  Zurich,  June  17,  1854,  concerning 
the  character  of  this  overture,  and  the  article  was  published  in  the  Neue 
Zeitschrift  fur  Musik  for  July  1,  1854,  together  with  the  full  score  of 
the  new  close,  devised  by  Wagner,  a  close  of  thirty-three  measures. 
The  following  extracts  from  the  translation  into  English  by  Mr.  Will- 
iam Ashton  Ellis*  are  now  pertinent :  — 

"As  you  know,  in  my  great  seclusion  from  all  public  art-intercourse, 
to  make  life  bearable  I  now  and  then  help  myself  to  a  rehearsal  of  one 
of  Beethoven's  symphonies,  or  something  similar,  with  our  Zurich 
Musical  Society's  little  orchestra,  recruited  every  year  as  chance  betides. 
The  immediate  stimulus  proceeded — and  still  proceeds — from  a  hand- 
ful of  friends,  to  whom  I  thus  afford  a  pleasure  without  annoying  any 
one,  unless  it  may  be  Town-councillor  Hitzschold  of  Dresden,  in  whom 
my  readings  of  these  symphonies  were  so  unfortunate  as  to  wake  ob- 
jections. 

"Now  last  winter  a  worthy  friend,  who  neither  dabbles  in  music 
nor  reads  musical  journals,  expressed  to  me  the  wish  to  hear  something 
of  Gluck's  for  once  in  a  way,  so  as  to  get  an  impression  of  the  latter's 
music,  which  nowhere  had  come  to  his  hearing.  I  found  myself  in  a 
dilemma,  for  I  could  think  at  first  of  nothing  but  the  performance  of 

*  I  have  not  felt  myself  called  upon  to  simplify  the  swollen  and  involved  translation  of  a  swollen  and 
involved  original,  and  Mr.   Ellis's  split  infinitives  are  still  split. 

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(1201) 


an  act  from  one  of  Gluck's  operas,  and  that,  too,  at  a  concert.  Between 
ourselves,  I  can  imagine  no  more  hideous  travesty  of  a  dramatic,  and 
especially  a  tragic  piece  of  music,  than  to  have  Orestes  and  Iphi- 
genia,  for  instance, — in  tail-coat  and  ball-dress,  with  the  big  nosegay 
and  the  notes  between  kid-gloves, — proclaiming  their  death-agonies  in 
front  of  a  concert  orchestra.  It  must  really  be  set  down  to  the  'one- 
sidedness '  of  my  nature  that,  where  an  artistic  illusion  is  not  fully  at 
work  on  me,  I  cannot  even  be  half-content, — a  thing  which  comes  so 
easily  to  every  musician  by  trade.  Wherefore,  giving  up  the  recital 
of  a  Gluckian  opera  scena  for  my  friend,  there  remained  nothing  but 
the  choice  of  Gluck's  most  perfect  instrumental  piece,  the  Overture  to 
'Iphigenia  in  Aulis.' 

"Only,  here  also  I  lit  on  a  difficulty:  the  last  few  bars,  as  every  one 
knows,  lead  straight  into  the  opera's  first  scene,  and  thus  the  overture 
has  no  ending  of  its  own.  Yet  I  remembered — from  concerts  in  my 
youth,  as  also  in  later  years  before  the  performance  of  'Iphigenia  in 
Tauris'*  at  the  Dresden  Court  Theatre,  under  my  former  colleague 
Reissiger — to  have  heard  this  overture  given  with  a  close  devised  by 
Mozart;  that  it  had  always  made  a  cold,  indifferent  impression  on  me 
most  certainly  stayed  also  in  my  memory;  yet  this,  I  fancied,  I  must 
attribute  solely  to  what  I  had  later  seen  to  be  a  total  misconception 
of  the  tempo  (now,  of  course,  within  my  own  hands),  not  also  to  the 
Mozartian  close  itself.  I  therefore  went  through  the  overture  accord- 
ing to  Mozart's  arrangement  in  a  rehearsal  with  the  orchestra.  But, 
when  I  reached  the  appendix,  it  became  impossible  for  me  to  let  the 

*  Gluck's  "  Iphigenia  in  Tauris  "  has  been  revised  for  stage  performance  by  Richard  Strauss. — Ed. 

UP    TO    1903. 


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Here  is  a  piece  at  random,  a  bureau  from 
a  set.  The  finest  of  tough  San  Domingo  mahogany,  inside  and  out,  with 
cross-banded  mouldings,  edges,  and  borders.  Of  a  color  like  a  ripe  horse- 
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band  proceed  beyond  its  first  eight  bars.  I  felt  at  once  that,  if  this 
Mozartian  close  was  in  and  for  itself  a  most  unsatisfactory  match 
with  the  intrinsic  thoughts  of  Gluck's  overture,  it  was  absolutely  not 
to  be  listened-to  when  performed  in  the  proper  tempo  of  the  foregoing 
composition.  Now,  according  to  my  experience,  the  truth  about  this 
tempo  is  as  follows : — 

"The  standing  pattern  for  all  overtures  in  the  past  century,  particu- 
larly in  the  case  of  serious  operas,  comprised  a  shorter  introduction 
in  slow  tempo,  followed  by  a  longer  section  in  more  rapid  tempo. 
People  were  so  accustomed  to  this  that  in  Germany,  where  Gluck's 
'Iphigenia'  itself  has  not  been  given  for  ever  so  long,  the  overture  to 
this  opera — which  only  got  performed  at  concerts — became  instinctively 
regarded  as  likewise  composed  after  the  usual  pattern.  It  is  correct 
enough  that  this  piece,  too,  contains  two  diverse  sections  of  primarily 
diverse  tempo;  to  wit,  a  slower  one,  as  far  as  the  nineteenth  bar,  and 
from  there  onwards  a  movement  exactly  twice  as  fast.  But  it  was 
Gluck's  intention  to  use  the  overture  as  an  introduction  to  the  first 
scene,  which  begins  with  the  very  same  theme  as  its  commencement. 
Not  to  outwardly  break  the  tempo,  he  therefore  wrote  the  Allegro 
section  in  notes  just  twice  as  quick  as  he  would  have  needed  if  he  had 
marked  the  change  of  tempo  with  an  'Allegro.'  This  is  quite  obvious 
to  any  one  who  follows  up  the  score,  and  looks  into  the  scene  between 
Calchas  and  the  rebellious  Greeks  in  the  first  act;  here  we  find  the 
identical  semi-quaver  figure  of  the  overture,  but  written  down  in  quavers 
precisely  because  the  tempo  here  is  signed  'Allegro.'  Over  and  over 
again  the  chorus  has  to  pronounce  one  syllable  to  each  of  these  quavers, 
which  exactly  fits  the  temper  of  the  mutineering  troops.  Now,  with 
trifling  modifications  necessitated  by  the  character  of  the  remaining 
themes,  Gluck  adopted  this  tempo  for  the  Allegro  of  his  overture ;  only — 
as  remarked  above — with  a  different  signature,  so  as  to  keep  the  outer 
beat  to  the  first  tempo,  the  'Andante,'  which  returns  when  the  overture 
is  finished.  Thus,  too,  not  a  trace  of  change  of  tempo  is  indicated 
in  the  old  Paris  edition  of  the  score,  but  the  initial  'Andante'  goes  on 
unaltered  throughout  the  overture,  and  thence  into  the  beginning  of 
the  first  scene. 

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"German  concert  conductors,  however,  have  overlooked  this  peculi- 
arity of  signature,  and,  where  the  quicker  notes  begin,  with  the  up  stroke 
for  the  twentieth  bar,  they  have  also  introduced  their  habitual  faster 
tempo,  so  that  at  last  the  barefaced  mark  'Allegro'  passed  into  Ger- 
man editions  of  this  overture  (and  after  them,  mayhap,  into  French 
as  well).  How  incredibly  Gluck's  overture  has  been  disfigured  by 
that  method  of  performing  it  exactly  twice  too  fast,  whoever  has  taste 
and  understanding  may  judge  for  himself,  if  he  listens  to  a  rendering 
of  this  tone-piece  in  the  proper  time  as  meant  by  Gluck,  and  then 
compares  it  with  the  trivial  scurry  which  has  formerly  been  set  before 
him  as  Gluck's  masterwork.  That  he  had  not  always  felt  this,  that 
it  did  not  strike  him  from  the  first,  how  there  must  be  something  wrong 
with  this  much-praised  overture,  which  people  even  went  so  far  as 
stupidly  and  indifferently  to  play  as  introduction  to  a  quite  other  opera 
(which  would  have  been  impossible,  had  they  rightly  understood  it), — 
this  can  then  grow  explicable  to  him  by  nothing  but  the  general  medi- 
tation, how  from  youth  we  haul  along  with  us  such  a  ballast  of  instilled, 
of  inculcated,  and  finally  of  will-lessly  adopted  respect-for-authority, 
that,  when  at  last  the  bugbear  is  scared  away  by  a  direct,  a  determi- 
nant impression  on  our  feeling,  we  scarce  can  fathom  how  we  ever 
held  it  for  a  real  and  genuine  substance.  Yet  there  are  many  supremely 
happy  beings,  to  whom  neither  this  impression  nor  this  meditation 
ever  comes  at  all ;  people  who  keep  their  feelings  so  well  in  check,  and 
can  so  hold  at  arm's  length  each  involuntary  determining  thereof  by 
new  phenomena,  that  in  face  of  every  fresh  experience  they  plume 
themselves  on  staying  what  they  were,  or  rather  what  they  were 
made-into  in  some  earlier,  some  solitary  phase  of  evolution.  .  .  . 

"I  discovered — as  said — that  Mozart  had  only  made  acquaintance 
with  the  overture  in  that  mutilated  fashion  just  denounced;  and  the 
plainest  proof  that  a  distorted  rendering  must  betray  even  the  most 
gifted  musician  into  an  entirely  false  conception  of  another's  tone- 
work — which,  to  be  sure,  can  still  impress  one  through  its  other  excel- 
lencies— was  afforded  me  by  just  Mozart ;  who  certainly  would  never 
have  written  his  brilliant,  but  quite  unfitting  close,  if  he  had  rightly 
understood   the  overture.     Now  what  was    I    to  do?     Make  a  close 


Keep  Your  Stomach  Well 

Horsford's  Acid  Phosphate  cures  habitual 
stomach  weakness,  improves  the  appetite 
and  digestion,  and  removes  the  cause  of 
headache  and  wakefulness. 


Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


il2C6, 


myself!  That  would  have  been  as  easy  as  A  B  C  for  every  musician 
by  trade,  but  not  for  me,  a  poor  amateur*  who,  as  every  one  knows,  can 
only  trust  myself  to  embark  on  music  when  I  may  hope  therein  to 
realise  poetic  aims.  Was  there  not  a  poetic  aim  at  the  bottom  of 
Gluck's  overture?  Most  certainly  there  was ;  but  it  was  of  such  a  kind 
that  it  positively  rebuffed  any  self-willed  musical  close.  To  me,  one- 
sided layman  that  I  was.  the  content  of  this  overture  had  shewn  the 
following  characteristic,  highly  significant  of  the  whole  art  scheme 
of  overtures  in  general:  in  it  the  chief  motives  of  the  coming  drama 
are  happily  assigned  a  most  determinant  effect  upon  the  feeling,  and 
mustered  side  by  side.  I  say :  side  by  side;  for  one  can  scarcely  call 
them  evolved  from  out  each  other,  saving  in  so  far  as  each  unit  drives  its 
impression  home  by  having  its  antithesis  placed  close  beside  it,  so  that 
the  effect  of  this  abrupt  juxtaposition,  and  thus  the  impression  made 
by  the  operation  of  the  earlier  motive  on  the  specific  effect  of  its  suc- 
cessor, is  not  only  of  importance,  but  of  quite  decisive  weight.  The 
whole  content  of  Gluck's  overture,  then,  appeared  to  me  as  follows :  — 

"(i)  A  motive  of  Appeal,  from  out  a  gnawing  anguish  of  the  heart. 

"(2)  A  motive  of  Power,  of  imperious,  overbearing  demand. 

"(3)  A  motive  of  Grace,  of  maidenly  tenderness. 

"(4)  A  motive  of  sorrowing,  of  agonising  Pity. 

"The  whole  compass  of  the  overture  is  filled  by  nothing  but  the 
constant  interchange  of  these  (last  three)  chief  motives,  linked  to- 
gether by  a  few  subsidiary  motives  derived  from  them.  In  themselves 
there  is  nothing  altered,  beyond  the  key.  Merely  they  are  made  more 
and  more  importunate  in  their  meaning  and  mutual  bearing,  through 
just  that  characteristic,  multifarious  interchange ;  so  that  when  finally 
the  curtain  rises,  and  Agamemnon  appeals  in  the  first  motive  to  the 
dread  Goddess  who  but  at  price  of  his  gentle  daughter  will  favor 
the  Grecian  host,  we  are  placed  in  fellow-feeling  with  the  lofty  tragic 
conflict  whose  development  from  definite  dramatic  motives  we  now 
are  to  await. 

"That  Gluck  gave  this  overture  no  close   thus  witnesses  not  only 

*  Here  is  probably  a  reference  to  Schumann's  remark  about  "  Tannhauser  " :  "  The  music,  apart  from  the 
representation's  weak,  often  simply  amateurish."  (See  letter  to  C.  von  Bruyck,  Vienna,  dated  May  S, 
1853.)- Ed. 

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to  a  poetic  purpose  underlying  it,  but  above  all  to  the  master's  supreme 
artistic  wisdom,  which  knew  exactly  what  alone  was  representable 
through  an  instrumental  tone-piece.  Happily,  also,  his  object  bade 
him  ask  nothing  from  his  overture  but  that  which  every  overture  can 
give  at  best, — incitement  (Anregung) .  Had  he  wanted,  as  later  masters, 
to  round  off  the  very  introductory  piece  to  a  satisfaction  (Befriedigung), 
not  only  would  it  have  estranged  him  from  his  higher  artistic  goal  — 
which  lay  in  just  the  drama  —  but  that  instrumental  piece  itself  could 
only  have  been  brought  to  such  a  fictive  rounding-off  by  burdening 
it  with  the  most  arbitrary  demands  on  the  hearer's  imagination. 

"Now  to  any  one  who  wished  to  furnish  this  overture  with  a  musical 
close,  for  sake  of  a  special  concert  performance,  there  presented  itself  the 
difficulty— providing  he  correctly  grasped  its  contents — of  bringing 
about  a  'satisfaction '  which  not  only  is  absolutely  unaimed  at  by  either 
the  general  plan  or  the  character  of  the  motives,  but  must  altogether 
do  away  with  a  correct  impression  of  the  work.  Was  one  of  these  mo- 
tives to  finally  obtain  precedence  in  the  sense  of  ousting  the  others,  or 
even  of  triumphing  over  them?  That  would  be  a  very  easy  matter 
for  all  the  jubilee  overture  writers  of  our  day;  only  I  felt  that  I  thus 
should  just  have  not  given  my  friend  a  notion  of  Gluck's  music,  which 
was  really  my  sole  object  in  the  undertaking.  ...  I  resolved  to  admit 
no  'satisfactory  ending'  in  the  wonted  overture  sense  of  to-day,  but  by 
a  final  resumption  of  the  earliest  motive  of  them  all  to  simply  termi- 
nate the  changeful  play  of  motives  in  such  a  way  that  we  reach  at  last 
an  armistice,  though  no  full  peace.  For  that  matter,  what  lofty  art 
work  ever  gives  a  full,  a  satisfying  peace?  Is  it  not  one  of  the  noblest 
of  Art's  functions  to  merely  kindle  in  a  highest  sense? 

"My  proposal,  indeed,  was  much  favored  by  the  circumstance  that 
the  overture,  as  it  passes  into  the  opera's  first  scene,  actually  leads  us 
back  to  that  earliest  motive.  I  thus  was  surely  doing  the  smallest 
violence  to  the  purely  musical  structure  by  resuming  the  original 
thought,  just  as  the  master  himself  had  done,  and  merely  bringing  it 
to  a  simple  close  on  the  tonic.  ...  I  merely  add  that,  especially  at  the 
last  performance  in  Zurich,  I  felt  impelled  by  inner  need,  and  in  answer 
to  a  feeling  kindled  in  me  by  the  subject,  to  take  the  first  eight  bars 

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of  the  introduction  in  a  gentle,  gradual  crescendo  and  the  following 
eleven  bars  in  a  just  as  unobtrusive  decrescendo."  Wagner  adds  illus- 
trations in  musical  notation  of  the  desired  phrasing.  "That  every- 
thing I  have  advanced,  however,  must  nowhere  be  carried  out  glar- 
ingly, but  always  with  the  greatest  delicacy, — this  is  certainly  the 
main  thing  here,  as  with  all  kindred  added  nuances,  where- 
fore one  really  can  never  be  too  guarded  in  communications  of  this 
sort.  ...  I  should  very  much  like  to  conclude  at  once  with  the  open 
declaration:  that  I  hold  it  the  most  rational  course  for  us  to  perform 
nothing  whatever  of  Gluck  and  confreres  any  more,  for  this  reason,  among 
others,  that  their  creations  are  mostly  performed  so  unintelligently  that 
their  impression,  coupled  with  the  respect  instilled  into  us  from  out- 
youth  up,  can  only  make  us  utterly  confused  and  rob  us  of  our  last  grain 
of  productivity. ' ' 


Burusske  for  Pianoforte  and  Orchestra.     .    Richard  Strauss. 

(Born  at  Munich,  June  n,  1864;  now  living  at  Charlottenburg  —  Berlin.) 

This  work  bears  no  opus  number.  Mr.  James  Huneker  thinks  it 
"must  have  been  written  in  1885,"  but  he  gives  no  reason  for  the  opin- 
ion. A  remark  by  Mr.  Otto  Lessmann  in  the  Allgemeine  Musik  Zeitung 
(Berlin)  of  Jan.  16,  1891,  confirms  Mr.  Huneker's  opinion.  Eugen 
d'Albert,  to  whom  the  burlesque  is  dedicated,  played  the  piece  at  a 
Philharmonic  Concert  in  Berlin,  Jan.  12,  1891,  when  von  Biilow  con- 
ducted.    Mr.   Lessmann    wrote    in    his   review   of   the  concert:    "Mr. 


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d 'Albert  excited  the  greatest  interest  by  playing  with  astonishing 
bravura  Chopin's  Concerto  in  E  minor  and  Richard  Strauss's  'Bur- 
lesque' for  pianoforte  and  orchestra.  .  .  .  The  'Burlesque,' which  by  the 
way  is  not  a  new  work,  but  belongs  to  Strauss's  yeasty  period,  when  the 
youthful  composer  was  a  partisan  of  Brahms,  seemed  to  be  unintelligible 
to  the  majority  of  the  audience.  If  I  am  not  mistaken,  the  composer 
himself,  when  he  conducted  the  work  at  Eisenach  last  year,  revised  and 
made  clearer  not  only  the  orchestral  interludes,  but  the  whole  orchestral 
score,  so  that  then  the  length  of  the  piece  was  far  less  noticeable  than 
at  this  performance,  although  there  were  some  cuts  made  at  this  concert. 
At  any  rate,  the  piece  is  very  interesting,  but  so  difficult  that  I  cannot 
name  any  pianoforte  concerto  which  in  this  respect  equals  it." 

This  performance  at  Eisenach  was  on  June  21,  1890,  when  d 'Albert 
was  the  pianist. 

The  "Burleske"  was  copyrighted  in  1894,  and  the  published  score  was 
reviewed  in  German  music  journals  early  in  1895.  Mr.  Herman  Bischoff 
said  in  his  review  published  in  the  Allgemeine  Musik  Zeitung  of  March 
!5»  J895,  that  the  work  was  composed  while  Strauss  was  busy  at 
Meiningen.  Now  Strauss  was  music  director  at  Meiningen  from  Octo- 
ber, 1885,  to  August,  1886,  when  he  became  director  of  the  Munich 
Court  Theatre.  It  was  at  Meiningen  that  he  brought  out  his  second 
symphony,*  the  one  in  F  minor  (composed  in  1883-84,  and  first  played 
from  manuscript  at  a  concert  of  the  New  York  Philharmonic  Society, 
Theodore  Thomas  conductor,  Dec.  13,  1884),  and  made  his  debut  as  a 
pianist  by  playing  Mozart's  Concerto  in  C  minor,  t  So  Mr.  Huneker's 
supposition  as  to  the  date  of  composition  is  probably  correct. 

The  "Burleske"  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2 
bassoons,  4  horns,  2  trumpets,  4  kettle-drums  (and  Strauss  mentions 
the  use  of  a  "chromatic  drum"),  strings,  and  pianoforte. 

The  piece  begins  Allegro  vivace,  3-4,  with  a  phrase  for  kettle-drums, 

*  Strauss's  first  symphony,  in  D  minor,  was  produced  at  Munich,  March  20.  1881.  "The  extreme  youth 
of  the  composer  called  forth  remonstrances."    This  symphony  has  not  been  published. 

t  There  is  dispute  about  this.  Mr.  Huneker  says  the  concerto  was  in  D  minor.  Mr.  Gustav  Brecher, 
who  has  written  a  life  of  Strauss,  says  "  C  minor." 


m 


ONGS  THAT 
INGERS  ARE 
INGING  3  3  5 


Andrews,  Addison  F. 
Ashford,  Robert 
Berwald,  W. 


"Oh,  for  a  Day  of  Spring"' 
"Dreamy  Days"  . 
'Love's  Whispers''  . 


Bullard,  Frederic  Field  "A  Stein  Song" 


Busch,  Carl  "Remembrance' 

Cole,  Rossetter  G.  "Auf  Wiederseh'n 

Fisher,  Wm.  Arms  "Gae  to  Sleep" 

"  "  "Sweet  is  Tipperary" 

Frey,  Adolf  "A  True  Love  Song" 

Hadley,  Henry  K.    "Der  Asra" 

«  «  "I  Plucked  a  Quill" 

Hammer,  Marie  von"  A  Rose  Once  Grew" 

Hopekirk,  Helen        "O  Can  Ye  Sew  Cushions" 4° 


Hyatt,  N.  Irving       "The  Spring  of  Love" 
Klein,  Bruno  Oscar  "To  the  Woodlark" 
Little,  Alfred  E. 
Manney,  C.  F. 
Mawson-Marks, 


Mayhew,  Grace 

Miersch,  Paul 
tt 

Norris,  Homer 
Oliphant,  Sara 


"Absence' 

"My  True  Love  Hath  My  Heart''   . 

"My  Part  in  Thee" 

"Twilight  Lullaby"  ...  .40 
"The  Shoogy-Shoo"  ...  .40 
"Gently  Close  M y  Weary  Eyelids, " .  60 

"Im  Walde" 4° 

"Dearie" 4° 

"Baloo,  My  Dear" 50 

(1212) 


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which  has  been  characterized  as  an  orchestral  mot  rather  than  phrase. 
The  orchestra  answers,  and  again  the  drums  have  the  say.  The  two 
chief  themes  of  a  contrasted  nature  are  announced  in  turn  by  the  piano- 
forte, but  there  are  other  themes  which,  as  used  by  Strauss,  have  much 
significance.  The'keen  rhythmical  sense  and  the  mastery  of  orchestral 
combination  arc  shown  clearly  in  this  early  work,  and  there  are  many 
instances  of  the  humor,  now  grotesque,  now  grim,  that  characterizes 
his  "Till  Eulenspiegel,"  portions  of  "Ein  Heldenleben,"  and,  as  they 
say,  "Don  Quixote,"  which  has  not  yet  been  played  in  Boston. 

The  "Burleske"  is  seldom  played.  I  find  no  record  of  a  performance 
in  Germany  during  the  last  seven  years.  It  was  performed  for  the 
first  time  in  England  at  the  Royal  Academy  students'  concert,  London, 
March  13,  1903,  when  Miss  Mary  Burgess  was  the  pianist. 

Strauss  has  written  these  works  for  solo  pianoforte :  five  pianoforte 
pieces,  Op.  3  (1881);  Sonata  in  B  minor,  Op.  5  (1881);  5  Stimmungs- 
bilder,  Op.  9, — "Auf  stillem  Waldespfad,"  "Aneinsamer  Quelle,"  Inter- 
mezzo, "Traumerei,"  "Haidebild"  (1882-83).  Chamber  music:  Sonata 
in  F  major,  for  'cello  and  pianoforte,  Op.  6  (1882-83) ;  Sonata  in  E-flat, 
for  violin  and  pianoforte,  Op.  18  (1887). 


An  oiiverture  burlesque  is  described  by  J.  G.  Walther  (1732)  as  a 
farcical  and  jocular  overture,  in  which  ridiculous  melodies,  founded  on 
parallel  octaves  and  fifths,  are  put  side  by  side  with  serious  matters. 


SHREVE,   CRUMP   &  LOW  CO. 


Rare  Gems,  Oriental  Pearls, 
Diamonds 


ARTISTIC  JEWELRY. 

Novelties  in  Sterling  Silver  Chatelaine  Watches 

FINEST  Hall  Clocks 


In  our  ART  ROOMS  a  wonderful  showing  of 
OB  JETS  D'ART 


147  TREMONT  iSTREET 


(1216) 


On  the  Steppes  of  Central  Asia,  Op.  7, 

Alexander  Borodin. 

(Born  at  St.  Petersburg,  Nov.  12,  1834;  died  there,  Feb.  27,  1887.) 

"Dans  les  Steppes  de  l'Asie  Centrale:  Esquisse  Symphonique " 
was  composed  in  1880  for  performance  at  an  exhibition  of  tableaux 
vivants  at  the  theatre  of  St.  Petersburg  on  the  occasion  .of  the  twenty- 
fifth  anniversary  of  the  Tsar  Alexander  II.  These  tableaux  repre- 
sented episodes  in  Russian  history. 

The  work,  dedicated  to  "Dr.  F.  Liszt,"  is  scored  for  2  flutes,  1  oboe, 
1  cor  anglais,  2  clarinets,  2  bassoons,  4  horns,  2  trumpets,  3  trombones, 
a  pair  of  kettle-drums,  and  strings. 

The  score  bears  an  explanatory  preface  in  Russian,  German,  and 
French,  and  it  may  be  thus  Englished:  — 

"In  the  silence  of  the  sandy  steppes  of  Central  Asia  is  heard  the 
refrain  of  a  peaceful  Russian  song.  One  also  hears  the  melancholy 
sound  of  Oriental  song,  the  steps  of  approaching  horses  and  camels. 
A  caravan,  escorted  by  Russian  soldiers,  traverses  the  immense  desert, 
continues  fearlessly  its  long  journey,  abandons  itself  trustfully  to 
the  protection  of  the  Russian  warlike  band.  The  caravan  advances 
steadily.  The  song  of  the  Russians  and  that  of  the  natives  mingle 
in  one  and  the  same  harmony.  The  refrains  are  heard  for  a  long 
time  in  the  desert,  and  at  last  are  lost  in  the  distance." 

When  you  go  to  Paris 

And  order  a  gown,  you  will  find  that  the  Tailleur  will  insist 
upon  a  perfect-fitting  Corset  before  he  begins  his  work.  Seven 
out  often  of  them  will  insist  upon  a 


CLAS5IQUE. 


This  Corset  is  generally  acknowledged  to  be  the  most  perfect-fitting  in  the  world. 
At  least,  Paris  says  so  ;  and  Paris  dictates  in  such  matters.  It  is  used  by 
the  most  exclusive  modistes  in  the  French  capital,  the  leaders  who  rule  the 
world  of  dress. 

One  of  the  greatest  distinctions  of  our  establishment  is  the  fact  that  the  "  Clas- 
sique"  Corset  has  for  years  been  sold  in  Boston  exclusively  by  us.  We  have 
just  received  the  new  spring  models.  The  prices  range  from  $5-75  upwards. 
We  can  fit  any  figure. 

Remember  that  the  "  Classique  "  is  hand-fashioned  by  the  most  skilful  corsetiers 
of  Paris.  Only  genuine  whalebone  is  used.  We  urge  you  to  try  the  effect 
of  one  of  these  French  corsets  upon  your  figure. 


B.  SOMMER  &  CO., 


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This  orchestral  sketch  was  played  for  the  first  time  in  the  United 
States  at  a  matinee  of  the  Philharmonic  Society  of  Brooklyn,  Theo- 
dore Thomas  conductor,  at  Brooklyn,  March  23,  1886.  It  was  played 
for  the  first  time  in  Boston  at  a  Symphony  Concert,  Feb.  27,  1892. 
It  was  performed  at  a  later  concert,  Nov.  30,  1895. 

Allegretto  con  moto,  2-4.  The  first  violins,  divided,  sustain  an  upper 
pedal-point.  Under  this  the  clarinet  sings  an  exotic  tune,  which  is 
continued  by  the  horn.  The  Oriental  melody  is  announced  by  the 
cor  anglais.     These  melodies  are  finally  combined  in  treatment. 

*  * 
This  sketch  was  written  while  Borodin  was  hard  at  work  on  his 
opera,  "Prince  Igor."  The  libretto  written  by  him  was  founded  on 
a  national  epic  poem,  which  told  of  the  expedition  of  Russian  princes 
against  the  Polovtsi,  a  nomadic  folk,  who  invaded  the  Russian  empire 
in  the  twelfth  century,  and  were  of  the  same  origin  as  the  Turks. 
The  conflict  of  Russian  and  Asiatic  nationalities  delighted  Borodin. 
He  tried  to  live  in  the  atmosphere  of  the  bygone  century.  He  read 
the  poems  and  songs  that  had  come  down  from  the  people  of  that 
time.  He  collected  folk-songs  even  from  Central  Asia.  But  his 
friends  discouraged  him,  and  said  the  time  for  writing  operas  on 
historic  or  legendary  subjects  had  passed;  that  it  was  necessary  to 
be  operatic  with  a  subject  of  contemporaneous  interest.  Some  of 
the  music  of  this  opera  found  its  way  into  his  second  symphony,  which 
was  produced  at  St.  Petersburg,  Feb.  2,  1877.  The  opera  was  not 
performed  until  after  his  death.  It  was  completed  by  Rimsky- Korsakoff 
and  Glazounoff,  and  produced  at  St.  Petersburg  in  November,  1890. 
I  speak  of  this  opera  because  the  Steppe-sketch  shows  the  influence 
of  Borodin 's  studies  for  his  opera. 


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Alexander  Porphyriewitch  Borodin  was  something  more  than  an 
amateur  composer.  On  his  father's  side  he  came  from  the  Imere- 
tinsky  princes,  who  formerly  ruled  one  of  the  most  beautiful  of  the 
ancient  kingdoms  of  the  Caucasus,  boasted  of  their  descent  from 
King  David,  and  claimed,  therefore,  the  right  to  add  the  harp  and 
the  sling  to  their  armorial  bearings.  While  no  one  perhaps  claims 
that  the  gift  of  music  descended  directly  from  the  king  of  Israel  to 
Borodin,  it  may,  nevertheless,  be  allowed  that  his  Oriental  ancestry 
shaped  in  a  large  measure  his  musical  feeling  and  expression.  His 
father  was  sixty-two  years  old  and  his  mother  was  twenty-five  when 
he  was  born.  It  is,  therefore,  not  surprising  that  his  health  was  deli- 
cate. At  the  age  of  twelve  years  he  was  divided  between  love  of 
science  and  love  of  music.  As  a  child  he  took  part  in  four,-hand  per- 
formances of  the  music  of  Haydn,  Beethoven,  and  Mendelssohn, 
and  he  studied  the  'cello  and  flute.  His  first  piece,  a  concerto  for  flute 
and  pianoforte,  was  written  in  1847,  when  he  was  thirteen  years  old; 
and  his  next  piece,  a  trio  for  two  violins  and  a  'cello,  on  a  theme  from 
"Robert  le  Diable,"  was  written  directly  in  parts,  and  not  in  score. 
There  were  political  troubles  at  the  University  of  St.  Petersburg  at 
that  epoch,  and  so  his  mother  put  him  into  the  Academy  of  Medi- 
cine and  Surgery,  to  which  he  was  admitted  in  1850.  Borodin  studied 
zealously,  and  passed  brilliant  examinations,  and  he  pursued  with 
special  interest  chemistry  under  the  direction  of  Professor  Zinine. 
All  this  time  he  cultivated  music  with  eagerness,  and  often,  as  a  young 
man,  he  would  play  the  'cello  from  seven  o'clock  at  night  till  seven 
o'clock  in  the  morning.     He  was  a  great  admirer  of  German  music, 


KAKAS  BROS. 


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and,  according  to  his  own  expression,  was  thoroughly  saturated  with 
Mendelssohnism.  His  friends  were  German  students,  because  he 
followed  the  wish  of  his  mother,  who  feared  the  morals  of  his  Russian 
colleagues.  Nevertheless,  the  influence  of  national  music  had  already 
made  itself  felt  in  his  soul,  and  he  espoused  the  cause  of  the  critic 
Seroff,  when  the  latter  defended  Glinka  against  all  the  German  com- 
posers. He  wrote  romances,  but  he  kept  them  to  himself;  for  he 
realized  full  well  that  professional  musicians  are  suspicious  of  amateur 
music,  and,  furthermore,  he  feared  that  his  professor  in  chemistry 
would  regard  him  as  frivolous.  While  he  was  at  the  academy  he 
wrote  a  three-voice  fugue,  such  as  are  made  in  Germany,  and  also  a 
scherzo  in  B  minor  for  the  piano,  which  is  distinctly  Russian  in  char- 
acter. In  1856  Borodin  was  admitted  as  physician  of  the  Second 
Hospital  of  the  Territorial  Army.  Offended  by  the  cruelty  shown 
the  serfs  by  some  of  their  officers,  he  turned  gladly  again  toward  music, 
and  in  this  year  he  met  Moussorgsky,  who,  at  the  age  of  seventeen, 
was  an  army  officer,  a  dashing  young  blade,  with  aristocratic  feet  and 
hands,  pleasingly  combed  hair,  correct  nails,  who  liked  to  quote  French 
and  play  selections  from  Italian  operas.  When  he  next  saw  him,  in 
1859,  Moussorgsky  had  quitted  the  military  service  for  the  sake  of 
making  music  his  profession.  At  that  time  Schumann  was  unknown 
to  Borodin.  Moussorgsky  talked  to  him  with  enthusiasm  about  Schu- 
mann's symphonies,  played  pieces  of  the  same  composer  to  him,  and 
awakened  in  him  the  desire  to  write  music  of  his  own, — music  that 
should  be  personal  and  at  the  same  time  national.  In  1862  Borodin 
became  acquainted  with  Balakireff,  the  father,  counsellor,  friend  of 
the    neo-Russian    School.     Balakireff,    although    he    was    two    years 


EVERY  LITTLE   DETAIL  IN  THE 

BALDWIN    PIANO 

REPRESENTS    MODERN    IDEAS, 

SCIENTIFIC  THOUGHT, 

ARTISTIC  TASTE. 


GRAND  PRIX,  PARIS,  1900. 


RAOUL      PUGNO, 

THE  GREAT  FRENCH  PIANIST, 

SELECTED  THE  BALDWIN  FOR  HIS  CONCERT  TOUR  IN  THE 

UNITED  STATES. 


New  England  Representatives, 
PRIEST   &   BROOKS,  207  Tremont  Street,  Boston,  flass. 


younger,  became  the  real  and  sole  teacher  of  Borodin.  He  taught 
him  harmony  according  to  the  method  of  Rimsky-Korsakoff,  and  he 
explained  to  him  musical  form,  and  the  technical  construction  of  vari- 
ous German  works.  Up  to  this  time  Borodin  had  considered  himself 
as  an  amateur,  but  in  1862  he  began  to  compose  with  fervor  a  symphony 
and  to  take  music  seriously. 

In  1858  Borodin  travelled  to  complete  his  scientific  studies.  He 
was  gone  three  years,  and  spent  the  greater  part  of  the  time  at  Heidel- 
berg in  laboratory  work.  He  visited  Italy,  and  he  was  for  a  very 
short  time  at  Paris.  During  this  period  he  wrote  a  sextet  in  D  major 
for  strings  without  double-bass,  in  Mendelssohnian  style,  for  the  pur- 
pose, as  he  said,  of  pleasing  the  Germans.  This  was  played  at  Heidel- 
berg in  i860.  He  returned  to  St.  Petersburg  in  1862,  and  was  named 
assistant  teacher  of  chemistry  at  the  Academy,  where  he  had  studied. 
Nor  did  he  cease  to  teach  up  to  the  day  of  his  death.  He  instructed 
chiefly  in  organic  chemistry,  and  he  had  charge  of  the  laboratory. 
He  made  many  experiments,  and  wrote  many  articles  on  chemistry. 
These  articles  were  published  in  the  special  magazines  of  Russia  and 
other  countries.  Among  the  most  celebrated  of  his  pamphlets  are 
" Recherches  sur  le  fluorure  de  benzol"  (1862)  and  a  work  on  "Solidi- 
fication des  aldehydes."  During  his  latter  years  he  was  especially 
interested  in  experiments  for  physiological  and  medical  use,  on  the 
transformation  of  nitrogen  bodies;  and  he  invented  a  nitrometer  for 
the  volumetric  determination  of  nitrogen  in  organic  compounds.  He 
was  named  professor  of  chemistry  in  the  Academy  of  Forestry  in  1863. 
He  was  one  of  the  most  ardent  advocates  of  the  admission  of  women 
to  higher  education,  and  he  was  one  of  the  three  founders  of  a  medical 
school  for  women  in  St.  Petersburg.  A  silver  crown  on  his  coffin  bore 
this  inscription:  "To  the  founder,  the  protector,  and  the  defender  of 
the  School  of  Medicine  for  Women ;  to  the  guide  and  the  friend  of  the 
student:  the  female  graduates  from  1872  to  1887." 


The  first  measures  of  the  Steppe-sketch  are  reproduced,  with  other 


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(1222) 


themes  from  his  works,  on  mosaic  with  gold  background  behind  his 
bust  in  bronze  which  is  in  the  convent  of  Alexander  Newski  on  a  bank 
of  the  Neva. 


Liszt  thought  highly  of  Borodin,  as  is  shown  not  only  by  allusions  to 
him  in  his  letters,  but  by  his  treatment  of  him  at  Weimar  in  1877  and  at 
Magdeburg  in  1881.  He  admired  especially  Borodin's  first  symphony. 
He  wrote  in  1884:  "It  is  said  that  M.  Lamoureux  is  admitting  the 
'Steppes'  by  Borodin  into  one  of  his  programmes.  We  shall  see  what 
sort  of  a  reception  it  will  have.  For  the  rest  I  doubt  Lamoureux's 
venturing  so  soon  on  the  Russian  propaganda.  He  has  too  much  to 
do  with  Berlioz  and  Wagner."  Lamoureux  produced  it  Nov.  1 1,  1888, 
with  success. 

Tschaikowsky  wrote  from  San  Remo  (Dec.  24,  1877)  to  Mrs.  von 
Meek  a  singular  letter  in  which  he  reviewed  the  works  of  the  then 
ultra-modern  Russian  school :  ' '  Borodin — the  fifty-year  old  Professor 
of  Chemistry  at  the  Academy  of  Medicine — also  has  talent,  even  to 
a  very  marked  degree,  which,  however,  has  come  to  nothing  on  account 
of  insufficient  knowledge.  Blind  Fate  has  led  him  to  the  professional 
chair  of  chemistry  instead  of  vital  musical  activity.  He  has  not  so  much 
taste  as  Cui,  and  his  technic  is  so  weak  that  he  cannot  write  a  measure 
without  the  help  of  another." 


The  works  of  Borodin  are  as  follows :  — 

Op.  1,  Symphony  No.  1,  in  E-flat.  Op.  2,  Four  melodies :  "La  prin- 
cesse  endormie,"  "Mon  chant  est  amer,"  "Dissonance,"  "La  mer." 
Op.  3,  Four  melodies:  "Chanson  de  la  foret  sombre/'  "Fleurs  d'amour," 
"La  reine  des  mers,"  "Le  jardin  enchante."  Op.  4,  String  Quartet 
No.  1,  in  A  major.  Op.  5,  Symphony  No.  2,  in  B  minor.  Op.  6, 
Paraphrases  for  pianoforte.  Op.  7,  "Dans  les  steppes  de  l'Asie  cen- 
trale,"  orchestral  sketch.  Op.  8,  Petite  Suite  for  pianoforte  (Au  con- 
vent, Intermezzo,  deux  Mazurkas,  Reverie.  Serenade,  Nocturne).     Op. 


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9,  Scherzo  in  A  flat  for  orchestra.  Op.  10,  Septain  for  voice  and 
pianoforte.  Op.  n,  Serenata  alia  Espagnola  (from  string  quartet  on 
the  name  B-la-f),  by  Rimsky- Korsakoff,  Liadoff,  Borodin,  Glazounoff. 
Posthumous  Works:  Op.  12,  String  Quartet  in  D.  Op.  13,  "Le 
prince  Igor,"  opera  in  four  acts  and  a  prologue,  finished  by  Rimsky - 
Korsakoff  and  Glazounoff  (performed  at  St.  Petersburg,  November, 
1890).  Op.  14,  "Melodie  Arabe,"  for  voice  and  pianoforte.  Op.  15, 
Melodic,  "Dans  ton  pays  si  plein  de  charmes."  Op.  16,  "Serenade 
de  quatre  galants  a  une  dame,"  comic  quartet  for  male  voices.  Op. 
17,  Melodie  for  voice  and  pianoforte,  "La  vanite'  marche."  Op.  18, 
"Chez  ceux-la  et  chez  nous,"  song  with  orchestral  accompaniment. 
Op.  19,  Two  movements  of  the  Symphony  No.  3  in  A  minor,  orches- 
trated by  Glazounoff.  Op.  20,  Finale  of  "Mlada,"  opera-ballet,  or- 
chestrated by  Rimsky- Korsakoff. 

The  Symphony  in  E-flat  was  produced  here  at  a  Symphony  Con- 
cert, Jan.  4,  1890,  and  it  was  played  again  April  7,  1900.  The  Quartet 
No.  1  was  played  at  a  Kneisel  concert,  Nov.  19,  1899;  the  Quartet 
No.  2  at  Kneisel  concerts,  Jan.  21,  1895,  April  11,  1898,  Dec.  2,  1901. 


"Lenore,  "  Symphony  No.  5,  in  E  major 


Joachim  Raff. 


(Born  at  Lachen,  on  the  Lake  of  Zurich,  May  27,  1822;    died  at  Frankfort  - 
on-the-Main,  June  24-25,  1882.) 

This  symphony  was  composed  at  Wiesbaden  in  1872.  It  was  per- 
formed for  the  first  time  at  a  private  concert  of  the  Prince's  Court 
Orchestra  at  Sonderhausen,  Dec.  13,  1872,  before  a  small  audience  of 
invited  guests  and  under  the  direction  of  the  composer.  The  first 
performance  in  public  was  at  the  Concert  House,  Berlin,  Oct.  29,  1873, 
when  Bilse  conducted.  The  first  performance  in  this  country  was  at 
Boston  at  a  Thomas  concert,  Dec.  5,  1873. 


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(1224) 


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•  I  VERS  &  POND   • 

•  PIANO    CO  • 

114BOYLSTON  ST.  BOSTON 


(1225) 


The  score  of  the  symphony  was  published  in  September,  1873;  the 
parts  in  October  of  that  year. 

The  symphony  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets,  2 
bassoons,  4  horns,  2  trumpets,  3  trombones,  kettle-drums,  snare-drum, 
triangle,  and  strings. 

The  symphony  was  inspired  by  ' '  Lenore, ' '  the  well-known  ballad 
(1773)  by  Gottfried  August  Burger  (1747-48-94);  but  only  the  last 
movement  has  to  do  with  the  text  of  the  poem.  The  first  two  move- 
ments picture  scenes  in  the  life  of  Lenore  and  Wilhelm  before  the 
action  of  the  ballad  begins. 

Part  I.  "Happiness  in  Love."  Allegro,  E  major,  4-4.  This 
movement  opens  with  the  announcement  of  the  first  theme  by 
strings.  A  little  episode  in  B  major  with  alternate  phrases  in  wood- 
wind and  first  violins  follows.  The  first  theme  returns  and  swells  to  a 
fortissimo.  The  flood  of  tone  is  interrupted.  A  new  and  sombre  theme 
appears  (oboe,  then  clarinet),  which  soon  leads  to  the  second  chief 
theme  in  C  major,  which  is  developed  by  the  strings.  A  second  sub- 
sidiary episode  is  given  to  the  clarinets,  then  to  the  flutes  with  accom- 
paniment of  strings.  The  second  theme  returns,  but  in  doubly  fast 
movement.  The  free  fantasia  is  elaborate.  Choral  phrases  are  intro- 
duced, which  reappear  in  the  final  movement.  There  is  a  long  and 
brilliant  coda. 

II.  Andante  quasi  larghetto,  A-flat  major,  3-4.  The  chief  theme 
is  given  out  by  the  strings  with  occasional  responses  from  the  horn. 
There  is  a  subsidiary  horn  theme  against  a  staccato  figure  in  the  wood- 


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(1226) 


wind  and  strings  pizzicati.  An  introductory  oboe  solo  brings  in  the 
second  theme  (violins),  E-flat  major.  The  first  theme  enters  imme- 
diately after,  and  there  is  an  agitated  episode  in  G-sharp  minor,  which 
is  followed  by  the  second  theme,  this  time  in  E  major  (first  violins, 
then  'cellos).  The  first  theme  returns  in  A-flat  major.  There  is  a  short 
coda. 

Part  II.  "Parting."  Third  movement.  March  tempo,  C  major,  4-4. 
This  movement  is  a  brilliant  march,  which  begins  softly,  as  in  the  dis- 
tance, grows  louder  and  louder,  until  it  is  interrupted  by  an  episode 
(Agitato,  C  minor),  which  has  a  lyric  rather  than  a  martial  character. 
After  the  end  of  this  episode  the  march  is  resumed,  at  first  fortissimo, 
and  then  it  diminishes  till  it  is  wholly  lost.  With  the  lyric  episode  is 
developed  a  dialogue  between  first  violins  and  'cellos  (the  latter  is  sup- 
ported by  double-bass),  which  grows  more  and  more  passionate  until 
the  'cellos  in  recitative  say  the  last  farewell.  The  march  itself  has  a 
sort  of  trio  in  F  major.  It  is  stated  by  some  of  Raff's  pupils  (Mr. 
Edward  MacDowell  is  among  them)  that  Raff  intended  this  movement 
as  a  scherzo,  and  that  the  tempo  should  be  taken  as  2-2  rather  than 
as  4-4. 

Part  III.  "Reuniting  in  Death."  Fourth  movement.  Allegro,  E 
minor,  4-4.  This  movement  is  programme  music,  and  is  in  free  form. 
Burger's  poem  is  so  familiar  to  Germans  that  the  composer  did  not 
publish  extracts  from  it  in  the  score,  and  contented  himself  with  indi- 
cating the  source  of  inspiration.  The  poem  "William  and  Helen,  "  an 
imitation  in  English  by  Sir  Walter  Scott  (published  in  1796),  is  no  doubt 
familiar  to  English  readers.  The  movement  begins  with  a  mysterious 
walk  of  the  basses.  Reminiscences  of  earlier  themes  occur, —  the 
second  chief  theme  of  the  first  movement,  a  rhythmic  recollection  of  the 
choral  phrase  in  the  first  movement,  and  the  trio  of  the  march  (now  in 
C  major).  After  an  energetic  crescendo  and  a  reappearance  of  the 
march  trio  theme  a  new  motive  enters  (violins).  Again  a  hint  at  the 
choral  phrase,  and  then  the  mysterious  walk  of  the  basses  is  repeated, 
which  is  accompanied  by  a  rhythmic  figure  which  is  maintained  for  a 
long  time.  There  is  a  musical  picture  of  the  night  ride  of  the  lovers 
on  the  spectral  horse. 


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"Busk,  busk,  and  boune!     Thou  mount'st  behind 

Upon  my  black  barb  steed; 
O'er  stock  and  stile,  a  hundred  miles, 

We  haste  to  bridal  bed." 

Tramp!  tramp!    along  the  land  they  rode, 

Splash !    splash !    along  the  sea ; 
The  scourge  is  wight,  the  spur  is  bright, 

The  flashing  pebbles  flee. 

"  Dost  fear?  dost  fear?     The  moon  shines  clear, 

Dost  fear  to  ride  with  me  ? 
Hurrah!   hurrah!   the  dead  can  ride ! " 

"O  William,  let  them  be!" 

"  The  time  now  changes  to  3-4,  and  a  new  theme  enters  (horns,  violas); 
which  is  accompanied,  however,  by  the  persistent  rhythm  in  strings. 
There  are  fanfares  of  horns  and  trumpets.  The  time  is  changed  back 
to  4-4.  The  wild  trills  in  the  wood-wind  are  repeated;  the  rhythm 
of  the  strings  changes  to  triplets.  This  wildness  is  suddenly  inter- 
rupted. The  tonality  changes  to  B  major,  2-2,  and  there  is  a  choral 
theme  (strings  at  first),  suggested,  no  doubt,  by  the  closing  words  of 
the  ballad: — 

/'Geduld!    Geduld!    Wenn's  Herz  auch  bricht! 

Mit  Gott  im  Himmel  hadre  nicht! 

Des  Leibes  bist  du  ledig : 

Gott  sei  der  Seele  gnadig!" 

The  ghost-horse  stops  at  an  open  grave;  the  maiden  is  claspiug  in 
her  arms  a  skeleton;  the  horse  dissolves  in  open  air,  and  leaves  the 
maiden  on  the  ground. 

"Half  seen  by  fits,'  by  fits  half  heard, 
Pale  spectres  flit  along, 
Wheel  round  the  maid  in  dismal  dance, 
And  howl  the  funeral  song; 

"'E'en  when  the  heart's  with  anguish  cleft, 
Revere  the  doom  of  Heaven. 
Her  soul  is  from  her  body  reft; 
Her  spirit  be  forgiven.'  " 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(1228) 


Burger  was  accused  of  taking  not  only  the  idea  of  his  ghastly  ballad, 
but  even  certain  lines,  from  an  old  poem  in  "low  Dutch."  The  story, 
as  told  in  lower  Saxony,  was  as  follows :  ' '  The  lover  enlists  in  the  army, 
is  killed,  appears  by  night,  gently  rapping  at  the  door  of  his  sweet- 
heart. She  asks,  Who's  there?  'Dien  leef  is  dar, '  is  his  answer.  She 
opens  the  door,  gets  behind  him  on  his  horse;  they  gallop  away  in  the 
swiftest  course.     Then  the  swain  says  these  identical  words: — 

" '  De  mond,  de  schint  so  helle, 
De  doden  net  so  schnelle. 
Fiens  Leesken  gruvlt  di  ok?' 
Wat  scholl  mi  gruveln,  du  bist  ja  by  mi  '  " 

she  replies.  After  they  have  been  galloping  for  a  good  while,  he 
makes  up  to  a  church-yard.  The  graves  open;  horse  and  rider  are 
swallowed  up,  and  the  woman  is  left  behind  in  darkness  and  gloom." 
Burger  admitted  to  Schlegel  that  he  had  taken  a  few  lines  from  the 
old  Saxon  ballad ;  but  he  denied,  and  no  doubt  with  good  cause,  the 
charge  of  wholesale  plagiarism. 

Certain  English  antiquarians  have  asserted  that  Burger  took  the 
idea  of  "Lenore"  from  an  old  English  ballad:  "The  Suffolk  Miracle: 
or,  a  Relation  of  a  Young  Man,  who  a  month  after  his  death  appeared 
to  his  Sweetheart,  and  carry'd  her  on  horseback  behind  him  for  forty 
miles  in  two  hours,  and  was  never  seen  after  but  in  his  grave."  This 
ballad  was  published  at  London  in  a  collection  (1727).  There  is  a 
discussion  of  this  question  in  a  curious  volume,  "Miscellanea  Nova,"  by 
S.  Whyte  and  his  son,  E.  A.  Whyte  (a  new  edition,  Dublin,  1800). 
pp.  161-217.  This  Samuel  Whyte  was  a  Dublin  schoolmaster,  who 
taught  Richard  Brinsley  Sheridan  and  Thomas  Moore.  The  title-page 
of  the  "Miscellanea  Nova"  mentions,  as  among  the  contents,  "A 
Critique  on  Burger's  Leonora;  in  which  she  is  clearly  proved  of  English 
extraction."  Burger  is  severely  censured.  Lenore,  it  will  be  re- 
membered, was  rebellious  at  the  news  of  Wilhelm's  death. 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,  GOLFING,  AND 

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OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COHPANY,    -    BOSTON 

(12-29) 


O  mother,  mother,  what  is  bliss? 

O  mother,  what  is  bale? 
Without  my  William  what  were  heaven? 

Or  with  him  what  were  hell? 

The  moralist  observes:  "Here  the  Ghost  of  a  dead  Warriour,  armed 
cap-a-pee,  in  mail  of  the  same  temper,  mounted  on  the  Ghost  of  a 
dead  Charger,  makes  a  progress  of  five  hundred  German  miles,  and 
under  the  shape  of  an  affianced  lover,  cajoles  a  fond  credulous  female, 
good  and  lawful  flesh  and  blood,  to  quit  her  aged  weeping  mother  and 
get  up  behind  him:  off  he  carries  her,  hurry-scurry,  over  hill,  over 
dale,  wood,  waste,  bog  and  briar,  the  same  journey  back  again,  all 
in  the  space  of  one  short  night,  every  now  and  then  soothing  and  en- 
couraging her  to  sit  still,  with  an  equivocal  assurance  beneath  the  dig- 
nity of  a  Ghost,  of  accommodating  her  in  his  camp  bed,  six  boards 
and  a  sheet,  which  in  the  upshot  proves  to  be  his  grave.  And  that 
is  the  poor  creature's  punishment  for  uttering  a  rash,  a  wicked  expres- 
sion if  you  will  (exaggerated  we  may  suppose)  in  the  paroxysms  of 
insanity,  the  effect  of  her  fidelity  and  constancy;  virtues  which  the 
men,  though  little  they  have  to  brag  of,  will  seldom  allow  the  sex,  and 
surely  this  is  a  sad  way  of  inculcating.  Thus  the  order  of  nature  is 
subverted;  the  secrets  of  the  grave  prophaned,  and  a  tremendous 
apparatus,  as  if  the  fate  of  nations  depended  on  it,  exhibited,  for 
what?  To  frighten  an  innocent  young  maniac  and  send  her  a  little 
before  her  time  to  'Heaven.'"  The  Suffolk  maiden  was  found  to  be 
a  superior  person,  "an  unblemished,  heroic  sacrifice  to  virtuous  con- 
stancy ;   and  in  her  loss  the  parents  receive  the  due  punishment  of  their 


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(1230) 


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(1231) 


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Have  you  seen  the  charming  little 
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and  all  Music  Stores 


Foreign  Books. 
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Tauchnitz's  British  Authors. 
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(1232) 


avarice  and  hard  heartedness."  The  ballad  itself  had  circulated  as 
a  single  half- sheet  long  before  its  publication  in  1727,  and  had  been 
handed  down  from  father  to  son.  The  Suffolk  maiden  ties  a  handker- 
chief about  the  head  of  her  ghostly  love,  because  "he  did  complain 
his  head  did  ake."  He  leaves  her  at  her  father's  door,  and  disappears 
forever. 

A  handkerchief  she  said  she  ty'd 
About  his  head ;  and  that  they  try'd, 
The  sexton  they  did  speak  unto, 
That  he  the  grave  would  then  undo : 

Affrighted,  then  they  did  behold 

His  body  turning  into  mould, 

And  though  he  had  a  month  been  dead, 

The  handkerchief  was  about  his  head. 

This  thing  unto  her  then  they  told, 
And  the  whole  truth  they  did  unfold ; 
She  was  thereat  so  terrifyed 
And  grieved,  that  she  quickly  dyed. 

Part  not  true  love,  you  rich  men  then, 
But  if  they  be  right  honest  men  » 

Your  daughters  love,  give  them  their  way, 
For  force  oft  breeds  their  lives'  decay. 

LIST  OF  CASTS  IN  SYMPHONY  HALL. 

As  you  face  the  stage,  the  casts  on  the  right,  beginning  with  the  one 
nearest  the  stage,  are  as  follows:  Sitting  Anacreon  (Copenhagen); 
Faun  with  Infant  Bacchus  (Naples),  ordered;  Girl  of  Herculaneum 
(Dresden);  Dancing  Faun  (Rome);  Demosthenes  (Rome);  Apollo 
Citharoedus  (Rome) ;   Euripides  (Rome) ;   Diana  of  Versailles  (Paris). 

The  casts  on  the  left  are  the  Faun  of  Praxiteles  (Rome) ;  Amazon 
(Berlin);  Hermes  Logios  (Paris);  Lemnian  Athena  (Dresden,  head 
in  Bologna) ;  Sophocles  (Rome);  Standing  Anacreon  (Copenhagen),  or- 
dered; iEschines  (Naples) ;  Apollo  Belvedere  (Rome). 

The  reliefs  in  the  passage  are :  Bacchic  Procession  (Naples) ;  Orpheus, 
Eurydice,  and  Hermes  (Naples). 


(1233) 


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Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
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Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
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LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 

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(1234) 


Twenty-third  Rehearsal   and  Concert* 


FRIDAY  AFTERNOON,  APRIL  24,  at  2.30  o'clock. 


SATURDAY  EVENING,  APRIL  25,  at  8.00  o'clock. 


PROGRAMME. 

Beethoven Symphony  No.  J,  in  C  major 

Wieniawski *  Faust n  Fantasie  for  Violin 

Smetana     .....  Symphonic  Poem,  "  Richard  III." 

(First  time.) 
Mendelssohn Overture,  "  Ruy  Bias " 


SOLOIST : 
Mr.  ADOLF  BAK. 


(1285) 


{STPEMIVORT   HALL 

RECITAL  OF 

ORIGINAL  MONOLOGUES 

BY 

BEATRICE   HERFORD 

STEINERT  HALL,  TUESDAY  AFTERNOON,  APRIL  28,  AT  3 
Tickets  arc  now  on  sale  at  the  box  office 

In   answer   to  the  request  by  many  who  'were  unable  to  attend  the   CONCERT  of 
COMPOSITIONS  by  ANCIENT  and  MODERN  SPANISH  COMPOSERS 

Madame    ISIDORA    MARTINEZ 

HAS  ARRANGED  TO  REPEAT  IT  ON 
WEDNESDAY  AFTERNOON,   APRIL   29 

Assisted  by  Mrs.  Sawyer,  Mr.  MacKenzie,  Mr.  Morawsfci,  Mrs.  del  Castillo,  Miss 
Gorham,  and  Miss  Rebecca  R.  Joslin,  "President  Castilian  Club. 

Tickets,  $1.50  and  $1.00,  no<w  on  sale  at  the  hall 

Direction  RICHARD  NEWMAN,  Steinert  Hall 

SECOND  CHAMBER  CONCERT 

FELIX   FOX 

Assisted  by  the  HOFFMANN   STRING   QUARTETTE 

Jacques  Hoffmann,  Adolf   Bak,   Fritz   Zahn,   Carl  Barth 


STEINERT  HALL,  J-  Tuesday  evening,  April  2 J,  at  8 

S.  Taneiew 


QUARTETTE  for  Strings,  Op.  1 1   . 

(First  time.) 

PRELUDE  from  Op.  io  . 
MOONLIGHT         .         . 

BALLADE,  Op.  io 

POEM,  Op.  41,  No.  4 

SCHERZO 


QUINTETTE  for  Pianoforte  and  Strings 


E.  A.  MacDowell 
E.  B.  Hill 
H.  Brockway 
Arthur  Foote 
A.  G.  Salmon 


Cesar  Franck 


THE  MASON  &  HAMLIN  PIANOFORTE 

Tickets,  $1.00  and  $1.50,  now  on  sale  at  the  hall 

(1236) 


Giuseppe   Aldo    RANDEGGER 

The  Neapolitan  Pianist 
Monday  Afternoon,  April  21  >  at  3  o'clock 
IN  STEINERT  HALL 

Program 

BEETHOVEN Sonata  quasi  Fantasia,  Op.  27,  No.  1 

(  [a)    Harmonies  of  Evening 
\  (b)    Eroica 

GALUPPI Adagio 

BACH         .........  Prelude  and  Fugue  in  A  minor 

(  (a)  Ballade  IV.,  Op.  52 

CHOPIN l(t>)    Valse,  Op.  64 

(  (<r)    Polonaise,   Op.  40,  No.   1 

MENDELSSOHN-LISZT "  Auf  Fluegeln  des  Gesanges  " 

RANDEGGER,  G.  A Gavotte  en  Style  Antique 

De  BERIOT       ..........         Valse-Etude-Caprice 

Reserved  seats,  $0.75,  $1.00,  and  $1.50  Tickets  now  on  sale 

The  Steinway  Piano 

&he      INTRODUCTION     OF     A 

PIANOLA 

INTO        YOUR        HOME 

Will  produce  a  distinct  change  in 
its    atmosphere     j&     j&     j&     j&     j&     j& 

The  Piano,  heretofore  regarded  as  an  article  of  furniture,  assumes  a 
new  importance. 

THE  PIANOLA  gives  to  every  member  of  the  home  a  means  of  playing 
the  piano  simple  enough  to  be  within  the  children's  reach,  yet  sufficient  in 
its  artistic  value  to  please  the  taste  of  the  most  critical. 

Why  not  call  to-day  at  our  spacious  warerooms,  and  allow  us  to  de- 
monstrate to  you  the  wonderful  pleasure-giving  possibilities  of  THE 
PIANOLA? 

Price,  $250 

May  be  purchased  on  moderate  monthly  payments. 

Take  elevator  to  third  floor 


M.    STEINERT    (£L    SONS    CO. 

Piano    Warerooms 

Number  162  Boylston  Street,  Boston 

(1?37) 


#       CH  ICK  E  Rl  NG    HALL       & 

CHICKERING  HALL 
TWO    PIANO    RECITALS 

On  Saturday  Afternoon,  April  18,  at  2.30 

Wednesday  Afternoon,  April  22,  at  2.30 
By   OSSIP 

GABRILOWITSCH 

Direction  Mr.  DANIEL  FROHMAN 

Tickets,  50c,  75c,  $  J,  $1.50,  on  sale  at  Symphony  Hall 

The  Pianoforte  is  an  Everett. 

SONG  RECITAL 

-  BY  - 

Mrs.  JILIE  L.  WYMAN 

AT    THE 

NEW    CENTURY    BUILDING 
177  Huntington  Avenue  .... 

MONDAY,   APRIL  27,  at  3   O'CLOCK 


PROGRAMME 


L'Ideal Chaminade 

Mon  Cceur  chante       .      Chaminade 
L'Heure  Exquise    .     .  Hahn 

Reveries Hahn 

Infidelite Hahn 

Mai Hahn 

Ah,  Love  but  a  Day    .    Mrs.  Beach 
The  Year's  at  the  Spring 

Mrs.  Beach 


La  Cloche      .     . 
Dormez-vous 
L'Esclave  . 
At  Twilight     .     . 
In  a  Bower     . 
Chanson  Russe  . 
Marquise    . 
Bonne  Nuit    .     . 
Ouvre  tes  Yeux  Bleus 


Saint-Saens 

Wekerlin 

Lalo 

Nevin 

Nevin 

Paladilhe 

Massenet 

Massenet 

Massenet 


Tickets,  $1.00,  now  on  sale  at  Chickering  Hall  and  of  Mrs.  S.  B.  Field, 

Hotel  Nottingham 


l!238) 


Carl    Faeltein's 

SIXTH    PIANOFORTE    RECITAL, 

Wednesday  Evening,  April  22,    1903,  at  8  o'clock. 

Programme. 

Prelude  and  Fugue,  G  major,  Well-tempered  Clavichord, 

Part  2 Bach 

Theme  and  Variations,  B-flat  major,  Op.  142,  No.  2        .         .   Schubert 
Huntington       Novelette,  D  major,  Op.  21,  No.  2  ....  Schumann 

Chambers        Rhapsody,  B  minor,  Op.  79,  No.  2  } 

H  tl     *         Ballade,  D  major,  Op.  10,  No.  2      > Brahms 

HaU*  Scherzo,  E-flat  minor,  Op.  4  ) 

Sonata,  "  Les  Adieux,"  Op.  81a       .....  Beethoven 

TICKETS,  $1.00.   Jit     &    o*     Jt    For  sale  at  the  School,  30  Huntington  Avenue. 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 

APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 
Miss   LUCIE  A.  TUCKER'S  program  of  songs 

and  arias,  which  was  postponed  from  March  seventeenth  on  ac- 
count of  illness,  will  be  given  at  Chickering  Hall,  Wednesday  evening, 
April  twenty-ninth,  at  quarter  after  eight  o'clock.  Miss  LAURA 
HAWKINS  will  be  the  pianist.  Tickets  secured  for  the  former  date 
will  be  accepted  April  twenty-ninth.  Additional  tickets  for  one  dollar 
are  on  sale  at  the  hall. 

(1239) 


BOXES  SS  HORSE  SHOW 

FOR  THE  SEASON  OR  SINGLE 
AFTERNOONS    and    EVENINGS 

SEATS  IN  FIRST  ROW  OF 
BALCONY 


CON  NELLY'S  ticket  office,  adams  house 

WlllVkbUI     U  'PHONE,   OXFORD    942 

SYMPHONY  HALL 


FRIDAY  EVENING,  A    "TYDTT  ,7 

SATURDAY   AFTERNOON,  A  FI<1   L,  ,8 

SUNDAY  EVENING,  *  *"*         >•**-'  19 

LAST  APPEARANCES  THIS   SEASON. 


AND  HIS  ITALIAN  BAND 


Evenings  at  8,  afternoon  at  2.30.     Popular  prices,  50  cents,  75   cents.  $1. 
Sale  opens  Monday,  April  13,  at  8.30. 


JEWETT  PIANO  USED. 


SANDERS  THEATRE,  CAMBRIDGE 

LAST  CONCERT  BY 

The  Boston  Symphony  Orchestra 

70  PERFORMERS.     8Mr.   WILHELM  GERICKE,  Conductor 
Thursday  Evening,  April  23,  at  7.45 

SOLOIST 

Mr.  CARL  STASNY 

Tickets  on  sale  at  the  UNIVERSITY  BOOKSTORE,  Harvard  Square,  and  at  the  door 

(1240) 


From  the   UNITED    STATES 
OFFICIAL    CENSUS    REPORT 


"  In  1895  Messrs.  Wilcox  &  White,  of  Meriden,  Conn.,  began 
manufacturing  an  interior  attachment,  and  in  February,  1897, 
built  their  first  'ANGELUS'  a  cabinet  piano  player.  This 
instrument  may  be  regarded  as  the  PIONEER  OF  THE 
VARIOUS  SIMILAR  ATTACHMENTS  WHICH 
HAVE  SINCE  BEEN  PLACED  UPON  THE  MAR- 
KET." 

Although  we  are  justly  proud  of  hav- 
ing placed  before  the  public  the  pioneer 
piano  player,  the  ANGELUS  (an  in- 
strument by  means  of  which  any  one 
can  play  any  piano,  and  which  has 
created  a  new  industry),  yet  we  realize 
that  our  pre-eminence  must  be  main- 
ly tained  by  progress,  so  we  are  continually 
applying  our  experience,  our  skill,  and 
ingenuity  to  improving  and  perfecting 
the  ANGELUS.  To-day  we  declare 
that  there  is  no  piano  player  which  has 
such  complete  and  ingenious  expression 
devices  as  has  the  ANGELUS.  Moreover,  we  make  a  style  (The 
Angelus  Orchestral)  which  contains  finely  voiced  reeds,  with  which  the 
performer  may  produce  most  charming  effects  in  conjunction  with  the 
piano.      IV e  call  special  attention  to  our  Circulating  Library  of  Music. 

C.C.  HARVEY  &  CO. 

144  BOYLSTON  STREET 

Telephone,  134  Oxford  BOSTON,    MASS. 

(1241) 


SYMPHONY  HALL 

SUNDAY    EVENING,    APRIL    26,    J 903,    at  eight 

SECOND  CONCERT 

BY    THE 

Boston 
Symphony  Orchestra 

WILHELM  GERICKE,  Conductor 

IN  AID  OF  ITS 

PENSION     FUND 

Assisted  by  Miss  ADA  CROSSLEY 


PROGRAMME 

Rossini       ......  Overture,  "  William  Tell  " 

Bizet         ........  Suite,  "  Roma " 

Aria 

Handel     ....    Largo  for  Violins,  Four  Harps,  and  Organ 

Harpists 

Miss  Raymah  Dowse  Mrs.  Heinrich  Schuecker 

Miss  Fanny  Hamilton  Mr.  Heinrich  Schuecker 

Mr.  Wallace  Goodrich,   Organist 

Saint-Saens         .......  Danse  Macabre 

Songs  with  Pianoforte 

a.  Massenet         ....."  Les  Larmes  "  (Werther) 

b.  Richard  Strauss     .......  "  Allerseelen  " 

c.  Hahn       ........."  Baysage  " 

d.  C.  Willebv     .  .  ...  .  .  "  Four-leaf  Clover " 

Johann  Strauss  ........       Waltz 

Orders  by  mail,  accompanied  by  check  made  payable  to  C.  A.  Ellis,  will  be  filled  in 
the  order  of  their  reception. 

Tickets,  $1.50,  $1.00,  and  75  cents,  on  sale  at  Symphony  Hall  on  and  after  Friday, 
April  17. 

(1242) 


MUSICAL   INSTRUCTION. 


Miss  HARRIET  S.  WHITTIER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
J  183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 

Hiss  GERTRUDE  EDMANDS,  vocal  instruction. 

EXETER    CHAMBERS. 


Mr.  CHARLES  B.  STEVENS, 


Specialist  in  the  Science  of 
Tone  Production  and  the  Art  of  Singing. 

Studio  20,  Steinert  Hall  Building. 


Telephone,  1331  Oxford. 


Miss  ANNA  MILLER  WOOD, 

1TEZZ0-C0NTRALT0. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 

AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Slgnor  V  ianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


Miss  JESSIE  DAVIS 


1 

Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...  LESSONS  .„ 

Studio,   163    Hassachusetts  Avenue. 

(1243) 


Miss  HARRIET  A.  SHAW. 


HARPIST, 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston 


Mr.  GUSTAY  STRUBE 

(Member  of  Boston  Symphony  Orchestra) . 


Teacher  of  Violin,  Theory ,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEnBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 
1    DAVID  POPPER. 

STUDIO:  171 A    TREilONT  STREET. 


JOHN  G.  MANNING, 


Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


J.  D.  BUCKINGHAM, 


PIANOFORTE.     Method  of  I.  Philipp. 

The    most   advanced   technics    of  the 
present  day. 
"A  teacher  of  the   first   magnitude." — Huneker,   on 
Philipp,  in  Mezzo-tints  in  Modern  Music. 

32  STEINERT  HALL,  BOSTON. 


Miss   ROSE    STEWART, 

Pupil  of  riARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


nrs.  ilabel  fTann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


The  Boston   Symphony    Orchestra    Programme 

For  the  twenty-four  Boston 
Concerts,  with  Historical  and 
Descriptive  Notes  by  Philip  Hale. 

Bound  copies   of   the  Programme  for  the    entire  season  can  be  had  at  #1.50  by  apply 
ing  before  the  last  concert.     Address  all  communications  to 

F.  R.  COMEE,  Symphony  Hall,  Boston. 

(1244) 


BEN  DAVIES 

THE   GBEAT   ENGLISH  TENOB 

PRAISES    THE 

WEBER 
PIANO 


New  York,  April  2,  1903. 
Messrs.  WEBER  &  CO. : 

Gentlemen, —  I  find  the  sympathetic  singing  quality  and 
richness  of  tone  of  the  Weber  Piano  delightful  and  peculiarly 
invaluable  for  accompanying  the  voice. 

Very  truly  yours, 

(Signed)  BEN  DAVIES. 

r 

The  Boston  Representatives  of  the  Weber  are 

Geo.  H.  Champlin  (&  Co. 

181  TREMONT   STREET 


STEINWAY  &  SONS 

Grand  and  Upright  Pianos. 


MANUFACTURERS  BT  APPOINTMENT  TO 

His  Majesty. 

WILLIAM 


His  Majesty, 

NICHOLAS  II., 

CZAR.  OF  RUSSIA. 


EMPEROR  OF  GERMANY  and 
KING  OF  PRUSSIA. 


His  Majesty. 

FRANCIS 
JOSEPH  I., 

EMPEROR  OF 
AUSTRIA 

AND 

Austria.,     KING  OF  HUNGARY.         Hungary. 


•".Their  Royal  Highnesses. 

THE  PRINCE  AND 

PRINCESS  OF 

WALES. 


His  Majesty. 

EDWARD  VII., 

KING  OF  GREAT  BRITAIN  AND 
EMPEROR  OF  INDIA. 

Her  Majesty. 

ALEXANDRA, 

QUEEN  OF  GREAT   BRITAIN 
AND  EMPRESS  OF  INDIA. 

Her  majesty. 

VICTORIA, 

QUEEN  OF  GREAT  BRITAIN 
AND  EMPRESS  OF  INDIA. 


Hts  Royal  Highness. 

THE    DUKE  OF 
EDINBURGH. 


His  Majesty. 

UMBERTO  I. 

KING  OF  ITALY. 


His  Majesty, 

ALBERT, 

KING    OF    SAXONY^ 


Her  Majesty. 


MARIACHRISTINA, 


His  Majesty, 

OSCAR  II., 


QUEEN  REGENT  OF  SPAIN,      f   KING  OF  SWEDEN 

and  NORWAY. 


NORWAY  AND  SWEDEN. 


His  Majesty, 


Bill    MOUSAFFER-ED-DIN,]  ABDUL-HAMID  II., 


SHAH  OF  PERSIA.  SULTAN  OF  TURKEY. 

AND  THEIR    RESPECTIVE   COURTS. 


ILLUSTRATED    CATALOGUE   MAILED    FREE    ON   APPLICATION. 


M.    Steinert  ®.   Sons    Co. 

162  to  168  Boylston  Street,  Boston,  Mass. 


PROGR7W1E 


Sf  2311 


FELIX    FOX 

TO 


March  14,  1903. 
Mason  &  Hamlin  Co., 

Cambridge,  Mass. 

Gentlemen, —  After  now  having  played  your  Piano- 
fortes many  times  in  recitals,  in  chamber  concerts,  and 
with  orchestra,  I  feel  constrained  to  express  to  you  my 
great  appreciation  of  and  satisfaction  at  their  musical 
tone  and  their  superb  action.  In  short,  they  are  artistic 
creations  in  the  fullest  sense  of  the  word,  and  their  in- 
fluence is  paramount  in  the  advancement  of  music,  the 
greatest  of  all  the  arts. 

Wishing    you  much   continued   success,  believe  me 

to  be 

Yours  faithfully, 

FELIX  FOX. 


M.  Steinert  (Si,  Sons  Co. 

New  England  Representatives 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  1492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


i  PROGRAMME 

OF  THE 

TWENTY- THIRD 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     j»    ^e    jt    jt 


FRIDAY  AFTERNOON,  APRIL  24, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  APRIL  25, 

AT  8.00  O'CLOCK. 


Published  by  C  A.  ELLIS,  Manager. 

(1245) 


ME  SSR  S. 


CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest   Grand   Embodying 
Modern  Principles  Ever  Made 


RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


1246) 


TWENTY-SECOND  SEASON,  1902-1903. 


Twenty-third  Rehearsal   and   Concert* 


FRIDAY  AFTERNOON,  APRIL  24,  at  2.30  o'clock. 

SATURDAY  EVENING,  APRIL  25,  at  8.00  o'clock. 


PROGRAMME. 

Beethoven Symphony  No.  J,  in  C  major,  Op.  2  J 

I.  Adagio  molto.    Allegro  con  brio. 

II.  Andante  cantabile  con  moto. 

III.  Menuetto  :    Allegro  molto  e  vivace.    Trio. 

IV.  Finale  :    Adagio.     Allegro  molto  e  vivace. 


Wieniawski         .     "  Faust "  Fantasie  for  Violin  and  Orchestra,  Op.  20 


Smetana **  Richard  III./'  Symphonic  Poem 

(First  time  in  Boston.) 

Mendelssohn       .  Overture  to  Victor  Hugo's  **.  Ruy  Bias,"  Op.  95 


SOLOIST : 
Mr.  ADOLF  BAK. 

There  will  be  an  intermission  of  ten  minutes  before  the  Smetana  selection. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme.  Those  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.         

City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 
Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct such  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 
(1247) 


L.  P.  HOLLANDER  &   CO. 

SALE  OF  SUMMER  DRESSES 

In  Order  Department  on  Third  Floor 
JUST   RETURNED  FROM  OUR   PALM    BEACH    STORE 

A  Large  Assortment  of  Sample  Gowns 

To  suit  the  season,  and  while  in  very  good  condition  are  still  not  such 
as  we  wish  to  put  in  our  new  Spring  Stock,  and  so  we  propose  to  sell 
them  at  a 

VERY  LOW  FIGURE 

PERCALES  and  UNLINED  MUSLINS  from  $  J  5.00  to  $35.00 

HANDSOME  MULLS,  FOULARDS,  CREPE  DE  CHINES,  and 
LINENS,  lined  and  unlined,  from  $35.00  to  $95.00 

Also  in  same  department  we  shall  offer  Monday  a  large  assortment  of 
beautiful  imported 

SILK  WAISTS 

Made  to  our  special  order  in  Paris.  They  are  unlike  anything  shown 
in  this  country.  Price,   $12.50 


Wedding  Gifts. 

LATEST   PRODUCTIONS  IN 

Sterling  Silver, 
Art  Glass,  and  Potteries, 
Clocks,  Rich  Cut  Glass, 
Pearl  and  Diamond  Jewelry. 

OI)I>  THINGS  NOT  FOUND  ELSEWHERE. 

^^MWM     SMITH,  PATTERSON   ^k^smm 

\$('^y\  &>    m      Wholesale  ^W^jl 

1  ■-;*«&.       y  <X    CU.       and  Retail.  H  £*£2flSbKii^*i 


Jf!m 


Symphony  No.  i,  in  C  major,  Op.  21    .     .     Ludvvig  van  Beethoven. 

(Born  at  Bonn,  Dec.  16  (?),  1770;  died  at  Vienna,  March  26,  1827.) 
Beethoven  as  early  as  1794  made  sketches  for  a  symphony  in  C 
major,  but  he  was  not  satisfied  with  them,  and  he  rejected  them.  It 
was  early  in  1800  that  he  completed  his  first  symphony.  The  first 
performance  was  at  a  concert  given  by  him  at  the  "National  Court 
Theatre  next  the  Burg,"  Vienna,  on  April  2,  1800.  The  programme 
was  a  formidable  one: — 

1.  Grand  symphony  by  the  late  Chapelmaster  Mozart. 

2.  Aria  from  Haydn's  "Creation,"  sung  by  Miss  Saal.* 

3.  A  grand  concerto  for  pianoforte,  played  and  composed  by  Beethoven. 

4.  A  septet  for  four  string  and  three  wind  instruments,  composed  by  Beethoven 
and  dedicated  to  Her  Majesty  the  Empress,  and  played  by  Messrs.  Schuppanzigh, 
Schreiber,  Schindlecker,  Bar,  Nickel,  Matauschek,  and  Dietzel. 

5.  A  duet  from  Haydn's  "Creation,  "  sung  by  Mr.  and  Miss  Saal. 

6.  Improvisation  by  Beethoven  on  Haydn's  "Emperor's  Hymn." 

7.  A  new  grand  symphony  for  full  orchestra  by  Beethoven. 

The  concert  began  at  6.30  p.m.  The  prices  of  admission  were  not 
raised.  It  was  the  first  concert  in  Vienna  which  Beethoven  gave  for 
his  own  benefit.  A  correspondent  of  a  musical  journal  gave  curious 
information  concerning  the  performance.  It  is  not  known  which 
concerto  Beethoven  played;  but  the  correspondent  said  it  contained 
many  beauties,  "especially  in  the  first  two  movements."  The  septet, 
he  said,  was  written  "with  much  taste  and  sentiment."     Beethoven 

•Miss  Saal  was  the  daughter  of  a  bass,  Ignaz  Saal,  a  Bavarian,  who  was  a  favorite  operatic  singer  at 
Vienna.  She  was  the  first  to  sing  the  soprano  parts  in  Haydn's  "  Creation  "  and  "  Seasons."  In  1S01  she 
was  engaged  as  a  member  of  the  National  Opera  Company,  with  a  salary  of  1,500  florins.  She  married  in 
1805,  and  lefMhe  stage.  The  picture  of  her  made  early  in  the  nineteenth  century  is  said  to  be  unflattering 
to  the  verge  of  caricature. 

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improvised  in  masterly  fashion.  "At  the  end  a  symphony  composed 
by  him  was  performed.  It  contains  much  art,  and  the  ideas  are  abun- 
dant and  original,  but  the  wind  instruments  are  used  far  too  much ; 
so  that  the  music  is  more  for  a  band  of  wind  instruments  than  an 
orchestra."  The  performance  suffered  on  account  of  the  conductor, 
Paul  Wranitzky.*  The  orchestra  men  disliked  him,  and  took  no 
pains  under  his  direction.  Furthermore,  they  thought  Beethoven's 
music  too  difficult.  "In  accompaniment  they  did  not  take  the  trouble 
to  pay  attention  to  the  solo  player;  and  there  was  not  a  trace  of  deli- 
cacv  or  of  yielding  to  his  emotional  desires.  In  the  second  move- 
ment of  the  symphony  they  took  the  matter  so  easily  that  there  was 
no  spirit,  in  spite  of  the  conductor,  especially  in  the  performance  of  the 
wind  instruments.  .  .  .  What  marked  effect,  then,  can  even  the  most 
excellent  compositions  make?"  The  septet  gained  quickly  such 
popularity  that  it  nettled  the  composer,  who  frequently  said  in  after 
years  that  he  could  not  endure  the  work.  The  symphony  soon  became 
known  throughout  Germany.  It  was  published  in  1801 ;  and  dedi- 
cated to  Baron  von  Swieten. 

The  symphony  was  played  in  Boston  in  the  season  of    1840-41. 

It  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  2  horns, 
2  trumpets,  kettle-drums,  and  strings. 

Berlioz  wrote  of  this  symphony:  "This  work,  by  its  form,  melodic 
style,  harmonic  sobriety,  and  orchestration,  is  wholly  different  from 
the  compositions  of  Beethoven  that  followed  it.     The  composer  when 

*  Paul  Wranitzky  (or  Wraniczky),  violinist,  composer,  conductor,  was  born  at  Neureisch,  in  Moravia,  in 
1756 ;  and  he  died  Sept.  18,  1808,  as  conductor  of  the  German  Opera  and  Court  Theatre  at  Vienna.  He  was 
a  fertile  composer  of  operas,  symphonies,  chamber  music. 


New  Pianoforte 

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Op-  357- 
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Op.  358.     Lyric  Suite 
Song  of  the  Spinning  Maiden,   Fairies 
Song,  Prologue,  Love's  Strain,  A  Song  of 
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Tie  wrote  it  was  evidently  under  the  sway  of  Mozartian  ideas:  These 
he  sometimes  enlarged,  but  he  has  imitated  them  ingeniously  every- 
where. Especially  in  the  first  two  movements  do  we  find  springing  up 
occasionally  certain  rhythms  used  by  the  composer  of  'Don  Giovanni'; 
but  these  occasions  are  rare  and  far  less  striking.  The  first  allegro 
has  for  a  theme  a  phrase  of  six  measures,  which  is  not  distinguished 
in  itself,  but  becomes  interesting  through  the  artistic  treatment. 
An  episodic  melody  follows,  but  it  has  little  distinction  of  style.  Bv 
means  of  a  half-cadence,  repeated  three  or  four  times,  we  come  to  a 
figure  in  imitation  for  wind-instruments ;  and  we  are  the  more  surprised 
to  find  it  here,  because  it  had  been  so  often  employed  in  several  over- 
tures to  French  operas.  The  andante  contains  an  accompaniment  of 
drums,  piano,  which  appears  to-day  rather  ordinary,  yet  we  recognize 
in  it  a  hint  at  striking  effects  produced  later  by  Beethoven  with  the 
aid  of  this  instrument,  which  is  seldom  or  badly  employed  as  a  rule  by 
his  predecessors.  This  movement  is  full  of  charm ;  the  theme  is 
graceful  and  lends  itself  easily  to  fugued  development,  by  means 
of  which  the  composer  has  succeeded  in  being  ingenious  and  piquant. 
The  scherzo  is  the  first-born  of  the  family  of  charming  badinages  or 

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scherzi,  of  which  Beethoven  invented  the  form,  and  determined  the 
pace,  which  he  substituted  in  nearly  all  his  instrumental  works  for 
the  minuet  of  Mozart  and  Haydn  with  a  pace  doubly  less  rapid  and 
with  a  wholly  different  character.  This  scherzo  is  of  exquisite  fresh- 
ness, lightness,  and  grace.  It  is  the  one  truly  original  thing  in  this 
symphony  in  which  the  poetic  idea,  so  great  and  rich  in  the  majority 
of  his  succeeding  works,  is  wholly  wanting.  It  is  music  admirably 
made,  clear,  alert,  but  slightly  accentuated,  cold,  and  sometimes  mean 
and  shabby,  as  in  the  final  rondo,  which  is  musically  childish.  In 
a  word,  this  is  not  Beethoven." 

This  judgment  of  Berlioz  has  been  vigorously  combated  by  all 
fetishists  that  believe  in  the  plenary  inspiration  of  a  great  composer. 
Thus  Michel  Brenet  (1882),  usually  discriminative,  finds  that  the 
introduction  begins  in  a  highly  original  manner.  Marx  took  the  trouble 
to  refute  the  statement  of  Oulibicheff,  that  the  first  movement  was 
an  imitation  of  the  beginning  of  Mozart's'  "Jupiter"  Symphony — a 
futile  task.  We  find  Doctor  Professor  H.  Reimann  in  1899  stoutly 
maintaining  the  originality  of  many  pages  of  this  symphony.  Thus 
in  the  introduction  the  first  chord  with  its  resolution  is  "a  genuine 
innovation  by  Beethoven."  He  admits  that  the  chief  theme  of  the 
allegro  con  brio  with  its  subsidiary  theme  and  jubilant  sequel  recalls 

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irresistibly  Mozart's  "Jupiter";  "but  the  passage  pp  by  the  close  in 
G  major,  in  which  the  basses  use  the  subsidiary  theme,  and  in  which 
the  oboe  introduces  a  song,  is  new  and  surprising,  and  the  manner  in 
which  by  a  crescendo  the  closing  section  of  the  first  chapter  is  devel- 
oped is  wholly  Beethovenish !"  He  is  also  lost  in  admiration  at  the 
thought  of  the  development  itself.  He  finds  the  true  Beethoven  in 
more  than  one  page  of  the  andante.  The  trio  of  the  scherzo  is  an 
example  of  Beethoven's  "tone-painting."  The  introduction  of  the 
finale  is  "wholly  original,  although  one  may  often  find  echoes  of 
Haydn  and  Mozart  in  what  follows. " 


FantaisiE  Briixante  on  Themes  from  Gounod's  Opera,  "Faust," 

FOR  VlOEIN  AND   ORCHESTRA,    Op.    20      .       .       HENRI   WlENIAWSKI. 
(Born  at  Lublin,  Poland,  July  io,  1835;  died  at  Moscow,  March  31,  1880.) 

Gounod's  "Faust"  was  produced  at  the  Th£atre-Lyrique,  Paris, 
on  March  19,  1859.  The  cast  was  as  follows:  Faust,  Barbot;  Mephis- 
topheles,  Balanque;  Valentin,  Reynald;  Wagner,  Cibot;  Marguerite, 
Mine.  Carvalho;  Siebel,  Miss  Faivre;  Martha,  Mme.  Duclos.  The 
parts  of  Marguerite  and  Faust  were  originally  intended  for  Mme. 
Ugalde  and  Guardi.  The  former  preferred  to  sing  in  Masse's  "La  Fee 
Carabosse."  The  latter's  voice  failed  him  some  days  before  the  per- 
formance, and  Gounod  was  ready  to  take  the  part  himself,  when 
Barbot  was  found. 

The  themes  chosen  by  Wieniawski  are  so  familiar  that  it  is  not 
necessary  to  identify  them.  Wieniawski  himself  played  this  Fantasia 
in  Music  Hall,  Boston,  at  one  of  Rubinstein's  concerts,  Oct.  15,  1872. 
The  orchestra  was  then  led  by  Carl  Bergmann. 

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ENTR  ACTii. 
A    NOTE    ON    PLANQUETTE. 

(From  the  Pall  Mall  Gazette.) 

The  death  of  Robert  Planquette  reminds  one  with  some  considerable 
keenness  of  the  evanescence  of  popularity,  of  the  pretty  meanings  of  the 
pretty  things  of  art,  and  of  the  artistic  possibilities  possessed  by  many 
a  man  who  is  content  to  play  the  part  of  a  piper  to  the  desire  of  the 
world.  Yet  Planquette  was  no  mean  piper.  He  had  behind  him  a 
quite  extraordinary  knowledge  of  the  'musical  rhythm  likely  to  attract 
the  public.  Some  philosopher,  yet  to  come,  will  probably  discover 
why  the  beating  of  the  pulses  needs  its  own  external  musical  rhythm; 
why  the  long  rising  and  falling  cry  of  the  wind  needs  its  interpretation 
in  music;  why  the  mere  shaking  of  the  leaves,  the  pulsation  of  a  horse's 
footsteps  upon  the  ground,  become  suggestive  of  melody,  and  of  its 
step-sister,  tune.  But  it  is  one's  immediate  task  to  discover  the  pre- 
cise reason  why  Planquette  succeeded,  and  why  he — failed. 

We  have  used  the  above  illustrations  because  they  appeal  in  some 
natural,  objective  sense  to  the  imagination  of  all  of  us.  Out  of  the 
many  forms  of  rhythmic  possibilities  Planquette  undoubtedly  chose 
that  which  we  have  described  as  representing  "the  beating  of  the 
pulses."  That  is  to  say,  his  musical  genius  was  obvious,  easily  intel- 
ligible, and  therefore  immediately  popular.  There  is  no  instrument 
so  popular — as  "Barrack-room  Ballads"  have  proved  definitely,  be- 
coming thereby  a  locus  classicus  on  the  subject —  as  the  banjo.  It  has 
its  agreeable  little  ways  well  confined  to  agreeable  little  issues,  and 
Planquette  had  a  most  definite  tendency  to  write — ceteris  paribus — 
for  the  banjo.  He  had  the  Frenchman's  instinct  for  the  "tramp, 
tramp,  tramp"  (as  it  may  be  described)   in  music;   therein  is   hidden 


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Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
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the  intimate  spirit  of  the  "Marseillaise,"  which  remains  the  everlasting 
symbol  of  the  tramp  of  doom.  Planquette,  however,  wrote  for  his 
sublimated  banjo — for  that  was  all  the  orchestra  meant  to  him — tunes 
of  quite  agreeable  quality;  in  fact,  although  the  word  "agreeable" 
largely  suits  as  an  adequate  expression  of  their  value,  it  is  not  alto- 
gether comprehensive;  often,  indeed,  they  come  near  to  something 
very  like  such  an  inspiration  as  led  to  the  writing  of  some  among — 
may  one  say? — Rossini's  pet  tunes. 

We  quote  from  the  English  version;  but  the  little  chorus,  "Let  our 
torches  light  up  the  gloom, "  has  always  struck  us  as  being  comparable 
with  the  slow  movement  of  the  Overture  (after  the  braggadocio  Intro- 
duction) in  the  Italian  master's  "Semiramide."  There  is  much  the 
same  quickness  of  idea,  there  is  much  the  same  Tightness  of  dramatic 
sentiment;  but,  alas!  there  is  also  much  the  same  tendency  towards 
levity,  even  in  serious  thought,  which  is  the  definite  and  sure  un- 
doing of  anything  like  enduring  quality  in  work.  Planquette, 
however,  to  do  him  justice,  did  not  pretend  to  make  music  for 
the  profound  or  the  learned.  In  all  his  writing  he  was  gay  and 
light-hearted,  in  his  sentimental  moments  he  hid  a  smile  "under  his 
muffler."  And  herein  he  may  legitimately  be  subjected  to  a  compar- 
ison with  Arthur  Sullivan.  Sullivan,  despite  his  jollity  and  his  fine 
sense  of  humor,  was  always  at  heart  a  serious  musician.  His  thoughts 
ran  ever  in  the  grooves  of  the  world.  At  all  times  he  had,  in  the  emo- 
tion that  prompted  his  utterance,  as  we  take  it,  the  sense  of  tears;  yet 
there  was  none  more  ready  than  he  to  join  in  the  world's  laughter  and 
merriment,  when  such  emotions  were  necessary  to  his  art.  Planquette, 
as  one  reads  him,  took  up  his  humorous  outlook  upon  musical  art  as 
a  necessity  rather  than  as  a  personal  point  of  view.  His  scores  were 
extremelv  clever — like  the  curate's  egg — in  parts.     Some  of  the  single 

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"  Extase."     Valse  Lente By  L.  Renaud 

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"Nuages  Roses."     Valse By  R.  Berger 

««  Les  Soldats  qui  passent."     March         .         .        By  P.  Mario  Costa 

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lines  had  even  the  galloping  quality  which  one  associates  only  with 
the  best  applications  of  a  really  keen  sense  of  humor  to  the  work  in 
hand,  such  as  some  of  the  songs  in  "Die  Zauberflote,"  or  trifling  and 
usually  unnoticed  passages  in  Haydn's  work. 

There  is  this  pathos  about  a  career  like  that  of  Planquette :  that  he 
must  at  all  times  have  felt  something  of  the  tragedy  of  foiled  ambitions. 
The  man  who  was  capable  of  writing  such  an  opera  as  "Les  Cloches 
de  Corneville"  must  have  realized  his  capacity  also  for  higher  things. 
To  advance  from  "Basticn  et  Bastienne"  to  a  "Don  Giovanni"  is 
(one  may  say)  not  often  permitted  to  men.  But  with  such  talent  and 
such  accomplishment  as  he  possessed  Planquette  should  have  done 
something  more  than  make  his  best  known  opera  the  planet  about 
which  his  other  creations  revolved.  He  is  dead,  however,  and  it 
may  be  hoped  that  his  good  is  not  "interred  with  his  bones."  He 
remains  a  type  of  the  musician  who  knows  his  public,  and  who  works 
for  it  until  he  drums  his  tune  into  the  ears  of  his  audiences,  up  to  what 
vSir  Isaac  Newton  or  Professor  Sylvester  might  have  called  "hum- 
ming point." 

MECHANISM  IN  MUSIC. 
(By  Vernon  Blackburn.) 
Mechanism  in  music  has  always,  and  quite  naturally,  been  the  bane 
of  the  artist.  To  him  art  must  always  remain  personal,  separate, 
isolated,  unique.  He  in  his  artistic  utterance — we  speak  of  interpre- 
tative artists — remains  by  himself.  None  else  can  do  just  the  thing 
which  he  does ;  and  it  is  for  this  reason  that  the  world  must  come  to 
him  rather  than  that  he  should  go  to  the  world.  In  the  art  of 
letters,  before  writing  was  invented,  the  artist  of  literature  was  equally 

LIGHTING  FIXTURES 

HIGHEST  GRADES 
EXCLUSIVE  DESIGNS 

AT 

Craig'8 

44  SUMMER  STREET 

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BIGELOW 
KENNARD8G? 

STERLING  SILVER 
TEA  SETS 


Exclusive  Designs, 
Substantial  Weights 


5nWASHINGTON  ST 


(1201) 


secluded;  and  there  can  be  little  doubt  that  the  early  exponents  of 
literature,  through  the  medium  of  writing,  were  regarded,  in  a  cer- 
tain sense,  as^betrayers  of  their  craft.  It  wasjpartly  through  jealousy 
of  this  kind  that  the  great  Icelandic  genius  and  historian,  Snorro  Stur- 
leson,  lost  his  life  by  brutal  assassination  in  the  far-away  days  of  history, 
because  it  was  believed  that,  by  the  mere  fact  of  writing,  he  was  cheap- 
ening life,  that  he  was  opening  the  door  of  the  future  too  cunningly, 
that  (in  a  word)  he  was  betraying  openly  the  secrets  of  a  day  that 
needed — that,  indeed,  clamoured  for — privacy.  To  a  great  extent, 
mechanism  in  music  is  a  very  definite  withdrawal  from  art,  simply 
because  of  the  impossibility  on  the  part  of  machinery  to  reproduce 
anything  that  may  be  described  as  temperamental.  Take  the  piano- 
organ.  Technically,  the  accomplishment  of  that  debased,  but  most 
ingenious,  invention  is  merely  marvellous.  But,  to  return  to  our 
comparison,  just  as  the  art  of  writing  made  the  possibility  for  one 
human  personality  to  communicate  with  another,  as  though  each,  liv- 
ing and  in  the  flesh,  were  speaking  in  endeared  tones  of  voice,  or  were 
making  a  new  and  delightful  companionship,  so  a  new  and  amazing 
invention  will  bring  the  actual  sounds  of  the  singer  to  the  hearing  of 
those  that  desire  to  reacquaint  themselves  with  unforgotten  but  de- 
sired voices,  or  to  make  a  new  acquaintance  with  voices  that  have 
charmed  the  world. 


CATERER 


For  Wedding  Break- 
fasts,   Lunches,    Din- 
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the  best  of  material  and  finest  ware. 

Reasonable  prices.  Orders  delivered  in  the 

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WEDDING   CAKE   A  SPECIALTY. 

Telephone,  433  Oxford. 


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SCHIRMER'S 
MUSIC    STORE 

(The  Boston  Music  Co.) 

AND 

S  Circulating  Library 
of   Music 

(Circular  sent  on  application), 

26  WEST  STREET. 

g|  TELEPHONE,  OXFORD  783. 
Depot  for  the  publications  of 

G.    SCHIRMER,   New  York. 


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(Awarded  a  Prize  Medal  and  Di- 
ploma at  the  Vienna  Exposition, 
1888.) 


JACOB  THOMA  &  SON, 

riakers  and  Importers  of 

HIGH-GRADE  VIOLINS. 

Repairers  to  the 
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LYRAPHONE 

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It  is  more  easily  operated,  and  has  a  greater  range  of  expression 
than  any  other  player.     Call  and  hear  it.     You  will  buy  it. 


EASTERN   REPRESENTATIVES    ■ 

SANDERS  &  STAYMAN  CO. 

13  N.  Charles  Street,  Baltimore 

LINCOLN  &  VANDER  PYL 

211  Tremont  Street,  Boston 

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34  Snow  Street,  Providence,  R.I. 

E.  E.  MILLER 

71  Fourth  Street,  Troy,  N.Y. 


F.  A.  NORTH  &  CO. 

1308  Chestnut  Street,  Philadelphia 

MARCELLUS  ROPER  CO. 

Worcester,  Mass. 

SANDERS  &  STAYMAN  CO. 

1327  F  Street,  Washington 

EDWARD  MALLY  CO. 

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We  speak  of  that  extraordinary  invention,  the  gramophone.  Now 
let  us  hasten  to  say — for  it  is  a  very  easy  thing  to  misconstrue  words 
that  have  in  them  a  sound  of  enthusiasm — that  we  hold  no  brief  what- 
ever for  those  who  are  interested  in  the  success  of  the  gramophone. 
Indeed,  as  a  mechanical  invention,  it  enlisted,  as  a  matter  of  fact,  our 
most  intimate  prejudices.  But  it  is  absolutely  impossible  to  resist 
the  patent  fact  that  herein  you  have  as  authentic  a  declaration  of  the 
vocal  artist  as,  in  the  printed  book,  you  have  the  personality,  the 
revelation,  of  the  author.  A  singer  of  small  consequence  may  deliver  his 
vocal  soul  into  the  records  of  this  instrument;  and  the  small  conse- 
quence of  his  singing  will  be  rendered  up  with  absolute  mercilessness. 
A  singer  of  great  capacity  and  of  magnificent  artistic  gifts  may  pour 
into  it  the  essential  beauty  of  his  art.  and  that  essential  beauty  will 
be  returned  to  you  as  if  the  East  had  met  the  West,  and  each  had 
returned  without  counterchange  of  gifts.  It  is,  without  question,  one  of 
the  most  extraordinary  scientific  triumphs  of  modern  science;  for 
here  music  is  seen  to  be  in  the  purest  alliance  with  all  that  is  most 
recondite  and  fresh  in  science.  Moreover,  as  we  have  said,  this  is  no 
mere  mechanical  music:  it  is  the  living  thing,  a  resurrection,  a  con- 
tinuance. Faust  wished  to  catch  the  flying  moment;  but  Time,  that 
inevitable  succession  of  events,  forbade  the  realization  of  his  ambition. 
By  the  aid  of  this  invention,  the  arresting  hand  of  Time  is  stayed, 
and  that  which  was  becomes  that  which  is.  Not  only  does  one  call 
spirits  from  the  vasty  deep,  but  they  do  come  when  you  do  call  them. 

We  have  been  privileged  to  hear  many  records  of  notable  value  in  the 
manufactory  of  the  company.     Perhaps  one  of  the  most  curious  was  the 


i»        THE  T     ZGtt      T 

lA^ICIAN&llgRARY 

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just  issued: 

FRANZ  LISZT 

Twenty  Original   Piano  Compositions 

Edited  by  AUGUST  SPANUTH 
Bound  in  paper,  $1.25  ;   cloth,  gilt,  $2.25 

ROBERT  FRANZ 

nrTV    CfMUf^c    ^or  High  Voice 
III    IT    aUllUo  and  Low  Voice 

Edited  by  WM.  F.  APTHORP 

Bound  in  paper,  each,  $1.25  ;  cloth,  gilt, 

each,  $2.25. 


SECOND  EDITIONS  READY: 

FIFTY   MASTERSONGS 

Edited  by  HENRY  T.  FINCK 
Two  Editions.    For  High  Voice.    For  Low  Voice. 
Bound  in  paper,  each,  $1.50;    cloth,  gilt,  each, 
$2.50. 

FREDERIC  CHOPIN 

FORTY  PIANO  COMPOSITIONS 

Edited  by  JAMES  HUNEKER 
Bound  in  paper,  $1.50  ;  cloth,  gilt,  $2.50 


OLIVER.  DITSON  COMPANY.  Boston 

Chas.  H.  Ditson  A  Co.,  New  York   }    J.  E.  Ditson  <S.  Co.,  Philadelphia. 


(1204) 


Fashionable   Laces 

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Linen  Cluny  insertings 

Swiss  Laces  from  Dergirsheim 

Batiste  Laces,  Paraguay  effects 

Collars  of  artistic  lace  and  design 

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Linen  bands,  with  heavy  embroidery 

Veilings  of  every  description 

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singing  of  Mozart's  "Ave  Verum"  by  the  Sixtine  Choir.  When  one 
thinks  of  the  venerable  Pontiff  who  dominates  the  activities  of  that 
choir;  when  one  remembers  the  "seclusion  of  its  publicity";  when  one 
recalls  the  multitudinous  conditions  that  surround  the  possibility  of 
the  ordinary  layman's  desire  to  hear  the  singing  of  those  famous  choris- 
ters, the  interest  of  hearing  them  transplanted  into  the  heart  of  the  City 
has  in  it  something  that  is  almost  uncanny.  Years  ago  the  present 
writer  heard  those  singers  at  the  Sixtine  Chapel;  and  the  startling 
contrast  between  the  quietude  of  that  sacred  place,  the  pale  and  ascetic 
Pope  seated  on  his  throne,  the  reverential  listeners,  the  eternally  mar- 
moreal frescoes  of  Michael  Angelo,  and  this  busy  City  office,  which 
teemed  with  the  elder  memories  amid  the  sights  and  sounds  of  modern 
London,  brought  home,  indeed,  to  one's  mind  the  feeling  of  that  great 
mediaeval  scientist  who  declared  that  when  man  would  annihilate  vSpace 
and  Time  he  would  reach  the  goal  of  his  endeavour. 

THE  ENDING  OP  SMETANA. 
In  the  year  1873  Smetana  was  appointed  director  of  the  newly 
founded  opera  school  of  the  Czech  Theatre  at  Prague,  and  the  same 
year  he  shared  with  Slansky  in  the  conductorship  of  the  Philharmonic 
concerts.  His  weak  constitution,  extreme  sensitiveness,  imprudent 
industry,  brought  on  extreme  nervousness. 


SHREVE,   CRUMP   &  LOW  CO. 


Rare     Gems,     Diamonds, 
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In  our  ART  ROOMS  we  are  exhibiting 
a  very  large  and  choice  collection  of 

OBJETS     D'ART 

CLASSICAL   AND    MODERN 


147  TREMONT   STREET 


(1267) 


Smetana  in  1881  told  the  story  of  his  deafness  to  Mr.  J.  Finch  Thorne, 
who  wrote  to  him  from  Tasmania  a  sympathetic  letter.  Smetana  an- 
swered that  for  seven  years  the  deafness  had  been  gradual;  that  after 
a  catarrh  of  the  throat,  which  lasted  many  weeks,  he  noticed  in  his  right 
ear  a  slight  whistling,  which  was  occasional  rather  than  chronic;  and 
when  he  had  recovered  from  his  throat  trouble,  and  was  again  well,  the 
whistling  was  more  and  more  intense  and  of  longer  duration.  Later  he 
heard  continually  buzzing,  whistling  in  the  highest  tones,  "in  the  form 
of  the  A-flat  major  chord  of  the  sixth  in  a  high  position. ' '  The  physician 
whom  he  consulted  found  out  that  the  left  ear  was  also  sympathetically 
affected.  Smetana  was  obliged  to  exercise  extraordinary  care  as  a  con- 
ductor: there  were  days  when  all  voices  and  all  octaves  sounded  con- 
fused and  false.  On  October  20,  1874,  he  lost  the  sense  of  hearing  with 
the  left  ear.  The  day  before,  an  opera  had  given  him  such  enjoyment 
that,  after  he  had  returned  home,  he  improvised  for  an  hour  at  the 
pianoforte.  The  next  morning  he  was  stone  deaf  and  until  his  death. 
The  cause  was  unknown,  and  all  remedies  were  in  vain.  "The  loud 
buzzing  and  roaring  in  my  head,  as  though  I  were  standing  under  a  great 
waterfall,  remains  to-day  and  continues  day  and  night  without  inter- 
ruption, louder  when  my  mind  is  employed  actively,  weaker  when  I  am 
in  a  calmer  condition  of  mind.  When  I  compose,  the  buzzing  is  noisier. 
I  hear  absolutely  nothing,  not  even  my  own  voice.    Shrill  tones,  as  the 

When  you  go  to  Paris 

And  order  a  gown,  you  will  find  that  the  Tailleur  will  insist 
upon  a  perfect-fitting  Corset  before  he  begins  his  work.  Seven 
out  often  of  them  will  insist  upon  a 


CLA5SIQUE. 


This  Corset  is  generally  acknowledged  to  be  the  most  perfect-fitting  in  the  world. 
At  least,  Paris  says  so  ;  and  Paris  dictates  in  such  matters.  It  is  used  by 
the  most  exclusive  modistes  in  the  French  capital,  the  leaders  who  rule  the 
world  of  dress. 

One  of  the  greatest  distinctions  of  our  establishment  is  the  fact  that  the  "  Clas- 
sique"  Corset  has  for  years  been  sold  in  Boston  exclusively  by  us.  We  have 
just  received  the  new  spring  models.  The  prices  range  from  $575  upwards. 
We  can  fit  any  figure. 

Remember  that  the  "  Classique"  is  hand-fashioned  by  the  most  skilful  corsetiers 
of  Paris.  Only  genuine  whalebone  is  used.  We  urge  you  to  try  the  effect 
of  one  of  these  French  corsets  upon  your  figure. 


B.  SOMMER  &  CO., 


44  and  46  WINTER   STREET. 

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Economical   Housekeepers 


USE 


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cry  of  a  child  or  the  barking  of  a  dog,  I  hear  very  well,  just  as  I  do  loud 
whistling,  and  yet  I  cannot  determine  what  the  noise  is  or  whence  it 
comes. V Conversation  with  me  is  impossible.  I  hear  mv  own  piano- 
forte-playing only  in  fancy,  not  in  reality.  I  cannot  hear  the  playing 
of  anybody  else,  not  even  the  performance  of  a  full  orchestra  in  opera 
or  in  concert.  I  do  not  think  it  is  possible  for  me  to  improve.  I  have 
no  pain  in  the  ear,  and  the  physicians  agree  that  my  disease  is  none  of 
the  familiar  ear  troubles,  but  something  else,  perhaps  a  paralysis  of  the 
nerves  and  the  labyrinth.  And  so  I  am  wholly  determined  to  endure 
my  sad  fate  in  a  calm  and  manly  way  as  long  as  I  live." 

Deafness  compelled  Smetana  in  1874  to  give  up  his  activity  as  a  con- 
ductor. In  order  to  gain  money  for  consulting  foreign  specialists 
Smetana  gave  a  concert  in  1875,  at  which  the  symphonic  poems 
"Vysehrad"  and  "Vltava,"*  from  the  cycle  "My  Fatherland,"  were 
performed.  The  former,  composed  in  1874,  bears  the  inscription,  "In 
a  condition  of  ear-suffering."  The  second,  composed  also  in  1874,  bears 
the  inscription,  "In  complete  deafness."  In  April,  1875,  he  consulted 
physicians  at  Wiirzburg,  Munich,  Salzburg,  Linz,  Vienna;  and,  in  hope 
of  bettering  his  health,  he  moved  to  Jabkenitz,  the  home  of  his  son-in- 
law,  and  in  this  remote  but  cheerful  corner  of  the  world  he  lived,  devoted 
to  nature  and  art.  He  could  compose  only  for  three  hours  a  day,  for  the 
exertion  worked  mightily  on  his  body.  He  had  the  tunes  which  he 
wrote  sung  aloud  to  him,  and  the  singer  by  the  end  of  an  hour  was 
voiceless.  In  February,  1876,  he  again  began  to  compose  operas. 
Under  these  dreary  conditions  he  wrote  "Der  Kuss"  (produced  at 
Prague,  Nov.  7,  1876). 

There  are  references  to  his  deafness  in  the  explanatory  letter  which 

*"  Vysehrad"  was  first  performed  in  Boston  at  a  Symphony  Concert,  April  25,  i8g6;  "Vltava"  ("The 
Moldau  '),  at  a  Symphony  Concert,  Nov.  22,  1890;  "  Sarka,"  the  third  of  the  cycle,  at  a  Symphony  Concert, 
Jan.  20,  1S95;  the  overture  to  "  Prodana  Nevesta,"ata  Symphony  Concert,  Dec.  31,  1887. 


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OLD  VIOLINS. 


Mr.  Oliver  offers  his 

annual    collection    of 

rare    old   violins   and 

'cellos,  by  the  old  Italian  and  other  makers, 

also  a  line  collection  of  old  and  new  artists' 

bows,  Italian  strings,  silver  G's,  leather  cases, 

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F.  A.  OLIVER, 

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Violin  Maker  and  Repairer, 

and  Dealer  in 

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Violins  used  in  the  Symphony  Orchestra. 


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JORDAN   MARSH  CO. 


(1271) 


he  wrote  Josef  Srb  about  his  string  quartet  in  E  minor,  "Aus  meinem 
Leben":  "I  wish  to  portray  intones  my  life:  First  movement :  Love 
of  music  when  I  was  young ;  predisposition  toward  romanticism ;  un- 
speakable longing  for  something  inexpressible,  and  not  clearly  defined ; 
also  a  premonition  of  my  future  misfortune  (deafness).  The  long  drawn- 
out  tone  E  in  the  finale,  just  before  the  end,  originates  from  this  begin- 
ning. It  is  the  harmful  piping  of  the  highest  tone  in  my  ear,  which  in 
1878  announced  my  deafness.  I  allow  myself  this  little  trick,  because 
it  is  the  indication  of  a  fate  so  important  to  me.  .  .  .  Fourth  movement : 
The  perception  of  the  individuality  of  the  national  element  in  music :  the 
joy  over  my  success  in  this  direction  until  the  interruption  by  the  terri- 
ble catastrophe;  the  beginning  of  deafness;  a  glance  at  the  gloomy 
future ;  a  slight  ray  of  hope  of  betterment ;  painful  impressions  aroused 
by  the  thought  of  my  first  artistic  beginnings." 

The  years  of  Smetana's  deafness  might  well  be  named  his  classic 
period,  for  during  these  years  of  discouragement  and  gloom  were  born 
the  cycle  of  symphonic  poems,  "My  Fatherland";  the  string  quartet 
in  E  minor;  the  opera,  "Tajemstvi"  ("The  Secret")  (Sept.  18,  1878, 
Prague). 

In  the  year  1800  a  prize  of  1,000  guldens  was  offered  by  the  Society 
for  the  building  of  a  Czech  National  Theatre  for  the  best  serious  opeia, 
and  Smetana  took  the  prize  with  his  "Ivibusa"   (completed  in  1872), 

KIKAC    RRfl^'  FUR  STORE 

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(1272) 


which  was  produced  June  n,  1881,  at  the  dedication  of  this  theatre. 
Smetana  sat  in  the  director's  box  and  heard  not  a  note.  His  last  ap- 
pearance in  public  as  a  pianist  was  at  his  fiftieth  jubilee  concert  at 
Prague,  Jan.  4,  1880.  His  opera,  "Certova  Stena"  ("The  Devil's 
Wall"),  was  produced  Oct.  29,  1882.  The  proceeds  of  the  third  per- 
formance were  intended  for  the  benefit  of  the  composer,  but  the  public 
was  cold.  "I  am  at  last  too  old,  and  I  should  not  write  anything 
more;  no  one  wishes  to  hear  from  me,"  he  said.  And  this  was  to  him 
the  blow  of  blows,  for  he  had  comforted  himself  in  former  misfortunes 
and  conflicts  by  indomitable  confidence  in  his  artistry ;  but  now  doubt 
began  to  prick  him. 

And  then  he  wrote:  "I  feel  myself  tired-out,  sleepy.  I  fear  that  the 
quickness  of  musical  thought  has  gone  from  me.  It  appears  to  me  as 
though  everything  that  I  now  see  musically  with  the  eyes  of  the  spirit, 
everything  that  I  work  at,  is  covered  up  by  a  cloud  of  depression  and 
gloom.  I  think  I  am  at  the  end  of  original  work;  poverty  of  thought 
will  soon  come,  and,  as  a  result,  a  long,  long  pause,  during  which  my 
talent  will  be  dumb."  He  was  then  working  at  a  string  quartet  in  D 
minor;  it  was  to  be  a  continuation  of  his  musical  autobiography;  it 
was  to  portray  in  tones  the  buzzing  and  hissing  of  music  in  the  ears  of 
a  deaf  man.  He  had  begun  this  quartet  in  the  summer  of  1882,  but 
he  had  a  severe  cough,  pains  in  the  breast,  short  breath. 

There  was  a  drearv  benefit  performance,  the  first  performance  of  the 


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RAOUL      PUCNO, 

THE  GREAT  FRENCH  PIANIST, 

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whole  cycle,  "My  Fatherland,"  at  Prague,  Nov.  5,  1882.  On  the  re- 
turn from  Prague,  overstrain  of  nerves  brought  on  mental  disturbance. 
vSmetana  lost  the  ability  to  make  articulate  sounds,  to  remember,  to 
think.  vShivers,  tremors,  chills,  ran  through  his  body.  He  would 
scream  continually  the  syllables  te-te-ne,  and  then  he  would  stand  for  a 
long  time  with  his  mouth  open  and  without  making  a  sound.  He  was 
unable  to  read.  He  forgot  the  names  of  persons  near  him.  The  phy- 
sician forbade  him  any  mental  employment  which  should  last  over  a 
quarter  of  an  hour.  Soon  he  was  forbidden  to  read  or  write  or  play 
pieces  of  music;  he  was  not  allowed  to  think  in  music.  Humor,  which 
had  been  his  faithful  companion  for  years,  abandoned  him.  Strange 
ghosts  and  ghastly  apparitions  came  to  him,  and  played  wild  pranks 
in  his  diseased  fancy. 

In  March,  1883,  he  went  to  Prague,  and,  in  spite  of  the  physician, 
completed  his  second  string  quartet.  He  dreamed  of  writing  a  cycle 
of  national  dances,  "Prague,  or  the  Czech  Carnival,"  and  he  com- 
posed the  beginning,  the  mob  of  masks,  the  opening  of  the  ball  with 
a  polonaise.  He  again  thought  of  his  sketched  opera,  "Viola"  (founded 
on  Shakespeare's  "Twelfth  Night"). 

The  greatest  of  Czech  composers  knew  nothing  of  the  festival  by 
which  the  nation  honored  his  sixtieth  birthday  in  1884.  His  nerves 
had  given  way;  he  was  in  utter  darkness.  His  friend  Srb  put  him 
(April  20,  1884)  m  an  insane  asylum  at  Prague,  and  vSmetana  died 
there  on  the  12th  of  the  next  month  without  once  coming  to  his  senses. 

"Richard  III.,"  Symphonic  Poem  for  Orchestra. 

Friedrich  Smetana. 

(Born  at  Leitomischl,  Bohemia,  March  2,  1824;  died  in  the  madhouse  at 
Prague,  May  12,  1884.) 

In  the  fall  of  1856  Smetana  went  from  Prague  to  Sweden,  and  a  year 


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LADES'  TAILOR 
Glasgow  218  Boylston  Street,  Boston  Oban 

(1274) 


later  he  made  Gothenburg,  in  that  country,  his  home.  From  1856  to 
1 86 1  he  was  the  conductor  of  the  Philharmonic  Society  of  Gothenburg. 
It  was  at  Gothenburg  that  he  composed  three  symphonic  poems,— 
•"Richard  III."  (1S58),  "Wallenstein's  Camp"  (1859),  and  "Hakon 
Jarl"  (1861).*  "Wallenstein's  Camp"  was  produced  here  at  a  vSym- 
phony  Concert  on  Jan.  2,  1897. 

Smetana  took  for  his  hero  of  his  firstf  symphonic  poem  the  tradi- 
tional Richard, — the  scowling,  misshaped,  melodramatic,  bloody  Rich- 
ard, dear  to  Shakespeare  and  robust  play-actors.  The  Reverend 
Nathaniel  Wanley  thus  described  him  in  "The  Wonders  of  the  Little 
World,"  London,  1791  (Book  I.,  chapter  xiii. :  "Of  the  Signal  Deform- 
ity and  very  Mean  Appearance,  of  Some  Great  Persons,  and  Others") : 
"There  was  never  a  greater  uniformity  of  body  and  mind  than  our 
own  King  Richard  the  Third,  for  in  both  he  was  equally  deformed.  He 
was  low  of  stature,  crook-backed,  hook-shouldered,  splay-footed, 
goggle-eyed,  his  face  small  and  round,  his  complexion  swarthy,  and  his 
left  arm  withered  from  his  birth.  Born,  says  Truffel,  a  monster  in 
nature,  with  all  his  teeth,  hair  on  head,  and  nails  on  his  fingers  and  toes. 
Those  vices  which  in  other  men  are  passions  in  him  were  habits.     His 

*  Smetana  also  composed  at  Gothenburg  the  eight  pianoforte  pieces,  "Skizzen,"  dedicated  to  Clara  Schu- 
mann, and  the  transcriptions  of  Schubert's  "  Der  Neugierige  "  and  "  Trockene  Blumen." 

t  Smetana's  preceding  orchestral  works  are  :  Festival  Overture  in  D  major  (1S49)  ;  "  Triumph  "  Sym- 
phony in  E  major,  composed  for  the  wedding  festival  of  the  Emperor  Franz  Joseph.  He  composed  an  over- 
ture in  C  minor,  and  wrote  on  the  title-page:  "Written  in  the  year  1842  at  Pilsen  in  the  utter  darkness  of 
mental  musical  education,  and  preserved  from  death  by  fire,  only  on  account  of  the  intercession  of  the  owner, 
who  wished  to  preserve  this  work  as  a  curiosity  of  natural  composition  "1;  but  this  overture  was  apparently  for 
the  pianoforte,  for  Smetana  at  Pilsen  was  known  chiefly  as  a  pianist,  and  he  composed  there  many  dances  for 
his  instrument  as  well  as  string  quartets.  Furthermore,  Bronislav  Wellek,  in  his  Life  of  Smetana  (Prague, 
1895),  says  that  Smetana  called  his  overture  in  D  major  his  first  orchestral  composition.  The  owner  of  the 
Pilsen  overture  was  Katharina  Ottilie  Kola?,  whom  Smetana  loved  from  the  time  they  were  children.  He 
married  her  in  1849,  and  she  died  of  consumption  at  Dresden,  on  the  way  from  Sweden  to  Hohemia,  in  1859. 
In  i860  he  married  Barbara  Ferdinandi,  who  survived  him. 


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cruelty  was  not  casual,  but  natural;    and    the  truth  of   his  mind  was 
only  lying  and  falsehood." 

Some  modern  English  historians  laugh  at  this  bogy  of  tradition,  and 
represent  Richard  as  an  enlightened  and  philanthropic  monarch.  Let 
us  not  forget  that,  like  Nero  and  Henry  VIII.,  he  was  passionately 
fond  of  music,  so  that  it  is  a  pityhe  could  not  have  heard  both  Smetana  's 
symphonic  poem  and  Volkmann's  overture,  and  compared  them.  In 
the  second  year  of  his  reign  he  issued  "a  most  arbitrary"  order  for 
impressing  singing  men  and  children,  even  from  cathedrals,  colleges, 
chapels,  and  houses  of  religion,  for  the  purpose  of  affording  him  amuse- 
ment. 

Volkmann  completed  his  overture  to  Shakespeare's  "Richard  III./ 
Op.  68,  in  1870,  and  later  he  wrote  incidental  music.  His  overture  was 
inspired  by  Act  V.,  scenes  iii.  and  iv. 

Smetana  wrote  to  his  friend  J.  Srb  (1881),  who  asked  an  explanation 
of  the  former's  symphonic  poem:  "Whoever  knows  Shakespeare's 
'Richard  III.'  can  picture  to  himself  the  whole  tragedy  as  he  pleases 
while  he  listens  to  this  music.  I  can  only  say  this:  that  in  the  very 
first  measure  I  have  embodied  in  music  Richard's  character.  This 
chief  theme  in  all  of  its  varied  forms  dominates  the  whole  composition. 
I  have  attempted  shortly  before  the  finale  to  picture  with  musical  colors 
the  frightful  dream  of  Richard  before  the  battle,  the  dream  in  which 
all  the  persons  murdered  by  him  come  as  ghosts  at  night,  and  tell 
of  his  approaching  downfall.  The  death  of  Richard  brings  the  end. 
In  the  middle  of  the  tone-poem  I  portray  the  victory  of  Richard  as 
king,  and  then  to  the  end  is  the  story  of  his  fall."* 

*  In  1864  Smetana  composed  a  Festival  March  for  orchestra  in  celebration  of  Shakespeare's  three  hundredth 
birthday. 


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"Richard  III."  is  scored  for  piccolo,  2  flutes,  2  oboes,  2  clarinets, 
2  bassoons,  4  horns,  2  trumpets,  3  trombones,  bass  tuba,  a  set  of  4 
kettle-drums,  triangle,  big  drum,  cymbals,  harp,  strings. 

The  symphonic  poem  opens  Maestoso  quasi  Andante,  A  minor,  4-4, 
with  a  hint  at  the  Richard  motive,  an  upward  progression  of  a  fourth 
(bassoons  and  'cellos  and  double-basses  pizzicati).  Strings  and  horns 
are  used  antiphonally.  The  oboe  has  a  broken  upward  march,  which 
is  continued  by  oboes  and  flute.  The  initial  Richard  theme  is  presented 
in  enlarged  and  full  form  (bassoons,  'cellos,  double-basses),  and  there 
are  wailing  figures  in  the  wood- wind  against  strings  and  harp.  There 
is  an  expressive  figure  for  violins  on  a  pedal  B  (oboes,  clarinets,  bas- 
soons, horns,  and  strings).  The  Richard  theme  appears  again  in  A 
minor  (bassoons,  bass  trombone,  bass  tuba,  double-basses,  ff),  and 
there  is  stormy  development.  The  tonality  changes  to  C  major,  Maes- 
toso, and  the  chief  theme  assumes  a  stately  form.  Piu  allegro  vivo, 
A  minor,  2-4.  Strings  pp  in  lively  rhythm;  wailing  phrases  in  wood- 
wind, answered  by  horns;  crescendo  to  tempo  primo,  Maestoso  ma  non 
troppo  largamente,  which  in  turn  leads  to  Grandiose-,  C  major,  full 
orchestral  force.  Tempo  primo,  quasi  Andante:  again  the  expressive 
phrase  (now  given  to  first  and  second  violins)  on  a  pedal  B,  which,  after 
agitated  development,  leads  to  a  pianissimo.  Roll  of  drums  with 
trumpet-call.     Piu  mosso,  2-2  :  the  Richard  theme  in  still  another  form 


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begins  a  tumultuous  section,  which  bursts  into  Vittorioso,  A  major. 
There  is  a  return  to  the  minor ;  diminuendo ;  the  Richard  theme  appears 
strongly  marked,  first  in  the  lower  strings  against  a  roll  of  drums ;  it 
mounts  in  the  strings  for  a  few  measures  against  trumpet-calls,  and  the 
symphonic  poem  ends  stormily. 


Smetana  from  the  beginning  of  his  career  to  his  death  was  a  pas- 
sionate admirer  of  Liszt.  In  opera  his  ideal  was  Wagner,  but  in  his 
own  operas  there  was  no  deliberate  imitation  of  Wagner.  Smetana 
once  said,  "We  cannot  write  as  Wagner  writes";  but  he  tried  to  pre- 
serve the  relations  between  the  drama  and  the  music,  the  ever-flowing 
orchestral  melody,  which,  however,  should  never  interrupt,  never  dis- 
turb, the  dramatic  action,  but  should  constantly  display  a  consistent 
physiognomy.  He  was  turned  to  the  consideration  of  national  music 
by  Herbeck's  remark  at  Weimar,  when  they  were  paying  Liszt  a  visit, 
—  that  the  Czechs  were  simply  reproductive  artists.  This,  they  say, 
fired  him  to  the  composition  of  national  operas,  of  which  "Prodana 
Nevesta"  ("Die  verkaufte  Braut")  is  the  best  known;  his  cycle  of 
symphonic  poems,  "  Ma  Vlast  "  ("  My  Fatherland");  and  his  famous 
string  quartet  in  E  minor. 

But  Smetana's  devotion  to  Liszt  was  based  on  something  more  than 
admiration  of  the  composer.  Three  remarkable  letters  from  the  Bo- 
hemian to  the  Hungarian  are  published  in  La  Mara's collection:  "Briefe 
hervorragender  Zeitgenossen  an  Franz  Liszt"  (Leipsic,  1895,  vol.  i., 
pp.  95-98;  vol.  ii.,  pp.  121-124,178-181).*  The  first  is  dated  Prague, 
March  23,  1848.  It  is  a  heart-rending  appeal  for  sympathy  and  help. 
Smetana  tells  of  his  youth,  how  he  was  trained  for  literary  pursuits  and 
music  was  allowed  him  only  as  a  recreation.     When  he  was  seventeen 

♦These  letters  are  also  published  as  an  appendix  to  Wellek's  Life  of  Smetana. 


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years  old,  he  knew  not  the  difference  between  C-sharp  and  D-flat,  yet 
he  composed,  although  harmony  was  to  him  an  unknown  science. 
At  nineteen  he  broke  his  bands  and  gave  himself  up  wholly  to  music. 
He  was  now  twenty-four,  "with  a  certain  facility  for  composition,  but 
poor,  helpless,  without  friends."  He  was  in  receipt  of  twelve  florins 
a  month,  "so  that  I  have  enough — not  to  starve."  He  could  not  pay 
the  publisher  for  printing  his  pieces,  and  he  knew  he  could  not  live 
from  his  pieces  even  if  they  were  published.  His  parents  had  been 
reduced  by  misfortune  to  a  state  of  beggary.  He  therefore  took  the 
great  liberty  of  asking  Liszt  to  accept  the  dedication  of  "Six  Morceaux 
Caracteristiques  "  for  pianoforte  and  to  help  him  in  securing  a  publisher. 
Then  he  unbared  his  wretched  condition.  He  had  not  enough  money  to 
hire  a  pianoforte.  If  Liszt  would  only  lend  him  400  florins.  "I 
promise  you  solemnly  to  repay  you,  I  pledge  even  my  life.  I  have  no 
security  to  offer,  only  my  word ;  but  this  is  sacred  to  me,  and  is  much 
surer  than  a  hundred  guarantees.  Do  not  misunderstand  my  boldness ; 
to  no  one  save  you  have  I  confided  my  nee1,,  my  misery.  To  whom 
shall  an  artist  confide  if  not  to  an  artist?  The  rich,  these  aristocrats, 
look  pitilessly  on  a  poor  devil,  and  let  him  starve." 

Liszt  helped  him  with  praise  and  purse, — and  when  was  Liszt  not 
helpful?  He  believed  in  the  great  talent  of  Smetana,  so  that  we  are 
not  surprised  to  find  him  writing  to  Navratil  in  1884:  "I  write  in  haste 
to  tell  you  that  Smetana's  death  has  moved  me  deeply.  He  was  a 
genius."  There  was  correspondence  between  them,  and  in  1856  Liszt 
visited  Smetana  twice  on  a  journey  through  Prague,  and  in  1857  Sme- 
tana visited  him  at  Weimar.  The  pianoforte  pieces  were  published 
in  1 85 1. 

The  two  other  letters  to  which  I  have  referred  were  written  at  Gothen- 
burg, and  bear  directly  on  "Richard  III."     In  the  first,  dated  April 


It's  a  Fownes' 

That's  all  you 
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a  glove 


(1280) 


io,  1857,  Smetana  described  the  musical  conditions  at  the  Swedish  town. 
"The  people  are  still  deep-rooted  in  an  antediluvian  view  of  art.  Mo- 
zart is  their  idol,  but  they  do  not  at  all  understand  him ;  they  are  afraid 
of  Beethoven ;  Mendelssohn  is  declared  to  be  unintelligible ;  and  they 
know  nothing  about  the  later  composers.  I  have  brought  out  Schu- 
mann's works  here  for  the  first  time."  The  singers  of  the  society  were 
mostly  "natural  singers" ;  the  orchestra  was  made  up  of  bandmen  and 
unpractised  amateurs.  Yet  Smetana  rejoiced  in  the  greater  oppor- 
tunity for  his  own  musical  development  than  that  offered  at  Prague. 

In  the  letter  dated  at  Gothenburg,  Oct.  24,  1858,  Smetana  wrote: 
"I  have  finished  the  music  to  Shakespeare's  'Richard  III.,'  and  am  now 
at  work  on  music  to  'Wallenstein's  Camp'  as  Part  I.  and  'Wallenstein's 
Death'  as  Part  II.  ...  As  for  'Richard  III.'  I  shall  not  allow  myself  to 
judge  it  until  you  have  passed  judgment  on  it.  I  have  written  it  with 
pleasure  and  love;  with  all  my  might.  At  present  I  can  not  do  more 
than  is  therein.  The  work  is  in  one  movement,  and  the  emphasis  of 
it  fits  the  action  of  the  tragedy:  the  attainment  of  the  goal  after  the 
overthrow  of  all  obstacles,  the  triumph,  and  finally  the  fall  of  the  hero. 
Smetana  copied  the  beginning  of  the  work  and  inclosed  it,  and  he  called 
attention  to  the  theme  that  typifies  Richard  and  also  to  the  contrasting 
violin  theme  on  the  pedal  B.  He  asked  bitterly  whether  the  sym- 
phony poem  were  not  doomed,  without  any  inquiry  into  its  relative 
worth,  to  serve  as  a  cushion  for  dust  and  an  asylum  for  moths.  '  It 
requires  much  self-denial  and  courage  to  write  works  for — moths. 
Unfortunately  every  young  artist  who  is  not  so  fortunate  as  to  have  a 
conductor  for  friend  or  teacher,  or  has  not  an  orchestra  at  his  own  dis- 
posal, has  this  sad  outlook."  Then  he  asked  that  Liszt  would  see  that 
the  parts  were  copied  at  Smetana's  expense,  because  there  were  no 
capable  copyists  at  Gothenburg,  and  furthermore  it  would  be  trouble- 


HATS     AND     FURS 

PROPER    SHAPES    IN    LADIES'    ROUND 

HATS,  WALKING,   GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COilPANY,    -    BOSTON 

(12S1) 


some  for  several  reasons  to  send  the  parts  from  vSweden  for  performance 
in  some  Continental  town. 


Overture  in  C  minor  to  "Ruy  Blas,"  Op.  95,. 

Feux  Mendelssohn  Barthoedy. 

(Born  at  Berlin,  Feb.  3,  1809;  died  at  Leipsic,  Nov.  4,  1847.) 
Victor  Hugo's  drama,  "Ruy  Bias,"  was  produced  at  the  Theatre  de 
la   Renaissance,    Paris,    on    November   8,    1838.     Frederick   Lemaitre 
created  the  part  of  the  hero.     Louise  Beaudouin  was  the  Queen. 

Fechter  produced  the  play  in  English  at  the  Princess's  Theatre, 
London,  Oct.  27,  i860.  The  first  performance  in  Boston  was  on  Feb. 
22,  1870. 

Mendelssohn  wrote  to  his  mother  in  a  letter  dated  Leipsic,  March 
18,  1839:  "You  wish  to  know  how  it  has  gone  with  my  overture  to 
'Ruy  Bias.'  Merrily  enough.  Between  six  and  eight  weeks  ago  the 
request  came  to  me  to  write  something  for  the  performance  connected 
with  the  Theatrical  Pension  Fund,  a  very  excellent  object,  for  the 
furtherance  of  which  they  were  going  to  play  'Ruy  Bias.'  The  request 
came  to  me  to  write  an  overture,  and  in  addition  they  besought  me 


APOLLO 


CONCERT  GRAND 


23  Notes  More 


88  Notes  Better 


Than  any  other  piano-player. 


Than  any  other  piano-player. 


ENTIRE    KEYBOARD    USED 

The  new  Apollo  Concert  Grand  piano-player  marks  a  radical  departure  from 
the  conventional  in  its  capacity  to  play  either  the  5S-note  music  rolls  of  the  ordinary 
Apollo,  or  a  roll  carrying  the  71-3  octaves  of  the  piano, —  88  notes. 

One  can  have  no  adequate  conception  of  the  possibilities  of  the  Apollo  Concert 
Grand  without  hearing  it.      We  solicit  a  critical  inspection. 

Apolloette $150    Apollo  Grand       .    .    .    $300 

Regular  Apollo     .    .    .   $225    Apollo  Concert  Grand   .    $400 

Unlimited  Music   Library.  Unlimited  Music  Library. 


CHANDLER    W.    SMITH  CO, 

120  and  122  B0YLST0N  ST.,  BOSTON,  MASS. 


(1282) 


S.    S.    PIERCE    CO 


IMPORTERS    AND    GROCERS 


BOSTON    AND    BROOKLINE 


(1283) 


Gloves  and  Veilings,  Fancy  and 
Tailor  Neckwear, 

Also  CHIFFON  and  LIBERTY  SILK  BOAS 

FOR  THE  HORSE  SHOW  AT 

Miss  M.  F.  FISK'S,  144  Tremont  Street 


IMPORTANT! 

ALVAH    GLOVER   SALMON,   Pianist 


A  special  rate  will  be  made  next 
season  to  Musical  Clubs,  Schools, 
etc.,  for  Lecture  Recitals  on  Rus- 
sian Music. 


Subject  matter  obtained  by  Mr.  Salmon  in  St. 
Petersburg  and  Moscow  through  personal  interviews 
with  Glazounoff,  Cui,  Balakireff,  Rimsky- Korsakoff, 
and  other  Slavonic  composers. 


For  terms,  dates,  specimen   program,  etc.,  address 

C.  W.  Thompson  &  Co., 

MUSIC    PUBLISHERS, 

13  West  Street,  Boston,  Mass. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 


CUPPLES  &  SCHOEINHOF, 

128  Tremont  St.,  2d  door  north  of  Winter  St., 
over  Wood's  Jewelry  Store.    (Tel.,  Oxford  1099-2.  > 

SPRING    OPENING 

Imported  Hats  and  Bonnets. 

Last  week  in  March. 

Mile.   CAROLINE, 
486  Boylston  Street,    .     .     Boston. 

Block  of  Brunswick  Hotel. 


INDIVIDUALITY    AND    STYLE    IN   FUR    GARMENTS. 

THEO.  SCHNEIDER, 

FURRIER, 

296=298   Boylston  Street,    Boston. 

Custom  work  on  furs,  of  the  highest  description  only. 


(1284) 


to  compose  a  Romanza,  because  they  thought  the  thing  would  succeed 
better  if  my  name  were  connected  with  it.  I  read  the  play;  it  is 
really  of  no  value,  absolutely  below  contempt ;  *  and  I  told  them  I 
had  no  time  to  write  an  overture,  but  I  did  compose  the  Romanza. 
Monday  (a  week  ago)  was  to  be  the  day  of  performance.  On  the 
Tuesday  before,  the  people  came,  thanking  me  warmly  for  the  Romanza, 
and  said  they  were  sorry  that  I  had  written  no  overture,  but  they 
saw  perfectly  that  for  such  work  time  was  needed,  and  next  year  would 
be  more  thoughtful  and  give  me  a  longer  time.  They  stirred  me  up. 
I  took  the  thing  at  once  in  hand  that  same  evening,  and  blocked  out 
my  score;  Wednesday  morning  was  rehearsal,  Thursday  was  concert, 
and  yet  on  Friday  the  overture  was  ready  for  the  copyist;  Monday 
it  was  given  three  times  in  the  concert-room,  then  rehearsed  once 
in  the  theatre,  and  in  the  evening  was  given  in  connection  with  the 
wretched  play,  and  has  made  me  as  much  fun  as  anything  I  ever  did 
in  my  life.  In  the  next  concert  they  are  going  to  repeat  it  'by  re- 
quest'" (Englished  by  W.  L.  Gage). 

The  score  was  not  published  until  after  Mendelssohn's  death.  The 
title  on  the  original  score  is  "Overture  for  full  orchestra,  composed 
for  the  Theatrical  Pension  Fund  at  its  fiftieth  anniversary,  March  n, 
1839." 

George  Hogarth  in  his  "Philharmonic  Society  of  London"  (London, 
1862)  mentions  the  fact  that  this  overture  was  played  for  the  first 
time  by  the  Philharmonic  Society  in  the  season  of  1849,  and  he  adds 
this  note:    "During  the  season   1844,  when  Mendelssohn  conducted  the 

"  It  is  not  worth  while  to  argue  this  point.     Mendelssohn's  fastidiousness  was  often  tinicni  ; 


I 


COCOA-  CHOCOLATE 


GROCERS      EVERYWHERE. 


(1285; 


vSociety's  concerts,  this  overture  (in  manuscript)  was  tried  at  a  morning 
trial-performance,  when,  it  would  appear,  it  did  not  'go'  to  the  com- 
poser's satisfaction.  When  Mr.  Anderson,*  after  the  performance, 
expressed  his  admiration  of  the  new  work,  he  was  surprised  to  hear 
Mendelssohn  say,  with  some  heat,  that  he  was  much  displeased  with 
it,  so  much  that  he  would  burn  it.  Mr.  Anderson  said  something  dep- 
recating such  a  resolution,  but  Mendelssohn  repeated  his  determina- 
tion that  it  should  never  be  heard  in  public.  Mr.  Anderson  then  said, 
'  You  have  often  expressed  your  admiration  of  my  good  master,  Prince 
Albert ;  I  am  sure  it  would  gratify  him  to  hear  a  new  composition  of 
yours,  so  pray  let  me  give  him  that  pleasure  by  means  of  the  Queen's 
private  band.'  Mendelssohn  consented,  on  condition  that  the  overture 
should  never  be  publicly  performed,  and  gave  Mr.  Anderson  the  original 
orchestral  parts.  The  overture  was  frequently  performed  at  Bucking- 
ham Palace  and  Windsor  Castle,  to  the  admiration  of  Her  Majesty  and 
the  Prince.  Some  time  after  the  composer's  lamented  death  Mr.  Ander- 
son wrote  to  Madame  Mendelssohn,  informing  her  of  all  that  had  passed 
with  respect  to  this  overture,  and  requesting  her  permission  to  per- 
form it  at  Mrs.  Anderson's  next  annual  concert.  The  permission  was 
kindly  given,  and  the  overture  was  performed  at  that  lady's  concert 
in  the  season  1849,  this  being  the  first  time  it  was  ever  publicly  heard 
in  England.  As  said  before,  it  was  afterwards  performed  the  same 
season  by  the  Philharmonic  Society." 

The  overture  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons,  4 
horns,   2    trumpets,  3  trombones,  kettle-drums,  strings.     It  was   per 
formed  in  Boston  on  Dec.  4,  1852;  but  was  that  the  first  performance 
here? 

*  George  Frederick  Anderson,  violinist,  was  born  at  London  in  1793,  and  he  died  there  in  1876.  He  was 
conductor  of  the  Royal  Private  Band  and  Honorable  Treasurer  of  Philharmonic  Society  and  Royal  Society  of 
Musicians.  He  published  at  Norwich,  in  1855,  "  Statement  of  Mr.  G.  F.  Anderson,  in  reply  to  calumnious 
charges  against  him  as  Director  of  Her  Majesty's  Private  Band."  He  married  Lucy  Philpot  (1700-1S78), 
the  first  woman  pianist  who  played  at  a  Philharmonic  Society  concert  (April  29,  1822). 


Mmc-  Antoinette  Szumowska, 

Concert  Pianist* 


For  terms  and  dates  apply  to  F.  R.  Comee, 
Symphony  Hall,  Boston. 


\.vm 


Sir  George  Macfarren  maintained  that  the  Lento  which  begins  the 
overture  and  interrupts  more  than  once  the  main  Allegro  molto  suggests 
with  its  "slow  imperious  chords  the  thought  of  the  iron-minded  minis- 
ter, who,  offended  at  his  neglect  bv  his  royal  mistress,  avenges  this 
by  the  advancement  of  his  minion  to  the  highest  State  offices, 
in  order  that  the  romantic  menial  may  win  the  queen's  affection,  and 
she  be  disgraced  by  the  exposure  of  her  lowly  passion.  The  wild  ardor 
with  which  the  Allegro  begins  must  figure  the  extravagant  aspiration 
of  the  servitor  hero.  The  passionate  cantabile,  with  its  gorgeously  rich 
orchestration  and  its  seemingly  hesitating  accompaniment,  suggests 
the  idea  of  the  guileless  lady  who  is  the  dupe  and  victim  of  her  minister's 
machinations.  And  the  sequel  tells  of  the  rapture  of  Ruy  Bias,  when, 
in  his  strange  exaltation,  the  object  which  he  scarcely  durst  desire  is 
within  his  reach — nay,  in  his  very  possession — the  reciprocation  of  his 
love." 


Ruy  Bias  is  the  hero  of  operas  by  Prince  Poniatowski  (Lucca,  Septem- 
ber, 1843);  Ferd.  Besanzoni  (Piacenza,  1843);  Howard  Glover  (London, 
Oct.  28,  1861);  "Maria  di  Neuemburgo,"  by  Chiaromonte  (Bilbao,  Feb- 
ruary, 1862);  "Ruy  Bias,"  by  Max  Zenger  (Mannheim,  June  4,  1868); 
"Ruy  Bias,"  or  "Una  Vendetta  Catalana,"  by  Filippo  Marchetti  (Milan, 
April  3,  1869).*  See  also  Massenet's  "Don  Cesar  de  Bazan"  (Paris, 
Opera-Comique,  Nov.  30,  1872)  and  Wallace's  "Maritana,  or  Don  Cesar 
de  Bazan"  (London,  Nov.  15,  1845).  An  overture  and  incidental  music 
to  Hugo's  play  were  composed  by  Jacques  Strung  (Paris,  about  1840). 

*  Marchetti's  opera  was  produced  in  Boston  at  the  Globe  Theatre  on  Dec   24,  1874,  wi.h  Mine.  Potenlini, 
Carpi,  and  Tagliapietra  as  the  chief  singers. 


Olive  ]Mead, 

VIOLINIST. 

Address  F.  R.  Comee,  Symphony  Hall,  Boston,  or 

N  v  (9  East  17th  Street,  New  York. 

'  \  6  Cork  Street,  London. 

(12873 


CLEANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real  Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 

DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York  Providence 

17  Temple  Place 

Philadelphia  Baltimore 

Hartford   New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(1288) 

Newport 

Twenty-fourth  Rehearsal   and  Concert. 


FRIDAY  AFTERNOON,  MAY  J,  at  2.30  o'clock. 


SATURDAY  EVENING,  MAY  2,  at  8.00  o'clock. 


PROGRAMME. 


Weber Overture,  "  Oberon " 


Liszt Dante  Symphony 


Brahms  . 


•         . 


"Z-t^v. 


'Two  Part-songs  for  Female  Voices,  Op.  M   ^^ 
(With  Harp  and  Horn  Accompaniment)  "-* .    /,    Y. 

I  Two  Part-songs  for  Female  Voices,  Op.  44  (^j^/.-^1, 
I  (A  Cappella)  «^r.  /-  a 


Tschaikowsky 


Overture,  "J812" 


(128'J) 


■j§rr:E>i:N::E>R^r    hai^t. 


LAST  RECITAL  OF  THE  SEASON 

BY 

BEATRICE   HERFORD 

OF 

ORIGINAL  MONOLOGUES 


NEXT  TUESDAY  AFTERNOON  AT  3 
STEINERT  HALL 


Tickets  are  now  on  sale  at  the  hall 


Miss  Katherine  Ruth  HEYMAN 

BEGS  TO  ANNOUNCE  A 

PIANOFORTE    RECITAL 

On  Thursday  evening,  April  30,  at  8,  in  STEINERT  HALL 


Tickets,  75  cents,  $1.00,  and  $1.50,  now  on  sale  at  the  hall 


THE  STEINWAY   PIANO 


(W90) 


^TEMlVJ^RT*   HJ%.T^I* 


An  AFTERNOON  with  ANCIENT  and  MODERN 
SPANISH  COMPOSERS 


Wednesday,  April  29,  at  3  o'clock 


Madame    ISIDORA    MARTINEZ 

and  distinguished  assisting;  artists 
Reserved  seats,  $1.00  Students,  50  cents 


Direction  RICHARD  NEWMAN,  Steinert  Hall 


Siuseppe   Aldo    RANDEGGER 

The  Neapolitan  Pianist 
Monday  Afternoon,  April  21 \  at  3  o'clock 
STEINERT  HALL 

Program 

EETHOVEN Sonata  quasi  Fantasia,  Op.  27,  No.  1 

Ygy.p  J  (a)    Harmonies  of  Evening 

\  (i)    Eroica 

ALUPPI Adagio 

ACH        .........  Prelude  and  Fugue  in  A  minor 

(  (,;)  Ballade  IV.,  Op.  52 
HOPIN j  (A)   Valse,  Op.  64 

(  (r)    Polonaise,   Op.  40,  No.   1 

[ENDELSSOHN-LISZT "  Auf  Fluegeln  des  Gesanges" 

.ANDEGGER,  G.  A Gavotte  en  Style  Antique 

•EBfiRIOT Valse-Etude-Caprice 

Reserved  seats,  $0.75,  $1.00,  and  $1.50  Tickets  now  oa  sale 

The  Steinway  Piano 

(1-291) 


CH  ICK  E  Rl  NG    HALL 


CHICKERING  HALL 

Tuesday  evening,  April  28,  J903,  at  8.15  o'clock 

JENNIE  FOLSOM  MORRILL 

Presents  her  stage  version  of 

HAMLET 

(The  production  entirely  under  her  own  management) 

CARL   BEHR'S   ORCHESTRA 

Tickets,  $1.00,  75  cents,  and  50  cents,  now  on  sale  at  Herrick's  and  the  hall. 
Checks  may  be  sent  to  Charles  A.  Williams,  Chickering  Hall,  and  orders  will  be  filled 
as  received. 


RECITAL^ 

BEATRICE    HERFORD 

IN  NEW  ORIGINAL  MONOLOGUES 
Assisted  by  Mr.  JOHN  CODMAN,  Soloist 

Mr.  ARTHUR  SEWELL  HYDE,  Accompanist 

Chickering  Halt,  Wednesday  evening,  May  6,  at  8.30 


Tickets  now  on  sale  at  Herrick's,  Copley  Square,  and  Chickering  Hall,  Huntington 
Avenue 


Miss   LUCIE  A.  TUCKER'S  program  of  songs 

and  arias  will  be  given  at  Chickering;  Hall,  Wednesday  evening-, 
April  twenty-ninth,  at  quarter  after  eight  o'clock.  Miss  LAURA 
HAWKINS  will  be  the  pianist.  Tickets  secured  for  the  former  date 
will  be  accepted  April  twenty-ninth.  Additional  tickets  for  one  dollar 
are  on  sale  at  the  hall. 


(1292) 


FAELTEN  PIANOFORTE  SCHOOL 

CARL  FAELTEN,    Director 

Seventh  School  Year  begins  Monday,  September  14,  1903. 
Arrangements  for  lessons  may  be  made  now,  if  desired,  and 
prospective  patrons  are  invited  to  call  at  the  School  at  any 
time.     Prospectus  mailed  free  on  application. 


Summer  Session  for  Music  Teachers,  June  and  July,  1903 

SEND     FOR    CIRCULAR 

30    HUNTINGTON   AVENUE,  BOSTON 

HUNTINGTON    CHAMBERS  HALL 

: 
TO  LET 

For   Professional   and   Amateur    Recitals 

SEATS  420 
APPLY   TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntingdon  Ave., 

opposite  Symphony  Hall, 

I  BOSTON    -    MASS. 

Miss  LUCY  G  McGEE,  Ph.M.,  M.S. 
From  the  New  York  Rescue  Home  of  the  Salvation  Army 

Will  speak  upon 
"  The  Rescue   Work  of  the  Saltation  Army  and  its  Need" 

SUNDAY,  APRIL  26,  \\  A.M. 

At  NEW  CENTURY  BUILDING,  177  Huntington  Avenue 


"Activity  and  Realization/ '  Tuesday,  April  28,  at  8  P.M. 
200  CLARENDON  STREET.    ADMISSION  FREE 
(1293) 


BOXES  S  HORSE  SHOW 

FOR  THE  SEASON  OR  SINGLE 
AFTERNOONS    and   EVENINGS 

SEATS  IN  FIRST  ROW  OF  BALCONY 


CONNELLY'S  ticket  office,  adams  housi 

%#yy|iMllfc,^IUJ     \9  'PHONE,  OXFORD  942 


SYMPHONY     HALL 

EIGHTEENTH    SEASON 

Commencing  MONDAY,  HAY  4 

THE  POP3 

Grand    Orchestra 
of  Fifty 

Mr.  T.    ADAMOWSKI,    Conductor 

EVERY       NIGHT      EXCEPT      SUNDA1 


Admission,  50  cents 
Reserved  seats,  25  cents  extra 

TicKets    on    sale    at    box    office,    Symphony    Hall 
Monday,  April  27 

TELEPHONE,    1492     BACK    BAY 

(1294) 


We 

Unhesitatingly 

Assert 

that  the 

NEW 

RN  ABE, 

"MIGNON" 

OR 

5MALL    GRAND 
PIANO 

Is  by  far  the  best  of  the  many 
small  grands  yet  produced   *ie 


C.  C.  HARVEY  &  CO 

144  BOYLSTON  STREET 


(12'J5) 


SONG  RECITAL 


-  BY 


Mrs.  JULIE  L  WYMAN 


AT    THE 


NEW    CENTURY    BUILDING 
177  Huntington  Avenue  .... 

MONDAY,  APRIL  27,  at  3   O'CLOCK 

PROGRAMME 


L'Iddal Chaminade 

Mon  Coeur  chante       .      Chaminade 
L'Heure  Exquise    .     .  Hahn 

Reveries Hahn 

Infidelite' Hahn 

Mai Hahn 

Ah,  Love  but  a  Day    .    Mrs.  Beach 
The  Year's  at  the  Spring 

Mrs.  Beach 


La  Cloche 
Dormez-vous 
L'Esclave  .     . 
At  Twilight    . 
In  a  Bower 
Chanson  Russe 
Marquise   . 
Bonne  Nuit    . 
Ouvre  tes  Yeux  Bleus 


Saint-Saens 

Wekerlin 

Lalo 

Nevin 

Nevin 

Paladilhe 

Massenet 

Massenet 

Massenet 


Tickets,  $1.00,  now  on  sale  at  Chickering  Hall  and  of  Mrs.  S.  B.  Field, 

Hotel  Nottingham 


(129G 


THE 

Musical  Record  and  Review 


Edited  by  THOMAS  TAPPER 


A  Magazine  for  Teacher,  Student,  and  riusic=lover 

The   Review  of  New  Books  and  New  Music   is  detailed  and  of 

permanent  value. 

The   Notes    of   the   Music  World  are  extensive,  accurate,  and 

of  value  as  a  history  of  our  own  times. 

A  department  of  HOME   LESSONS   IN    MUSIC  began  in 

the  January  issue.     These  practical  lessons  place  you  in  personal 

touch  with  the  leading  teachers. 


Among  the  contributors  for  the  current  year  are  : 

H.  E.  Krehbiel  Edward  Ziegler  Israfel 

W.  J.  Henderson  Dr.  Henry  Hanchett  George  Cecil 

Henry  T.  Finck  Dr.  Percy  Goetschius  Thomas  Tapper 

W.  J.  Baltzell  Benjamin  Cutter  Anna  Alice  Chapin 


The  attention  of  all  teachers,  writers,  and  music-lovers  is  called 
to  our  Second  Prize  Essay  Competition. 

The  prizes  are : 
First,     $40.00  Third,  $20.00 

Second,  30.00  Fourth,   10.00 

For  conditions  see  the   May  issue  of  the  Musical  Record  and 

Review. 

As  a  special  introductory  offer  we  will  send  you   the   Musical 

Record   and    Review    for   FOUR    MONTHS   for  twenty-five 

cents^in  stamps. 

ADDRESS 

MUSICAL  RECORD  and  REVIEW 

DITSON  BUILDING,  BOSTON 

(1297) 


SYMPHONY  HALL 

SUNDAY    EVENING,   APRIL    26,    1903,    at  eigl 

SECOND  CONCERT 

BY    THE 

Boston 
Symphony  Orchestra 

WILHELM  GERICKE,  Conductor 

IN  AID  OF  ITS 

PENSION     FUND 

Assisted  by  Miss  ADA  CROSSLEY 

PROGRAMME 

Rossini       ......  Overture,  "  William  Tel 

Bizet Suite,  "  Rom; 

a.  GiORyANi        ......        Aria,  "  Caro  mio  bei 

b.  E.  German  .  .    Song  with  Orchestra,  "Love,  the  Pedla 

Handel     ....    Largo  for  Violins,  Four  Harps,  and  Orgi 

HARPISTS 

Miss  Raymah  Dowse  Mrs.  Heinrich  Schuecker 

Miss  Fanny  Hamilton  Mr.  Heinrich  Schuecker 

Mr.  Wallace  Goodrich,  Organist 

Saint-Saens        .......  Danse  Maca 

Songs  with  Pianoforte 

a.  Massenet        .....  "  Les  Larmes  "  (Werth 

b.  Richard  Strauss     ......  "Allerseele; 

c.  Hahn       .  .  .  .  .  .  .  .  .       "  Baysag 

d.  C.  Willeby    .  .....  "  Four-leaf  Clove! 

Johann  Strauss  .  .  .    Waltz,  "  Wine,  Woman,  and  Son; 

THE    PIANOFORTE    IS    A    STEINWAY. 

Orders  by  mail,  accompanied  by  check  made  payable  to  C.  A.  Ellis,  will  be  filled! 
the  order  of  their  reception. 

Tickets,  #1.50,  $1.00,  and  75  cents,  on  sale  at  Symphony  Hall  on  and  after  Fridil 
April  17. 

(1298) 


MUSICAL   INSTRUCTION. 


Hiss  HARRIET  S.  WH1TT1KR 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
183  Huntington  Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Aduni. 


Concert  and  Oratorio. 
MlSS  GERTRUDE  EDHANDS,  Vocal  Instruction. 


EXETER    CHAMBERS. 


Specialist  in  the  Science  of 

.  V  0,0        I  MID,  studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 


ANNA  MILLER  WOOD, 

riEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAORA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  SIgnor  Vlanesl. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


Miss  JESSIE  DAYIS, 

Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...  LESSONS ... 

Studio,   163    Hassachusetts  Avenue. 

(1299) 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TE/NOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston 


Mr.  6USTAV  STRDBE 

(Member  of  Boston  Symphony  Orchestra) . 


TeacDerofYiolinJheory,  decomposition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHUR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSErtBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 
DAVID  POPPER. 

STUDIO:  I7IA    TREflONT  STREET. 


JOHN  G.  MANNING, 


Picinist    and    Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  I  to  6. 

Residence,  183  Huntington  Avenue. 


J.  D.  BUCKINGHAM, 


PIANOFORTE.     Method  of  I.  Phllipp. 

The   most   advanced   technics   of  the 
present  day. 
"  A  teacher  of  the  first   magnitude."—  Huneker,   on 
Philipp,  in  Mezzo-tints  in  Modern  Music. 

32  STEINERT  HALL,  BOSTON. 


Miss   ROSE    STEWART, 

Pupil  of  J1ARCHBS1. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


firs.  /label  Harm  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


The  Boston   Symphony    Orchestra    Programme 

For  the  twenty-four  Boston 
Concerts,  with  Historical  and 
Descriptive  Notes  by  Philip  Hale. 

Bound  copies    of    the  Programme  for  the    entire  season  can  be  had  at  $1.50  by  apply- 
ing before  the  last  concert.     Address  all  communications  to 

F.  R.  COMEE,  Symphony  Hall,  Boston. 

(1300) 


BEN  DAVIES 

THE   GREAT   ENGLISH   TENOB 

PRAISES    THE 

WEBER 
PIANO 


New  York,  April  2,  ^OS- 
Messrs.  WEBER  &  CO.: 

Gentlemen, —  I  find  the  sympathetic  singing  quality  and 
richness  of  tone  of  the  Weber  Piano  delightful  and  peculiarly 
invaluable  for  accompanying  the  voice. 

Very  truly  yours, 

(Signed)  BEN  DAVIES. 

The  Boston  Representatives  of  the  Weber  are 

Geo.  li.  CHamplin  (&L  Co. 

18  J  TREMONT  STREET 


*/■■■-.£■■■';■;>■'  'k     ■ 

i 


m 


#< 


tVLADIMIK 


de 


V 


PACHMAW 

!The  St^mway.Whata 

piano! write  this  down litis \ 
divine .  It  is  ita  finest  in  the 
world . 

From  an  interview  published  intfi 

Worcester  Spy,  Sept. 2&,\Qyy 


KSi; 


""-*J^VU 


STEIN  WAY   PIANOS 


M.  STEIN  ERT  &  SONS  CO. 

162  to  Kio  Boulston  Street,  Boston,  Mass. 


3 


PRoGRftttttE 


Bottom  of  a  Grand  Piano,  showing  the  tension  rods  and  sounding-board   rim. 

"  One  imperfection  in  the  modern  pianoforte,  found  even  in  the  instruments 
made  by  standard  makers,  has  been  the  loss  in  tone  quality  due  to  the  inability 
of  the  sounding-board  to  retain  its  tension.  The  problem  seems  at  last  to  have 
been  satisfactorily  solved  by  a  most  simple  and  ingenious  construction  em- 
bodied in  the  pianos  of  Mason  &  Hamlin." — From  "Scientific  American" 
October  if,  igo2. 

A  complete  description,  as  given  by  the  "  Scientific  Ameri- 
can" of  this  epoch-marking  invention  in  pianofotte  construction 
will  be  mailed  on  application  to 

iHES0ntlamIm€0. 

162    BROADWAY,    CAMBRIDGE,    MASSACHUSETTS. 


Boston  Symphony  Orchestra* 


SYMPHONY  HALL,  BOSTON, 
HUNTINGTON  AND  MASSACHUSETTS  AVENUES. 

(Telephone,  J492  Back  Bay.) 

TWENTY-SECOND  SEASON, 
J902-J903. 

WILHELM  GERICKE,  CONDUCTOR. 


PROGRAMME 

OF  THE 

TWENTY- FOURTH 
REHEARSAL  and  CONCERT 


WITH  HISTORICAL  AND  DESCRIPTIVE 
NOTES  BY  PHILIP  HALE     J*    J*    J*    J* 


FRIDAY  AFTERNOON,  MAY  J, 

AT  2.30  O'CLOCK. 


SATURDAY  EVENING,  MAY  2, 

AT  8.00  O'CLOCK. 


Published  by  C.  A.  ELLIS,  Manager. 
0301.) 


.  ME  S  S  R  S  . 

CHICKERING  &  SONS 

PIANOFORTE     MAKERS 

Invite    Critical    Inspection    of 
Their    Latest    Production 

The  Quarter  Grand 

The   Smallest    Grand    Embodying 
Modern  Principles  Ever  Made 

RETAIL     WAREROOMS 

791    TREMONT    STREET,    BOSTON 


1302) 


TWENTY-SECOND  SEASON,  J902-J903. 


Twenty-fourth   Rehearsal  and   Concert* 


FRIDAY  AFTERNOON,  MAY  J,  at  2.30  o'clock. 

SATURDAY  EVENING,  MAY  2,  at  8.00  o'clock. 


PROGRAMME. 

Weber Overture  to  *  Oberon  n 

Liszt         .         .        .        Symphony  after  Dante's  "  Divina  Commedia " 

I.     Inferno  :  Lento.     Allegro  frenetico.    Quasi  andante.    Andante  amoroso 
(Francesco).     Tempo  primo. 
II.     a.  Eurgatorio:  Andante  con  moto.      Lamentoso.      Poco  a  poco  piii  di 

mo  to. 
/'.  Magnificat. 


f  a.,  "  Es  tont  ein  voller  Harfenklang"  and  "Wem*  an  den 
Felsen,"  from  Four  Trios  for  Female  Voices,  with 
Accompaniment  of  Harp  and  Two  Horns,  Op.  17, 
Brahms  Nos.  J,  4. 

b .  "  Minnelied  "  and  u  Der  Brautigfam,"  from  Twelve  Songs 
and  Romances  for  Female  Voices  without  Accom- 
paniment, Op.  44,  Nos   J,  2. 

(First  time  at  these  concerts.) 

Tschaikowsky Overture,  "  J  81 2,"  Op.  49 

The  Chorus  of  the  Thursday  Horning  Club,  the  women's  chorus 
of  the  Choral  Art  5octety  of  Boston,  and  others. 


There  will  be  an  intermission  of  ten  minutes  after  the  symphony. 


The  doors  of  the  hall  will  be  closed  during  the  performance  of 
each  number  on  the  programme  Tho*e  who  wish  to  leave  before 
the  end  of  the  concert  are  requested  to  do  so  in  the  interval  be- 
tween the  numbers.         _^ 

City  of  Boston,  Revised  Regulation  of  August  5,  1898.— Chapter  3,  relating  to 
the  covering  of  the  head  in  places  of  public  amusement. 

Every  licensee  shall  not,  in  his  place  of  amusement,  allow  any  person  to  wear  upon  the  head  a  covering 
which  obstructs  the  view  of  the  exhibition  or  performance  in  such  place  of  any  person  seated  in  any  seat  therein 
provided  for  spectators,  it  being  understood  that  a  low  head  covering  without  projection,  which  does  not  ob- 
struct Mich  view,  may  be  worn. 

Attest:   J.  M.  GALVIN,  City  Clerk. 
(1303) 


L.  P.  HOLLANDER  &  CO. 

PARIS  UNDERWEAR. 

We  are  offering  a  most  advantageous  purchase  of 

.  FRENCH  LINGERIE 

Of  our  own  importation,  mostly  MANUFACTURERS' SAMPLES,  at 
about  HALF  OF  THEIR  REAL  VALUE.  They  are  all  new  and 
fresh,  and  no  two  pieces  alike. 

GOWNS,  hand  embroidered  and  lace  trimmed,  $3.50,  $4.50,  and  $5.50 
Fully  worth  $6.50,  $7.50,  and  $9.50. 

CHEMISES,  hand  embroidered  and  lace  trimmed,  $2.00,  $3.50,  and  $4.50 
Regular  prices,  $4.50,  $6.50,  and  $7.50. 

DRAWERS,  hand  embroidered  and  lace  trimmed,  $1.25,  $2.00,  and  $3.50 
Regular  prices,  $2.50,  $4.50,  and  $5.50. 

CORSET  COVERS,  hand  embroidered  and  lace  trimmed, 

all  sizes,  best  shapes        ....        $2.25,  $3.50,  and  $4.50 
Regular  prices,  $4.50,  $5.50,  and  $7.50. 

SKIRTS,  with  hand  embroidered  flounces  and  under  ruffle     .        $3.00 

Regular  price,  $6.50. 


Overture  to  the  Opera,  "Oberon,"  Carl  Maria  von  Weber. 

(Born  at  Eutin,  Oldenburg,  Dec.  iS,  1786;  died  at  London,  June  5,  1826.) 

"Oberon;  or,  the  Elf -king's  Oath,"  a  romantic  opera  in  three  acts, 
book  by  James  Robinson  Planch  e,  music  by  Carl  Maria  von  Weber, 
was  first  performed  at  Covent  Garden,  London,  on  April  12,  1826. 
Weber  conducted  the  performance.  The  first  performance  in  Boston 
was  at  Music  Hall  by  the  Parcpa  Rosa  Company,  May  23,  1870. 

Weber  was  asked  by  Charles  Kemble  in  1824  to  write  an  opera  for 
Covent  Garden.  A  sick  and  discouraged  man,  he  buckled  himself  to 
the  task  of  learning  English,  that  he  might  know  the  exact  meaning  of 
the  text.  He  therefore  took  one  hundred  and  fifty-three  lessons  of  an 
Englishman  named  Carey,  and  studied  diligently,  anxiously.  Planche 
sent  the  libretto  an  act  at  a  time.  Weber  made  his  first  sketch  on  Jan. 
23,  1825.  The  autograph  score  contains  this  note  at  the  end  of  the 
overture:  "Finished  April  9,  1826,  in  the  morning,  at  a  quarter  of 
twelve,  and  with  it  the  whole  opera.  Soli  Deo  Gloria  ! ! !  C.  M.  V. 
Weber."     This  entry  was  made  at  London. 

The  overture  is  scored  for  2  flutes,  2  oboes,  2  clarinets,  2  bassoons, 
4  horns,  2  trumpets,  3  trombones,  kettle-drums,  strings.  The  over- 
ture begins  with  an  introduction  (Adagio  sostenuto  ed  il  tutto  pianis- 
simo possibile,  D  major,  4-4).  The  horn  of  Oberon  is  answered  by 
muted  strings.  The  figure  for  flutes  and  clarinets  is  taken  from  the 
first  scene  of  the  opera  ( Oberon 's  palace;  introduction  and  chorus 
of  elfs).  After  a  pianissimo  little  march  there  is  a  short  dreamy 
passage  for  strings,  which  ends  in  the  violas.  There  is  a  full  or- 
chestral crashing  chord,  and  the  main  body  of  the  overture  begins 
(Allegro  con  fuoco  in  D  major,  4-4).  The  brilliant  opening  measures 
are  taken  from  the  accompaniment  figure  of  the  quartet,  "Over  the 
dark  blue  waters,"  sung  by  Rezia,   Fatime,   Huon,   Scherasmin  (Act 

NEW  ENGLAND  CONSERVATORY  OF  MUSIC 

GEORGE  W.  CHADWICK,  Director 

SCHOOL   YEAR    1903=1904 
OPENS   SEPTEMBER    17 

Examinations   for  entrance   begin   September   10 

Instruction  under  the  ablest  teachers 
for  partial  or  full  graduate  courses, 
in  private  or  class  work,  as  desired 

Huntington  Avenue,  one  block  west  of  Symphony  Hall 

(1305) 


V.     BALLARD    &    SONS 


FANCY  TAILOR  GOWNS 

Made  from  Rich  Paris  Models.  A  large 
assortment  of  Novelty  Cloths,  Etamines, 
Veilings,  etc. 

SHORT  SKIRT  SUITS 


Sole  Makers 

Made  from  Smart  Imported  Homespuns 

of  the 

SHIRT  WAIST  SUITS 

BALLARD 

Safety 

Made  from  Linens,  Piques,  Embroidered 
Wash  Goods,  and  Silks, —  Louisines,  Fou- 
lards, Indias,  Pongees,  etc. 

Riding 

REASONABLE    PRICES 

Habit 

256    Boylston    Street,   Boston 

The  Indian  Swastika,  or  Good  Luck  Cross 

Charm  for  Neck  or  Lorgnette  Chains.    A  novelty ,  and  costs  only  $J.00 


Bohemian    Crystal    with   Gold   Decorations. 

is  more  varied  and  beautiful  than  ever 
Attention  is  called  to  the  new  Fruit  and  Flower  Decoration  in  Color.. 
Dishes  and  Vases  from  $  J.  00  to  $  \  5.00 


Electric  Lamps 


For  Home  Lighting  and  Display.    Variety  of  Bronze  Standards^  StiUk. 
and  Tinted  Glass  Shades,  $10.00  to  $50.00 


A.  STOWELL  &  CO.,  *»*«* 

Makers  and  Finders  of  the  Unusual  24  WINTER  STREET 


(130G) 


II.,"  scene  10).  The  horn  of  Oberon  is  heard  again;  it  is  answered  by 
the  skipping  fairy  figure.  The  second  theme  (A  major,  sung  first  by 
the  clarinet,  then  by  the  first  violins)  is  taken  from  the  first  measures 
of  the  second  part  of  Huon's  air  (Act  L,  No.  5).  And  then  a  theme 
taken  from  the  peroration,  presto  con  fuoco  of  Rezia's  air,  "Ocean! 
Thou  mighty  monster"  (Act  II.,  No.  13),  is  given  as  a  conclusion  to 
the  violins.  This  theme  ends  the  first  part  of  the  overture.  The  free 
fantasia  begins  with  soft  repeated  chords  in  bassoons,  horns,  drums, 
basses.  The  first  theme  is  worked  in  short  periods ;  a  new  theme  is  in- 
troduced and  treated  in  fugato  against  a  running  contrapuntal  counter- 
theme  in  the  strings.  The  second  theme  is  treated,  but  not  elab- 
orately; and  then  the  Rezia  motive  brings  the  spirited  end. 

At  the  first  performance  of  the  opera  the  overture  was  repeated. 

It  may  here  be  said  that  "a  new  version"  of  "Oberon,"  with  the 
libretto  revised  by  Josef  Lanff  and  with  additional  music  by  Josef 
vSchlar,  was  produced  at  Wiesbaden  in  May,  1900.  "There  was  an 
attempt  to  make  the  music  harmonize  more  or  less  with  the  spirit  of 
the  present  day." 

There  is  comparatively  little  space  in  the  last  programme-book  of  the 
season  for  digressions.  I  refer  the  reader  who  may  wish  to  become 
acquainted  with  the  circumstances  of  the  first  performance  of  "Oberon  " 
to  the  Programme-book  of  Dec.  21,  1901,  pp.  37T-382. 


Symphony  after  Dante's  "Divina  Commedia" 


Franz  Liszt: 


(Born  at  Raiding,  near  Odenburg,  Hungary,  Oct.  22,  181 1;  died  at 
Bayreuth,  July  31,  1886.) 

The  first  sketches  of  this  symphony  were  made  during  Tiszt's  stay 
at  the  country-house  of  the  Princess  Carolyne  von  Sayn-Wittgenstein 


NEW  SO/NGS 

BY 

JOHN   W.   METCALF 

(Composer  of  "Absent") 

Sea  Dreams $0.50 

Among  the  Heather     ...       .50 

Smiles  and  Frowns 60 

Until  You  Came 50 


ARTHUR   P.  SCHMIDT, 

BOSTON,  LEIPZIG.  NOW  YORK, 

146  Boylstou  Street.  136  Fifth  Avenue. 


New  Comic  Operas 

Prince  Punjab  (Pi  Eta)    .         .         .  $1.00 

Scientific  King  (Tech)     .         .         .  i.oo 

Catnippers  (Hasty  Pudding)   .         .  1.50 

Peggy  of  Paris         ....  2.00 

Mocking-bird            ....  2.00 


Eternelle  Ivresse.     Popular  French 

Waltz $0.80 

All    music  performed  at  these  concerts 
constantly  on  hand. 


CHARLES  W.  HOHEYER  &CO., 

165  TREHONT  STREET, 

BOSTON. 


H307) 


at  Woronince,  October,  1847  —  February?  1848:  The  symphony  was 
finished  in  1855,  and  the  score  was  published  in  1858.  The  first  per- 
formance was  at  Dresden  on  Nov.  7,  1857,  under  the  direction  of 
Wilhelm  Fischer.  The  first  part,  "  Inferno,  "  was  produced  in  Boston 
at  a  Philharmonic  Concert,  Mr.  Listemann  conductor,  Nov.  19,  1880. 
The  whole  symphony  was  performed  here  at  a  Symphony  Concert,  Mr. 
Gericke  conductor,  Feb.  27,  1886. 

The  work  is  scored  for  3  flutes  (one  interchangeable  with  piccolo), 
2  oboes,  cor  anglais,  2  clarinets,  bass  clarinet,  2  bassoons,  4  horns,  2 
trumpets,  3  trombones,  bass  tuba,  2  sets  of  kettle-drums,  cymbals,  bass 
drum,  gong,  2  harps,  harmonium,  strings,  and  chorus  of  female  voices. 
The  score  is  dedicated  to  Wagner:  "As  Virgil  led  Dante,  so  hast  thou 
led  me  through  the  mysterious  regions  of  tone-worlds  drunk  with  life. 
From  the  depths  of  my  heart  I  cry  to  thee:  'Tu  se  lo  mio  maestro, 
e  '1  mio  autore!'  and  dedicate  in  unalterable  love  this  work.  Weimar, 
Easter,  '59." 

/.     Inferno:  Lento,  4-4. 

Per  me  si  va  nella  citta  dolente: 
Per  me  si  va  nell'  eterno  dolore: 
Per  me  si  va  tra  la  perduta  gente! 

Through  me  the  way  is  to  the  city  dolent ; 
Through  me  the  way  is  to  eternal  dole; 
Through  me  the  way  among  the  people  lost. 

— Longfellow. 

G.  C  Slattertj   Company 


ARE  SHOWING  IN  THEIR 

READY  ■  TO  =  WEAR 

New  Veiling  and  Etamine  Tailor  Costumes, 
Ladies'  Dresses  from  the  New  Models,  Walk- 
ing Suits  of  New  Summer  Fabrics,  Ladies' 
Linen  Dresses,  and  Silk  Blouses,  Also  the 
"FAIRFAX"  LINEN  WAIST.  New 
Novelties  in  French  Millinery  and  Neckwear 

dumber   155  Ctemont  ^tteet,  I3o0toit>  ti@a$& 

(1308) 


O  u  rope  an    L  ommissions 

JOHN  H.  PRAY  & 
SONS  COMPANY 

WHOLESALERS,  IMPORTERS,  AND  RETAILERS 


UR  representative  is  now  in 
Europe,  and  will  give  personal  atten- 
tion to  commissions  forwarded  by  us. 
We  solicit  commissions  for  Oriental 
Carpets  in  unusual  designs  or  colorings. 
Special  consideration  given  to  the  carrying  out 
of  orders  for  whole  carpets,  which  are  woven 
without  seam  and  to  fit  any  space.  We 
especially  recommend  the  Scotch  Chenille 
Axminsters. 

Whole  Carpets,  in  India  and  Turkish 
weaves,  can  be  furnished  in  from  six  to  twelve 
months  from  receipt  of  order. 
Except  in  extraordinary  sizes  and  colorings,  we 
will  cheerfully  bring  out,  subject  to  approval, 
Oriental   Carpets,  either   Modern  or  Antique. 


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(1309) 


These  words,  read  by  Dante  as  he  looked  at  the  gate  of  hell,  are  thun- 
dered out  by  trombones,  tuba,  double-basses,  etc. ;  and  immediately  after 
trumpets  and  horn  make  the  dreadful  proclamation  (C-sharp  minor) : 
"Lasciate  ogni  sperenza,  voi  ch'  entrate"  ("All  hope  abandon,  ye 
who  enter  in.")  Liszt  has  written  the  Italian  lines  under  the  theme 
in  the  score.  The  two  "Hell  motives"  follow,  the  first  a  descending 
chromatic  passage  in  the  lower  strings  against  roll  of  drums,  the  sec- 
ond given  to  bassoons  and  violas.  There  is  illustration  of  Dante's  lines 
that  describe  the  "sighs,  complaints,  and  ululations  loud":  — 

Languages  diverse,  horrible  dialects, 

Accents  of  anger,  words  of  agony, 

And  voices  high  and  hoarse,  with  sound  of  hands, 

Made  up  a  tumult  that  goes  whirling  on 

Forever  in  that  air  forever  black, 

Even  as  the  sand  doth,  when  the  whirlwind  breathes. 

— Longfellow. 

The  Allegro  frenetico,  2-2,  in  the  development  paints  the  madness 
of  despair,  the  rage  of  the  damned.  Again  there  is  the  cry,  "All 
hope  abandon"  (trumpets,  horns,  trombones,  tuba).  There  is  a  lull 
in  the  orchestral  storm.  Quasi  Andante,  5-4,  Harps,  flutes,  violins, 
a  recitative  of  bass  clarinet  and  two  clarinets  lead  to  the  episode  of 
Francesca  da  Rimini  and  Paola.  The  cor  anglais  sings  the  lamenta- 
tion : — 

There  is  no  greater  sorrow 

Than  to  be  mindful  of  the  happy  time 

In  misery. 

Summer  Seats 


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Then,  too,  it  solves  the  problem  of  inex- 
pensive, luxurious,  artistic  furnishing. 
Added  to  Willow  we  have  complete 
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We  place  special  emphasis  on  the  char- 
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in  large  part  to  our  exclusive  order  from 
private  designs.  Such  creations  as  our 
golf  specialties  and  library  combina- 
tions  cannot  be   seen   elsewhere. 

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Before  the  'cello  takes  up  the  melody  sung  by  the  clarinet,  the  "La- 
sciate"  theme  is  heard  (muted  horn,  solo),  and  then  in  free  tempo, 
Andante  amoroso,  7-4,  comes  the  love  duet,  which  ends  with  the  "La- 
sciate"  motive.  A  harp  cadenza  brings  the  return  to  the  first  allegro 
tempo,  in  which  the  "Lasciate"  theme  in  combination  with  the  two 
"Hell  motives"  is  developed  with  grotesque  and  infernal  orchestra- 
tion. There  is  this  remark  in  the  score:  "This  whole  passage  should 
be  understood  as  sardonic  blasphemous  laughter  and  most  sharply 
defined  as  such."  After  the  repetition  of  nearly  the  whole  of  the  open- 
ing section  of  the  allegro  the  "Lasciate"  theme  is  heard  ///. 

II.  Purgatorio  and  Magnificat.  The  section  movement  begins  An- 
dante con  moto,  D  major,  4-4.  According  to  the  composer  there  is 
the  suggestion  of  a  vessel  that  sails  slowly  over  an  unruffled  sea.  The 
stars  begin  to  glitter,  there  is  a  cloudless  sky,  there  is  a  mystic  stillness. 
Over  a  rolling  figuration  is  a  melody  first  for  horn,  then  oboe,  the 
"Meditation"  motive.  This  period  is  repeated  a  half-tone  higher. 
The  "Prayer"  theme  is  sung  by  'cello,  then  by  first  violin.  There  is 
illustration  of  Dante's  tenth  canto,  and  especially  of  the  passage  where 
the  sinners  call  to  remembrance  the  good  that  they  did  not  accomplish. 
This  remorseful  and  penitent  looking-back  and  the  hope  in  the  future 
inspired  Liszt,  according  to  his  commentator,  Richard  Pohl,  to  a  fugue 
based  on  a  most  complicated  theme.  After  this  fugue  the  gentle 
"Prayer"  and  "Repentance"  melodies  are  heard.  Harp  chords  estab- 
lish the  rhythm  of  the  Magnificat  (three  flutes  ascending  in  chords  of  H- 
flat).  This  motive  goes  through  sundry  modulations.  And  now  an  un- 
seen chorus  of  women,  accompanied  by  harmonium,  sings,  ' '  Magnificat 
anima  mea  Dominum  et  exultavit  spiritus  meus,  in  Deo  salutari  meo" 
("My  soul  doth  magnify  the  Lord,  and  my  spirit  hath  rejoiced  in  God 
my  Saviour").     A  solosvoice,  that  of  the  Mater  gloriosa,  repeats  the 

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song.  A  short  choral  passage  leads  to  "Hosanna,  Halleluja."  The 
final  harmonies  are  supposed  to  illustrate  the  passage  in  the  twenty-first 
canto  of  the  "Paradiso"  : — 

I  saw  rear'd  up, 
In  color  like  to  sun-illumined  gold, 
A  ladder,  which  my  ken  pursued  in  vain, 
So  lofty  was  the  summit ;   down  whose  steps 
I  saw  the  splendors  in  such  multitude 
Descending,  every  light  in  heaven,  methouglit, 
Was  shed  thence. 

— //.   F.  Cary. 

The  "Hosanna"  is  again  heard,  and  the  symphony  ends  in  soft  har- 
monies (B  major)  with  the  first  Magnificat  theme. 


Liszt  wrote  to  Wagner,  June  2,  1855:  "Then  you  are  reading  Dante? 
He  is  excellent  company  for  you.  I,  on  my  part,  shall  furnish  a  kind 
of  commentary  to  his  work.  For  a  long  time  I  had  in  my  head  a  Dante 
symphony,  and  in  the  course  of  this  year  it  is  to  be  finished.  There 
are  to  be  three  movements,  'Hell,'  'Purgatory,'  and  'Paradise,'  the  two 
first  purely  instrumental,  the  last  with  chorus." 

Wagner  wrote  in  reply  a  long  letter  from  London :  ' '  That  '  Hell '  and 
'  Purgatory '  will  succeed  I  do  not  call  into  question  for  a  moment,  but 
as  to  '  Paradise '  I  have  some  doubts,  which  you  confirm  by  saying  that 
your  plan  includes  choruses.  In  the  Ninth  Symphony  the  last  choral 
movement  is  decidedly  the  weakest  part,  although  it  is  historically 
important,  because  it  discloses  to  us  in  a  very  naive  manner  the  diffi- 
culties of  a  real  musician  who  does  not  know  how  (after  hell  and  purga- 
tory) he  is  to  describe  paradise.  About  this  paradise,  dearest  Franz, 
there  is  in  reality  a  considerable  difficulty,  and  he  who  confirms  this 
opinion  is,  curiously  enough,  Dante  himself,  the  singer  of  Paradise, 
which  in  his  'Divine  Comedy'  also  is  decidedly  the  weakest  part."  And 
then  Wagner  wrote  at  length  concerning  Dante,  Christianity,  Buddhism, 
and  other  matters.     "But,  perhaps,  you  will  succeed  better,  and  as 


Keep  Your  Stomach  Well 

Horsford's  Acid  Phosphate  cures  habitual 
stomach  weakness,  improves  the  appetite 
and  digestion,  and  removes  the  cause  of 
headache  and  wakefulness. 


Half  a  teaspoon  in  half  a  glass  of  water  just  before  retiring, 
induces  restful  sleep. 


(1314) 


you  are  going  to  paint  a  tone  picture,  I  might  almost  predict  your  suc- 
cess, for  music  is  essentially  the  artistic,  original  image  of  the  world. 
For  the  initiated  no  error  is  here  possible.  Only  about  the  'Paradise,' 
and  especially  about  the  choruses,  I  feel  some  friendly  anxiet'y.' 


Trios  for  Female  Voices  with  Accompaniment  of  two  Horns 
and  Harp,  Op.  17 Johannes  Brahms. 

(Born  at  Hamburg,  May  7,  1833;   died  at  Vienna,  April  3,  1897.) 

The  set  of  four  trios  for  female  voices,  Op.  17,  was  composed  in  i860 
or  1 86 1.  This  set  and  the  serenade,  Op.  t6,  were  the  first  of  Brahms's 
works  published  by  N.  Simrock,  of  Bonn,  later  of  Berlin,  and  from  the 
date  of  this  publication  Brahms  began  to  be  free  from  pecuniary  wor- 
ries. The  first  performance  of  the  four  part-songs  in  Boston  was  at 
one  of  Mr.  H.  G.  Tucker's  concerts,  Nov.  28,  1884,  with  Mr.  Freygang 
(harp)  and  Messrs.  Schormann  and  Schumann  (horns). 

No.  1.     "Whene'er  the  Sounding  Harp  is  heard." 
(Words  by  Ruperti.) 

Es  tont  ein  voller  Harfenklang, 

Den  Lieb'  und  Sehnsucht  sehwellen; 
Er  dringt  zum  Herzen  tief  und  bang, 

Und  lasst  das  Auge  quellen. 

O  rinnet,  Thranen,  nur  herab! 

O  sehlage,  Herz,  mit  Beben! 
Es  sanken  Lieb'  und  GHick  in's  Grab: 

Verloren  ist  das  Leben ! 


Whene'er  the  sounding  harp  is  heard, 
Inspired  by  love  and  longing, 

With  grief  our  inmost  hearts  are  stirred, 
And  tears  our  eyes  are  thronging. 


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FLORA'S  HOLIDAY.     Cycle  of  Old  English  Melodies.    Composed  and 
arranged  by  H.  Lane  Wilson.      Price,  $1.50  net. 

TWO  GREAT  WALTZ  SONCS       3 

Sung  by  Madame  Melba 

ROSE  D'AUTOMNE.      Valse  Lente.    With  French  and  English  Words. 
Music  by  F.  Paolo  Tosti.     Keys,  A-flat,  B-flat.     75  cents. 

APRIL  MORN.     Brilliant  Vocal  Waltz.   Words  by  John  Dowers.     Music 
by  Robert  Batten.     Keys,  C,  D.     75  cents. 

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1316) 


Flow  on,  ye  tears,  uneheck'd  flow  on, 

Thy  grief,  sad  heart,  grow  stronger, 
Since  love  and  joy  to  death  are  gone, 

And  life  is  life  no  longer. 

Englished  by  the  Rev.  Dr.  Troutbeck. 

No.  4.     The  Death  of  TrEnar. 

(From  Ossian's  "Fingal.") 

Wein'  an  den  Felsen  der  brausenden  Winde, 
Weine,  o  Madchen  von  Inistore ! 
Beug'  iiber  die  Wogen  dein  sehones  Haupt  ; 
Lieblicher  du  als  der  Geist  der  Berge, 
Wenn  er  um  Mittag,  in  einem  Sonnenstrahl, 
Uber  das  Sehweigen  von  Morven  fahrt. 

Er  ist  gefallen. 

Dein  Jiingling  liegt  darnieder; 

Bleieh  sank  er  unter  Cathullin's  Schwert. 

Nimmer  wird  Muth  deinen  Liebling  mehr  reizen, 

Das  Blut  von  Konigen  zu  vergiessen. 

Wein',  u.  s.  w. 

Trenar,  der  liebliche  Trenar  starb ! 

O  Madchen  von  Inistore! 

Seine  grauen  Hunde  heulen  daheim ; 

vSie  sehn  seinen  Geist  voriiber  ziehn. 

Sein  Bogen  hiingt  ungespannt  in  der  Halle, 

Nichts  regt  sich  auf  der  Haide  der  Rehe. 

Wein',  u.  s.  w. 


Weep  on  the  rocks  of  the  winds  that  are  roaring, 
Weep,  O  thou  maiden  of  Inistore! 
And  over  the  waves  let  thy  fair  head  bend: 
Lovelier  thou  than  the  ghost  of  the  mountains, 
That  which  at  noon,  in  the  brightness  of  the  sun, 
Over  the  silence  of  Morven  moves. 

Ah !  he  is  fallen.     Thy  youth  is  lowly  lying : 
Pale  sank  he  under  Cathullin's  sword. 


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Valor  no  more  shall  thy  true  love  awaken, 
The  Blood  of  Kings  on  the  field  to  shed. 

Weep  on  the  rocks,  etc. 

Trenar,  the  beautiful  Trenar  died! 

O  maiden  of  Inistore! 

His  tawny  dogs  are  howling  at  home; 

His  ghost  they  behold  before  them  pass. 

His  bow  in  the  hall  is  hanging  unbended, 

Nought  moving,  where  the  hinds  are  reposing. 


Weep,  etc. 


English  words  adapted  by  the  Rev.  Dr.  Troidbeck. 


Twelve  Songs  and  Romances  for  Female  Voices  without  Accompaniment, 

Op.  44. 

These  songs  were  composed  in  1866.  "Der  Brautigam"  was  sung 
for  the  first  time  in  Boston  at  a  concert  of  the  Boylston  Club,  Mr. 
G.  Iy.  Osgood  conductor,  Dec.  9,  1886. 

No.  1.    Minneued. 

(J.  H.  Voss,  1751-1826.) 

Der  Holdseligen  sonder  Wank 
Sing  ich  frohlichen  Minnesang, 
Denn  die  Reine,  die  ich  meine, 
Wink  mir  lieblichen  Habedank. 


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Ach,  bin  inniglich  Minnewund, 
Gar  zu  minniglich  kiisst  ihr  Mnnd, 
Lacht  so  griisslich,  lockt  so  kusslich, 
Dass  mir's  bebt  in  des  Herzens  Grund. 

Gleich  der  sonnigen  Veilchen  au, 
Glanzt  der  wonnigen  Augen  Blau, 
Frisch  und  rundchen  bliiht  ihr  Miindchen, 
Gleich  der  knospenden  Ros'  im  Thau. 

Ihrer  Wangelein  lichtes  Roth 
Hat  kein  Engelein,  so  mir  Gott! 
Eia!  sass  ich  unablassig 
Bei  der  Preislichen  bis  zum  Tod! 


No.  2.     Der  Brautigam. 
(J.  von  Eichendorff,  1 788-1 857.) 

Von  alien  Bergen  nieder 
So  frohlich  Grtissen  schallt: 

Das  ist  der  Friihling  wieder, 
Der  ruft  zum  griinen  Wald. 

Ein  Liedchen  ist  erklungen 
Herauf  zum  stillen  Schloss: 

Dein  Liebster  hat's  gesungen, 
Der  hebt  dich  auf  sein  Ross. 

Wir  reiten  so  geschwinde 

Von  alien  Mensehen  weit, 
Du  rauscht  die  Luft  so  linde 

In  Waldes  Einsamkeit, 

Wohin  im  Mondenschimmer 

So  bleich  der  Wald  sehon^steht. 

Leis'  rauscht  die  Nacht:  frag'  nimmer 
Wo  Lieb'  zu  Endejgeht. 


gioc 


EDITED     BY    THOMAS    TAPPER 


a  year 


Contents 

for 

may 

1903 


FOUR  PRIZE  ESSAYS: 

How  Shall  1  Teach  Music  ?     (First  Prize) 

Jessie  Katherine  Macdonald 

The  Practice  of  the  Pianoforte.    (Second  Prize)       .... 
Edward  Danforth  Hale 

The  Basis  of  Expression.     (Third  Prize)      .        .J.  Lawrence  Erb 

How  to  be  a  First=C!ass  Teacher  in  a  Small  Town 

(Fourth  Prize) Mary  L.  Dwight 

SECOND  PRIZE  ESSAY  ANNOUNCEMENT 

PRESENT  MUSICAL  TENDENCIES,  A  REVIEW   .        .        .        ... 

LESSONS  IN  MUSIC  FORM.     No.  4    .         .         .  Dr.  Percy  Goetschius 
THE  MODERN  ARTISTIC  PIANOFORTE.     II.     Henry  Lowell  Mason 

HARMONIC  ANALYSIS.     IV Benjamin  Cutter 

VOICE  CULTURE Arthur  L.  Manchester 

Songs  by  Heinrich  Riemann,  H.  J.  Stewart.     Piano  Music  by  Charles 
Neustedt,  Bernhard  Wolff,  Adolf  Frey. 


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Allovers  for  entire  waists 

Lace  Robes  of  marked  distinction 

Pattern-waists  of  linen 

Ostrich  Boas,  all  lengths 

Persian  bands 

Linen  bands,  with  heavy  embroidery 

Veilings  of  every  description 


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Adown  from  every  mountain 

The  merry  greetings  ring: 
To  forest,  brook,  and  fountain 

Now  calls  again  the  spring. 

A  little  song  is  ringing 

From  vale  to  castle  gray: 
It  is  thy  lover  singing, 

Whose  steed  bears  thee  away. 

We  ride,  we  ride  so  fleetly 

Afar  from  haunts  of  men, 
Where  breezes  murmur  sweetly 

In  lonely  forest  glen. 

Ah,  where?     The  moonbeams  quiver, 

So  pale  and  still  the  grove, 
The  night  wind  sighs:  ask  never 

Where  is  the  end  of  love. 

A  nonymous  translation. 


Overture;,  "1812,"  in  E-ft^at  major,  Op.  49.     Peter  Tschaikowsky. 

(Born  at  Votkinsk,  in  the  government  of  Viatka,  Russia,  May  7,  1840;  died  at 
St.  Petersburg,  Nov.  5-6,   1893.) 

The  new  Church  of  the  Redeemer  in  Moscow  was  solemnly  dedicated 
in  the  summer  of  1881.  Nicholas  Rubinstein,  who  had  watched  the 
building  with  the  greatest  interest,  determined  that  the  ceremony  of 
consecration  should  be  enriched  with  music  of  uncommon  character; 


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and  in  the  spring  of  1880  he  asked  Tschaikowsky  to  compose  something 
for  the  service.  The  overture  "1812"  was  finished  at  Kamenka  in 
1880.  The  church  was  dedicated  to  the  memory  of  the  famous  year 
when  the  might  of  Napoleon  was  shaken  at  Borodino  and  consumed  in 
the  flames  of  Moscow.  The  overture  was  to  be  performed  in  the  public 
square  before  the  church  by  a  colossal  orchestra,  church  bells  were  to 
be  used,  and  big  drums  were  to  be  replaced  by  cannon. 

The  overture  is  scored  for  piccolo,  2  flutes,  2  oboes,  cor  anglais,  2  clar- 
inets, 2  bassoons,  4  horns,  2  trumpets,  2  cornets,  3  trombones,  bass 
tuba,  a  set  of  3  kettle-drums,  snare-drum,  bass  drum,  tambourine,  tri- 
angle, cymbals,  bells,  cannon,  strings,  and  a  full  brass  band  ad  libitum 
at  the  end. 

The  overture  begins  Largo,  E-flat  major,  3-4,  with  a  Russian  hymn, 
"God  preserve  thy  People,"  which  is  given  out  in  four-part  harmony  by 
violas  and  'cellos.  Wood-wind  instruments  take  up  the  closing  phrase, 
which  is  developed.  A  recitative  passage  follows,  which  is  introduced 
by  a  wailing  oboe  phrase.  There  is  development,  and  the  pace  quickens 
to  the  climax.  Andante,  4-4.  Oboes,  clarinets,  and  horns  sound  a 
fanfare.  There  is  a  quieter  theme  (strings)  in  opposition.  Allegro 
giusto,  E-flat  minor,  4-4.  The  main  body  of  the  overture  begins  stormily 
in  the  strings,  and  is  worked  up  by  the  full  orchestra.  Fragments  of 
the  Marseillaise  are  sounded  by  horns  and  cornets.     There  is  a  quieter 

When  you  go  to  Paris 

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At  least,  Paris  says  so  ;  and  Paris  dictates  in  such  matters.  It  is  used  by 
the  most  exclusive  modistes  in  the  French  capital,  the  leaders  who  rule  the 
world  of  dress. 

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theme  (violins  and  violas)  in  C-sharp  major.  Companies  of  Russian 
troops  are  characterized  by  various  themes, — as  by  the  purely  Slav 
motive  in  E-flat  minor  (flute,  cor  anglais,  against  violas,  basses,  clari- 
nets, and  tambourine.)  The  Marseillaise  returns,  and  when  its  opening 
phrase  is  sounded,  almost  in  its  complete  shape,  the  theme  is  swallowed 
up  in  the  orchestral  fury.  Largo,  E-flat,  3-4.  The  ecclesiastical  theme 
of  the  Introduction  appears  as  a  hymn  of  thanksgiving,  fortissimo. 
And  then,  Allegro  vivace,  the  Russian  National  Hymn  is  thundered 
(horns,  bassoons,  trombone,  tuba,  'cellos,  violas,  double-basses),  while 
the  fanfare  theme  is  above  in  opposition. 

Tschaikowsky  has  been  charged  with  anachronism;  for  the  Mar- 
seillaise was  not  in  favor  during  the  First  Empire,  and  the  Russian 
Hymn  was  not  composed  by  Iyvoff  before  1833.  This  reproach  is,  how- 
ever, not  to  be  taken  seriously;  for  these  tunes  are  used  as  typical  of 
two  nations,  and  not  in  any  attempt  at  realism.  When  Tschaikowsky 
visited  Berlin  in  1888,  this  overture  was  played  at  the  concert  of  his 
works,  much  to  his  dislike,  for  he  wrote  in  his  diary :  "I  considered  and 
still  consider  my  Overture  '  1812  '  quite  mediocre;  it  has  only  a  patriotic 
and  local  significance,  which  makes  it  unsuitable  for  any  but  Russian 
concert  rooms;  but  it  was  precisely  this  overture  that  Mr.  Schneider 
wished  to  put  on  the  programme,  and  he  said  that  it  had  been  per- 
formed several  times  in  Berlin  with  success."  The  first  performance 
at  Boston  at  a  Symphony  Orchestra  concert  was  on  Dec.  30,   1893. 


WORKS   PERFORMED   AT  THE   SYMPHONY   CONCERTS 
DURING  THE  SEASON   OF    1902- 1903. 


Works  marked  with  a  double  asterisk  were  performed  for  the  first  time  in  Boston. 
Works  marked  with  an  asterisk  were  performed  for  the  first  time  at  these  concerts. 
Works  marked  with  a  dagger  were  performed  for  the  first  time  anywhere. 
Artists  marked  with  an  asterisk  appeared  at  these  concerts  for  the  first  time. 
Artists  marked  with  a  double  asterisk  appeared  for  the  first  time  in  Boston. 
Artists  marked  with  a  dagger  are  members  of  the  Boston  Symphony  Orchestra. 


D'Albert:  Prelude  to  the  Opera,  "The  Ruby."     Nov.  29,  1902, 


PAGE 
297 


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Anon.:   "Jeunes  Fillettes.  "*     (Charles  Gilibert.*)    April  4, 

1903 1096 

Arensky:  Introduction  to  "Nala  and  Damayanti."**     Jan.  24, 

1903 641 

Bach:  Overture  (Suite)  No.  2,  in  B  minor,  for  strings,  flute,  and 

pianoforte  accompaniment.     Oct.  18,  1902 10 

Concerto  in  A  minor,  No.  1,  for  violin.*    (Franz  Kneisel.|) 

Dec.  6,  1902 370 

Beethoven:    Symphony  No.    1,  in  C  major,  Op:  21.     April  25, 

1903 1249 

Symphony  No.  3,  in  E-flat  major,  "Kroica,"  Op.  55.     Dec. 

6,  1902 389 

Symphony  No.  4,  in  B-flat  major,  Op.  60.  Nov.  15,  1902  .  212 
Symphony  No.  5,  in  C  minor,  Op.  67.  Feb.  14,  1903  .  .  .  836 
Overture  to  "Leonore"  No.  2,  in  C  major,  Op.  72.     Oct.  18, 

1902 5 

Concerto  for  pianoforte,   No.   5,   in  E-flat  major,   Op.   73. 

(Frederic  Lamond.**)     Nov.  i,  1902 134 

Concerto  in  D  major  for  violin,  Op.  61.     (Hugo  Heer- 

mann.**)     Feb.  28,  1903 867 

Andante  cantabile  from  pianoforte  trio  in  B-flat  major,  Op. 

97  (arranged  by  Liszt).     Jan.  31,  1903 712 

Recitative  and  Song,  "To  Hope,"  Op.  94.*     (Anton  Van 

Rooy.*)     Nov.  22,  1902 255 

Berlioz:   Love  Scene  and  "Queen  Mab"  Scherzo  from  "Romeo 
and  Juliet"    Symphony.     Dec.   27,   1902,  and  Feb.   7, 
1903 478,  758 

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Overture,  "The  Roman  Carnival,"  Op.  9.     Oct.  25,  1902  .     .         61 
Overture,  "The  Fehmic  Judges,"  Op.  3.*     Dec.  6,  1902    .     .       357 
Bizet:  Suite,  "L'Arlesienne,"  No.  1.     Nov.  15,  1902     ....       194 
Borodin:    "On  the  Steppes  of  Central  Asia,"  orchestral  sketch, 

Op.  7.     April  18,  1903 1216 

Brahms:  Symphony  No.  1,  in  C  minor,  Op.  68.  Dec.  27,  1902  .  502 
Symphony  No.  3,  in  F  major,  Op.  90.  Nov.  1,  1902  .  .  .  121 
Hungarian  Dances,  Nos.  11,  12,  13,  14,  15  (orchestrated  by 

Albert  Parlow).     Jan.  24,  1903 656 

Concerto  in  D  major  for   violin,    Op.    77.     (Maud  Mac- 

Carthy.**)     Nov.  15.  1902 192 

Two  Part-songs    for  female  voices  (with  harp  and  horns), 
Op.  17:  "Es  tont  ein  voller  Harfenklang,"*  "Wein'  an 

den  Felsen."*     May  2,  1903 13 15 

Two  Part- songs  for  female  voices  a  capella,  Op.  44:  "Min- 

nelied,"*  "Der  Brautigam."*     May  2,   1903   .     .     .     .     131 8 
CharpEntier:        "Impressions    of    Italy,"     orchestral     suite. 

March  14,  1903 1004 

Cherubini:      Overture   to   the   Opera,    "The   Water-carrier." 

Feb.  7,  1903 753 

Converse,  F.  S. :  "Endymion's  Narrative,"  romance  for  orches- 
tra, Op.  10. f     April  11,  1903 1 162 

Dvorak:     Symphony   in    E    minor,  No.   5,   "From    the    New 

World,"  Op.  95.     Jan.  10,  1903 614 

Symphonic  Variations  on  an  original  theme,  Op.  78.     Nov. 

22,  1902 262 


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Elgar  :  "Sea  Pictures "  :*  "Sea  Slumber  Song ' '  and  ' ' Sabbath 

Morning  at  Sea,"   Op.  37.     (Mme.  Kirkby  Lunn.**) 

Jan.  3,  1903 556 

Exaudet:   Minuet.*     (Charles  Gilibert.*)     April  4,  1903       .     1095 
Fibich:    Overture  to  Vrchlicky's  Comedy,  "A  Night  at  Karl- 
stein,"**  Op.  26.     Jan.  31.  1903' 697 

Foote:  Suite  in  D  minor,  I.  II.,  Op.  36.  March  28,  1903  .  .  1062 
Franck:  "The iEolidae,"  symphonic  poem.  Dec.  20,  1902  .  .  443 
Gluck;  Overture  to  "Iphigenia  in  Aulis."  April  18,  1903  .  .  1197 
Gold-mark :  Chorus  of  Spirits  and  Spirits'  Dance  from  "Merlin"** 

Jan.  10,  1903 598 

Gounod:    "Stanzas   of    Sappho."     (Mme.    Kirkby    Lunn.**) 

Jan.  3,  1903        : 536 

Guilmant-   Symphony  for  organ  and  orchestra,  No.  1,  Op.  42.* 

(Wallace  Goodrich.)     April  n,  1903 1172 

Haydn:   Symphony  in  D  major  (R.  &   H.,  No.  10).     Dec.  20, 

1902 417 

Symphony  in  D  major,  "The  Chase."     Feb.  28,  1903  .     .     .       896 
Huber :  Symphony  No.  2,  E  minor,  "Bocklin,"  Op.  115.**     Oct. 

25,  1902 86 

Liszt:    Dante  Symphony.     Mav  2,  1903 1307 

Symphonic  Poem   No.    2,  "Tasso:    Lament  and  Triumph." 

Dec.  6,  1902 , 381 

March  of  the  Three  Holy  Kings,**  from  "Christus."     Dec. 

20,  1902 447 

Concerto    in  E-flat   major,  No.   1,  for   pianoforte.     (Mark 

Hambourg.)     Jan.  24,  1903 648 

See  Schubert:    "Wanderer"  Fantasia 28 

See  Beethoven  :  Andante  from  pianoforte  trio  in  B-flat. 
Litolff:  Overture,  "King Lear."**     April  11,  1903       ....      1141 
LoEFFLER:    Two  Poems  for  orchestra:     "La   Bonne  Chanson" 

(after  Verlaine),  "Villanelle  du  Diable"  (after  Rollinat),       540 
Mackenzie:   "Pibroch"  Suite  for  violin  and  orchestra,  Op.  42.* 

(Timothee  ADAMOwsKi.f)     Jan.  31,  1903 702 


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Martini,    Egide:    "Plaisir  d' Amour."*     (Chari.es Gilibert.*) 

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Masse:    "L'Oiseau  s'envole   la-bas."*     (Charles    Gilibert.*) 

April  4,  1903 1 1 13 

Massenet:    "Pensee    d'Automne."*      (Charles    Gilibert.*) 

April  4,  1903 1 1 15 

Mendelssohn:  Symphony  in  A  major,  "Italian,"  Op.  90.     Nov. 

22,  1902 237 

Overture  in  C  minor  to  "Ruy  Bias,"  Op.  95.     April  25,  1903,      1282 
Mottl  :  See  Schubert. 

Mozart:  Symphony  in  C  major,  "Jupiter."     Jan.  24,  1903    .     .       668 
Symphony  in  D  major,  "without  minuet"  (K.  504).     March 

28,  1903 1033 

"II  mio  Tesoro,"  from  "Don  Giovanni."*     (Ben  DaviES.) 

April  11,   1903 1 1 56 

Parker,  Horatio:    Concerto  in  E -flat  for  organ  and  orchestra, 

Op.  55. t     (H.  Parker.*)     Dec.  27,  1902 473 

Parlow:  See  Liszt. 

Raff:   "Lenore,"  Symphony  No.  5,  in  E  major,  Op.  177.     April 

18,  1903 1224 

Reinhold:  Prelude,  Minuet,  and  Fugue,  Op.  10.     April  4,  1903,      11 14 
Rimsky-Korsakoff  :  Overture  to  "The  Betrothed  of  the  Tsar."** 

Nov.  15,  1902 181 

Rubinstein:    Symphony  in  C  major,  No.  2,  "Ocean,"  Op.  42 

(second  version),  I.,  III.,  IV.,  VII.     Jan.  3,  1903  .     .     .       529 
Concerto  No.  2,  in  D  minor,**  for  'cello  and  orchestra,  Op. 96 

(Elsa  RuEGGER.)     Oct.  25,  1902 71 

Saint-Saens:   Symphonic   Poem   No.   1,  "Omphale's  Spinning- 
wheel,"  Op.  31.     Oct.  25,  1902 85 

Concerto  in  A  minor  for  'cello,  Op.  33.     (Alwin  Schroe- 

DER.f)     Jan.  10,  1903 595 

Concerto  in  G  minor,  No.  2,  for  pianoforte,  Op.  22/    (An- 
toinette Szumowska.)    March  28,  1903 1042 

Schubert:  Symphony  in  C  major,  No.  9.     March  7,  1903  .     .     .       951 
Overture  in  E  minor.     Feb.  28,  1903 865 


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Fantasia   in    F   minor,    Op.    103    (orchestrated   by   Felix 

Mottl).     Nov.  29,  1902 304 

Fantasia  in  C  major  ("Wanderer"),  Op.  15,  rearranged  by 

Liszt.  (Raoul  Pugno.*)     Oct.  18,  1902 28 

Schumann,  Georg:  Overture,   "The  Dawn  of  Love,"  Op.  28.** 

March  14,  1903 977 

Schumann,  Robert:    Symphony  No.   2,  in  C  major,   Op.   61. 

Nov.  29,   1902 327 

Symphony   No.    3,    in    K-flat  major,    "Rhenish,"  Op.  97. 

Feb.  7,  1903         784 

Overture,  Scherzo,  and  Finale,  Op.  52.  April  4,  1903  .  .  11 17 
Overture  to  "Genoveva,"  Op.  81.  Jan.  10,  1903  ....  585 
Concerto   in   A   minor  for  pianoforte,    Op.    54.      (Fanny 

Bloomfieud-ZeislEr.)    Feb.  14,  1903 818 

Smetana:  Symphonic  Poem,  "Richard  III."**     April  25,  1903  .      1274 
Strauss,  Richard:  "Don  Juan,"  tone-poem  (after  Lenau),  Op. 

20.     Nov.  1,  1902 144 

"Death  and  Transfiguration,"   tone-poem,   Op.   24.     Feb. 

7,   1903 762 

Burleske  in  D  minor  for  pianoforte  and  orchestra.**     (Hein- 

rich  Gebhard.)     April  18,  1903 1210 

Suk:  Suite,  "A  Fairy  Tale,"**  Op.  16.     Nov.  29,  1902      .     .     .       320 
SvEndsen:  "The  Carnival  at  Paris,"  episode,  Op.  9.     March  28, 

1903 1064 

Taneieff:     Overture   to  "The  Oresteia"  of  ^schylus,  Op.  6. 

Feb.  14,  1903      .     .     .     .  - 809 

Thomas,  A.  Goring:  "O  Vision  Entrancing,"  from  the  opera, 

"Esmeralda."*     (Ben  DaviES.)     April    11,    1903    .     .      1168 
Tschaikowsky  :    Symphony  No.  5,  in  E  minor,  Op.  64.     Oct. 

18,    1902 30 

"Romeo  -and  Juliet,"  overture-fantasia  after  Shakespeare. 

March  14,   1903 980 

Suite  No.  3,  in  G  major,  Op.  55.  Jan.  31,  1903  ....  727 
Overture  in  E-flat  major,  "1812,"  Op.  49.     May  2,   1903,     1323 


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antique  coloring  is  employed.  This  and  a  superb  finish 
alone  relieve  the  severity  of  the  design.  The  effect  is 
highly  dignified.  May  we  send  you  a  catalogue  showing 
all  our  designs,  with  explanation  of  our  rental  purchase 
plan, —  buying  a  piano  by  renting  it  ? 


•  I  VERS   8  POND    • 

•  PIANO    CO  • 

114BOYLSTON  ST.  BOSTON 


(1333) 


Concerto  for  pianoforte,    No.   i,    in  B-flat  minor,    Op.    23. 

(Harold  Randolph.*)     Dec.  20,   1902 430 

Wagner:  A  "Faust"  Overture.     March  7,  1903       921 

Introduction  and  Love  Death  from  "Tristan  and  Isolde" 

(orchestral).     Jan.  3,  1903 561 

Kaisermarsch.     Nov.    1,    1902 152 

"Wotan's  Farewell"  and  "Fire  Charm, ' '   from    "Die   Wal- 

kiire."     (Anton  Van  Rooy.*)     Nov.   22,    1902      .     .       266 

A  Siegfried  Idyl.     Feb.   14,   1903 824 

Weber:    Overture  to  "Oberon."     May  2,  1903 J305 

Weingartner:    "The   Elysian    Fields,"  symphonic  poem,  Op. 

21.**     March   7,    1903 936 

Widor:     Choral  and  Variations  for  harp  and  orchestra,**  Op. 

74.     (H.  ScHUECKER,f  harpist.)     Feb.  28,  1903       .     .       876 
Wieniawski:    Fantasy  on  themes  from  Gounod's  "Faust,"  Op. 

20.*     (Adolf  Bak.|)     April  25,  1903 1256. 

Witkowski:    Symphony  in  D  minor.**     April  4,  1903     .     .     .     1085 


WORKS   PERFORMED  FOR  THE   FIRST  TIME   IN    BOSTON. 

Symphonies. 

HubEr:    Symphony  No.  2,  E  minor,  Op.  11.5.     Oct.  25,  1902. 
Witkowski:    Sym phony  in  D  minor.     April  4,  1903    ....  : 

Carried  forward ; 


Dominion  Line 


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For  rates  and  further  information  apply  to  or  address 

DOMINION  LINE,  77-81  STATE  STREET,  BOSTON, 

Or  any  local  steamship  agent. 

(1331) 


Brought  forward 


Symphonic    Poems. 

Smetana.  "Richard  III."     April  25,  1903. 
Weingartner  :  "The  Elysian  Fields",  Op.  21. 


March  7,  1903. 


Overtures. 

ArEnsky:  "Nala  and  Damayanti."     Jan.  24,  1903. 
Fibich:  "ANight  at  Karlstein."  Op.  26.     Jan.  31,  1903. 
Litolff:    "King  Lear."     April  11,   1903. 
Rimsky-Korsakoff :     "The  Betrothed  of  the  Tsar."     Nov.  15, 

1902. 
Schumann,  Georg:    "The  Dawn  of  Love,"  Op.  28.     March  14, 

1903 

i 

Suites,  Variations,  etc. 
Converse:    "Endymion's  Narrative, "f  romance  for  orchestra, 

Op.  10.     April  11,  1903. 
Liszt:  March  of  the  Three  Holy  Kings,  from  "Christus."     Dec. 

20,  1902. 
Suk:  Suite,  "A  Fairy  Tale,"  Op.  16.     Nov.  29,  1902     .     .     .     . 

Concertos,  etc. 

Mackenzie  :  ' '  Pibroch  "  Suite  for  violin,  Op.  42.  First  time  with 
orchestra.     (TimotheE  Adamowski.|)    Jan.  31,  1903. 

Parker,  H. :  Concerto  in  E-flat  for  organ  and  orchestra,  Op.  55. 
(Horatio  Parker.*)     Dec.   27,   1903. 

Rubinstein:  Concerto  No.  2,  in  D  minor,  for  violoncello  and  or- 
chestra, Op.  96.     (Elsa  Ruegger.)     Oct.  25,  1902. 

Strauss,  R. :  Burleske  for  pianoforte  and  orchestra.  (Hein- 
rich  Gebhard  )     April  18,  1903. 

Widor:  Choral  and  Variations  for  harp  and  orchestra,  Op.  74. 
(Heinrich  ScHUECKER.f)     Feb.  28,  1903 

Carried  forward 


17 


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(1336) 


Brought  forward 

Operatic   Transcriptions. 
Goldmark:  Chorus  of  Spirits  and  Spirits'  Dance  from  "Merlin." 

Jan.    10,    1903 

Total  number  of  works  produced  this  season  for  the  first  time    . 


17 


1 
78 


SUMMARY. 


D 'Albert 


Anon 

Arensky  .... 

Bach 

Beethoven  .    .    . 

.     .     .     9 

Berlioz   .... 

.     .     .     4 

Bizet 

Borodin  .... 

1 

Brahms    .... 

.     .     .     8 

Charpentier     .     . 

1 

Cherubini     .     .     . 

Converse     .    .     . 

1 

Dvorak    .... 

Elgar      .... 

Kxaudet       .     .     . 

Fibich      .... 

1 

FOOTE  

Franck    .... 

Gluck      .     .     .     . 

Goldmark     .     .     . 

1 

Gounod    .... 

Guilmant     .     .     . 

1 

Haydn      

Huber 

Liszt 

.     .     4 

Litolff    

L.OEFFLER        .       .       .      , 

2 

Mackenzie    .     .     .     . 

Martini       1 

Masse 1 

Massenet .1 

Mendelssohn       2 

Mozart 3 

Parker,  H 1 

Raff 1 

Reinhold    "....,.  I 

Rimsky-Korsakoff       .     .     .  1 

Rubinstein 2 

Saint-Saens 3 

Schubert     4 

Schumann,  G 1 

vSchumann,  R 5 

Smetana      I 

Strauss,  R 3 

vSuk I 

svendsen    i 

Tanei'eff 1 

Thomas,  A.  G.      .     .     .  .1 

tschaikowsky      .     .         .  5 

Wagner .5 

Weber   ........  i 

Weingartner 1 

Widor 1 

WlENIAWSKI I 

WlTKOWSKI I 

104 


It's  a  Fownes' 

That's  all  you 
need  to  know  about 
a  glove 


(i:«6) 


SUMMARY  BY  WORKS. 
I.     Symphonies. 
Beethoven:  Symphony  No.  i,  in  C  major,  Op.  21. 
Symphony  No.  3,  in  E-flat,  "Eroica,"  Op.  55. 
Symphony  No.  4,  in  B-flat  major,  Op.  60. 

Symphony  No.  5,  in  C  minor,  Op.  67 4 

BERUOz:  Love  Scene  and  "Queen  Mab"  Scherzo  from  "Romeo 

and  Juliet,"  dramatic  symphony,  Op.  17 2 

Brahms:  Symphony  No.  1,  in  C  minor,  Op.  68. 

Symphony  No.  3,  in  F  major,  Op.  90 2 

Dvorak:  Symphony  No.  5,  in  E  minor,  "From  the  New  World," 

Op.  95 x 

Guilmant  :  Symphony  No.  1 ,  in  D  minor,  for  organ  and  orches- 
tra, Op.  42.*    (Wallace  Goodrich,  organist)    ...  1 
Haydn:    Symphony  in  D  major,  "The  Chase." 

Symphony  in  D  major  (B.  &  H.,  No.  10) 2 

Huber:  Symphony  No.  2,  in  E  minor,  "Bocklin,"  Op.  115**  .     .  1 

Liszt:    Symphony  after  Dante's  "Divine  Comedy"    ....  1 

Mendelssohn:  Symphony  in  A  major,    "Italian, "  Op.  90     .     .  1 
Mozart:   Symphony  in  D  major,  "without  minuet"  (K.  504). 

Symphony  in  C  major,  "Jupiter"  (K.  551) 2 

Raff:  Symphony  No.  5,  in  E  major,  "Lenore,"  Op.  177   ..     .  1 
Rubinstein:    Symphony  No.  2,  in  C  major,  "Ocean,"  Op.  42, 

second  version,  I.,  III.,  IV.,  VII 1 

Schubert:   Symphony  No.  9,  in  C  major 1 

Schumann:  Symphony  No.  2,  in  C  major,  Op.  61. 

Symphony  No.  3,  in  E-flat,  "Rhenish,"  Op.  97     ...  2 

Tschaikowsky  :  Symphony  No.  5,  in  E  minor,  Op.  64  ....  1 

Witkowski  :  Symphony  in  D  minor** 1 

Total ~24 

II.     Suites  and  Serenades. 
Bach:  Overture  (suite)  No.  2,  in  B  minor,  for  strings,  flute,  and 

pianoforte  accompaniment 1 

Carried  forward 1 


HATS     AND     FURS 

PROPER    SHAPES    IN   LADIES'    ROUND 

HATS,  WALKING,  GOLFING,  AND 

HUNTING   HATS.     RICH    FURS 

OF    EVERY    DESCRIPTION 

COLLINS   &    FAIRBANKS   COHPANY,    -    BOSTON 

(1337) 


Brought  forward 

Bizet:  Suite,,  "L'Arlesienne,"  No.  i . 

CharpEntiEr:  Suite,  "  Impressions  of  Italy  " 

FooTE:  Suite  in  D  minor,  Op.  36.     I.   Allegro  energico.     II.   Es- 

pressivo 

REinhold:  Prelude,  Minute,  and  Fugue  for  strings,  Op.  10      .     . 

Schumann  :  Overture,  Scherzo,  and  Finale,  Op.  52 

Suk:  Suite,  "A  Fairy  Tale,"  Op.  16** 

Tschaikowsky:  SuiteNo.  3,  inG  major,  Op.  55 

Total        


III.     Symphonic  Poems. 

Franck,  Cesar:   Symphonic  Poem,  "The  ^olidas"      .     .     .     . 

Liszt:  Symphonic  Poem  No.  2,  "Tasso:  Lament  and  Triumph" 

LoEFFLER:  Two  Poems:  "La  Bonne  Chanson"  (after  Verlaine), 
"Villanelle  du  Diable"  (after  Rollinat) 

Saint-Saens:  Symphonic  Poem  No.  1,  "Omphale's  Spinning- 
wheel,"  Op.  31 

SmETANa:  Symphonic  Poem,  "Richard  III."** 

Strauss,  Richard:  Tone-poem,  "Don  Juan"  (after  N.  Lenau), 
Op.  20.   Tone-poem,  "Death  and  Transfiguration,"  Op.  24  . 

Weingartner:  Symphonic  Poem,  "The  Elysian  Fields," 
Op.  21** 

Total 


THE 


From  all  sides  comes  the  highest  praise  for  the  Apollo  piano 
player.  Singers,  pianists,  organists,  and  orchestral  directors,  all  of  them 
recognized  as  belonging  in-  the  ranks  of  the  world's  greatest  artists,  join 
in  paying  hearty  tribute  to  its  beautiful  musical  qualities,  its  fine  construction,  its 
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FOR  THE  HORSE  SHOW  AT 


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IMPORTANT! 

ALVAH    GLOVER   SALMON,   Pianist 


A  special  rate  will  be  made  next 
season  to  Musical  Clubs,  Schools, 
etc.,  for  Lecture  Recitals  on  Rus- 
sian Music. 


Subject  matter  obtained  by  Mr.  Salmon  in  St. 
Petersburg  and  Moscow  through  personal  interviews 
with  Glazounoff,  Cui,  Balakireff,  Rimsky- Korsakoff, 
and  other  Slavonic  composers. 


For  terms,  dates,  specimen   program,  etc.,  address 

C.  W.  Thompson  &  Co., 

MUSIC    PUBLISHERS, 

13  West  Street,  Boston,  Mass. 


Foreign  Books. 
Foreign   Periodicals. 

Tauchnitz's  British  Authors. 
CUPPLES&  SCHOENHOF, 

128  Tremont  St.,  2d  door  north  of  Winter  St., 
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Imported  Hats  and  Bonnets. 

Last  week  in  March. 

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INDIVIDUALITY    AND    STYLE   IN  FUR    GARMENTS, 

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Custom  work  on  furs,  of  the  highest  description  only. 


(1340) 


IV.    Overtures. 

D'AlbERT:   Prelude  to  the  Opera,  "The  Ruby" i 

Arensky:  Introduction  to  the  Opera,  "Nala  and  Damayanti,"**  i 

Beethoven:  Overture  to  "Leonore,"  No.  2,  in  C  major,  Op.  72,  1 
Berlioz:  Overture,  "The  Roman  Carnival,"  Op.  9. 

Overture  to  "The  Fehmic  Judges,"  Op.  3* 2 

Cherubini:   Overture  to  the  Opera,  "The  Water-carrier"      .     .  1 
Fibich:     Overture  to  Vrchlicky's  Comedy,  "A  Night  at  Karl- 
stein,"  Op.  26** 1 

Gluck:  Overture  to  "Iphigenia  in  Aulis"  (Wagner's  ending)    .  1 

Litolff:  Overture  to  the  Opera,  "King  Lear"** 1 

Mendelssohn:     Overture  in  C  minor  to  Victor  Hugo's  "Ruy 

Bias,"  Op.  95 1 

Rimsky-Korsakofe :    Overture  to  the  Opera,  "The  Betrothed 

of  the  Tsar"**        1 

Schubert  :   Overture  in  B  minor 1 

Schumann,  Georg:  Overture,  "The  Dawn  of  Love,"  Op.  28    .     .  1 
Schumann,    Robert:      Overture    to   the   Opera,   "Genoveva," 

Op.  81       1 

Taneieff:   Overture,  "L'Oresteia" 1 

Tschaikowsky :  "  Romeo    and  Juliet,"  overture-fantasia  after 
Shakespeare. 

Overture  in  E-flat  major,  "181 2,"  Op.  49 2 

Wagner:.  A  "Faust"  Overture 1 

Weber:    Overture  to  the  Opera,  "Oberon" 1 

Total       19 


V.     Orchestral  Variations. 

DvorAk  :  Symphonic  Variations  on  an  original  theme,  Op.  78     . 
Widor:  Choral  and  Variations  for  harp  and  orchestra,  Op.  74** 

Total 


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Get  out  of  the  rut  yourself!  All  doctors 

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in  preference  to  coffee. 

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9 


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grocers  everywhere  (/       QUALITY,  PURITY  &  FLAVOR. 


(1341) 


VI.     Operatic  Excerpts  and  Transcriptions. 

Beethoven:  Andante  cantabile  from  the  pianoforte  trio  in 
B-flat  major,  Op.  97  (orchestrated  by  Liszt)    .... 

Brahms:  Hungarian  Dances,  Nos.  11,  12,  13,  14,  15  (orches- 
trated by  Albert  Parlow) 

Goldmark:  Chorus  of  Spirits  and  Spirit's  Dance  from  "Mer- 
lin,"**         

Schubert:  Fantasia  in  F  minor,  Op.  103  (orchestrated  by  Felix 
Mottl) 

Wagner:  Introduction  and  Love  Death  from  "Tristan  and 
Isolde" 

Total 

VII.     Miscellaneous. 
Borodin:    "On  the  Steppes  of  Central  Asia,"  orchestral  sketch, 

Op.  7    •    • 

Converse:  "Endvmion's  Narrative,"  romance  for  orchestra, 
Op.    iof  " 

Liszt  :  March  of  the  Three  Holy  Kings,  from  ' '  Christus  "**       .     . 

SvendsEn:  "Carnival  at  Paris,"  episode  for  orchestra,  Op.  9  .     . 

Wagner:  Kaisermarsch 

A  Siegfried  Idyl  .     .         


Total       6 

VIII.     Concertos  and  Instrumental  Solos  with  Orchestra. 

Bach;  Concerto  in  A  minor,  No.  1,  for  violin.*   (Franz  Knei- 

SEL.f) 1 

Beethoven:  Concerto  No.  5,  in  E-flat  major,  for  pianoforte,  Op. 
73.     (Frederic  Lamond.**) 
Concerto  in  D  major  for  violin,   Op.   61.     (Hugo  Heer- 

MANN**)  2 

Brahms:     Concerto    in  D    major   for  violin,  Op.   77.     (Maud 

MacCarthy**) 1 

Liszt:   Concerto  in  E-flat  major,  No.  1,  for  pianoforte.     (Mark 

Hambourg) 1 

Mackenzie:   "Pibroch  "  Suite  for  violin  and  orchestra,  Op.  42.*  1 

(TlMOTHEE  ADAMOWSKlf )     I 

Parker,  H.     Concerto  in  E-flat  for  organ  and  orchestra,  Op. 

55.**     (Horatio  Parker*) 1 

Rubinstein:  Concerto  No.  2,  in  D  minor,  for  violoncello  and 

orchestra,  Op.  96.*     (Elsa  RuEggEr) 1 

Saint-Saens:     Concerto    in   A  minor  for  violoncello,   Op.    33. 

(ALWIN   SCHROEDER.f) 

Concerto  in  G  minor,  No.  2,  for  pianoforte,  Op.  22.  (An- 
toinette vSzumowska.) 2 

Schubert:    Grand  Fantasia  in  C  major,  "Wanderer."  Op.  15, 

arranged  and  orchestrated  by  Liszt.     (Raoul  Pugno.*)  i 

Schumann:   Concerto  for  pianoforte,  Op.  54.     (Fanny  Bloom- 

field-Zeisler)        1 

Carried   forward 12 

(1342) 


Brought  forward .  12 

Strauss,  R. :  Burleske  in  D  minor  for  pianoforte  and  orchestra.** 

(Heinrich  Gebhard) 1 

Tschaikowsky  :  Concerto  No.  1,  in  B-flat  minor,  for  pianoforte, 

Op.  23.     (Harold  Randolph*) 1 

WiEniawski:    Fantasia  on  themes  from  Gounod's   "Faust."* 

(Adolf  Bak|) 1 

Total 15 

IX.     Vocal  Music:  Scenes,  Arias,  Duets,  Quartets,  etc. 

Anon.:    "Jeunes  Fillettes."*     (Charles  Gilibert*)   ....  1 

Beethoven:  Recitative  and  Song,  "To  Hope,"  Op.  94.*   (Anton 

Van  Rooy*) 1 

Brahms:     Two    Part-songs   for  female  voices,   with   harp  and 

horns,  Op.  1 7 :  "  Es  tont  ein  voller  Harfenklang,  "  "  Wein' 

an  den  Felsen."* 
Two  Part-songs   for   female  voices,   a    capella,  Op.  44  : 

"Minnelied,"  "Der  Brautigam"* 4. 

Elgar:    Two   Songs   of   the   cycle,  "Sea    Pictures,"    Op.    37.* 

(Kirkby  Lunn**) 2 

Exaudet:  Minuet.*     (Charles  Gilibert*)         1 

Gounod:    Stanzas  of  Sappho.     (Kirkby  Lunn**)        .....  1 

Martini,  £gide:    "Plaisir  d' Amour."*    (Charles  Gilibert*)   .  1 

Masse:  "L'Oiseau  s'envole  la-bas."*     (Charles  Gilibert*)      .  1 

Massenet:  "Pensee  d'Automne."*     (Charles  Gilibert*)   .     .  1 

Mozart:    "Ilmio  Tesoro,  "*    from    "Don    Giovanni."      (Ben 

Davies) 1 

Thomas,  Goring:    " O  Vision  Entrancing, "  from  "Esmeralda."* 

(Ben  Davies) 1 

Wagner:    "Wotan's  Farewell"  and  "Fire  Charm,"  from  "Die 

Walkiire."     (Anton  Van  Rooy*) 1 

Total       16 

Note. — The  Romance  from  "Euryanthe"  and  Beethoven's  "Ade- 
laide" (pages  979  and  1003)  were  not  sung,  on  account  of  the  sickness 
of  Mr.  Ellison  Van  Hoose. 


THE  FOLLOWING  ARTISTS  HAVE  APPEARED  THIS  SEASON. 


Mr.  Timothee  Adamowski,!  violinist.  Jan.  31,  1903.  Mac- 
kenzie's "Pibroch"  suite,  Op.  42*  710 

Mr.  Adolf  Bak,|  violinist.  April  25,  1903.  Wieniawski's  Fan- 
tasia on  themes  from  Gounod's  "Faust"*   1256 

Mme.    Fanny    Bloomfield-ZeislER,    pianist.     Feb.    14,    1903. 

Schumann's  Concerto  in  A  minor.     (Sketch)        .     .     .       822 

Mr.  Ben  Davies,  tenor.  April  n,  1903.  "II  mio Tesoro,"*  from 
"Don  Giovanni,"  and  "O  Vision  Entrancing,"*  from 
Goring  Thomas's  "Esmeralda."*     (Sketch)    ....     1152 

(1343) 


Mr.  Heinrich  Gebhard,  pianist.     April  18,  1903.     R.  Strauss's 

Burleske** 12 10 

Mr.  Charles  Gilibert,*  baritone.  April  4,  1903.  Songs  by- 
Martini,*  Exaudet,*  Massenet,*  Masse,*  Anon.* 
(Sketch) 1094 

Mr.  Wallace  Goodrich,  organist.     April  n,  1903.     Guilmant's 

Symphony  in  D  minor  for  organ  and  orchestra,  No.  1*  .     1 172 

Mr.  Mark  Hambourg,  pianist.  Jan.  24,  1903.  Liszt's  Con- 
certo in  H-flat  major,  No.   1.     (Sketch) 654 

Mr.  Hugo  Heermann,**  violinist.  Feb.  28,  1903.  Beetho- 
ven's Concerto  in  D  major,  Op.  61.     (Sketch)  ....       875 

MmE.  Kirkby  Lunn,**  mezzo-soprano.  Jan.  3,  1903.  Stanzas 
of  Sappho,  Gounod;  Two  of  Elgar's  "Sea  Pictures."* 
(Sketch) 536 

Mr.  Franz  Kneisel,|  violinist.  Dec.  6,  1902.  Bach's  Con- 
certo in  A  minor* 370 

Mr.  Frederic  Lamond,**  pianist.     Nov.  1,  1902.     Beethoven's 

Concerto  No.  5,  in  E-flat  major,  Op.  73.     (Sketch)    .     .       134 

Miss  Maud  MacCarthy,**  violinist.     Nov.  15,  1902.     Brahms's 

Concerto  in  D  major,  Op.  77.     (Sketch) 191 

Mr.  Horatio  Parker,*  organist.     Dec.  27,  1902.     His  Concerto 

in  E-flat,  Op.  55.f     (Sketch) 475 

Mr.  Raoul  Pugno,*  pianist.     Oct.   18,    1902.     Schubert-Liszt, 

"Wanderer"  Fantasia.     (Sketch) 24 

Mr.  Harold  Randolph,*  pianist.     Dec.  20,  1902.     Tschaikow- 

sky's  Concerto  No.  1,  in  B-flat  minor,  Op.  23.     (Sketch)       428 

Miss  Elsa  RueggEr,  'cellist.  Oct.  25,  1902.  Rubinstein's  Con- 
certo No.  2,  in  D  minor,  Op.  96.*     (Sketch)      ....         71 

Mr.  Alwin  Schroeder,!  'cellist.     Jan.  10,  1903.     Saint-Saens's 

Concerto  in  A  minor,  Op.  33        595 

Mme.  Antoinette  Szumowska,  pianist.  Saint-Saens's  Con- 
certo in  G  minor.     March  28,   1903         1042 

Mr.  Anton  Van  Rooy,*  baritone.     Nov.  22,  1902.     Beethoven's 

"To  Hope,"  Op.  94;*     Wotan's  Farewell  ....  255,  266 

*  * 

Mezzo-soprano:   Mme.  Kirkby  Lunn** 1 

Tenor:   Mr.  Ben  Davies 1 

Baritones:  Messrs.  Gilibert*  and  Van  Rooy* 2 

Pianists:  Mme.  Bloomfield-Zeisler,  Messrs.  Gebhard,  Ham- 
bourg, Lamond,**  Pugno,*  Randolph,*  Mme.  Szu- 
mowska        7 

Organists:  Messrs.  Goodrich  and  Parker* 2 

Violinists:   Messrs.  Adamowski.f  Bak,f  Heermann,**  Kneisel.f 

Miss  MacCarthy  ** 5 

Violoncellists:   Miss  Ruegger,  Mr.  Schroederf 2 

Total 20 


Accompanist:    Mr.  Zachf  for  Mr.  Gilibert. 

(1344) 


ENTR'ACTES. 

Blackburn,  Vernon:    "The  Tribe  of  Salieri"    ......  316 

"Berlioz:  The 'Grand  Traite'" 608 

"Contemporaneous  Criticism" 833 

"  Music  and  Speech  " 892 

"A  Note  on  Mozart's 'Don  Giovanni' " 1048 

"Faust  in  Music" 1054 

"A  Note  on  Planquette"        1258 

"Mechanism  in  Music" 1260 

Hale,  Philip:  " Queen  Omphale  in  Legend  and  Art "  :     .     .     .  74 

"  Beethoven  as  a  Pianist " 130 

"The  Neo-Russian  School  and  Opera" 660 

"Tschaikowsky's  First  Love  and  Amazing  Marriage"      .     .  716 

"The  Esterhazy  Orchestra" 886 

"Concerning  an  Alleged  Decay  in  the  Art  of  Song"    .     .     .  1098 

"The  Ending  of  Smetana" 1267 

Pall  Mall  Gazette:  "Noise  as  a  Factor  in  Plot" 776 

Pall  Mall  Gazette:   "Music  in  Tent"    . 11 10 

Runciman,  John  F. :  "The  Hero  Wotan" 262 

Symons,  Arthur:    " On  Musical  Criticisms " 310 

VilliERS  de  l'Isle  Adam :    "The  Slayer  of  Swans"    (Englished 

by  Philip  Hale) 1058 

Zola,     EmilE:     "Daudet's      'L'Arlesienne'"     (Englished    by 

William  F.  Apthorp) 210 

List  of  Casts  in  Symphony  Hall  : 1233 


Olive  JVIcad, 

VIOLINIST, 

Address  F.  R.  Comee,  Symphony  Hall,  Boston,  or 

N  v  (9  East  17th  Street,  New  York. 

'  \  6  Cork  Street,  London. 


(1345) 


CLXANSING 

Clothing  of  all  kinds  for  Men  Women  and  Children  Carpets 
Rugs  Draperies  Blankets  Draperies  Portieres  Lace  Curtains 
Real  Laces    Gloves    Feather   Work  of   all  kinds  including 
Cleansing  Curling  Making  Over  small  feathers  into  Plumes 
and  Boas     All  materials  of  wear  or  household  use  properly- 
Cleansed  or  Dyed  and  Refinished 


DYEING 

AS    ABOVE 

Carpets  Portieres  Draperies  Furniture  Coverings  can  be 
dyed  to  wear  like  new  There  are  great  possibilities  in  these 
lines 


LAUNDERING 

Properly  done  with  correct  finish 
Our  patrons  include  the  elite  of  Boston 

LEWANDOS 


New  York  Providence 

17  Temple  Place 

Philadelphia  Baltimore 

Hartford   New  Haven  Lynn 

284  Boylston  Street 

Watertown  Cambridge 

Roxbury 

Boston 

(1346) 

Newport 

SYMPHONY  HALL 


HUNTINGTON  AND   MASSACHUSETTS  AVENUES 


TWENTY-THIRD   SEASON 
1903=1904 


Boston 
Symphony  Orchestra 


WILHELM  GERICKE,  Conductor 


OPENING  CONCERT 

SATURDAY  EVENING,  OCTOBER  \lf  J903 


(1347) 


Professor  R.  L.  GARNER 

Will  recount  his  Strange  Adventures 

In  the  Wilds  of  Africa 


STEINERT  HALL 

Thursday  Evening,  May  7,  1903 

At  8  o'clock 
Tickets,  75  cents  and  $>,  at  the  hall 


FELIX     FOX 

pianist 

Teacher  of  the  Pianoforte 

17  STEINERT  HALL  BUILDING,  BOSTON,  MASS. 


Now  playing  in  the  South  as  Soloist  with  the  Boston  Festival  Orchestra.      Engaged  to 
appear  as  Soloist  in  the  New  England  Festivals  next  autumn  at  Portland,  Bangor,  St. 
Albans,  and  Brattleboro,  also  for  one  of  the  Rubinstein  Club  Concerts  in  New  York. 
All  correspondence  regarding  terms  and  dates  should  be  addressed  care  of 


STEINERT  HALL,  BOSTON,  MASS, 


(1348) 


^TEMlVE^IfcT  TLATJL, 


M.    Steinert     (Si   Sons    Co. 


Announce  an  AEOLIAN 
ORCHESTRELLE  and 
PIANOLA  RECITAL  at 
STEINERT   HALL  on 

Tuesday  evening,  May  5, 
at  a  quarter  after  8  o'clock 


ASSISTED      BY 
Ghe    Peirce-Vai\    Vliet    String    Quartette 

CARL   PEIRCE,  First  Violin  S.  M.  GOLDSTEIN,  Viola  ' 

BERNARD  FIEDLER,  Second  Violin  LEON  VAN  VLIET,  'Cello 


PROGRAMME 
PROMETHEUS    OVERTURE Beethoven 

^Eolian  Orchestrelle 

QUINTETTE,  Op.  44 Schumann 

Allegro  brillante.     In  modo  d'  una  marcia.     Scherzo.     Allegro  non  tioppo 

(a)  LORELEY Seeling 

(£)  TARANTELLE Whitney 

Pianola 

CARMEN.     March  and  Chorus     .         .         .  .  Bizet 

vEolian  Orchestrelle 

QUARTETTES,     (a)  Declaration     .....  Raff 

(/>)   In  the  Mill  ....  Raff 

From  Quartette  in  D,  Op.  192 
(V)   The  Lost  Chord  ....  Sullivan 

Peirce-Van  Vliet  String  Quartette 

VALSE  DE  CONCERT Liebling 

Pianola 

LARGO Handel 

For  Strings  and  /Kolian  Orchestrelle 

A  limited  number  of  complimentary  tickets  may  be  obtained  on  application  to  M.  Steinert 
&  Sons  Co.,  162  Boylston  Street,  iEolian  and  Pianola  Department. 

THE  STEINWAY  PIANO 
All  of  the  Pianoforte  Accompaniments  will  be  played  with  the  Pianola 

(134U) 


CH  ICKERI  NG    HALL 


CHICKERING   HALL 

DATES  NOW  BOOKING  FOR  SEASON  OF 

J903-J904 


Address  all  inquiries,  CHARLES  A.  "WILLIAMS 

CHICKERING  HALL,  239  HUNTINGTON  AVENUE 
Telephone,  1670  Back  Bay 

AZ  ARA 

=  =  BY  -  - 

JOHN     R.     PAINE 

Scenes  from  this  opera  will  be  sung  in  concert  form,  with  pianoforte 

accompaniment,  at 

CHICKERING    HALL 

HUNTINGTON  AVENUE 

Thursday   Evening,   May   7,  \  903,  at  eight  p.m. 

Under  the  direction  of 

E.    CUTTER,    Jr. 


SOLO   SINGERS 

Miss  GRACE    LOWELL   BRADBURY  Mr.  ERNEST    R.  LEEMAN 

Miss  REBECCA   W.  CUTTER  Mr.  DAVID   A.  TOBEY 

Mrs.  VINCENT   A.  LYMAN  Mr.  RALPH    E.  BROWN 

Mrs.  ALBERT    THORNDIKE  Mr.  GEORGE  A.  TYLER 

And  a  Chorus  of  thirty  voices 


Tickets,  $J.OO.     On  sale  at  the  hall.  Telephone,  J670  Back  Bay 

Address  mail  orders  to  E.  CUTTER,  Jr.,  153  Tremont  Street,  with  check 

(1350) 


FAELTEN  PIANOFORTE  SCHOOL 

CARL  FAELTEN,   Director 

Seventh  School  Year  begins  Monday,  September  14,  1903. 
Arrangements  for  lessons  may  be  made  now,  if  desired,  and 
prospective  patrons  are  invited  to  call  at  the  School  at  any 
time.     Prospectus  mailed  free  on  application. 


Summer  Session  lor  Music  Teachers,  June  and  July,  1903 

SEND    FOR    CIRCULAR 

30   HUNTINGTON  AVENUE,  BOSTON 

HUNTINGTON    CHAMBERS  HALL 

TO  LET 

For   Professional   and   Amateur   Recitals 

SEATS  420 
APPLY  TO   JANITOR,  30  Huntington  Avenue 

Signor  AUGUSTO   ROTOLI, 
...Vocal   Instruction... 

Address,    New    England    Conservatory    of    Music 

and  at  his  private  studio,  246  Huntington  Ave., 

opposite  Symphony  Hall, 

BOSTON    -    MASS. 
RECITAL 

BEATRICE    HERFORD 

IN  NEW  ORIGINAL  MONOLOGUES 
Assisted  by  Mr.  JOHN  CODMAN,  Soloist 

Mr.  ARTHUR  SEWELL  HYDE,  Accompanist 

Chickering  Hall,  Wednesday  evening,  May  6,  at  8.30 


Tickets  now  on  sale  at  Herrick's,  Copley  Square,  and  Chickering  Hall,  Huntington 
Avenue 

(1351) 


BOSTON  SYMPHONY  ORCHESTRA 

SEASON  1903-1904 

Orders  for  season  tickets  will  receive  careful  attention,  and  will 
be  executed  on  a  small  commission. 

CONNELLY'S  T,CKETA£f,!!W 


Mrs.  JULIE  WYMAN 

will  be  in  the  vicinity  of  Boston  during  the  summer,  and  will 
accept  a  limited  number  of  pupils  in  singing  and  the  interpre- 
tation of  French  songs  after  May  15. 
For  terms,  etc.,  address 

Mrs.  S.  B.  FIELD, 

Hotel  Nottingham,  Boston 


The  Boston  Symphony  Orchestra  Programme 

For  the  twenty-four  Boston  Concerts, 
with  Historical  and  Descriptive  Notes 
by  Philip  Hale.  <£  &  <£  &   Jl   J*   >£ 


Bound  copies  of  the   Programme  for  the  entire   season  can    be   had   at 
$1.50  by  applying  before  the  last  concert.     Address  all  communications  to 

F.  R.  COMEE,  Symphony  Hall,  Boston. 


(1352) 


Sfte  ANGELUS 

THE    PIONEER,    FIRST    AND    BEST 

PIANO     PLAYER 


THE    NEW     PRESENT    STYLE 

A   N    G    E   L  U  S 

IS  MUCH  THE  EASIEST  TO 
BLOW  OF  ANY  PLAYER  MADE. 
IT  HAS  MORE  EXPRESSION  DE- 
VICES THAN  ANY  OTHER,  AND 
THEREFORE  MORE  NEARLY  AP- 
PROACHES THE  HUMAN  PLAYER. 
TO  SEE  IT  IS  TO  BE  CONVINCED 
OF  THE  JUSTICE  OF  OUR   CLAIMS. 

Large    Circulating    Library    ol    Music. 


Pianos  for  Summer  Rentals 

FOR  THE  QUALITY,  MAKE,  AND 
CONDITION  OF  THE  PIANOS  WE 
RENT,  OUR  TERMS  ARE  THE  LOW- 
EST IN    THE    CITY      Ji     Jk     Jb     j*     jl 

C.  C.  HARVEY  (Si  CO. 

144     BOYLSTON      STREET 

TELEPHONE.    134     OXFORD 


(1363) 


SYMPHONY     HALL 

EIGHTEENTH    SEASON 

THE  POPS 

Grand  Orchestra  of  Fifty 

Mr.  T.    ADAMOWSKI,    Conductor 

EVERY       NIGHT      EXCEPT      SUNDAY 
OPENING  NIGHT,   MONDAY,  MAY  4 


PROQRAnriE. 

1.  OVERTURE,  "The  Mastersingers  of  Nuremberg"         ....       Wagner 

2.  INTERMEZZO,  "Contes  d'Hoffmann" Offenbach 

(First  time) 

3.  SUITE  FROM  BALLET,  "  La  Belle  au  Bois  Dormant"        .         .    Tschaikowsky 

a.  Introduction,  "  La  Fee  des  Lilas  " 

b.  Adagio,  "  Pas  d'Action  " 

c.  Valse 

(First  time) 

4.  CONCERT  OVERTURE,  "In  Bohemia" H.  K.  Hadley 

(First  time) 

5.  FANTASIA  on  "  La  Boheme  " Puccini 

(First  time) 

6.  SUITE,  "Henry  VIII." Saint-Saens 

a.  "  Danse  de  la  Gipsy  " 

b.  Gigue  and  Finale 

7.  HYMN  TO  ST.  CECILIA Gounod 

Violin  Solo,  Mr.  Karl  Ondricek 
Organ,  Mr.  Snow 

8.  FESTIVAL  MARCH R.  Strauss 

(First  time) 

9.  SALUT  D'AMOUR V.         Ed.  Elgar 

(First  time) 

10.  ESPANA Chabrier 

11.  OVERTURE,  "Fledermaus" J  oh.  Strauss 

12.  CORONATION  MARCH Ed.  German 

Admission,  50  cents 
Reserved  seats,  25  cents  extra 

TicRets    now    on     sale 
TELEPHONE,    1492     BACK     BAY 

(1354) 


MUSICAL   INSTRUCTION. 


Hiss  HARRIET  S.  WHITTIER 


VOCAL  INSTRUCTION  and 
SOPRANO  SOLOIST. 
1  183  Huntington   Avenue. 

Exponent  of  the  method  of  the  late  Charles  R.  Adams. 


Concert  and  Oratorio. 

Miss  GERTRUDE  EDMANDS,  vocal  instruction. 

EXETER    CHAMBERS. 


Mr.  CHARLES  B.  STEYENS 


Specialist  in  the  Science  of 
Tone  Production  and  the  Art  of  Singing. 

'  Studio  20,  Steinert  Hall  Building. 

Telephone,  1331  Oxford. 


Hiss  ANNA  MILLER  WOOD, 

flEZZO-CONTRALTO. 


Teaching-room, 
Pierce  Building,  Copley  Square. 

Home  Address, 
152  Huntington  Avenue,  Boston. 


Miss  LAURA  HAWKINS, 


Pianist  and  Teacher. 

153  Tremont  Street. 
Hemenway  Chambers,  Westland  Avenue. 


Madame  ETTA  EDWARDS 


AND  ASSISTANTS. 


VOICE  CULTURE. 
Concert,  Church,  Oratorio,  Opera. 

Studios,  Steinert  Hall,  Boston. 


CLASSES  IN  OPERA, 

Under  the  direction  of  Signor  Vianesi. 


STEPHEN  TOWNSEND, 


Barytone  Soloist  and 

Teacher  of  Voice. 

153  TREMONT  STREET,  BOSTON. 


(1365) 


Hiss  JESSIE  DAVIS 


J 

Pupil  of  Harold  Bauer. 


CONCERTS  and    RECITALS. 
...  LESSONS ... 

Studio,   163    riassachusetts  Avenue. 


Miss  HARRIET  A.  SHAW, 


HARPIST, 

186  Commonwealth  Avenue. 


CLARENCE  B.  SHIRLEY, 


TENOR  SOLOIST  and 
TEACHER. 

CONCERT  AND  ORATORIO. 
Studio,  218  Tremont  St.,    Boston 


Mr.  GOSTAY  STROBE 

(Member  of  Boston  Symphony  Orchestra). 


Teacher  of  Violin ,  Theory,  and  Composition 

Highest  references  as  Violin 
Soloist  and  Ensemble  Player. 

79  Gainsboro  Street. 


ARTHHR  HADLEY, 


Solo  Violoncellist  and  Teacher. 

ALSO  ENSEHBLE  CLASSES. 

Pupil  of  the  celebrated  Bohemian  Virtuoso, 
DAVID   POPPER. 

STUDIO:  171A    TREHONT  STREET. 


JOHN  G.  MANNING, 


Pianist    and     Teacher, 

Studio,  22  Steinert  Hall. 

Afternoons,  1  to  6. 

Residence,  183  Huntington  Avenue. 


J.  D.  BUCKINGHAM, 


PIANOFORTE.     Method  of  I.  Phllipp. 

The   most   advanced   technics   of  the 
present  day. 
"A  teacher  of  the  first   magnitude." — Huneker,   on 
Philipp,  in  Mezzo-tints  in  Modern  Music. 

32  STEINERT  HALL,  BOSTON. 


Miss   ROSE    STEWART, 

Pupil  of  HARCHESI. 

VOCAL    INSTRUCTION. 

STEINERT     HALL    BUILDING. 


firs,  riabel  flann  Jordan, 

Pupil  of  Silvestri,  Naples,  Italy. 

MANDOLIN,  GUITAR,  AND  BANJO 

INSTRUCTION. 

8  St.  Botolph  Street,  Boston. 


(1356) 


BEN  DAVIES 

THE   GBEAT   ENGLISH   TENOB 

PRAISES    THE 

WEBER 
PIANO 


Nev  York,  April  2,  1903. 
Messrs.  WEBER  &  CO.: 

Gentlemen, —  I  find  the  sympathetic  singing  quality  and 
richness  of  tone  of  the  Weber  Piano  delightful  and  peculiarly 
invaluable  for  accompanying  the  voice. 

Very  truly  yours, 

(Signed)  BEN  DAVIES. 

The  Boston  Representatives  of  the  Weber  are 

Geo.  II.  CHamplin  (Si  Co. 

181  TREMONT  STREET 


/ 


PLAIN    DEALER,    TUESDAY,    APRIL    15,    19023, 


maw 


ext 


a 


¥ 


iXA 


f  ^^^ 


■'AA.>s 


Views  of  the  Great  Pianist 

on  the  Subject  of 

Pianos. 


Declares  That  No   Other 

Piano  Approaches  the 

Stein  way. 


NEW  YORK,  April  14.— Josef  Hof- 
manu,  the  great  pianist,  was  asked  today 
py  A  press  representative  his  opinion  as 
to  which  is  the  best  piano,  to  which  ques- 
tion he  replied; 

"There  is  but  one  best  pitno,  and  tnat 
Is  the  Stein  way,  and  no  other  piano  ap- 
proaches it.  I  want  to  give  the  greatest 
possible  pleasure  and  satisfaction  to  my 
audience.  By  accomplishing  (hat  I  gain 
the  greatest  reputation,  and;that  is  what 
I  want.  This  end  I  attain  by  using  theC 
Steinway.  I  desire  you  to  distinctly  un- 
derstand that  there  Is  no  ifloney  consid-' 
eratioa  whatever  to  Influence  me  m  toy 
opinion.  There  may  be  some  pianists  who 
are  paid  for  using  and  praising  the  pianos 
they  play  upon,  but  certainly  I  do  not 
belong  to  that  class.  Those  who  sell  their 
services  against  their  own  convictions  are 
on  the  downward  path  and  have  nothing 
more  to  lose.  You  have  asked  me  my 
candid  opinion  about  pianos  for  the  bene- 
fit of  the  public,  and  I  have  told  you  what 

bonesj^y  think  on  the  subject."  ^4 


i 


Nel 


STEINWAY    PIANOS 

H.  STEINERT    &    SONS    COHPANY, 

162  to  168  Boylston  Street,  Boston,    Hass. 


vi 


BOSTON  PUBLIC  LIBRARY 


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