Full text of "Programme"

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TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

prngramm? of t\^t

First
Rehearsal and Concert

WITH HISTORICAL AND DESCRIP-
TIVE NOTES BY PHILIP HALE

FIR'IDAV AFTEPJ^OON; OCTOBER 9
AT 2^30 O'CLOCK

SATURDAY EVENING, OCTOBER 10 ^

AT SCO O'CI^OCK i.

,■'.-'.,' ^ ' ' -^•' a^

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Boston Symphony Orchestra

PERSONNEL

Twenty -eighth Season, 1908-1909

MAX FIEDLER, Conductor

First Violins.

Hess, Willy

Roth, O.

Hoffmann, J.

Krafft, W.

Concert-master. Kuntz, D.

Fiedler, E,

Theodorowicz, J.

Noack, S.

Mahn, F.
Strube, G.

Eichheim, H.
Rissland, K.

Bak, A.
Ribarsch, A.

Second Violins.

MuUaly, J.
Traupe, W.

Barleben, K.
Fiumara, P.

Akeroyd, J.
Currier, F.

Fiedler, B.
Rennert, B.

Berger, H.
Eichler, J.

Tischer-Zeitz,

H. Kuntz, A.

Marble, E.

Goldstein, S.

Kurth, R.

Goldstein, H.
Violas.

F^rir, E.

Heindl, H.

Zahn, F. Kolster, A.

Krauss, H.

Scheurer, K.

Hoyer, H.

Kluge, M. Sauer, G.
Violoncellos.

Gietzen, A.

Warnke, H.

Nagel, R.

Earth, C. Loeffler, E.

Warnke, J.

Keller, J.

Kautzenbach, A.

Nast, L. Hadley, A.
Basses.

Smalley, R.

Keller, K.
Gerhardt, G.

Agnesy, K.
Kunze, M.

Seydel, T.
Huber, E.

Ludwig, O.
Schurig, R.

Flutes.

Oboes.

Clarinets.

Bassoons.

Maquarre, A.
Maquarre, D,

Longy, G.
Lenom, C.

Grisez, G.
Mimart, P.

Sadony, P.
Mueller, E.

Brooke, A.

Sautet, A.

Vannini, A.

Regestein, E.

Fox, P.

English Horn.

Bass Clarinet. Contra-Bassoon.

Mueller, F.

Stumpf, K.

Helleberg, J.

Horns.

Trumpets. Trombones. Tuba.

Hess, M.
Lorbeer, H.

Schmid, K.
Gebhardt, W.

Kloepfel, L. Hampe, C. Lorenz, 0,
Mann, J. Mausebach, A.

Hain, F.

Hackebarth, A.

Heim, G. Kenfield

1, L.

Phair, J.

Schumann, C.

Merrill, C.

Harp.

Tympani.

Percussion.

Schuecker, H.

Rettberg, A.

Dworak, J.

Senia, T.

Kandler, F.

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Librarian.
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TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT AND NINE

First Rehearsal and Concert*

FRIDAY AFTERNOON, OCTOBER 9, at 2.30 o'clock.

SATURDAY EVENING, OCTOBER JO, at 8 o'clock.

PROGRAMME.

Beethoven

. Overture, "Leonora" No. 3, Op. 72

Brahms .... Symphony No. i, in C minor, Op. 68

I. Un poco sostenuto; Allegro.

II. Andante sostenuto.

III. Un poco allegretto e grazioso.

IV. Adagio; Allegro non troppo, ma con brio.

Richard Strauss

Love Scene from the Opera, " Feuersnot," Op. 50

Wagner

Overture to "Tannhauser"

There will be an mtermission of ten minutes after the symphony.

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

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Overture to "Leonora" No. 3, Op. 72.

LuDwiG VAN Beethoven

(Born at Bonn, December 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
("Leonore; ou, ly'Amour Conjugal," a "fait historique" in two acts
and in prose, music by Gaveaux, Opera-Comique, Paris, February 19,
1798), was first performed at Vienna, November 20, 1805, with Anna
Pauline Milder,* afterward Mrs. Hauptman, as the heroine. The first
performance in Boston was on April i, 1857, with Mrs. Johannsen.
Miss Berkiel, Beutler.f 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 "Teonore" 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,

* Pauline Anna Milder was bom at Constantinople, December 13, 1783. She died at Berlin, May 29,
1838. The daughter of an Austrian courier, or, as some say, pastry cook to the Austrian embassador at
Constantinople, and afterward interpreter to Prince Maurojeni, she had a most adventurous childhood. (The
story is told at length in von Ledebur's " Tonkiinstler -Lexicon Berlin's.") Back in Austria, she studied three
years with Sigismund Neukomm. Schikaneder heard her and brought her out in Vienna in 1803. as Juno in
Siismayer's "Der Spiegel von Arkadien." She soon became famous, and she was engaged at the court opera,
where she created the part of Leonora in "Fidelio." In 1810 she married a jeweller, Hauptmann. She
sang as guest at many opera houses and was offered brilliant engagements, and in 1816 she became a member
of the Berlin "Royal Opera House at a yearly salary of four thousand thalers and a vacation of three months.
She retired with a pension in 1831, after having sung in three hundred and eighty operatic performances.
She was also famous in Berlin as an oratorio singer. She appeared again in Berlin in 1834, but her voice
was sadly worn, yet she sang as a guest in Copenhagen and St. Petersburg. Her funeral was conducted with
pomp and ceremony, and it is said that the "Iphigenia in Tauris," "Alceste," and "Armide," her favorite
operas, were put into her coffin, — a favor she asked shortly before her death.

t Mr. Beutler sang that night for the last time. He had a cold, and the physician warned him against
singing, but the audience filled the theatre, and he was persuaded. He became hoarse immediately after the
performance, and, as his vocal cords were paralyzed, he never sang again. Mendelssohn, who had given him
musical instruction, praised his voice, but urged him not to use it in opera, as it would not stand the wear
and tear. Beutler then gave up the ambition of his life, but in the Revolution of 1848 he and other students
at Heidelberg were obliged to leave the country. He came to the United States, and yielded to the temptation
of a good offer from an opera manager. Pie became an understudy of Mario, then the misfortune befell him.
I am indebted for these facts to Beutler's daughter, Mrs. Clara Tippett, of Boston.

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and Beethoven wrote for it a new overture, in which he retained the
theme drawn from Florestan's air, "In des Lebens FriihHngstagen,"
but none of the other material used in Nos. 2 and 3. The opera was
not performed, and the autograph of the overture disappeared. "Fi-
delio" was revived at Vienna in 18 14, and for this performance Beet-
hoven wrote the "FideHo" overture. We know from his diary that
he "rewrote and bettered" 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 awhile: I have the scheme of
my overture," answered Beethoven, and he sat until he had f^.nished
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 floor. The candle was burnt out.
It was impossible to use the new overture, which was not even fin-
ished. 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 "Pro-
metheus" 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
characteristic overture" by Beethoven. It was identified later, and
circumstances point to 1807 as the date of composition.

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The order, then, of these overtures, according to the time of com-
position, is now supposed to be "Leonore" No. 2, "Leonore" No. 3,
"Leonore" No. i, "Fidelio." It may here be added that Beethoven
wished, and for a long time insisted, that the title of his opera should
be "Leonore"; and he ascribed the early failures to the substitution
of the title "Fidelio." But the manager of the theatre and friends of
Beethoven insisted 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 difificult 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 perform-
ances of the opera in Germany, although Weingartner has tried ear-
nestly to restore "Leonore" No. 2 to that position. "Leonore" No. 3
is sometimes 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

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of the story, as she appears before the clouds of misfortune have set-
tled down upon her."

The "Leonore" No. 2 was Beethoven's first grand overture; and in
general scope and in the 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 character 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 material of Nos. 2 and 3 is practically the same,
but the differences in treatment are great and many.

"lyconore" No. 2 begins with a slow introduction, adagio, C major,
3-4. There are bold changes of tonality. Clarinets, bassoons, and
horns enter with a slow cantilena from Florestan's air in the prison
scene. The main portion of the overture, allegro, 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 is first a working-out of the first theme in imitative

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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 celebrated 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 meas-
ures, adagio, in which the^lorestan melody returns. This melody is
not finished, but the violins take up the last figure of wood-wind instru-
ments, 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 ascending chromatic cres-
cendo with the new and brilliant appearance of the first theme, nor
is there the concluding roll of kettledrums.

This overture and No. 3 are both scored for two flutes, two oboes,
two clarinets, two bassoons, four horns, two trumpets, three trombones,
a pair of kettledrums, strings.

The No. 3 begins, to quote Mr. Apthorp, "with one of Beethoven's
most daring harmonic subtleties. The key is C major; the strings,
trumpets, and kettledrums strike a short fortissimo G (the dominant of
the key), which is held and diminished by the wood- wind and horns,
then taken up again piano by all the strings in octaves. From this
G the strings, with the flute, clarinets, and first bassoons, now pass
step by step down the scale of C major, through the compass of an
octave, landing on a mysterious F-sharp, which the strings thrice swell
and diminish, and against which the bassoons complete the chord of the
dominant seventh and at last of the tonic of the key of B minor. From
this chord of B minor the strings jump immediately back to G (domi-
nant of C major), and pass, by a deceptive cadence, through the chord

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of the dominant seventh and minor ninth to the chord of A-flat major.
Here we have in the short space of nine measures a succession of keys^
C major, B minor, A-flat major — such as few men before Beethoven
would have dared to write ; but such is the art with which this extraor-
dinary succession is managed that all sounds perfectly unforced and
natural." After the key of A-flat major is reached, clarinets and bas-
soons, supported by strings and two sustained notes for trombones,
play the opening measures of Florestan's air, "In des Lebens Friih-
lingstagen" (act ii. of the opera). The buoyant theme of the Allegro,
C major, begins pianissimo in first violins and 'cellos, and grows in
strength until the whole orchestra treats it impetuously. The second
theme has been described as "woven out of sobs and pitying sighs."
The working-out consists almost wholly in alternating a pathetic figure,
taken from the second theme and played by the wood-wind over a
nervous string accompaniment, with furious outbursts from the whole
orchestra. Then comes the trumpet-call behind the stage. The twice
repeated call is answered in each instance by the short song of thanks-
giving from the same scene: Leonore's words are, "Ach! du bist
gerettet! Grosser Gott ! " A gradual transition leads from this to the
return of the first theme at the beginning of the third part (flute solo) .
This third part is developed in general as the first, and leads to a wildly
jubilant coda.

The overture "Leonore" No. 3 was first played in Boston at a concert
of the Musical Fund Society on December 7, 1850. Mr. G. J. Webb
was the conductor. The score and the parts were borrowed, for the
programme of a concert by the society on January 24, 1852, states
that the overture wns then "presented by C. C. Perkins, Esq."-

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Bouilly, a pompous, foolish fellow they say, wrote other librettos,
among them the book of Cherubini's "Les Deux Journ6es" ("The
Water-carrier"), and the authors of "Annales Drama tiques" (Paris,
1809) state that the interest of his plots and the skill shown in their
construction were the features that distinguished his work and brought
O'traordinary success.

Pierre Gaveaux, who set music to this libretto, was a singer as well
as composer. Born at Beziers in 1761. he was as a boy a chorister,
and, as he was intended for the priesthood, he learned Latin and pur-
sued other necessary studies. But, like the hero in the elder Dumas's
"Olympe de Cleves," he left the church, and appeared as an operatic
tenor at Bordeaux. In 1789 he went to Paris, and was the first tenor
at the Theatre de Monsieur; when the Feydeau Theatre was opened
in 1 79 1, Gaveaux sang there for the rest of his singing life. He com-
posed thirty-six or thirty-seven operas. In 181 2 his mind was affected,
and he was obliged to leave the stage for some months. He returned,
cured, as it was thought, but in 1819 he was again insane, and he died
in a madhouse near Paris in 1825. During his eailier years his voice
was light, flexible, agreeable, and he was an expressive and even pas-
sionate actor; but during the last ten years of his career his tones
were nasal and without resonance. He created the part of Florestan
in his "Leonore." The part of the heroine was created by Julie An-
gelique Legrand, known on the stage as Mme. Scio. She was born
at Lille in 1768. An army ofiicer ran off with her and abandoned her,
and she was obliged to support herself at the age of eighteen by singing
in the theatre. At first her engagements were in the provinces, and
at Montpellier she was in the company with Gaveaux. She married
at Marseilles in 1789 a violinist, Etienne Scio. She went to Paris in
1 79 1, and the next year she joined the Opera-Comique company, and
soon made a brilliant reputation. Her voice was pure and sonorous,
she was an excellent musician, and she was a most intelligent actress,
both in comedy and tragedy. Too ambitious, she assumed certain
parts that were too high for her voice, which soon showed wear. A
widow in 1796, she made an unhappy second marriage, which was

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dissolved by mutual consent, and she died of consumption at Paris in
1807.

Berlioz tells us that Gaveaux's opera was considered a mediocre
work in spite of the talents of the two chief singers, and that the score
was extremely weak; but he praises Gaveaux's music to Rocco's song
about gold for its melody, diction, and piquant instrumentation.
Gaveaux used trombones sparingly, yet he introduced them in the
Prisoners' chorus. Berlioz also says that when "Fidelio" was per-
formed at the Theatre Lyrique, Paris, the manager, Carvalho, wished
to introduce as the characters in Bouilly's situations Ludovic Sforza,
Jean Galeas, Isabelle d'Aragon, and Charles VIII., and to have the
scenes at Milan, 1495, for the purpose of more brilliant costumes and
tableaux. Was this the revival in i860, when Carre and Barbier signed
the libretto, and Pauline Viardot impersonated the heroine ?

MAX FIEDLER.

Max Fiedler, conductor of the Boston Symphony Orchestra, was
born at Zittau, Saxony, December 31, 1859. He received his early
musical training from his father, and at the age of ten made his first
public appearance as a pianist. When he was seventeen years old, he
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Leipsic where he studied under the direction of Reinecke, Paul, and
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Two years later Ludwig von Bernuth, the founder and director of
the Hamburg Conservatory of Music, appointed him teacher of the
advanced piano classes of that institution, and since that time Ham-
burg has been Mr. Fiedler's home. On the retirement of von Ber-
nuth in 1894 Mr. Fiedler succeeded him as director of the Conservatory,
which post he now holds.

Mr. Fiedler made his first appearance as conductor in 1886 when
he gave in Hamburg a concert, the programme of which contained
two of his own compositions, a symphony in D minor and a work for
women's voices and orchestra. After the retirement of von Bernuth
in 1894 from the conductorship of the Hamburg Philharmonic concerts,
which post he gave up the same time he left the Conservatory, Mr.
Fiedler organized a series of orchestral concerts of his own under the
name of Fiedler concerts. The first year he gave but one, then in suc-
cessive years he increased them to four, six, and eight, which number
held until his concerts were combined with those of the Philharmonic
Society, under the latter's name, and he became conductor of the
consolidated orchestra.

Mr. Fiedler is well known in Europe as a "guest" conductor. He
has conducted much in St. Petersburg, and a few years ago declined
the appointment of the conductorship of the Russian Imperial Sym-
phony Concerts in that city. He has conducted as "guest" in Rome,
Turin, Berlin, Dresden, Paris, and L-ondon, and four years ago he
visited this country at the invitation of the Philharmonic Society of
New York, to conduct a pair of its concerts.

Mr. Fiedler has composed a symphony in D minor, a pianoforte
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vSymphony 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
impatience. As far hack 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 something like them. The beginning is the main thing;
if only one makes a beginning, then the end comes of itself."

* *

Just when Brahms began to make the first sketches of this symphony
is not known. He was in the habit, as a young man, of jotting down his
musical thoughts when they occurred to him. Later he worked on
several compositions at the same time and let them grow under his
hand. There are instances where this growth was of very long duration.
He destroyed the great majority of his sketches. The few that he did
not destroy are, or were recently, in the Library of the Gesellschaft
der Musikfreunde at Vienna.

We know that in 1862 Brahms showed his friend Albert Dietrich *
an early version of the first movement of the symphony. Brahms
was then sojourning at Miinster. He composed in the morning, and
the afternoon and evening were spent in excursions or in playing or
hearing music. He left Hamburg in September of that year for his
first visit to Vienna, and wrote to Dietrich shortly before his departure

* Albert Hermann Dietrich was born August 28, 1829, near Meissen. He studied music in Dresden and
at the Leipsic Conservatory. In 1851 he went to Diisseldorf to complete his studies with Schumann. He
cunducted the subscription concerts at Bonn from 1855 till 1861, when he was called to Oldenbure as court
conductor. He retired in 1890 and moved to Berlin, where he was made an associate member of the Konigliche
."M^ademie der Kiinste and in 1899 a Royal Professor. He composed two operas, a symphony, an overture,
choral works, a violin concerto, a 'cello concerto, chamber music, songs, piano pieces.

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that the symphony was not ready, but_that he had completed a string
quintet in F minor.

This first movement was afterward greatly changed. He told his
friends for several years afterward that the time for his symphony
had not yet arrived. Yet Theodor Kirchner wrote to Marie lyipsius
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 completed, which I have reason to believe
was after the first was ended ; the sec-ond, then, was chiefly composed
in 1877." In 1875 Dietrich visited Brahms at Zigelhausen, and he saw
his new works, but when Dietrich wrote his recollections he could not
say positively what these works were.

The first performance of the Symphony in C minor was from manu-
script at Carlsruhe by the grand ducal orchestra, November 4, 1876.
Dessoff conducted and the composer was present. Brahms conducted
the performances of it at Mannheim a few days later and on November
15, 1876, at Munich. He also conducted performances at Vienna,
December 17, 1876; at Leipsic, January 18, 1877; and at Breslau,
January 23, 1877. Before the concert, in Vienna certain persons were

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allowed to hear the symphony played as a pianoforte duet by Brahms
and Ignaz Briill.

Early in 1877 Cambridge University offered Brahms an honorary
degree. If he had accepted it, he would have been obliged to go to
England, for it is one of the University's statutes that its degrees may
not be conferred in absentia. Brahms hesitated about going, although
he was not asked to write a work for the occasion. The matter was
soon settled for him: the directors of the Crystal Palace inserted an
advertisement in the Times to the effect that, if he came, he would be
asked to conduct one of their Saturday concerts. Brahms declined the
honor of a degree, but he acknowledged the invitation by giving the
manuscript score and parts of the symphony to Joachim, who led the
performance at Cambridge, March 8, 1877, although Mr. J. L. Erb,
in his "Brahms," says that Stanford conducted. The programme
included Bennett's overture to "The Wood Nymph," Beethoven's
Violin Concerto (Joachim, violinist), Brahms's "Song of Destiny," violin
solos by Bach (Joachim), Joachim's Elegiac overture in memory of
H. Kleist, and the symphony. This Elegiac overture was composed
by Joachim in acknowledgment of the honorary degree conferred on
him that day. He conducted the overture and Brahms's symphony.
The other pieces were conducted by Charles Villiers Stanford, the
leader of the Cambridge University Musical Society. The symphony
is often called in England the "Cambridge" symphony. The first
performance in I^ondon was at the Philharmonic concert, April 16 of
the same year, and the conductor was W. G. Cusins. The symphony
was published in 1877. The first performance in Berlin was on
November 1 1 of that year and by the orchestra of the Music School,
led by Joachim.

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those at Carlsruhe, Mannheim, and Breslau were friendly. Dorffel
wrote in the Leipziger Nachrichten that the symphony's effect on the
audience was "the most intense that has been produced by any new
symphony within our remembrance."

* *

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
dislike. He was faithful to his master, as he was unto the end. And
in the fall of 1877 von Biilow wrote from Sydenham a letter to a Ger-
man 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 subjects 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.

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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
Symphony." If you inquire into the precise meaning of this character-
ization, 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 admiration he will go so far as to say : ' ' Only Brahms or Beet-
hoven could have written it."

Now what did von Biilow write? "First after my acquaintance
with the Tenth Symphony, alias Symphony No. i , by Johannes Brahms,
that is since six weeks ago, have I become so intractable and so hard
against Bruch-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,' just as I think by the First Sym-
phony should 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 Asso-
ciation, January 3, 1878.

The New York Tribune published early in 1905 a note communicated
by Mr. Walter Damrosch concerning the first performance of the sym-
phony in New York: —

"When word reached America in 1877 that Brahms had completed
and published his first symphony, the musical world here awaited its
first production with keenest interest. Both Theodore Thomas and
Dr. Leopold Damrosch were anxious to be the first to produce this
monumental work, but Dr. Damrosch found to his dismay that Thomas
had induced the local music dealer to promise the orchestral parts to
him exclusively. Dr. Damrosch found he could obtain neither score
nor parts, when a very musical lady, a pupil of Dr. Damrosch, hearing

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ofphis predicament, surprised him with a full copy of the orchestral
score. She had calmly gone to the music dealer without mentioning
her purpose and had bought a copy in the usual way. The score was
immediately torn into four parts and divided among as many copyists,
who, working day and night on the orchestra parts, enabled Dr. Dam-
rosch to perform the symphony a week ahead of his rival."

*
* *

The symphony is scored for two flutes, two oboes, two clarinets, two
bassoons, double-bassoon, four horns, two trumpets, three trombones,
kettledrums, strings. The trombones appear only in the finale.

The first movements open with a short introduction, Un poco soste-
nuto, C minor, 6-8, which leads without a pause into the first move-
ment 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 mel-
ancholy 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 pro-
foundly serious development in rather free form of a most serious
theme.

The place of the traditional scherzo is supplied by a movement, Un
poco allegretto e grazioso, A-flat major, 2-4, in which three themes of
contrasted rhythms are worked out. The first, of a quasi-pastoral

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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. Ap-
thorp should be quoted : —

"With the thirtieth measure the tempo changes to piu andante,
and we come upon one of the most poetic episodes in all Brahms.
Amid hushed, tremulous harmonies in the strings, the horn and after-
ward the flute pour forth an utterly original melody, the character of
which ranges from passionate pleading to a sort of wild exultation,
according to the instrument that plays it. The coloring is enriched by
the solemn tones of the trombones, which appear for the first time in
this movement. It is ticklish work trying to dive down into a com-
poser'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 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 pla-
giarism: it is two men saying the same thing."

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Op^ra, Paris, March 13, 1861. Some consider therefore the overture
in its original shape as a concert overture, one no longer authentically
connected with the opera.

The overture is scored for piccolo, two flutes, two oboes, two clarinets,
two bassoons, four horns, three trumpets, three trombones, bass-tuba,
kettledrums^ cymbals, triangle, tambourine, strings.

It begins with a slow introduction. Andante maestoso, E major,
3-4, in which the pilgrims' chorus, "Begliickt darf nun dich, o Heimath,
ich schauen" from the third act, is heard, at first played piano by
lower wood- wind instruments and horns with the melody in the trom-
bones against a persistent figure in the violins, then sinking to a pian- '
issimo ((clarinets and bassoons). They that delight in tagging motives
so that there may be no mistake in recognition call the first melody
the "Religious Motive" or "The Motive of Faith." The ascending
phrase given to the violoncellos is named the "Motive of Contrition,"
and the persistent violin figure the "Motive of Rejoicing."

The main body of the overture, Allegro, E major, 4-4, begins even
before the completion of the pilgrims' song with an ascending first
theme (violas), "the typical motive of the Venus Mountain."

"Inside the Horsel here the air is hot;
Right Uttle peace one hath for it, God wot ;

The scented dusty daylight burns the air,
And my heart chokes me till I hear it not."

The first period of the movement is taken up wholly with baccha-
nalian music from the opening scene in the Venus Mountain; and the
motive that answers the ascending typical figure, the motive for vio-
lins, flutes, oboes, then oboes and clarinets, is known as the theme
of the bacchanal, "the drunkenness of the Venus Mountain." This
period is followed by a subsidiary theme in the same key, a passionate

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figure in the violins against ascending chromatic passages in the 'cellos.
The second theme, B major, is Tannhauser's song to Venus, "Dir
tone Lob!" The bacchanal music returns, wilder than before. A
pianissimo episode follows, in which the clarinet sings the appeal of
Venus to Tannhauser, "Geliebter, komm, sieh' dort die Grotte," the
typical phrase of the goddess. This episode takes the place of the free
fantasia. The third part begins with the passionate subsidiary .theme,
which leads as before to the second theme, Tannhauser's song, which
is now in E major. Again the bacchanalian music, still more frenetic.
There is stormy development; the violin figure which accompanied
the pilgrims' chant returns, and the coda begins, in which this chant
is repeated. The violin figure grows swifter and swifter as the fortis-
simo chant is thundered out by trombones and trumpets to full har-
mony in the rest of the orchestra.

*
* *

Commentators* have written singular "explanations" of this over-
ture, but no one has surpassed the ingenuity of some programme an-
notator of Munich. Wagner wrote Uhlig, November 27, 1852: "In
general I begin to be afraid of performances in chief towns. I shall
never find such good will there as in the smaller towns, especially not

* Charles Baudelaire's gloss in his essay, " Richard Wagner et Tannhauser," first published in the
Revue Europeenne, April i, 1861, is highly characteristic of the poet. "The overture sums up the thought
of the drama by two songs, the religious song and the voluptuous song, which, to borrow Liszt's phrase, 'are
here placed as two terms, which find their equation in the finale.' The Pilgrim Chant appears first, with the
authority of the supreme law, as the immediate iadication of the true meaning of life, the goal of the universal
pilgrimage, that is, God. But, as the intimate knowledge of God is soon drowned in every conscience by
the lusts of the flesh, the representative song of holiness is little by little submerged in voluptuous sighs.
The true, the terrible, the universal Venus arises already in all imaginations. And he that has not yet heard
the marvellous overture of Tannhauser should not fancy here a song of vulgar lovers trying to kill time in
arbors, nor are the accents those of a drunken crowd, as Horace says, throwing defiance at God. Here is
something at once truer and more sinister. Languors, delights now feverish, now cut with anguish, incessant
returns towards a voluptuousness which promises to quench thirst but never quenches it, furious palpitations
of the heart and the mind, are now heard, imperious commands of the flesh, the whole dictionary of the onoma-
topoeias of love. At last the religious theme little by little resumes its sway, slowly, by degrees, and absorbi
the other in a peaceful victory as glorious as that of the irresistible being over the one sickly and disorderly,
of Saint Michael over Lucifer." This quotation gives only a faint idea of the whole rhapsody.

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among self (!) -opera-composing Capellmeisters. Do you really know
what happened with the 'Tannhauser' overture in Munich? The ap-
plause was 'very divided.' But I must tell you a joke from there. I
had sent the programme to I^achner, and had received no answer:
after I had read about the performance, I reminded him of it. Then I
got for answer that they had not ventured to make known the pro-
gramme, but that they had added the following notice to the concert
programme: ' Holy, serene frame of mind ! Night draws on — ^The pas-
sions are aroused — ^The spirit fights against them — Daybreak — Final
victory over matter — Prayer — Song of triumph,' consequently — they
now say — I can rest assured that my composition was completely
'understood.' (Is that not delicious ?) "

Wagner's own programme was published in the Neue Zeitschrift of
January 14, 1853. It was written at the request of orchestral players
who were rehearsing the overture for performance at Zurich. The
translation into English is by William Ashton Ellis.

"To begin with, the orchestra leads before us the Pilgrims' Chant
alone; it draws near, then swells into a mighty outpour, and passes
finally away. — Evenfall; last echo of the chant. As night breaks,
magic sights and sounds appear, a rosy mist floats up, exultant shouts

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assail our ear ; the whirlings of a f earsomely * voluptuous dance are
seen. These are the 'Venusberg's' seductive spells, that show them-
selves at dead of night to those whose breast is fired by daring of the
senses. Attracted by the tempting show, a shapely human form draws
nigh: 'tis Tannhauser, Love's minstrel. He sounds his jubilant Song
of Love in joyous challenge, as though to force the wanton witchery
to do his bidding. Wild cries of riot answer him : the rosy cloud grows
denser round him, entrancing perfumes hem him in and steal away
his senses. In the most seductive of half-lights, his wonder-seeing
eye beholds a female form indicible; he hears a vdice that sweetly
murmurs out the siren-call, which promises contentment of the darer's
wildest wishes. Venus herself it is, this woman who appears to him.
Then heart and senses burn within him; a fierce, devouring passion
fires the blood in all his veins ; with irresistible constraint it thrusts
him nearer ; before the Goddess' self he steps with that canticle of love
triumphant, and now he sings it in ecstatic praise of her. As though
at wizard spell of his, the wonders of the Venusberg unroll their bright-
est fill before him; tumultuous shouts and savage cries of joy mount
up on every hand ; in drunken glee Bacchantes drive their raging dance
and drag Tannhauser to the warm caresses of Love's Goddess, who
throws her glowing arms around the mortal drowned with bliss, and
bears him where no step dare tread, to the realm of Being-no-more.
A scurry, like the sound of the Wild Hunt, and speedily the storm is
laid. Merely a wanton whir still pulses in the breeze, a wave of weird
voluptuousness, like the sensuous breath of unblest love, still soughs
above the spot where impious charms had shed their raptures, and
over which the night now broods once more. But dawn begins to

* "Fearsomely": John Frederick Rowbotham, in the description of a banquet held in the gardens of
Sallust, introduces Syrian dancing-girls: "and these had cymbals that they clashed above their heads, and
there was something fearful in their wild immodesty." ("A History of Music," vol. iii. pp. 80, 81. London,
1887.)

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break already; from afar is heard again the Pilgrims' Chant. As
this chant draws closer yet and closer, as the day drives farther back
the night, that whir and soughing of the air — which had erewhile
sounded like the eerie cries of souls condemned — now rises, too, to
ever gladder waves ; . so that when the sun ascends at last in splendor,
and the Pilgrims' Chant proclaims in ecstasy to all the world, to all
that lives and moves thereon. Salvation won, this wave itself swells
out the tidings of sublimest joy. 'Tis the carol of the Venusberg it-
self, redeemed from curse of impiousness, this cry we hear amid the
hymn of God. So wells and leaps each pulse of Life in chorus of
Redemption; and both dissevered elements, both soul and senses,
God and Nature, unite in the atoning kiss of hallowed Love."

*
* *

Wagner was disgusted with the first performances at Dresden, and in
his letters to Theodor Uhlig showed his disappointment and rage.
Thus he wished the end of the opera rectified in both text and piano-
forte score: "The miracle only hinted at in the altered form must be
completely restored. . . . The reason for leaving out the announce-
ment of the miracle in the Dresden change was quite a local one: the
chorus was always bad, flat, and uninteresting; also an imposing scenic
effect — a splendid, gradual sunrise — ^was wanting." Again: "For
me, it was a necessity to protest against the Dresden performance of
'Tannhauser' and against the opinion that it had satisfied me; this
was still tingling in all my limbs." Wagner wrote, October 12, 1852:
"The Dresden 'Tannhauser' is no advertisement for me; they may
even do there what they like with the ending! Dresden can be of no
more use to me, as it has never been of use — it has, indeed, harmed
me; but it cannot even do that any more. It can only sink deeper
into my indifference. Enough; the remembrances of the Dresden
'Tannhauser' are a torture to me."

Mr. GEORGE HAMLIN, Tenor

will present at his

CHICKERING HALL
RECITAL

Tuesday Evening, October 13

The following special program, being the
same as his Carnegie Hall (New York)
recital, October ii.

Tickets, $1.50, $1.00, and 50 cents, now
on sale at Symphony Hall.

Direction LOUDON CHARLTON

Local Manager, L. H. MUDGETT

... PROGRAM ...

Deh piu a me non v' ascondete . . Bononcini
O Sleep, why dost thou leave me . . Handel
Lindenlaub . . . . . Old German

Oh, bid your Faithful Ariel fly . . Linley

An eine Quelle Schubert

Der.Kuss Beethoven

StilleThranen. Schumann

In's Freie I

Es blinkt der Thau Rubinstein

Im Kahne Grieg

Minnelied Brahms

Auf ein altes Bild .... Wolf

O Siisser Mai Strauss

Four Sea Lyrics : Cycle . Campbell-Tipten

1. After Sunset 3- The Crying of Water

2. Darkness 4. Requies

Written for and dedicated to Mr. Hamlin
The Maiden's Blush J From " To Julia " > Roger
Cherries Ripe \ of Robert Herrick ) Quilter

Twilight Walter Rummel

Black-eyed Susan . . . Edwin Schneider
Oh, I'm not Myself at All . . . Lover

The Lamp of Love Salter

Mr. Edwin Schneider at the Piano

*
* *

The part of Tannhauser was created by Joseph Alois Tichatschek
(1807-86), who was a member of the Dresden Opera House from 1838
to 1872. The part of Venus was created by Wilhelmine Schroder-
Devrient (1804-60). The passionate lovers of the story were shown
on the stage as mature persons of discreet years, for the Tannhauser
was thirty-eight years old and Venus was in her forty-first year.

Tichatschek was for years the glory of the Dresden Opera House; but
there were cavillers even when he was at the zenith of his glory. He
was a dramatic, not a lyric singer. He was accused of stiJBfness in gest-
ure and certain mannerisms that grew upon him while he was under
the influence of Schroder-Devrient. His voice was not naturally free
or flexible, and he was ill at ease in the Italian operas of the repertory
of the period. "Al. Sincerus," the author of "Das Dresdner Hofthe-
ater" (1852), does not attempt to suppress the criticisms unfavorable
to his hero : on the contrary, he publishes them at length, and then he
exclaims in a fine burst: "Tichatschek is a German singer. We are in
Germany, and, thank God, we are not without old and new German
works, which can stand honorably in competition with the new Italian
weak and sickly productions."

But let us listen to the testimony of an outsider, an acute, most expe-
rienced, discriminating judge of singing. Henry F. Chorley heard
Tichatschek in several operas, among them "Tannhauser." He wrote
of him: "Among the tenors of Germany, Herr Tichatschek bears a
high reputation ; and few, in any country, have ever crossed the stage
with an ampler proportion of natural advantages. He is of the right
height, handsome, his voice strong, sweet, and extensive, taking the
altissimo notes of its register in chest tones. He possessed, too, in
1839, a youthful energy of manner calculated to gain the favor of all

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who hear and see him. But, on returning to Dresden in 1840, 1 found
that he had abused this energy to the evident deterioration of his voice
and style; and there was cause to fear that a few seasons more may
rivet him in bad habits never to be thrown off, such as sink their owner
among the disappointing legion of those who 'might have done great
things.'"

After Chorley had heard "Tannhauser" at Dresden in the forties,
he wrote as follows of the great scene in the third act: "I remember
the howling, whining, bawling of Herr Tichatschek (to sing or vocally
to declaim this scene is impossible)."

In Germany the tradition still lives that Tichatschek was the ideal
Tannhauser. Yet Wagner wrote of him to Liszt : "In spite of his voice
Tichatschek did not bring out many points that have not proved
beyond the- reach of far less gifted singers. He has only brilliance or
suavity, not one single true accent of grief." For his sake Wagner was
obliged to make several cuts and minor omissions.

Schroder-Devrient created the part of Venus. She was an ardent
admirer of Wagner; she was in sympathy with his desire to make the
German operatic stage still more illustrious ; she was delighted with his
enthusiasm, his scorn of the conventionalties ; and some say that she
shared his revolutionary views concerning politics. According to

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Glasanap-Ellis's biography of Wagner: "Only out of personal attach-
ment to the author did she finally consent to undertake the part of
Venus, but with the remark- that she didn't know what to make of it
— unless she were to appear in fleshings from top to toe; 'and that,'
she added with mock seriousness, 'you could scarcely expect of a woman
like me.' The jest stood cover to a very solid reason: the miseries of
her private life had made this role a peculiarly trying one for Schroder-
Devrient." As Wagner himself said: "The exceptional demands of
this role were doomed to non-fulfilment, because irreparable circum-
stances deprived her of the unembarrassment required by her task."

This extraordinary woman was not a singer; she was a play-actress
who for some strange reason preferred the opera house to the theatre.
She was irresistible in "Fidelio," and her Lady Macbeth in Chelard's
forgotten opera was "one of those visions concerning which young
men are apt to rave and old men to dote."

Chorley first heard her in London in 1832. What he then wrote of
her is well worth reading and consideration, especially in these days,
when rough, uncontrolled temperament is accepted as an excuse for
vocal indifference or ignorance.

"She was a pale woman. Her face a thoroughly German one, though
plain, was pleasing, from the intensity of expression which her large
features and deep, tender eyes conveyed. She had profuse fair hair*

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the value of which she thoroughly understood, delighting, in moments
of great emotion, to fling it loose with the wild vehemence of a maenad.
Her figure was superb, though full, and she rejoiced in its display.
Her voice was a strong soprano, not comparable in quality to other
German voices of its class (those, for instance, of Madame Stockl-
Heinefetter, Madame Durde-Ney, Mademoiselle Tietjens), but with
an inherent expressiveness which made it more attractive on the stage
than many a more faultless organ. Such training as had been given
to it belonged to that false school which admits of such a barbarism
as the defence and admiration of 'Nature-Singing.'"

The part of Elisabeth was created by Johanna Wagner, the niece of
the composer, the daughter of Albert Wagner (1799-1874). She was
born October 13, 1828, in a village near Hannover; she died at Wiirz-
burg, October 16, 1894. As a five-year-old child she appeared in
Iffland's "Spieler" at Wurzburg. She was first engaged in a theatrical
company at Bernburg when she was thirteen, but she soon began to
devote herself to opera. Her uncle, conductor at Dresden, invited her
to appear there as guest in 1844, and she was engaged for three years.
She was sent to Paris to study with Pauline Viardot. In 1849 she sang
at Hamburg, and in 1851 she was engaged at Berlin, where she was
long a favorite. In 1859 she married the Landrat Jachmann, and,
•as she lost her voice suddenly in 1861, she turned play-actress until
1872, when she left the stage; but she sang in 1872, and in 1876 she

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created the parts of Schwertleite and the first Norn at Bayreuth.
From 1882 to 1884 she taught dramatic singing at the Munich Royal
Music School. The last ten years of her life were spent at Berlin.
She was first famous in England by the breaking of her contract with
the manager Lumley and the consequent litigation.* Her father's
remark in a letter, "One only could go to England to get money,"
aroused a storm of indignation ; but all was forgiven when she appeared
at Her Majesty's in 1856 as Romeo in Bellini's opera, Lucrezia Borgia,
Orpheus, and Tancred.

Chorley described Johanna Wagner as follows: "She was one of
the many who sing without having learned to sing. Her voice — an
originally limited one, robust rather than rich in tone — was already" —
Chorley heard her in Berlin in 1853 — "strained and uncertain; deliv-
ered after a bad method, and incapable of moderate flexibility — as
was to be felt when she toiled through Mozart's air, 'Parto,' from 'La
Clemenza,' with its clarinet obbligato. She wore man's attire welf
and decorously, but she had too much of the elaborate and attitudi-
nizing style of her country to be acceptable as an actress, especially in
the Italian drama, where the passion, if it cannot be made to seem
spontaneous, becomes intolerable. . . . She was most striking to see,
but the mechanical vehemence of second-hand German acting proves
less attractive in London than at Berlin. There, as a part of a picture
(got up by machinery) and as addressing a public to whom the style
of elaborate violence is congenial, it can be submitted to. Here — it
seems extravagant, pedantic, and distasteful, in no common degree.
The German actor's alphabet (I do not here speak of such admirable
artists as Seydelmann or Emil Devrient, who make a law for them-
selves out of a pedantic formula) has always struck me as singular
and limited. I have a book in which dancing is taught by diagrams, —
'Here bend — there twirl — when you offer hands across, smile,' — and
so forth ; and I think that this book must be the text-book for many
actors whom I have seen on the German operatic stage. One can count
their steps whether in advance or retreat. They kiss in time — they
go mad telegraphically. This may be very meritorious; it is clearly

* See "Reminiscences of the Opera," by Benjamin Lumley (London, 1864), chapters xxi. and xxiii.

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most popular in Prussia; but here it is not found welcome, after the
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"Considered as a singer, the claims of Mademoiselle * Wagner were
very meagre. She must have had originally a fine mezzo-soprano
voice. She can never have learned ho^ to produce or how to use it.
Whether as Romeo, or Tancred, or Lucrezia Borgia, the insubordinate
toughness of the organ could not be concealed. Though she dashed
at every difficulty, w^th an intrepidity only to be found in German
singers, none was, in very deed, mastered."

Ivumley thus described her entrance as Romeo: "She appeared; tall,
stately, self-possessed, clothed in glittering gilded mail, with her fine,
fair hair flung in masses upon her neck; a superb air that seemed to
give full earnest of victory, and a step revealing innate majesty and
grandeur in every movement."

On account of the inexperience of the young Johanna when she cre-
■ ated the part, Wagner was compelled to omit a portion of Elisabeth's
prayer.

Anton Mitterwurzer (1818-72), the Wolfram, was the one singer
in the first performance that wholly satisfied the composer.

The Paris correspondent of the New York Evening Post wrote, Sep-
tember 9, 1903: —

"The friends of M. Gaston Paris have just republished in a volume
under the general title of ' Legends of the Middle Ages ' several arti-
cles which he had inserted in various reviews. The first three articles,
'Roncevaux,' 'Le Paradis de la Reine Sibylle,' 'La Legende du Tann-
hauser,' were composed between 1897 and 1901, and appeared not
long before the death of Gaston Paris in the Revue de Paris. . . .

"A world-wide reputation has been given by the genius of Wagner
to the legend of Tannhauser: —

"'When,' says Gaston Paris, 'Richard Wagner composed in 1842
his musical drama, he was not yet fully in possession of all the ideas
which he afterwards seized and realized with so much strength; but
they were already floating in his mind, and he had at least indicates
in the "Fljdng Dutchman" the idea which dominates and resumed
them all, and which he incarnated so powerfully in "Tannhauser." I
mean that grandiose conception according to which music, closely
allied to poetry and emanating from the same soul, ought to be the
deepest and most pathetic interpretation of the mystery of human
existence, suspended between love and death, between egoism and
sacrifice, between ideal aspiration and the fascination of the senses.'

"This complete union of poetry and music was more easily derived
from popular legends than from history. History is too precise and
does not give scope enough to the imagination of the poet. Wagner
sought his legends in the German poems of the Middle Ages, knowing
little of their origin in antiquity, unconscious that they were not purely
Germanic, but Celtic, that they expressed the feelings of the race to
which belonged the Gauls, the Irish, the Gaels of Scotland, the inhab-
itants of Wales and of Brittany. Wagner did not take the legend of
Tannhauser directly from a German poem of the thirteenth century,
but simply from a much more recent popular song, which he found

* Why " Mademoiselle" ? But the English programmes of to-day amiounce a Bohemian ora Himgarian
or even a German as " M., " and I have seen the prefix " Signer" thus misapplied. — Ed.

in Heinrich Heine.* 'What an admirable poem!' said Heine in speak-
ing of an old Volkslied which he reproduced. 'Except the Song of
Solomon, I don't know a song more burning with love than the dia-
logue between Dame Venus and Tannhauser. This song is like a love-
battle: you see flowing in it the reddest blood of the heart.' Wagner
became enamoured of this legend, and saw in it an expression of the
struggle between carnal love and pure and ideal love. In reality, it
is something different : it is the adventure of a man who, thanks to the
love of a goddess, penetrates the supernatural regions where reigns
perpetual spring. Wagner added to the legend of Tannhauser the
episode of the poetical war of the Wartburg, which has nothing to do
with it. He added also the element drawn from the personage of
Elisabeth, whom he created wholly, and who plays such an important
part in his musical drama.

"The story of the knight Tannhauser, of his entering the Venusberg
and coming out of it, does not appear in Germany before the middle
of the fifteenth century. Hermann von Sachsenheim wrote in 1453 a
long poem on the enchanted mountain where Venus kept her court
with her husband, Tannhauser. About the same time there appeared
a small poem in which Tannhauser expresses his regret for having entered
the Venusberg, and tells how the Pope Urban IV. refused to pardon
him. Another little poem, of the middle of the fifteenth century, in
the form of a dialogue, represents Tannhauser declaring to Venus that,
notwithstanding her reproaches, he counts on obtaining pardon of
Jesus and his mother. But it was only in the sixteenth century that

*See Heme's "Der Tannhauser, eine Legende" (1836). — Ed.

Baferanch St^te Street Trust Co.

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Is conveniently situated for residents of the Back Bay, Longwood, Jamaica Plain,
and Brookline.

There are Safe Deposit Vaults and Storage Vaults at the Branch Office.

MAIN OFFICE, 38 STATE STREET

CITY TICKET OFFICE

306 WASHINGTON STDEET

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and in all directions. Also personally conducted tours to Plorida, California, Mexico,
Europe, etc. Send for Circulars and information to

RAYMOND a WHITCOMB COMPANY

Authorized Ticket Agents of the Boston and Albany, Boston and Maine, New
York, New Haven and Hartford Railroad, and all their connections, also all

Steamship Lines.

322

MISS M. F. FISK

THE RED GLOVE SHOP
BOYLSTON STREET

Opposite Arlington Street

Announces her opening of Ladies', Gentlemen's,

and Children's Gloves

Ladies' Neckwear, Veiling, and Belt.

Mr. ALVAH GLOVER SALMON

Pianist

Season 1908-1909

Lecture-recitals (Russian music), the re-
sult of personal investigation and study in
Moscow and St. Petersburg. Circulars
containing criticism from American, Eng-
lish, French, German, Russian, and Austra-
lian journals forwarded upon request.

Mr. Salmon will be available for recitals,
after October i, for cities in New England,
Middle West, and Upper Southern States.
For terms, dates, etc., address

G. W. THOMPSON & GO.

A and B Park Street, Boston, Mass.

Publishers of Mr. Salmon's original compositions
and revised editions of pianoforte studies and
Slavonic works (in preparation).

Foreign Books
Foreign Periodicals

TauGhnitz's British Authors

SCHOENHOF BOOK CO.

128 Tremont St., 2d door north of Winter Street
over Wood's Jewelry Store. (Tel., Oxford 1099-3.

Art Needlework

Beads

EMMA L. SYLVESTER

3 Winter Street Room 32

Elevator

Mrs. J. M. MORRI SON

CORvSETvS

LINGERIE AND FRENCH NECKWEAR
Exclusive agency for the WADE CORSET

367 BOYLSTON STREET

TelepHone, 3142-5 BacR Bay

appeared the song which gave to the legend itS present form, and which
was so much admired by Heine. It ends with censure of the Pope
for his refusal to pardon Tannhauser. 'No Pope, no Cardinal, ought
to condemn a sinner, be the sin never so great. God can always for-
give.'

"The curious emblem of the dry stick which becomes green and bears
flowers again is a mere spontaneous invention of the popular imagina-
tion. In the legend, as it was transformed, we see the unforgiving
Pope telling Tannhauser that he would be pardoned only when his
stick became green. Already, in Homer, we see Achilles swearing
by the wand which he carries in his hand, and 'which will bear no
more leaves or branches, since the sword has taken from it its foliage
and its bark.' M. Gaston Paris will have it that in the legend the name
of Venus was substituted for that of the Sibyl, and that the Venus-
berg was originally a mountain, not of the Thuringer Wald, but of the
Apennines in Italy.

'"The Italian legend travelled to Germany, probably through Switzer-
land. The name of the Sibyl was replaced by the name of Venus,
and the Venusberg long became for the Germans an object of terror
and of desire; only they did not know where to place' it. ... It was
in Italy that the legend must have taken its religious form, localizing
itself in the mount of the Sibyl. . . . The journey to Rome seems to
indicate this. It is not far from the Sibylline hills to Rome, and it
is said that in fine weather the dome of St. Peter's is visible from their
summit. . . . The legend of Tannhauser as it appears in Germany in
the fifteenth and sixteenth centuries is not of Germanic orgin ; it goes
back to the legend of the "Monte della Sibilla." '

"It must be added that this religious form of the Tannhauser is only
an adaptation to Christian ideas of a legend anterior to Christianity
and probably of Celtic origin, brought to Italy from the distant shores
of the Britannic sea."

BENJAMIN H.LUDWIG

FURRIER

420 BOYLSTON STREET BOSTON, MASS.

Telephone, Back Bay 3149=5

HIGH GRADE FURS that will be fashion-
able this season and many others may be inspected
at my establishment.

REPAIRING REDYEING
REMODELING

Old Fur garments altered to the newest
styles. • Each order receives the same careful
attention as new work.

Every garment sold by me must carry a
recommendation to other customers, for the rea-
son everything is of the best quality procurable.
63

LEWANDOS
E

There is more fine work done

^"°"" Laundry

than by any other concern in

New England

Sanitary conditions Pure

filtered water

No acids Highest quality of

materials

Correct finish given to linen

Bundles called for and

delivered

Send postal to Lewandos Laundry

Department

286 BOYLSTON STREET Boston

or telephone

3900 Back Bay

and driver will call

LEWANDOS

Cleansers Dyers Launderers

Boston Shops 1 7 Temple Place and
284 Boylston Street

1274 Massachusetts Avenue Cambridge

2206 Washington Street Roxbury

I Galen Street Watertown (with delivery in the Newtons)

Also New York Philadelphia "Washington Albany Providence
Newport ^Vorcester Lynn Hartford New Haven Bridgeport

Second Rehearsal and Concert*

FRIDAY AFTERNOON, OCTOBER J 6, at 2.30 o'clock.

SATURDAY EVENING, OCTOBER 17, at 8 o'clock.

PROGRAMME,

Rimsky- Korsakoff .... Symphonic Suite, " Scheherazade '
(In memory of Rimsky-Korsakoff, died June 21, 1908.)

Sauer . . . . . . . . Concerto for Pianoforte, No. 2

Weber Overture, " Oberon "

SOLOIST,
Mr. EMIL SAUER.

Mr. LOUIS BACHNER

Will give a

PIANO RECITAL

MONDAY AFTERNOON, NOVEMBER 23, AT 3 O'CLOCK
ON WEDNESDAY EVENING, NOVEMBER U

RICHARD CZERWONKY

Will give a

VIOLIN RECITAL

Mr. and Mrs. DAVID MANNES

Announce a series of

THREE SONATA RECITALS

On Three Friday Evenings — December 4, January 29, February J 9

Further particulars at the hall

Mr. HEINRICH MEYN, Baritone

Assisted by Mr, COENRAAD V, BOS, the World's Greatest Accompanist

Will give a

SONG RECITAL

THURSDAY EVENING, DECEMBER 10

CAROLYN LOUISE WILLARD

Will give a

PIANOFORTE RECITAL

WEDNESDAY AFTERNOON, NOVEMBER J8, at 3 O'CLOCK

~ Mr. NATHAN FRYER

Announces his

FIRST RECITAL IN BOSTON

to take place

EARLY IN DECEMBER

Mr. FELIX FOX

Announces his

Third Season of CHAMBER RECITALS

DATES TO BE GIVEN LATER

The

Fox-Buonamici School

Pianoforte Playing

Offers a complete course of instruction, extending from the elemen-
tary to the most advanced grades. The work of the school is carried
on by a corps of able and experienced teachers under the personal
supervision of the directors.

Faculty

Mr. FELIX FOX In,.

> Directors
Mr. CARLO BUONAMICI )

Mr. Georgfe F. Hamer Miss Alice McDowell

Miss Mary Pratt Mrs. Grace Marshall Libkc

Miss M. Rose Rochette ' Miss Laura M. Webster

Mr. Enrico Leboffe

The school aims primarily at pianoforte teaching, but all sides of
the art are thoroughly presented, there being classes for the study of
harmony, sight-playing, solfeggio, etc.

Pupils may enter at any time.

STEINERT HALL ANNEX
BOSTON

The Adamowski Trio

Will give two concerts in

STEINERT HALL

The date of the first concert to be announced

The second concert will take place on

FEBRUARY 22, 1909

Chopin s Birthday

PROGRAMME

The TRIO \

The POLONAISE (for Piano and 'Cello) SBy Chopin

A GROUP OF PIANO SOLOS . . /

All the proceeds of the concert will be given to the fund for

the monument to be erected to Chopin

in Warsaw, Poland

68 . . -

FELIX FOX
CARLO BUONAMICI

Have resumed Teaching

39-43 STEINERT HALL

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 $2.00
by applying before the last concert. Address all com-
munications to

F. R. COHEE,

Symphony Hall, Boston.

Mme. EDITH ROWENA NOYES

1 8th Season
PIANOFORTE, THEORY, INTERPRETATION

New Studio • • • • • 50 1 Huntington Chambers

SANDERS THEATRE, Cambridge

Boston
SymphonyOrchestra

MAX FIEDLER, Conductor
Twenty=eighth Season, Nineteen Hundred Eight and Nine

EIGHT CONCERTS, THURSDAY EVENINGS AT 8

October 22, November 19, December 10, January 21,

February 11, March 4, April i and 29

SOLO ARTISTS

Miss LILLA ORMOND, Contralto

LAURA HAWKINS, Pianist

OSSIP GABRILOWITSCH, Pianist

NINA FLETCHER, Violinist

SPECIAL ANNOUNCEMENT

SEASON TICKETS for the eight concerts, $7.

The sale will be conducted according to the plan in use last season.

Subscribers of last season may secure the same seats by filling out
and mailing the enclosed blank, with check payable to George H. Kent, on
or before Wednesday, October 14, igo8. On receipt of check, tickets will
be mailed.

The unclaimed seats will be offered for sale in the usual manner at Kent's
University Bookstore, Harvard Square, Cambridge, on Saturday morning,
October 17, 1908, at eight o'clock. A limited number of seats have been
reserved for college officers and invited guests.

THE

KNEISEL QUARTET

FRANZ KNEISEL, Flm Viilht LOUIS SVECENSKI, KitU

JULIUS ROENTGEN, s,«ndfi^n WILLEM WILLEKE, Vuh/iulb

TWENTY-FOURTH SEASON, I90a-I909

FENWAY COURT

FIVE CONCERTS

TUESDAY EVENINGS

at 8. 1 5 o'clock

November lo ,

. 1908

December 8 ...

1908

January 5 ...

. 1909

February 16 .

1909

March 16 . . .

. 1909

ASSISTING ARTISTS:

Miss KATHARINE QOODSON Mr. OSSIP GABRILOWITSCH

Mr. ERNEST CONSOLO Mr. COURTLANDT PALMER

Mr. ARTHUR FOOTE

Subscribers to the concerts, season of 1907-08, have the priv-
ilege of renewing subscriptions by applying to the Boston Music
Co., 26—28 West Street, on or before October 17th. General
subscriptions may be secured on and after October 19th. ^Single
tickets on sale at the BOSTON MUSIC CO. before each
concert. ^Tickets will be forwarded on receipt of cheque or
money order payable to the Kneisel Quartet. ^All communi-
cations regarding the Boston Concerts should be addressed to the
BOSTON MUSIC CO.

SUBSCRIPTION SEASON TICKETS, FLOOR OR BALCONY, $6.25
TICKETS FOR SINGLE CONCERTS, $1.50 AND $1.00

Mme. Antoinette Szumowska

Will accept a limited
number of pupils

163 WALNUT STREET, BROOKLINE

J. D. BUCKINGHAM

TEACHES THE METHOD A/ND TECH/^ICS OP

ISIDOR PHILIPP

AT THE PERSONAL RCQUEST OF THAT
FAMOUS MASTER

« I

WILHELM HEINRICH

TEACHER OF
SINGING

149 A Tremont Street Room 63

Alfred Peals Wall Paper

EFFECTIVE
INTERIOR
DECORATION

The modern idea of furnishing a
room — a rug, not too much furniture, beau-
tiful walls. That is all. The effect is
most charming, if the walls are beautiful.
With the accumulation of wealth
taste or style in the decorations of the home has advanced. This
improved taste recognizes more and more that the keynote of
interior decoration is the walls — that there is nothing more
important.

In the whole history of interior decoration, nothing has been
shown to equal the papers we are showing this fall. Our immense
stock is drawn from every corner of the globe. The most discrimi-
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as moderate as can be found anywhere for the same grade of goods.

BOSTON'S EXCLUSIVE WALL PAPER SHOP

116=120 SUnnER STREET

HOTEL RENNERT

BALTIMORE, MD.

Within one square of the shopping dis-
trict.

The standard hotel of the South.

The cuisine of this hotel has made
Maryland cooking famous.

The only hotel in the world where the
Chesapeake Bay products, Fish, Oysters,
Terrapin, and Canvas-back Duck, are
prepared in their perfection.

MODERN IN EVERY DEPARTMENT

EUROPEAN PLAN

Rooms, $1.50 per day and upwards Fire-proof building

Symphony Hall - - - Boston

FRIDAY EVENING, NOVEMBER

THIRTEENTH, NINETEEN

HUNDRED ^WEIGHT, at EIGHT

O'CLOCK

THE NIGHT BEFORE THE FOOTBALL GAME
AT CAMBRIDGE

SECOND JOINT CONCERT

by the Glee, Mandolin^
and Banjo Clubs of

HARVARD

and DARTMOUTH

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, ^1.50 and $1.00
74

MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and

SOPRANO SOLOIST

Miss HARRIET S. WHITTER, *"""»• ^^^ h""""?*"" *«»««.

Exponent of the method of the late Charles R. Adam*.
Portsmouth, New Hampshire, Mondays.

Mr. CHARLES B. STEVENS,

TEACHER OF SINGING.

STUDIOS,
Suite 14, Steinert Hall, 162 Boylston St.

Telephone, 133 1 Oxford.

Miss Harrietts C. Wescott,

Accompanist and Assistant Teacher.

Miss LAURA HAWKINS,

PiA/NIST.

No. 6 NEWBURY STREET.

Miss CAROLINE M. SOUTHARD,

TEACHER OF THE PIANOFORTE.

Classes in Sight Reading

(EIGHT HANDS).

Advanced pupils follow the Symphony programmes
as far as practicable.

165 Huntington Avenue - Boston

Miss GERTRUDE EDMANDS,

Concert and Oratorio.

Vocal Instruction.

The Copley, 18 HuntinEton Areaut.

Mrs. HALL MCALLISTER,

TEACHER of SINGING.

407 Pierce Building,
COPLEY SQUARE.

I^usical Manaqement.

Miss ELEANOR BRIGHAM,

Pianist and TeacKer.

Trinity^ Court.

Training to competent teachers prin-
cipal aim. Ensemble lessons.

OFFICE

Mr. BERNHARD LISTEHANN'S

_- e L I %/•!••* 703 PIERCE BUILDING, COPLEY SQUARE.

IVIaStBr OChOOl for violinists* Hours: Monday and Thursday, from i p.m.

Wednesdays and Saturdays, 9 to i and 2 to 4.

mss CLARA E. HUNGER,

TEACHER OF SINGING.

Century Building,
177 Huntington Avenue, Boston.

Miss JOSEPHINE COLLIER,

PIANIST and TEACHER.

LANG STUDIOS,

6 NEWBURY STREET.

Walter E. Loud — Violin.
Pupil of Ysaye.

32 Batavia Street.

Miss Bertha Wesselhoeft Swift,

Soprano Soloist,

TEACHER OF SINGING.
Studio, TRINITY COURT, Boston.

Miss Swift is ready to give her children's programs
before clubs, church societies, and in private houses
Wheeler & Pitts, Mauiagers, Huntington Chamberi.

mss LUCY CLARK ALLEN,

Pianoforte Lessons.

Accompaniments.

LANG STUDIOS, 6 NEWBURY STREET.

Mr.SAMDELJ.MacWATTERS,

Professor of Voice Building in
Boston University.

VOICE PLACING,

Development of Tone and
Resonance.

72 MOUNT VERNON STREET.

Mrs. CAROLYN KING HUNT,

PIANISTEaad TEACHER.

Hemenway Chambers,
BOSTON.

Mrs, LUCIA GALE BARBER.

Physical and Personal Culture,

Rhythm, Poise, Breathing,
Concentration, Relaxation,

Normal Course.

The Ludlow, Copley Sq., Boston.

ARL

TENOR- BARITONE.

Pupil of Professor Jachraan-Wagner, Berlin, and
Professor Galliera, Milan, Italy.

Training and Finishing of Voice.

School for Grand Opera and Oratorio.

STE INERT HALL, ROOM 27.

Open Monday, October 12. Send for new Prospectus

BERTHA GUSHING CHILD.

38 BABCOCK ST., BROOKLINE.

TEACHING AT

6 NEWBURY ST., BOSTON.

MARY B. SAWYER

5
Leschetizky Method.

PIANO AND HARMONY.

For four years Pupil and Authorized Assistant of

Frau VARETTE STEPANOFF,

BERLIN, GERMANY.

Studio, Steinert Hall, 162 Boylston St.

Miss RENA I, BISBEE,

TEACHER OF PIANO,

6 NEWBURY STREET.

LDCY FRANCES GERRISH,

PIANOFORTE INSTRUCTION.

GERRISH STUDIO,
140 Boylston Street . . . Boston.

EDITH LYNWOOD WINN

LECTURE-RECITALS,

This season, Russian, Hungarian, 17th
Normal and Teachers' Courses for ^^d i8th Century Music.

Violin.

Children's classes at special rates

TRINITY COURT

BOSTON.

The Guckenberger School of
;ic.

B. GUCKENBERGER, Director.

Piano, Voice, Violin (and all orchestral
instruments), Theory, Musical Analysis,
Analytical Harmony, Composition, Score
Reading, Chorus and Orchestral Con-
ducting. .
30 Huntington Avenue Boston

HENRY T. WADE,

Teacher of

Pianoforte, Church Organ*

Theory oF Music.

Steinert Hall, Boston.
77 Newtonville Avenue, Newton.

RICHARD PLATT,

PIANIST.

23 Steinert Hall . . Boston.

Mason & Hamlin Piano.

CHARLES S. JOHNSON,

PIANO, ORGAN,
HARMONY.

LANG STUDIO, 6 NEWBURY STREET.

Iss HARRIET A. SHAW,

HARPIST.

186 COMMONWEALTH AVENUE

Telephone.

SAM L. STHDLEY,

Pierce Building, Copley Square, Room 313.

INSTRUCTION IN THE
ART OF SINGING.

OPERA, ORATORIO, AND SONG.

Miss JESSIE DAVIS,

Pianist and Teacher.
289 Newbury Street, Boston.

Miss Rose Stewart,

Vocal Instruction.

246 Huntington Avenue.

Miss EDITH E. TORREY,

TEACHER OF SINQINQ.
164 Huntington Avenue, Boston,

Tuesdays and Fridays at Wellesley College.

Mrs. E. C. WALDO,

Teacher of Music.

Lang Studios, 6 Newbury Street.

HELEN ALLEN HUNT.

CONTRALTO SOLOIST.

Teacher of Singing.
No. 514 Pierce Building Boston.

BOSTON MUSICAL BUREAU.

Established 1899.

Supplies Schools, Colleges, and Conservatories
with Teachers of Music, etc.; also Churches with
Organists, Directors, and Singers.

Address HENRY C. LAHEE,

'Phone, 475-1 Oxford. 218 Tremont St., Boston_

Mrs. S. B. FIELD,

Teacher of the Piano and Accompanist.
HOTEL NOTTINGHAM.

Mrs. Field makes a specialty of Coaching; in both
vocal and instrumental music.

Artists engaged, programmes arranged, and all
■-esponsibility assumed for private musicales.

Miss MARIE L EVERETT,

Teaclier of Singing.

Pupil of MADAME MARCHESI,

Paris.
THE COPLEY. BOSTON.

Miss MARY D. CHANDLER, \ Miss PAULA MUELLER.

Concert Pianist and Teacher.

Pupil of Philipp, Paris.

I49A TREMONT ST., Monday and Thursday.

Residence, 5 Ashland Street, Dorchester.

Telephone, 1S2S-3 Dorchester. •

Teacher of Piano
and German Language.

STUDIOS,
28 Central Avenue, Room .30, Steinert Hall,

MEDFORD. BOSTON.

RECITALS.

LISTER,

MR. ROBT. N.
MRS. ROBT. N.

Teacher of Singing,

Soprano Soloist.

Symphony Chambers, opposite Symphony Hall,

BOSTON.

CHARLOTTE WHITE,

Violoncellist of the Carolyn Belcher String Quartet

TEACHER AND SOLOIST.

608 Huntington Chambers, Boston, Mass.

Mrs.V.PERNAUX=SCHUMANN,

TEACHER OF FRENCH and GERMAN.
French and German Diction a Specialty.

32 BATAVIA STREET, Suite 8, BOSTON.

Mr. EMIL MAHR.

JOACHIM SCHOOL.

Address, 69 Crawford St., Roxbury, Mass.

THOMAS L. CUSHIVIAN,

VOCAL TEACHER.
218 TREMONT STREET.

L. B.

MERRILL

BASS SOLOIST

AND

TEACHER.

218 Tremont Street.

Mrae. de BERQ-LOFGREN,
TEACHER OF SINGING.

The "GARCIA" Method.
Studio, 12 Westland Avenue. BOSTON, MASS.

Mrs. H. CARLETON SLACK,

VOCAL INSTRUCTION.

Lyric Soprano. Concerts and Recitals.

Lessons at residence, 128 Hemenway Street.

Miss PEARL BRICE,

CONCERT VIOLINIST, TEACHER.
6 Newbury Street.

Mrs.LOUISELATHROP MELLOWS,

Pianist and Teacher.

STUDIO, Jefferson Hall,
Trinity Court, Dartmouth Street, Boston.

Miss M. B. HARTWELL,

PIANO AND HARMONY.
Studio, 9 St. James Avenue.

Miss Hartwell has but recently returned from

Vienna, where she studied the Leschetizky

Method for three years and a half.

VIOLET IRENE WELLINGTON

Humorous and Dramatic Reader.

Also
Teacher of Voice, Elocution, Physical Culture.

59 "Westland Avenue.

Telephone, 34.39-1 Back Bay.

TippEn '^^^*

PA II I I ^^' ^^^^^

STUDIOS

Assistant, GRACE R. HORNE

312 PIERCE BUILDING
COPLEY SQUARE

VOICE

LUISE LEIMER,

Contralto Soloist and Teacher of Singing.

Studio, 23 Crawford Street

and Steinert Building.

Clarence B. Shirley,
Tenor Soloist and Teacher.

CONCERT AND ORATORIO.

Studio, Huntington Chambers, Bosteo.

Allen H. Daugherty,

PIANOFORTE INSTRUCTION,
HARMONY.

Tel., Oxford 1629-1. 318 Tremont Street.

Miss MARY A.STOWELL.

Teacher of Piano and Harmony.
The ILKLEY,

Huntington Avenue and Cumberland Street.
(Cumberland Street entrance.)

Miss KATHERINE LINCOLN,

Soprano Soloist.
Teacher of Singing.

514 Pierce Building, Copley Square, Boston.

BARITONE.

George W. Mull,

Teacher of Singing.

The Copley, 18 Huntington Avenue,Boston.

JOHN GROGAN MANNING,

CONCERT PIANIST and TEACHER.

Monday, Wednesday, and Thursday
afternoons

Symphony Chambers, 246 Huntington Ave.

Mr. WILLIS W. GGLDTHWAIT,

Teacher of Piano.

Thorough instruction in Harmony, class or private.

7 Park Square, Boston.

JOHN BEACH,

PIANIST.
10 Charles Street.

Miss MARGARET GORHAM,

PIANIST.

Trinity Court, Boston.

Mrs. HIRAM HALL,

Pianist and Teacher.
118 Charles Street.

Mrs. Alice Wentworth MacGregor,

TEACHER OF SINQINQ.

Residence Studio, 780 Beacon Street.

Tuesdays and Fridays at Abbot Academy.

Mrs. NELLIE EVANS PACKARD.

Studio, 218 Tremont Street (Room 308), Boston.

VOCAL INSTRUCTION.

Mrs. Packard is commended by Walker, Randegger
(London), Marches!, Bouhy, Trabadelo (Paris),
Leoni (Milan), Vannuccini (Florence), Cotogni,
Franceschetti (Rome).

Mr. P. nUMARA

Will furnish a Small Orchestra of mem-
bers of the Boston Symphony Orchestra
for Musicales, Dinners, Receptions, etc.

Address, Symphony Hall.

ARTHUR THAYER,

TEACHER OF SINGING.
200 Huntington Avenue

Mr. CHARLES DUMAS,

Graduate of the University of Paris.
Former Assistant at Harvard.

French (all grades), Lectures, Diction,

Elocution, etc.
286 Columbus Ave., 0pp. Back Bay Station.

CLAUDE HACKELTON,

PIANIST AND TEACHER.
218 Tremont Street, Room 515, Boston

EVEREH E. TfiUETTE,

CONCERT ORGANIST AND TEACHER.
218 Tremont Street, BOSTON.

EDWIN N. C. BARNES,

Basso Cantate and
Teacher of Singing.

Symphony Chambers . . . Boston.

Opposite Symphony Hall.

Concert. Oratorio

Lafayette bUUllDnlli soloist.
TEACHER OF SINQINQ.

Thorough preparation for Concert and Church.

Studio . . Steinert Hal!.

'Photle, Oxford 1330. Mondays and Thursdays.

Willy Hess

Concert-master of the Boston Symphony Orchestra,
First Violin of the Hess-Schroeder Quartet,
and a virtuoso of international re-
nown, writes as follows of the

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MASON & HAMLIN COMPANY

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MASON & HAMLIN COMPANY

0pp. Inst, of Technology 492-494 Boylston Street

SYMPHONY HALL, BOSTON

HUNTINGTON 6- MASSACHUSETTS AVENUES

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TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

Prngramm? nf ttjp

Second
Rehearsal and Concert

WITH HISTORICAL AND DESCRIP-
TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, OCTOBER 16
AT 2.30 O'CLOCK

SATURDAY EVENING, OCTOBER 17
AT 8.00 O'CLOCK

PUBLISHED BY C. A. ELLIS, MANAGER

Mme. CECILE CHAMINADE

The World's Greatest Woman Composer

Mme. TERESA CARRENO

The W^orld's Greatest ^A/oman Pianist

Mme. LILLIAN NORDICA

The World's Greatest W^oman Singer

USE

Piano.

THE JOHN CHURCH CO., 37 W^est 32d Street
New York City

REPRESENTED BY

G. L SGHIRMER & CO., 38 Huntington Avenue, Boston, Mass.

Boston Symphony Orchestra

PERSONNEL

Twenty-eighth Season, 1908-1909

MAX FIEDLER, Conductor

First Violins.

Hess, Willy Roth, O.

Concert-master. Kuntz, I).
Noack, S.

Hoffmann, J.
Fitdler. E.

Krafft, W.
Theodorowicz, J[.

Mahn, F.
Strube, G.

Eichheim, H.
Rissland, K.

Bak, A.
Ribarsch, A.

Second Violins.

Mullaly, J.
Traupe, W.

Barleben, K.
Fiumara, P.

Akeroyd, J.
Currier, F.

Fiedler, B.
Rennert, B.

Berger, H.
Eichler, J.

Tischer-Zeitz,
Goldstein, S.

H. Kuntz, A.
Kurth, R.

Marble, E.
Goldstein, H.

Violas.

Ferir, E.
Scheurer, K.

Heindl, H.
Hoyer, H.

Zahn. F. Kolster, A.
Kliige, M. Sauer, G.

Violoncellos.

Krauss, H.
Gietzen, A.

Warnke. H.
Keller, J.

Nagel, R.
Kautzenbach, A.

Barth, C. Loeffler, E.
Nast, L. Hadley, A.

Basses.

Warnke, J.
Smalley, R.

Ke'ller, K.
Gerhardt, G.

Agnesy, K.
Kunze, M.

Seydel, T.'
Huber, E.

Ludwig, O.
Schurig, R.

Flutes.

Oboes.

Clarinets.

Bassoons.

Maquarre, A.
Maquarre, D.
Brooke, A.
Fox, P.

Longy, G.
Lenom, C.

Sautet, A.

English Horn.

Grisez, G. Sadony, P.
Mimart, P. Mueller, E.
Vannini, A. Regestein, E.

Bass Clarinet. Contra-Bassoon.

Mueller, F.

Stumpf, K.

Helleberg, J.

Horns.

Trumpets. Trombones. Tuba.

Hess, M.
Lorbeer, H.
Hain, F.
Phair, J.

Schmid, K.
Gebhardt, W.
Hackebarth, A.
Schumann, C.

Kloepfel, L. Hampe, C. Lorenz, O
Mann, J. Mausebach, A.
Heim, G. Kenfield, L.
Merrill, C.

Harp.

Tympani.

Percussion.

Schuecker, H.

Rettberg, A.

Dworak, J.

Senia, T.

Kandler, F.

Ludwig, C.

Librarian.
Sauerquell, J.

Burkhardt, H.

OTfjitiktritTg

^iuno

Bears a name which has become known to purchasers
as representing the highest possible value produced
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It has been associated with all that is highest and best
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CHICK ERING & SONS

PIANOFORTE' MJ-KERS

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BOSTON

TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT AND NINE

Second Rehearsal and Concert*

FRIDAY AFTERNOON, OCTOBER i6, at 2.30 o'clock.

SATURDAY EVENING, OCTOBER J 7, at 8 o'clock.

PROGRAMME.

Rimsky- Korsakoff . . Symphonic Suite, "Scheherazade" (after "The

Thousand Nights and a Night"), Op. 35
(In memory of the composer, who died June 21, J908.)
I. The Sea and Sindbad's Ship.
II. The Story of the Kalandar-Prince.

III. The Young Prince and the Young Princess.

IV. Festival at Bagdad. The Sea. The Ship goes to Pieces against

a Rock surmounted by a Bronze Warrior. Conclusion.

Sauer . . Concerto No. i, E minor, for Pianoforte and Orchestra

First time in America
I. Allegro patetico.
II. Scherzo: molto vivace.

III. Cavatina : Larghetto amoroso.

IV. Rondo : Tempo giusto.

Weber Overture to the Opera "Oberon"

SOLOIST,
Mr. EMIL SAUER.

The pianoforte is a Knabe.
There will be an intermission of ten minutes after the symphonic suite.

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 an interval 6«-
tween the numbers.

City of Boston. Revised ReiSulation of August 5. 1898.— Chapter 3. relating to the
coverinii 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 thereia
provided for spectators, it being understood that a low !\ead covering without projection, which does not
obstruct such view, may be worn. Attest : J. M. GALVIN, City Clerk.

^^p^

That aside from their r

models,' they have in their

ART ROOMS, AN EXCELLENT ASSORTMENT OF
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In the principal hutoric art period*, such as
Louis, X1V» XV, XVI, Empire, Early English,

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Spedat Designs and Estimates Furnished upon Application.

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BALTIMORE. NEW YORK WASHINGTON

"Scheherazade," Symphonic vSuite after "The Thousand Nights
AND A Night," Op. 35.

Nicolas Andrejevitch Rimsky-Korsakoff

(Born at Tikhvin, in the government of Novgorod, March 18,* 1844; died June
21, 1908, at St. Petersburg.)

The first performance of the suite in Boston was at a concert of the
Boston Symphony Orchestra led by Mr. Paur on April 17, 1897.

The suite, dedicated to Vladimir Stassoff, is scored for one piccolo,
two flutes, two oboes (one interchangeable with English horn), two
clarinets, two bassoons, four horns, two trumpets, three trombones,
one bass tuba, kettledrums, snare-drum, bass drum, tambourine, cym-
bals, triangle, gong, harp, and strings.

The following programme is printed in Russian and French on a
fly-leaf of the score : —

"The Sultan Schahriar,t persuaded of the falseness and the faith-
lessness of women, has sworn to put to death each one of his wives
after the first night. But the Sultana Scheherazade J saved her life
by interesting him in tales which she told him during one thousand
and one nights. Pricked by curiosity, the Sultan put off his wife's
execution from day to day, and at last gave up entirely his bloody
plan.

* This date is given in the catalogue of Belaieff, the late Russian publisher. One or two music lexicons give
May 22.

t Shahryar (Persian), "City-friend," was according to the opening tale " the King of the Kings of the Banu
Sasan in the islands of India and China, a lord of armies and guards and servants and dependents, in tide
of yore and in times long gone before."

t Shahrizad (Persian), "City-freer," was in the older version Scheherazade, and both names are thought
to be derived from Shirzad, "Lion-born." She was the elder daughter of the Chief Wazir of King Shahryar
and sh« had "perused the books, annals and legends of preceding Kings, and the stories, examples and in-
stances of by-gone men and things; indeed, it was said that she had collected a thousand books of histories,
relating to antique races and departed rulers. She had perused the works of the poets and knew them by
heart; she had studied philosophy and the sciences, arts and accomplishments; and she was pleasant and
polite, wise and witty, well read and well bred." Tired of the slaughter of women, she purposed to put an
end to the destruction.

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"Many marvels were told Schahriar by the Sultana Scheherazade.
For her stories the Sultana borrowed from poets their verses, from
folk-songs their words ; and she strung together tales and adventures.

"I The Sea and Sindbad's Ship.

"II. The Story of the Kalandar-Prince.

"III. The Young Prince and the Young Princess.

"IV. Festival at Bagdad. The Sea. The Ship goes to Pieces on
a Rock surmounted by a Bronze * Warrior. Conclusion."

This programme is deliberately vague. To which one of Sindbad's
voyages is reference made? The story of which Kalandar, for there
were three that knocked on that fateful night at the gate of the house
of the three ladies of Bagdad? "The young Prince and the young
Princess," — but there are so many in the "Thousand Nights and a
Night." "The ship goes to pieces on a rock surmounted by a brass
warrior." Here is a distinct reference to the third Kalandar's tale,
the marvellous adventure of Prince Ajib, son of Khazib; for the mag-
netic mountain which shipwrecked Sindbad on his voyage was not sur-
mounted by "a dome of yellow laton from Andalusia, vaulted upon
ten columns; and on its crown is a horseman who rideth a horse of
brass and holdeth in hand a lance of laton; and there hangeth on his
bosom a tablet of lead graven with names and talismans." The com-
poser did not attempt to interline any specific text with music: he
endeavored to put the mood of the many tales into music, so that
W. E. Henley's rhapsody might be the true preface : —

"They do not go questing for accidents: their hour comes, and the
finger of God urges them forth, and thrusts them on in the way of
destiny. The air is horrible with the gross and passionate figments
of Islamite mythology. Afrits watch over them or molest them ; they

* "Bronze" according to Rimsky-Korsakoff; but the word should be brass, or yellow copper.

RIDOLF FRIML

New Pianoforte Compositions

OP. 35.

No. 1.

No. 2.
No. 3.
No. 4.
No. 5.
No. 6.

SUITE MIGNONNE

Solitude

Morning Song .
Valse romantique
A little Story
Danse Bohemienne
Contemplation

Complete. (Edition Schmidt No. 129)
OP. 36. THREE COMPOSITIONS.

No. 1. At Dawn

No. 2. Twilight

No. 3. Melodie sentimentale

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are made captive of malignant Ghouls; the Jinns take bodily form
and woo them to their embraces. The sea-horse ramps at them from
the ocean floor; the great roc darkens earth about them with the
shadow of his wings; wise and goodly apes come forth and minister
unto them; enchanted camels bear them over evil deserts with the
swiftness of the wind, or the magic horse outspreads his sail-broad
vannes, and soars with them ; or they are borne aloft by some ser\^ant
of the Spell till the earth is as a bowl beneath them, and they hear the
angels quiring at the foot of the Throne. So they fare to strange and
dismal places; through cities of brass whose millions have perished
by divine decree; cities guilty of the cult of the Fire and the Light
wherein all life has been stricken to stone ; or on to the magnetic moun-
tain by whose horrible attraction the bolts are drawn from the ship,
and they alone survive the inevitable wreck. And the end comes.
Comes the Castle of Burnished Copper, and its gates fly open before
them; the forty damsels, each one fairer than the rest, troop out at
their approach; they are bathed in odors, clad in glittering apparel,
fed with enchanted meats, plunged fathoms deep in the delights of
the flesh. There is contrived for them a private paradise of luxury
and splendor, a practical Infinite of gold and silver stuffs and jewels
and all things gorgeous and rare and costly ; and therein do they abide
for evermore. You would say of their poets that they contract im-
mensity to the limits of desire; they exhaust the inexhaustible in their
enormous effort; they stoop the universe to the slavery of a talisman,
and bind the visible and invisible worlds within the compass of a ring."

A characteristic theme, the typical theme of Scheherazade, keeps
appearing in the four movements. This theme, that of the Narrator, is
a florid melodic phrase in triplets, and it ends generally in a free cadenza.

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It is played, for the most part, by a solo violin and sometimes by a
wood-wind instrument. "The presence in the minor cadence of the
characteristic seventh, G, and the major sixth, F-sharp, — after the man-
ner of the Phrygian mode of the Greeks or the Doric church tone, —
might illustrate, the familiar beginning of all folk-tales, 'Once upon a
time.'"

I. The Sea and Sindbad's* Ship.
Largo e maestoso, E minor, 2-2. The chief theme of this movement,
announced frequently and in many transformations, has been called by
some the Sea motive, by others the Sindbad motive. It is proclaimed
immediately and heavily in fortissimo unison and octaves. Soft chords
of wind instruments — chords not unlike the first chords of Mendelssohn's
"Midsummer Night's Dream" overture in character — lead to the
Scheherazade motive. Lento, 4-4, played by solo violin against chords

* "The 'Arabian Odyssey' may, like its Greek brother, descend from a noble family, the 'Shipwrecked
Mariner,' a Coptic^ travel-tale of the twelfth dynasty (b.c. 3500), preserved on a papyrus at St. Petersburg.
In its actual condition 'Sindbad' is a fanciful compilation, like De Foe's 'Captain Singleton,' borrowed from
travellers' tales of an immense variety and extracts from Al-Idrisi, Al-Kazwini, and Ibn al-Wardi. Here we find
the Polyphemus, the Pygmies, and the Cranes of Homer and Herodotus; the escape of Aristomenes; the
Plinian monsters, well known in Persia; the magnetic mountains of Saint Brennan (Brandanus); the aero-
nautics of 'Duke Ernest of Bavaria' and sundry cuttings from Moslem writers, dating between our ninth and
foitfteenth centuries. The 'Shaykh of the Seaboard' appears in the Persian romance of Kamarupa, trans-
lated by Francklin, all the particulars absolutely corresponding. The 'Odyssey' is valuable because it shows
how far eastward the mediaeval Arab had extended; already, in The Ignorance he had reached China and
had formed a centre of trade at Canton. But the higher merit of the cento is to produce one of the most
charming books of travel ever written, like 'Robinson Crusoe,' the delight of children and the admiration of
all ages" (Sir Richard F. Burton). See also the curious book, "Remarks on the 'Arabian Nights' Enter-
tainments, in which the origin of Sinbad's Voyages and other Oriental Fictions is particularly considered," by
Richard Hole (London, 1797).

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on the harp. Then follows the main body of the movement, Allegro
non troppo, E major, 6-4, whichl^begins^withja combination of the
chief theme, the Sea motive, with a rising and falling arpeggio figure,
the Wave motive. There is a crescendo, and a modulation leads to
C major. Wood-wind instruments and 'cellos pizz. introduce a motive
that is called the Ship, at first in solo flute, then in the oboe, lastly in
the clarinet. A reminiscence of the Sea motive is heard from the horn
between the phrases, and a solo 'cello continues the Wavk motive,
which in one form or another persists almost throughout the whole
movement. The Scheherazade motive soon enters (solo violin).
There is a long period that at last re-establishes the chief tonality, E
major, and the Sea motive is sounded by full orchestra. The develop-
ment is easy to follow. There is an avoidance of contrapuntal use of
thematic material. The style of Rimsky-Korsakofif in this suite is
homophonous, not polyphonic. He prefers to produce his effects hy
melodic, harmonic, rhythmic transformations and by most ingenious
and highly colored orchestration. The movement ends tranquilly.

II. The Story op the KaIvANDar*-Prince.
The second movement opens with a recitative-like passage. Lento,

* The Kalandar was in reality a mendicant monk. The three in the tale of "The Porter and the Three
Ladies of Bagdad" entered with beards and heads and eyebrows shaven, and all three, by fate, were blind
of the left eye. According to d'Herbelot the Kalandar is not generally approved by Moslems: "He labors

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B minor, 4-4. A solo violin accompanied by the harp gives out the
Scheherazade motive, with a different cadenza. There is a change
to a species of scherzo movement, Andantino, 3-8. The bassoon begins
the wondrous tale, capriccioso quasi recitando, accompanied by the
sustained chords of four double-basses. The beginning of the second
part of this theme occurs later and transformed. The accompaniment
has the bagpipe drone. The oboe then takes up the melody, then the
strings with quickened pace, and at last the wind instruments, un
poco piu animato. The chief motive of the first movement is heard
in the basses. A trombone sounds a fanfare, which is answered by
the trumpet; the first fundamental theme is heard, and an Allegro
molto follows, derived from the preceding fanfare, and leads to an
orientally colored intermezzo. "There are curious episodes in which
all the strings repeat the same chord over and over again in rapid
succession, — very like the responses of a congregation in church, — as
an accompaniment to the Scheherazade motive, now in the clarinet,
now in the bassoon." The last interruption leads to a return of the
Kalandar's tale, con moto, 3-8, which is developed, with a few inter-
ruptions from the Scheherazade motive. The whole ends gayly.

III. The Young Prince and the Young Princess.

Some think from the similarity of the two themes typical of prince

and princess that the composer had in mind the adventures of Kamar

al-Zaman (Moon of the age) and the Princess Budur (Full moons).

"They were the likest of all folk, each to other, as they were twins or

to win free from every form and observance." The adventurous three, however, were sons of kings, who
in despair or for safety chose the garb. D'Herbelot quotes Saadi as accusing Kalandars of being addicted
to gluttony: "They will not leave the table so long as they can breathe, so long as there is anything on the
table. There are two among men who should never be without anxiety: a merchant whose vessel is lost, a
rich heir who falls into the hands of Kalandars."

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an only brother and sister," and over the question, which was the
more beautiful, Maymunah, the Jinniyah, and Dahnash, the Ifrit,
disputed violently.

This movement is in simple romanza form. It consists in the long
but simple development of two themes of folk-song character. The
first is sung by the violins, Andantino quasi allegretto, G major, 6-8.
There is a constant recurrence of song-like melody between phrases in
this movement, of quickly rising and falling scale passages, as a rule
in the clarinet, but also in the flute or first violins. The second theme,
Pochissimo piu mosso, B-flat major and G minor, 6-8, introduces a sec-
tion characterized by highly original and daringly effective orchestra-
tion. There are piquant rhythmic effects from a combination of
triangle, tambourine, snare-drum, and cymbals, while 'cellos (later
the bassoon) have a sentimental counter-phrase.

IV. Festival at Bagdad. The Sea. The Ship goes to Pieces
AGAINST A Rock surmounted by a Bronze Warrior. Conclusion.

"A splendid and glorious life," says Burton, "was that of Bagdad
in the days of the mighty Caliph, when the capital had towered to the
zenith of grandeur and was already trembling and tottering to the fall.
The centre of human civilization, which was then confined to Greece
and Arabia, and the metropolis of an Empire exceeding in extent the
widest limits of Rome, it was essentially a city of pleasure, a Paris of
the IXth century. . . . 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 grace-
ful charms which Saracenic architecture had borrowed from the Byzan-
tines, 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' —

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the luxury of tranquil enjoyment. It was surrounded by far-extend-
ing suburbs, like Rusafah on the Eastern side and villages like Baturan-
jah, 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, tTie shrilling of pipes, the witching strains of the pro-
fessional Almah, and the minstrel's lay." *

Allegro molto, E minor, 6-8. The Finale opens with a reminiscence
of the Sea motive of the first movement, proclaimed in unisons and
octaves. Then follows the Schkherazadk motive (solo violin), which
leads to the fete in Bagdad, Allegro molto e frenetico, E minor, 6-8.
The musical portraiture, somewhat after the fashion of a tarantelle,
is based on a version of the Sea motive, and it is soon interrupted by
Scheherazade and her violin. In the movement Vivo, E minor, there
is a combination of 2-8, 6-16, 3-8 times, and two or three new themes,
besides those heard in the preceding movements, are worked up elabo-
rately. The festival is at its height— "This is indeed life; O sad that
'tis fleeting!" — when there seems to be a change of festivities, and the
jollification to be on shipboard. In the midst of the wild hurrah the
ship strikes the magnetic rock.t

* For a less enthusiastic description of Bagdad in 1583 see John Eldred's naxrative in Hakluyt's Voyages,
The curse of the once famous city to-day is a singular eruption that breaks out on all foreign sojourners.

t The fable of the magnetic mountain is thought to be based on the currents, which, as o£E Eastern Africa,
will take a ship fifty miles a day out of her coirrse. Some have thought that the tales told by Ptolemy (VII. 2)
were perhaps figurative, — "the iron-stealers of Otaheite allegorized in the Bay of Bengal." Aboulfouaris, a

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' Or, sailing to the Isles

Of KJialedan, I spied one evenfall

A black blotch in the sunset ; and it grew

Swiftly . . . and grew. Tearing their beards,

The sailors wept and prayed ; but the grave ship,
; Deep laden with spiceries and pearls, went mad,

Wrenched the long tiller out of the steersman's hand,
i And turning broadside on,

I As the most iron would, was haled and sucked

■^ Nearer, and nearer yet;

I And, all awash, with horrible lurching leaps

Rushed at that Portent, casting a shadow now

That swallowed sea and sky ; and then

Anchors and nails and bolts
i Flew screaming out of her, and with clang on clang,

: A noise of fifty stithies, caught at the sides

Of the Magnetic Mountain ; and she lay,

A broken bundle of firewood, strown piecemeal
i About the waters ; and her crew

Passed shrieking, one by one; and I was left

To drown.

W. E. Henley's Poem, "Arabian Nights' Entertainments" (1893).

The captain said to Ajib in the story: "As soon as we are under
its lea, the ship's sides will open and every nail in plank will fly out

Persian Sindbad, is wrecked by a magnetic mountain. Serapion, the Moor (1479), "an author of good esteem
and reasonable antiquity, asserts that the mine of this stone [the loadstone] is in the seacoast of India, where
when ships approach, there is no iron in them which flies not like a bird unto those moimtains; and, there-
fore, their ships are fastened not with iron but wood, for otherwise they would be torn to pieces." Sir Thomas
Browne comments on this passage ("Vulgar Errors," Book II., chapter ii.): "But this assertion, how positive,
soever, is contradicted by all navigators that pass that way, which are now many, and of our own nation; and
might surely have been controlled by Nearchus, the admiral of Alexander, who, not knowing the compass,
was fain to coast that shore." Sir John Mandeville mentions (chapter xxvii.) these loadstone rocks: " I myself
have seen afar ofiE in that sea as though it had been a great isle full of trees and bush, full of thorns and briars,
great plenty. And the shipmen told us that all that was of ships that were drawn thither by the adamants
for the iron that was in them." See also Rabelais (Book V., chapter xxxvii.); Puttock's "Peter Wilkins";
the "Novus Orbis" of Aloysius Cadamustus, who travelled to India in 1504; and Hole's book, already quoted.
Burton thinks the myth may have arisen from seeing craft built, as on the East African coast, without nails.
Egede, in his Natural History of Greenland, says that Mogens Heinson, a seaman in the reign of Frederic
the Second, king of Denmark, pretended that his vessel was stopped in his voyage thither by some hidden
magnetic rocks, when under full sail. The Berlin correspondent of the Pall Mall Gazette wrote not long ago
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tion of loadstone in minute fragments that the compass of a ship coming within a certain distance of the coast
at once becomes wildly deranged, and it happens far from infrequently that the vessel is stranded."

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and cleave fast to the mountain; for that Almighty Allah hath gifted

the loadstone with a mysterious virtue and a love for iron, by reason

whereof all which is iron travelleth towards it." And A jib continued:

"Then, O my lady, the captain wept with exceeding weeping, and we

all made sure of death-doom, and each and every one of us farewelled

his friend, and charged him with his last will and testament in case

he might be saved." The trombones roar out the Sea motive against

the billowy Wave motive in the strings, Allegro non troppo e maestoso,

C major, 6-4; and there is a modulation to the tonic, E major, as the

tempest rages. The storm dies. Clarinets and trumpets scream one

more cry on the march theme of the second movement. There is a

quiet ending with development on the SKa and Wave motives. The

tales are told. Scheherazade, the narrator, who lived with Shahrydr

"in all pleasance and solace of life and its delights 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," fades with the vision

and the final note of her violin.

*
* *

Rimsky-Korsakoff studied at the Naval Institute in St. Petersburg,
which he entered in 1856, but even then he gave much time to music.
He studied the violoncello with Ulich and the pianoforte with Fedor
Kanille. He was an officer in the marine service of Russia until 1:873,
and it would appear from a passage in Habets's "Alexandre Borodine"
(Paris, 1893, p. 20) that about 1862 he came as an officer to the United
States. His cruise lasted three years (i 862-1 865). He wrote his first
symphony, the first written in Russia, according to Riemann's Musik-
Lexicon (1905, sixth edition), when he was a midshipman. It was in
1 86 1 that he began the serious study of music with Mily Balakireff,* and
he was one of the group — Borodin, Moussorgsky, Cui, were the others —

* Mily Alexeiewitch BalakireS, born in 1837 at Nijni-Novgorod, and now living at St. Petersburg, began
his musical career as a pianist. He has written a symphony in C major (played here at a concert of the Boston
Symphony Orchestra, Dr. Muck, conductor, March 14, 1908) and other orchestral pieces, as "King Lear,"
"Thamara," "In Bohemia," which was played in Boston at Mrs. R. J. Hall's concert in Jordan Hall, Mr.
Longy conductor, January 21, 1908; a pianoforte sonata and other pianoforte pieces, the most famous of
which is "Islamey"; songs, etc. He published in 1866 a remarkable collection of Russian folk-songs.

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who, under Balakireff, founded the modern Russian school. His first
symphony was performed in 1865/^ In 1871 he was appointedprofessor
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 1 88 1, assistant conductor in 1883 of the Imperial Orchestra; and
from 1886 till about 1901 he was one of the conductors of the Russian
Symphony Concerts, afterward led by Liadoff and Glazounoff. He
conducted two Russian concerts at the Trocadero, June 22, 29, at the
Paris Exhibition of 1889; and he has conducted in the Netherlands.
His thirty-fifth jubilee as a composer was celebrated with pomp and
circumstance at St. Petersburg, December 8, 1900, and at Moscow,
January i, 1901.

Rimsky-Korsakoff married in 1873 Nadedja Nicholaevna Pourgold,
a pianist of distinction and an arranger of orchestral scores for the
pianoforte.

On March 19, 1905, Rimsky-Korsakoff wasj dismissed from . the
Conservatory of the Imperial Society of Russian Music. He had
written an open letter to the director of the Conservatory protesting
against the intrusion of an armed force, against the reopening of the
classes contrary to the advice of the "Artistic Council," and against the
dilettantism which rules absolutely the affairs of the Conservatory.
The only member of the Directorial Committee who had by nature
and training a right to his office, Mr. Jean Persiany, immediately
resigned after Rimsky-Korsakoff was ejected. The teachers Glazounoff,
lyiadoff, Blumenfeld, Verjbielovitch, and others, severed their connec-

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tion with the Conservatory. Letters of protestation against the treat-
ment of Rimsky-Korsakoff were sent from the chief European cities.
The Russian journals attacked savagely the Directorship. When a new
opera by Rimsky-Korsakoff, "Kotschei," was produced in St. Peters-
burg at the Theatre-du-Passage, March 27, with an orchestra made up
of students who had struck for some weeks and with Glazounoff as
leader, the tribute paid Rimsky-Korsakoff by musicians, journalists,
writers, artists, was memorable, nor were the police able to put an
end to the congratulatory exercises which followed the performance.
For a full account of all these strange proceedings see the article
written by R. Aloys Mooser and published in the Courrier Musical
(Paris), November i, 1905. In the fall of 1905 Glazounoff was elected
director of the Conservatory and Rimsky-Korsakoff was reinstated.

In 1907 Rimsky-Korsakoff was present at the "Five Historical Rus-
sian Concerts" at Paris (May 16, 19, 23, 26, 30), when his "Christmas
Night" symphonic poem, Prelude and two songs from "Snegourotchka,"
"Tsar Saltan" suite, and the submarine scene from the opera "Sadko"
were performed, and he then conducted his works. (The regular
conductors of the series were Messrs. Nikisch and Chevillard.) In the
fall of 1907 he was chosen corresponding member of the Academic
des beaux-arts, to take the place vacated by the death of Grieg.

The list of his opera is as follows : —
'The Maid of Pskoff" (St. Petersburg, 1873 revised in 1904); "A
Night in May" (St. Petersburg, 1880, 1894); "The Snow Maiden"
(St. Petersburg, 1882); "Mlada," ballet opera, originally an act by
Borodin, Cui, Moussorgsky, and Rimsky-Korsakoff each (St. Peters-
burg, 1892 ?); "Christmas Eve" (St. Petersburg, 1895); "Sadko of
Novgorod" (Moscow, 1897); "Mozart and Salieri" (Moscow, 1899 ?) ;
" Boyarina vera Sheloga," prologue to "The Maid of Psoff" (Moscow,
1899); "The Bride of the Tsar" (Moscow, 1899); "The Tale of the
Tsar Saltan" (Moscow, 1900); "Servilia" (St. Petersburg, 1902);
" Koschtsei, the Immortal" (Moscow, 1902). "Pan Voyvode" (St.
Petersburg, 1905); "The Legend of the Invisible City of Kitesch and
the Maiden Fevronia" (St. Petersburg, 1907); "Zolotoi Pietouchok."

His chief works besides those alrady mentioned are a Fantasia on

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Servian themes for orchestra, Op. 6; Overture on Russian themes for
orchestra, Op. 28; Fairy Tale for orchestra, Op. 29; Concerto in C-
sharp minor (to the memory of Liszt) for pianoforte and orchestra,
Op. 30; Symphoniette in A minor on Russian themes for orchestra,
Op. 31; Symphony No. 3, in C major. Op. 32; Concert Fantasia on
Russian themes for vioHn and orchestra, Op. 33; Serenade for 'cello
with pianoforte, Op. 37; "By the Grave," prelude for orchestra, Op.
61; Russian Song for orchestra (chorus ad lib.), Op. 62; songs and
pianoforte pieces; string quartet, F major, Op. 12; string sextet, A
major ((MS.), and other chamber music; choruses with and without
orchestra; a portion of the liturgy of St. John Chrysostom, Op. 22;
six transpositions, including the psalm, "By the Waters of Babylon,"
Op. 22a. He edited "one hundred Russian Folk-songs," Op. 24
(1877), and "Forty Russian Folk-songs (1882).

* *
Rimsky-Korsakoff is known in Boston chiefly by his orchestral
works. "Scheherazade," a symphonic suite. Op. 35, was played at
concerts of the Boston Symphony Orchestra on April 17, 1897,
December 11, 1897, January 13, 1900, February 4, 1905; "La Grande
Paque Russe," overture on themes of the Russian Church, Op. 36,
on October 23, 1897; "Antar," symphony No. 2, Op. 15, on March 12,
1898; "Sadko," a musical picture, Op. 5, March 25, 1905; the over-
ture to "The Betrothed of the Tsar," November 15, 1902, April 16,
1904, November 24, 1906; "Caprice on Spanish Themes," February
15, 1908.

The "Spanish Caprice" was performed at St. Petersburg in 1887,
and it was published in that year. Yet we find Tschaikowsky writing
to Rimsky-Korsakoff in 1886 (November 11): "I must add that your
'Spanish Caprice' is a colossal masterpiece of instrumentation,* and you
may regard yourself as the greatest master of the present day."
Tschaikowsky's admiration for his colleague was, however, a plant
of slow growth. He wrote to Mrs. von Meek, in a letter dated San

* These words are italicized in the original letter.

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Rerao, January 5, 1878: "All the young composers of vSt. Petersburg
are very talented, but they are frightfully self -conceited, and are
infected by the truly amateurish conviction that they tower high
above all other musicians in the world. Rimsky-Korsakofif is (of late
years) an exception. He is truly a self-taught composer, as the others,
but a mighty change was wrought in him some time ago. This man
is by nature very serious, honorable, conscientious. As a youth he
was told in a society which first assured him that he was a genius, and
then persuaded him not to study, that schooling killed inspiration,
withered creative force, etc. This he believed at first. His first
compositions showed a conspicuous talent, wholly devoid of theoretic
education. In the circle in which he moved each one was in love with
himself and the others. Each one strove to imitate this or that work
which came from the circle and was stamped by it as distinguished.
As a result the whole circle fell into narrow-mindedness, impersonality,
and affectation. Korsakoff is the only one of them who about five
years ago came to the conviction that the ideas preached in the circle
were wholly unfounded; that the scorn of school and classical music
and the denial of authorities and master-works were nothing else than
ignorance. I still have a letter of that period which much moved and
impressed me. Rimsky-Korsakoff was in doubt when he became
aware of so many years passed without advantage and when he found
himself on a road that led nowhere. He asked himself: 'What shall
I then do?' It stood to reason he must learn. And he began to study
with such fervor that school -technic was soon for him something
indispensable. In one summer he wrote a mass of contrapuntal
exercises and sixty-four fugues, of which I received ten for examination.
The fugues were flawless, but I noticed even then that the reaction
was too violent. Rimsky-Korsakoff had jumped suddenly from
contempt for the school into worship of musical technic. A symphony
and a quartet appeared soon after; both works are full of contra-
puntal tricks, and bear — as you justly say — the stamp of sterile
pedantry. He has now arrived at a crisis, and it is hard to predict
whether he will work his way till he is a great master or whether he
will be lost amid hair-splitting subtleties."

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111

It should be remembered that this was written before the teacher
of GlazounoflF had composed his "Scheherazade," his " Caprice io
Espagnol," and his better operas. Tschaikowsky in later years showed
the warmest appreciation for his colleague and his works. He wrote
in his diary of 1887: "I read Korsakoff's 'Snegourotchka,'* and was
enchanted by his mastery; I even envied him, and I should be
ashamed of this."

Tschaikowsky first became acquainted with compositions by Rimsky-
Korsakoff when he visited St. Petersburg in 1867 and made his first
public appearance as a conductor, at a concert in aid of the famine
fund (March 2). He led the Dances from his own "Voyevode,"
and Rimsky-Korsakoff's "Serbian" Fantasia was on the programme.
Early in 1871 Balakireff wrote Tschaikowsky that Mme. Rimsky-
Korsakoff (bom Nadejda Pourgould) had scratched out certain chords
in the manuscript score of Tschaikowsky's "Romeo and Juliet"
overture fantasia, sent to Balakireff for criticism, "with her own fair
hands, and wants to make the pianoforte arrangement end pianissimo."
(In the final arrangement the composer omitted these chords.)

In 1872 Tschaikowsky, visiting St. Petersburg again, met frequently
the members of the "Invincible Band," and it is said that under their
influence he took a Little Russian folk-song as the subject of the finale
of the Second Symphony, ' 'At an evening at the Rimsky-Korsakoff's,"
he wrote, "the whole party nearly tore me to pieces, and Mme. Kor-
sakoff implored me to arrange the Finale for four hands."

We find Tschaikowsky writing to Rimsky-Korsakoff from Moscow,
September 22, 1875: "Thanks for your kind letter. You must know
how I admire and bow down before your artistic modesty and your
great strength of character! These innumerable counterpoints, these
sixty fugues, and all the other musical intricacies which you have
accomplished, — all these things from a man who had already produced
a 'Sadko' eight years previously, — ^are the exploits of a hero. I want
to proclaim them to all the world. I am astounded, and do not know

* "The Snow Maiden," a fantastic opera in a prologue and four acts, book based on a poem by Ostrow-
ski, music by Rimsky-Korsakoff, was produced at St. Petersburg in March, 1882. It has been announced
for performance in Paris this season.

GLOVED

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and not be right.

112

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113

how to express all my respect for your artistic temperament. How
small, poor, self-satisfied, and naive I feel in comparison with you!
I am a mere artisan in composition, but you will be an artist, in the
fullest sense of the word. I hope you will not take these remarks as
flattery. I am really convinced that with your immense gifts — and
the ideal conscientiousness with which you approach your work — you
will produce music that must far surpass all which so far has been
composed in Russia. I await your ten fugues with keen impatience.
As it will be almost impossible for me to go to Petersburg for some time
to come, I beg you to rejoice my heart by sending them as soon as
possible. I will study them thoroughly and give you my opinion in
detail. ... I should very much like to know how the decision upon the
merits of the (opera) scores will go. I hope you may be a member
of the committee. The fear of being rejected — that is to say, not
only losing the prize, but with it all possibility of seeing my 'Vakoula'
performed — worries me very much."

He wrote to Rimsky-Korsakoff, November 24 of the same year,
about a pianoforte arrangement of his second quartet by Mme. Rimsky-
Korsakoff, and ended : "A few days ago I had a letter from von Biilow,
enclosing a number of American press notices of my pianoforte con-
certo.* The Americans think the first movement suffers from 'the
lack of a central idea around which to assemble such a host of musical
fantaisies, which make up the breezy and ethereal whole.' The same
critic discovered in the finale 'syncopation on the trills, spasmodic
interruptions of the subject, and thundering octave passages' ! Think
of what appetites these Americans have: after every performance
von Billow was obliged to repeat the entire finale! Such a thing could
never happen here." The next month Rimsky-Korsakoff answered:
" I do not doubt for a moment that your opera will carry off the prize.
To my mind the operas sent in bear witness to a very poor state of
things as regards music here. . . . Except your work, I do not consider
there is one fit to receive the prize or to be performed in public."

* It will be remembered that the first performance of Tschaikowsky's pianoforte Concerto in B-flat minor
was by von Biilow at Boston, October 25, 1875, in Music Hall. Mr. Lang conducted the orchestra, which was
a small one. There were only four first violins. — Ed.

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114

Tschaikowsky wrote to his colleague, October ii, 1876: "I know
how your quartet improves on acquaintance. The first movement
is simply delicious and ideal as to form. It might serve as a pattern
of purity of style. The andante is a little dry, but just on that account
very characteristic — as reminiscent of the days of powder and patches.
The scherzo is very lively, piquant, and must sound well. As to the
finale, I freely confess that it in no wise pleases me, although I acknowl-
edge that it may do so when I hear it, and then I may find the obtru-
sive rhythm of the chief theme less frightfully unbearable. I consider
you are at present in a transition period, in a stage of fermentation;
and no one knows what you are capable of doing. With your talents
and your character you may achieve immense results. As I have
said, the first movement is a pattern of virginal purity of style. It
has something of Mozart's beauty and unaffectedness." This was
the String Quartet in F major. Op. 12.

I have quoted these excerpts to show Tschaikowsky's opinion of
Rimsky- Korsakoff and his works before he wrote to Mrs. von Meek
his famous characterization of the "Invincible Band."

He wrote to Rimsky- Korsakoff afterward from Maidanovo, April
18, 1885: "Since I saw you last I have had so much to get through
in a hurry that I could not spare time for a thorough revision of your
primer." This was Rimsky-Korsakoff's Treatise on Harmony (trans-
lated into German by Hans Schmidt). The original edition was
published in 1886; the third, in Russian, in 1893. "But now and again
T cast a glance at it, and jotted down my remarks on some loose sheets.
To-day, having finished my revision of the first chapter, I wanted to
send you these notes, and read them through again. Then I hesitated:
should I send them or not ? All through my criticism of your book
ran a vein of irritation, a grudging spirit, even an unintentional sus-
picion of hostility towards you. I was afraid the mordant bitterness
of m}^ observations might hurt your feelings. Whence this virulence?
I cannot say. I think my old hatred of teaching harmony crops
up here, — a hatred which partly springs from a consciousness that
our present theories are untenable, while 'at the same time it is impos-
sible to build up new ones, and partly from the peculiarity of my

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115

musical temperament, which lacks the power bf|imparting conscientious
instruction. For ten years I taught harmony, and during that time I
loathed my classes, my pupils, my text-book, and myself as teacher.
The reading of your book reawakened my loathing, and it was this
which stirred up all my acrimony and rancour. . . . Dare I hope that
you would accept the position of the Director of the Moscow Con-
servatory, should it be offered you? I can promise you beforehand
so to arrange matters that you would have sufficient time for compos-
ing, and be spared all the drudgery with which N. Rubinstein was
overwhelmed. You would only have the supervision of the musical
affairs. Your upright and ideally honorable character, your dis-
tinguished gifts both as artist and teacher, warrant my conviction that
in you we should find a splendid Director. I should consider myself
very fortunate, could I realize this ideal." Rimsky- Korsakoff declined
the offer, courteously, but in no uncertain words.

* *

Borodin 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
orchestration, 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 under-
stand it. His development 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

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sphere,? which^ for him has the character of true novelty." Yet in
i877^Borodin, Rimsky-Korsakoff, Liadoff, and Cui were working
together amicably^on the^amazingl" Paraphrases" for pianoforte, which
lyiszt valued highly, and^to^whichjie contributed ; and after the death
of Borodin, in 1887, Rimsky-Korsakoff undertook the revision and
the publication of his_friend's^manuscripts. He completed, with the
aid of Glazounoff, the opera^" Prince,- Igor" (St. Petersburg, 1890),
just as he had completed and prepared for the stage Dargomijski's
"Stone Guest" (St. Petersburg, 1872) and Moussorgsky's "Kho-
vanschtchina"* (St. Petersburg, 1886, by the Dramatic Musical
Society; Kief, 1892) ; yet he was more radical and revolutionary in his
views concerning the true character of opera than was Borodin.
And when, in 1881, Nikisch^conducted "Antar" at the Magdeburg
festival, it was Borodin who conveyed co the conductor the wishes
of Rimsky-KorsakofE concerning the interpretation.

Liszt held Rimsky-Korsakoff in high regard. Rubinstein brought
the score of "Sadko"t to him and said, "When I conducted this it
failed horribly, but I am sure you will like it"; and the fantastical
piece indeed pleased lyiszt 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.

* Rimsky-Korsakoff also orchestrated Moussorgsky's Intermezzo for pianoforte and " La Nuit sur le
Mont-Chauve" (St. Petersburg, 1886), played here at a concert of the Boston Orchestral Club, Mr. Longy
conductor, January s, 1904.

t Habets tells this story as though Rubinstein had conducted "Sadko" at Vienna; but the first perform-
ance of the work in that city was at a Gesellschaft concert in 1872. Did not Rubinstein refer to a performance
at St. Petersburg?

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118

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* (born Louise de Caraman-Chimay) he
wrote in 1884: "Rimsky-Korsakoff, Cui, Borodin, Balakireff, are
masters of striking originality 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 else-
where before they applaud them at Petersburg. 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, Borodin, 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 sym-
pathy. For six or seven years past at the Grand Annual Concerts
of the Musical Association, over which I have the honor of presiding,
the orchestral works of Rimsky-Korsakoff and Borodine have fig-
ured on the programmes. 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 programme-sym-
phony in four movements, a gorgeous tone-picture, announces a tone-
poet. Do you wish to_|know what I mean by this expression? A

* She 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. Peteri-
burg, where she died in 1890. See the entertaining gossip about this once famous beauty in "Les Femmes
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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, Chopm."

*
* *

Two more recent opinions concerning the music of Rimsky-Korsa-
koff are worthy of consideration.

Mr. Heinrich Pudor, in an essay, "Der Klang als sinnlicher Reiz in
der modemen Musik" (Leipsic, 1900) wrote: 'Rimsky-Korsakoff is
in truth the spokesman of modern music. Instrumentation is every-
thing 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 Mamold, the learned and brilliant critic of the Mercure
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 respect he is descended directly from Liszt, whose orchestra
he adopted, and from whom he borrowed many an old effect. His
inspiration is sometimes 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 enchainment, 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 en tend 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,' underlined here by the chosen
subjects. In 'Scheherazade,' it must be said, the benzoin of Arabia
sends forth here and there the sickening empyreuma of the pastilles

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120

of the harim. This 'symphonic suite' is rather a triple rhapsody in
the strict meaning of both word and thing. One is at first enraptured,
astonished, amused, by the wheedHng 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 decoration
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 Rimsky-Korsakoff by Camille Bellaigue ("Im-
pressions Musicales et Litteraires," pp^ 97-140); "A propos de 'Sche-
herazade' de Rimsky-Korsakoff," by Emile Vuillermoz, in Le Courrier
Musical (Paris), Ferbuary 15, 1905; Mercure Musical (Paris), March
i5> 1907, pp. 282-284, article by N. D. Bernstein on R.-K.'s opera,
"Legend of the Invisible City," etc.; June 15, 1907, pp. 652-656,
by Louis Laloy; Alfred Bruneau's "Musiques de Russie et Musiciens
de France," pp. 20-25 (Paris, 1903).

* Mr. Marnold wrote a little less enthusiastically about Rimsky-Korsakoff in the Mercure de France of
September i6, 1908, and then reproached him sternJy for his "pedantic" revision of Moussorgsky's opera
"Boris Godounoff."

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121

Mr. EmiIv SauEr, pianist, composer, teacher, was bom at Hamburg,
October 8, 1862. His mother gave him his first pianoforte lessons,
and F. A. Riccius, of Hamburg, taught him theory. On the recom-
mendation of Anton Rubinstein, Nicolas Rubinstein received him as a
pupil at the Moscow Conservatory, where he studied from 1876 till
1 88 1. Mr. Sauer afterward studied with Liszt. Since 1882 he has led
the life of a virtuoso. In 1901 he was appointed head teacher of the
Pianoforte Master School connected, with the Vienna Conservatory.
He gave up this position in April, 1907, and chose Dresden as his
dwelling-place.

The list of his compositions includes the pianoforte Concerto, No. i,
in E minor, the second pianoforte Concerto in C minor, a Suite Modeme
and smaller pieces for the pianoforte, and songs, among them "Hymne
Bulgare" and "Serenata Veneziana." He has also written a book,
"Meine Welt: Bilder aus dem Geheimfache meine Kunst und meines
Leben," which was published in 1901.

Mr. Sauer played for the first time in Boston at a concert of the
Boston Symphony Orchestra January 14, 1899 (Henselt's Concerto in
F minor). He gave pianoforte recitals in Music Hall January 20,
1899 (pieces by Bach, d'Albert, Schumann, Chopin, Raff, Mendelssohn-
lyiszt, Liszt, and his own "Feuilles de Tremble"), February 28 (pieces
by Brahms, Schubert, Mendelssohn, Chopin, Saint-Saens, Rubinstein,

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122

Mrs. Avonia Bonney Lichfield

(60 BAY STATE ROAD, BOSTON)

TEACHER OF SINGING

According to the method of the old ItaHan masters of singing. A pupil
of the last of these masters, Gerli, of Milan.

Mfs. Lichfield refers to the following remarks about her
distinguished pupil^ Miss

Charlotte Qrosvenor

as Violetta in Verdi^s

"LA TRAVIATA"

New York, May 7.

In taking up a New York paper yesterday I found Verdi's "Traviata"
announced at one of the up-town theatres, and (the Manhattan and Metro-
politan being closed) I hied me forth to listen to the tuneful music, not
expecting much from the vocal efforts of the troupe, and prepared to smile
at probably finding even less than I expected. My programme announced
Violetta (a Miss Charlotte Grosvenor) as a debutante; but then every
European prima donna, first-rate or third-rate, even of advanced years, too,
has "debut" written after her name when singing in our country for the
first time, so that, like a Patti farewell, the word means little.

Up went the curtain, and in a few moments there entered a Violetta, a
vision of youth in pale blue satin and pink roses, with the most glorious
red-gold hair. I certainly did not expect this. She took the breath of the
house quite away, and a ripple of applause burst forth; then the "Vision"
opened her mouth, and lo, she could sing, and certainly no one expected
this. After hearing all the best singers both here and abroad, 'tis but fair
to herald the advent of so exceptional a debutante. From the sparkling
brindisi of the first act to the final death scene at the end all was well done,
well sung and well acted, though she was no singing actress. It may be
old-fashioned for a prima donna to be a singer nowadays, but for a
debutante to be a singer who can really sing is certainly a remarkable fact.
The ease and security of her notes, and the flawless intonation of it all, the
absolute accuracy of the full-voice high notes in the concerted piece of the
third act, and in the death scene, the sweet fragrance that lingered around
her notes and herself. If all this is made in America, then America at last
has a great master, and let us say " All Hail."

AN OLD OPERA-GOER.

123

and his own Prelude Passionne from the "Suite Moderne," "Propos
de Bal," Galop de Concert, and March 23 of that year (pieces by
Rameau, Beethoven, Schubert, Mendelssohn, Chopin, Rubinstein,
Sgambati, Liszt, and his own E^tude de Concert).

Concerto No. i, E minor, for Pianofort:^ and Orchestra.

EMiiy Sauer

(Born at Hamburg, October 8, 1862; now living.)

The score of this concerto was published in 1900. It is dedicated:
"To the memory of my great master Nicolas Rubinstein." It was
performed May 27, 1900, at the thirty-sixth festival of the Allgemeiner
Deutscher Musikverein held at Bremen, and the composer was the
pianist.

The orchestral portion of the work is scored as follows: two jflutes
(one interchangeable with piccolo), two oboes, two clarinets, two
bassoons, three horns, two trumpets, three trombones, kettledrums,
and strings.

I. Allegro patetico, E minor, 3-4. The first chief .[motive is
announced immediately by the trumpets, forte, and continued by the
violins. A second fermata leads to the dominant. A short thematic
treatment (oboes, 'cellos, bassoons, horn) is followed by the chief
theme given risoluto to the pianoforte. A crescendo for this instru-
ment leads to the return of the prevailing tonality. The chief theme
is played in broad chords by the pianist. The orchestra takes it up,
and there is a modulation to D major. The second and melodious
theme appears, G major for solo instrument, as does a subsidiary
motive which is taken up by various instruments. The song grows
more passionate. In the development the two themes are treated until

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the first dominates, and with a powerful crescendo brings in the repe-
tition. The second theme now appears in B major. The trumpets
again announce the chief theme. A short and sturdy coda brings the
end in the prevailing tonality.

II. Scherzo, molto vivace, E minor, 3-4. The lively chief theme is
given immediately to the pianoforte, accompanied. This theme is
developed both alternately and in common with the orchestra. There
is a more peaceful middle section, Andante con moto, quasi allegretto^
C major. The second theme, however, is repeated fortissimo by the
full orchestra, and there is a sort of working out of the scherzo theme.
The first motive finally serves for a fugato which introduces the reprise.
The coda is short, and the ending sinks to a pianissimo.

III. Cavatina : Larghetto amoroso, C major, 4-4. There is a short
introduction for strings. The chief and expressive theme is given to
the pianoforte unaccompanied. The pace is quickened, un pocO
animato, G major. The violins take up the melody in the original
tempo, and sing it to an accompaniment of arpeggio figures for the
pianoforte. The ending is after the nature of the introduction.

IV. Rondo: Tempo giusto, E major, 2-2. The chief theme of the
Cavatina is brought in at once, and serves as a prelude to the Rondo.
The first three notes of the theme are taken as an independent motive
and developed. A subsidiary theme begins in the dominant. Wood-
wind instruments repeat the motive, accompanied by figures for the
solo instrument, which then takes up the prelude theme in the chief
tonality. The thematic treatment of the first three notes is now in
A major, and the subsidiary theme is in this key. The pianoforte
brings back the tonality of E major, and there is a brilliant ending.

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ENTR'ACTE.

A RUSSIAN COMPOSER.
(From the Sun (N.Y.), August 21, 1908.)

Rimsky-Korsakoff, who died recently at St. Petersburg, was the
most distinguished Russian composer since the passing away of Tschai-
kowsky. He was born in 1 844 at Tikhvin, in the government of Nov-
gorod, and Hke many of his musical contemporaries was educated
in another profession. The most Russian of the Russian composers,
his genius has been gloriously vindicated by the performances last
spring in Paris of his opera, "Boris Goudounoff." Of this work fore-
most French critics said some amazing things; Jean Marnold, for
example, declaring that Debussy and Ravel and Dukas had been antici-
pated by the Russian; and Marnold is, as every one knows in Paris,
a strong partisan of Debussy. Yet all the novelties acclaimed in
"Pell6as et Melisande" may be found in the opera of Moussorgsky, —
the fluid tonal tapestry, the subordination of the music to the poem,
and the absence of set lyric pieces or operatic discursions.

The gift of Rimsky-Korsakoff was more lyrical than his fellow stu-
dents at Balakireff's. Without having anything particularly novel
to say, he developed into a master painter in orchestration. He
belonged to the group of composers who are more prolific in the crea-
tion of images than of ideas. A close student of Berlioz and Liszt,
it was natural, with his fanciful imagination and full-blooded tempera-
ment, that his themes would be clothed in shining orchestration, that
his formal sense would work to happier results in the Lisztian Sym-
phonic Poem. He wrote symphonies and a symphoniette on Russian
themes, but his genius was best displayed in the briefer, freer forms.
His third symphony, redolent of Haydn, — with a delightful scherzo, —
his fugues, his quartet, show him a master of his technical medium:

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129

he was skilled in counterpoint and wrote an excellent treatise on har-
mony; but the real, engaging, and fantastic personality of the man
evaporated in these learned exercises. He was at his top notch in his
"Sadko," with its marvellous depiction of a calm and stormy sea;
in his "Antar," with its evocation of vast, immemorial deserts; in his
"Scheherazade" with its background of Bagdad and the mysterious
atmosphere of the "Arabian Nights." His sense of instrumentation is
as subtle and as exquisite as anything by Berlioz: the pupil equals
the master, particularly in his symphonic suite "Scheherazade," which
has been so adequately interpreted in New York by the Boston Sym-
phony Orchestra.

On the first Sunday of December, 1878, "Sadko," a symphonic
e^end of Korsakoff's, was both hissed and applauded at a Pasdeloup
concert in the Cirque d'Hiver, Paris. The new music made, on the
whole, a disturbing impression . To quell the altercation in the audi-
ence, the conductor, Jacques Pasdeloup, — whose real name is said to
have been Jacob Wolfgang, — played Weber's'" Invitation to the Valse,"
arranged by Berlioz, which tribute to a national composer — beloved
since he was dead, though despised when alive — put the huge Sunday
afternoon audience in good humor. But in 1889, after Korsakoff
directed two concerts of Russian music at the Trocadero, Paris fell in
love with his compositions. From 1871, when he was named professor
of composition at the St. Petersburg Conservatory, he devoted him-
self entirely to teaching and composing. He wrote a dozen operas,
a concerto for the piano, a fantasie for violin, also a caprice for orches-
tra on Spanish motives which is quasi-Moorish. A pious undertaking
was his orchestrating of Dargomijski's "Stone Guest"; an opera by
Moussorgsky and, with the assistance of his pupil, Glazounoff, the
completion of the "Prince Igor" of Borodine. An indefatigable
workman of art, he made arrangements for various combinations of
instruments, conducted, and wrote many songs. His opera, rather a
lyric piece, "Snowdrop," — the Russian equivalent would be too for-
midable here, — has met with much success: it is charming, tender,
melodious, with Russian folk-song, in which the composer was thor-
oughly versed.

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130

His pupils are numerous, and some of them attained a fame that
has crossed foreign seas, — too often crossed them : New York has had
more than its share of Slavic music during the past few years. Gla-
zounoff, Arensky, Sokoloff, Wihtol, Solotoreff, Tscherepnin, Akimenko,
were among those who profited by his luminous precepts. But his
fame will endure — if the fame of an epigone of Berlioz and Liszt can
long endure! — because of his gorgeous handling of orchestral tints.
Rimsky-Korsakoff will certainly rank among the great modern impres-
sionist painters in tone. Praised by Liszt, admired by von Biilow,
he showed the influence of the former. Profound psychologist he was
not; an innovator like Moussorgsky he never could have been; the
tragic eloquence vouchsafed Tschaikowsky was denied ; but he wielded
a brush of incomparable richness, he spun the most various evanescent
and iridescent orchestral web, he was the Berlioz of Russia. This
will keep his music grateful to the the ears until a new color king enters
the dynasty of tone.

Ov:eRTuim TO THE Opera "Oberon" . . . Carl Maria von Weber

(Born at Eutin, Oldenburg, December i8, 1786; died at London, June 5, 1826.)

"Oberon; or, the Elf-king's Oath," a romantic opera in three acts,
book by James Robinson Blanche, music by Carl Maria von Weber,
was first performed at Covent Garden, London, on April 12, 1826.

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Weber conducted the performance. The first performance in Boston
was at Music Hall by the Parepa 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 January 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 two flutes, two oboes, two clarinets, two
bassoons, four horns, two trumpets, three trombones, kettledrums,
strings. The overture begins with an introduction (Adagio sostenuto
ed il tutto pianissimo 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
orchestral 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
ii., scene x). 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 i.. No. 5). And then a theme
taken from the peroration, presto con fuoco, of Rezia's air, "Ocean!

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133

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 choriis in bassons, horns, drums,
basses. The first theme is worked out in short periods; a new theme
is introduced and treated in fugato against a running contrapuntal
counter-theme in the strings. The second theme is treated, but not
elaborately; and then the Rezia motive brings the spirited end.
At the first performance of the opera the overture was repeated.

* *
The story of Oberon was founded by J. R. Planche on Wieland's
"Oberon," which in turn was derived from an old French romance,
"Huon de Bordeaux." As much fault has been found with the libretto,
and several have endeavored to tinker the opera, the remarks of Planche
himself are of interest. They may be found in his "Recollections and
Reflections" (lyondon, 1872), vol. i. pp. 79-84: "Such was the state of
music in England six-and-forty years ago that when, in conjunction
with Bishop, I had made an attempt in my second opera, 'Cortez; or,
the Conquest of Mexico' (produced November 5, 1823), to introduce
concerted pieces and a finale to the second act more in accordance
with the rules of true operatic construction, it had proved, in spite of
all the charm of Bishop's melody, a signal failure. Ballads, duets,
choruses, and glees, provided they occupied no more than the fewest
number of minutes possible, were all that the play-going public of that
day would endure. A dramatic situation in music was 'caviare to the
general,' and inevitably received with cries of 'Cut it short!' from the
gallery and obstinate coughing or other significant signs of impatience
from the pit. Nothing but the Huntsman's Chorus and the diablerie
in 'Der Freischiitz' saved that fine work from immediate condemna-
tion in England ; and I remember perfectly well the exquisite melodies

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Mme. Mary Hissem de Moss Mr. Theodore Spiering

Mr. George Hamlin* Miss Geraldine Morgan

Mr. Francis Rogers* Mr. Henry Bramsen

Miss Leila Livingston Morse Mr. Albert Rosenthal

Miss Cecelia Winter Mr. Edwin H. Lemare*

Miss Gertrude Lonsdale The Flonzaley Quartet*

* Artists thus designated will be heard here in recital this season. Specific announce-
ments in later issues*

134

in it being compared by English music critics to 'wind through a key-
hole'!*

"An immense responsibility was placed upon my shoulders. The
fortunes of the season were staked upon the success of the piece. Had
I constructed it in the form which would have been most agreeable to
me and acceptable to Weber, it could not have been performed by the
company at Covent Garden, and if attempted must have proved a
complete fiasco. None of our actors could sing, and but one singer
could act — Madame Vestris, who made a charming Fatima. . . . No
vocalist could be found equal to the part of Sherasmin (sic). It was,
therefore, acted by Fawcett, and a bass singer, named Isaacs, was
lugged in head and shoulders to eke out the charming quatuor, 'Over
the Dark Blue Waters.' Braham, the greatest English tenor perhaps
ever known, was about the worst actor ever seen, and the most unro-
mantic person in appearance that can well be imagined. His deserved
popularity as a vocalist induced the audience to overlook his deficiencies
in other qualifications, but they were none the less fatal to the dramatic
effect of the character of Huon de Bordeaux, the dauntless paladin
who had undertaken to pull a hair out of the Caliph's beard, slay the
man who sat on his right hand, and kiss his daughter! Miss Paton,
with a grand soprano voice and sufficiently prepossessing person, was
equally destitute of histrionic ability. . . .

"My great object was to land Weber safe amidst an unmusical public,
and I therefore wrote a melodrama with songs, instead of an opera,
such as would be required at the present day. I am happy to say that
I succeeded in that object, and had the great gratification of feeling
that he fully appreciated my motives, and approved of my labors.
On the morning after the production of the opera I met him on the

*Ina number of the Quarterly Musical Magazine and Review for June, 1825, a critic, describing the
music of " Der Freischtiiz, says: " Nearly all that was not irresistibly ridiculous was supremely dull." — J . R. P .

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135

stage. He embraced me most affectionately, and exultingly exclaimed,
'Now we will go to work and write another opera together, and then
they shall see what we can do ! '

"Much has been said of the want of human interest in the story.
The same complaint might be made of nearly every drama founded on
a fairy tale, or in which supernatural agency is employed to work out
the plot. But it seems to have escaped the objectors that, as far as
the expression of the passions is concerned, there can be no difference,
either in words or music, whether the personages are mortals or fairies.
The love, the jealousy, the anger, the despair of an elf or a demon must
be told in the same language, and set to the same notes, as would be
employed to express similar emotions in human beings, while much
more scope is given to the fancy of the composer in the supernatural
situations. But, independently of this argument, the trials of Huon
and Rieza (sic) are among the severest known to humanity, — shipwreck
on a desolate island, separation, slavery, temptation in its most alluring
forms, and the imminent danger of death in the most fearful, — not,
as the writer of 'The Life of Weber' incorrectly states, 'with the lily
wand of Oberon always behind them,' but utterly hopeless of fairy aid;
for the magic horn that should evoke it is lost before their trials com-
mence, and only recovered at the last moment, to bring the opera to

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136

a happy termination. That I may have failed in my attempt to depict
the passions aroused by those situations is another question, and that
I leave the critics to decide. I simply contend that the charge of want
of human interest in the story is not founded on fact."

* *

Although Weber in London was so feeble that he could' scarcely
stand without support, he was busy at rehearsal, and "directed the
performance at the pianoforte." According to Parke, the first oboist
of Covent Garden: "The music of this opera is a refined, scientific,
and characteristic composition, and the overture is an ingenious and
masterly production. It was loudly encored. This opera, however,
did not become as popular as that of 'Der Freischiitz. ' " Weber died
of consumption about two months after his last and great success.

Planchd's libretto was translated into German by R. G. Th. Winkler,

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137

whose pseudonym was Th. Helt. An early version, "orchestrated,

increased, and modified; from the pianoforte score by Franz Glaser."

was produced in Vienna. Later the recitatives supplied by Benedict

for performance in Italian were used in Germany, also secco recitatives

by Lampert, the court conductor at Gotha; and recitatives by Franz

Wiillner were approved in many German theatres. The character of

the Singspiel therefore wholly disappeared. A new version of ' ' Oberon,"

with libretto revised by Major Josef Laufif and with additional music

by Josef Schlar, 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." Still another version was produced at the

Dresden Court Opera, September 29, 1906. There was a new dialogue

by an unnamed person, but Weber's music remained unchanged.

The new dialogue was based on Hell's translation.

*
* *

The woman who created the part of Rezia was Mary Anne Paton,

who, years ago as Mrs. Joseph Wood, was the toast of this town. Her

life was an adventurous one. She was born (1802) in Edinburgh, the

daughter of a master in the high school; and, as a little girl, she played

the violin, piano, and harp. When she was eight years old, she played

ai\fi sang in public, and she published some of her own compositions.

She went to London in 181 1 and applied to Bishop for singing lessons.

He refused to teach her. She went about offering her services without

charge, but she was constantly repulsed, and she sang chiefly at private

parties. At last in 1822 she appeared at the Haymarket as Susanna

in "The Marriage of Figaro," triumphed gloriously, and was then

Miss FRANCES L THOMAS

.. dorsetiere ^.

BERKELEY BUILDING - BOSTON, MASS.

One of the latest Corset Models

138

engaged at Covent Garden to sing in leading parts. She was "a very
agreeable-looking girl. Her figure was about the ' middle height,
slender and delicate. Her hair and eyes were dark, her complexion
clear. Her face was not very beautiful when in repose, but, when
animated in acting or singing, its expression reflected every change
of sentiment, and her countenance beamed with vivacity. ... Her
voice was sweet, brilliant, and powerful, -its compass extending from
A to D or E, and her intonation was correct. . . . Her style was nat-
urally florid. . . . She had warm sensibility."

About this time Miss Paton fell madly in love with a young man
named Blood, a surgeon of good family, who was extremely fond of
music. They were betrothed, but her father objected violently.
She was obstinate until the day of the wedding, when she "stated that
prudential motives induced her for the present to recede." She also
returned her lover's gifts. He immediately married a play-actress,
and Miss Paton, who began "to droop and become melancholy," was
consoled only by a secret marriage (1824) with Lord William Pitt
Lennox, a younger son of the fourth Duke of Richmond.

Weber first heard Miss Paton — for she kept her maiden name — in
his own "Der Freischiitz." He was delighted with her. He wrote his
wife: "Miss Paton is a singer of the first rank and will play Rezia
divinely. ... I really cannot see why the English singing should be
so much abused. The singers have a perfectly good Italian education,
fine voices and expression." After the performance of "Oberon"
he wrote, "Miss Paton sang superbly."

Planche says in his "Recollections and Reflections": "Miss Paton,
with a grand soprano voice and sufficiently prepossessing person, was
equally destitute of histrionic ability." "Equally" here refers to
Braham, the Sir Huon.

In 1826 Miss Paton was acknowledged and received as the wife of
Lord William Lennox. Her days and nights were full of trouble. Her
health was such that the public was often disappointed; ugly stories
were noised about ; there was a divorce ; and Miss Paton chose for her
second husband "Mr. Wood, a kind-hearted young vocalist, who had
lately appeared on the Covent Garden boards."

Mme. J. C. Rondelle MISS GAFFNEY

de Paris
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139

We learn from the "Memoir of Mr. and Mrs. Wood'* that Miss Paton
as Lady Lennox was well treated by her husband's family: "She was
never asked to sing, even at their domestic parties, but was treated
with the greatest respect, though she often voluntarily delighted the
circle with the syren strains of her melodious voice." Lennox was
jealous, and had "groundless suspicions" of Wood; but let us listen
to the biographer: —

"He charged Lady Lennox with having transferred her affections
from himself to Wood. The lady repelled the allegation indignantly.
Crimination and recrimination followed; and Lennox, forgetful of
every honorable feeling, regardless of every manly impulse, struck
her a violent blow, which felled her to the earth ! We have no words
to ex;press our indignation at this outrage.

'The man who lays his hand upon a woman, save in the way of kindness,
Is a wretch, whom 'twere gross flattery to call a coward.'

"The injured woman rose with a changed spirit, and left the house
of Lord Lennox, never to return."

Wood and Miss Paton were married in 1831. The jewels given her
by Lord Lennox were sold, and brought five hundred and twenty-nine
pounds.

The Woods first visited the United States in 1833, and appeared
at the Park Theatre, New York, in September. Richard Grant White
is the author of this characteristic note: "Her voice was powerful,
of uncommon compass, and agreeable in quality, although not sym-
pathetic. Her vocalization was moderately good, her style brilliant;
and as a bravura singer she could hold her own even with all but the
greatest of the Italian prima donnas of her day. It was in finish of
vocalization, in purity and simplicity of style in cantabile passages
(supreme test of high vocal art), and in expression, that she fell short
of their excellence. She was a 'fine woman,' but not handsome, her
mouth being so large that when she opened it it became cavernous
with stalactic teeth. But her eyes were bright, and her face when she
was acting pleased her audiences. She had been married to Lord
William Lennox, a squint-eyed scapegrace, who treated her so brutally
that she obtained a divorce from him and eagerly accepted as her
second husband Joseph Wood, a tall, handsome pugilist, whose fine
but quite uncultivated, tenor voice took him out of the prize ring,
and who won her heart by giving her noble husband a thrashing. . . .
Mrs. Wood was worshipped almost as if she had been a beauty. I
remember, being at boarding-school, in the lowest form, how a young
gentleman in the highest, the cock and the swell of the school — an
awful being who had attained the mature age of perhaps seventeen
years, and of whom it was said that he could raise whiskers, — return-
ing from Philadelphia after the long vacation, brought with him a lith-
ographic portrait of Mrs. Wood as Amina. This he had framed and
hung in the most conspicuous part of his room, with a crimson cushion
before it, upon which he compelled all his visitors to kneel, at least
once, on pain of exclusion from his apartment and his good graces.
The Woods preserved their popularity here until, on occasion of a
petty quarrel with a New York actress named Conduit, there was a
cabal raised against them, the American eagle screamed defiance,
and amid a disgraceful disturbance, which attained almost the pro-

140

portions of a riot, they were driven from the stage of the Park Theatre
in 1836."

General James Watson Webb of the Courier was prominent in foment-
ing this row, which is described at length in the "Memoirs" above
quoted. All sorts of missiles were thrown on the stage, from a cent
to a piece of a bench six feet long. The friends of Wood — among them
were Wetmore, Hone, Ogden, Pell, Livingstons, and Carrolls — pre-
sented the Woods with "a splendid service of plate." Of this service
were two goblets with covers, "surmounted with a beautifully chased
American eagle, of the frosted chasing, gilded inside richly, with scroll
in front for .engraving inscription."

The Woods made their first appearance in Boston, December 4, 1833,
in an English adaptation of Rossini's "La Cenerentola." They were
here again in 1835, 1836, 1840. And here, too, there were squabbles,
which are described in Colonel W. W. Clapp's "Record of the Boston
Stage."

In 1843 Mrs. Wood entered a convent, which she soon left. Her
career as a public singer ended about 1844. She went into the coun-
try and took "a warm interest in the Anglican service," drilled a choir,
and sang solos. She died in 1864. Her husband married a singer
named Sarah Dobson, and died in 1890.

* *
The first performance of "Oberon" in the United States was at New
York, October 9, 1828, at the Park Theatre. Mrs. Austin was the
heroine, and Horn the Sir Huon. (There was a performance of "Obe-
ron," a musical romance, September 20, 1826; but it was not Weber's
opera. It may have been Cooke's piece, which was produced at lyon-

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Steamship Lines.

141

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M. Gascoigne-Orr.

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142

don early in that year.) This performance was "for the benefit of
the beautiful Mrs. Austin." An admirer, whose name is now lost,
spoke of her "liquid voice coming as softly on the sense of hearing as
snow upon the waters or dew upon the flowers." White says that
her voice was a mezzo-soprano of delicious quality. "She was very
beautiful, in what is regarded as the typical Anglo-Saxon style of
beauty, — 'divinely fair,' with blue eyes softly bright, golden brown
hair, and a well-rounded figure." She was praised lustily in print
by a Mr. Berkeley, "a member of a noble English family, who accom-
panied her, and managed all her affairs with an ardent devotion far
beyond that of an ordinary man of business. She visited Boston
during the season of 1828-29, and she sang here in later years, White
says that she was not appreciated at first in New York, because she
had made her debut at Philadelphia. "For already had the public of
New York arrogated to themselves the exclusive right of deciding upon
the merits of artists of any pretensions who visited the country pro-
fessionally. And it is true that, if they received the approbation of
New York, it was a favorable introduction to the public of other towns.
Not so, however, with those who chose Philadelphia or Boston as the
scene of their d^but. The selection was in itself regarded by the
Manhattanese as a tacit acknowledgment of inferiority or as a slight
to their pretensions as arbiters; and in such cases they were slow at
bestowing their approval, however well it might be deserved."

I doubt whether "Oberon" was performed in New York exactly as
Weber wrote it, for it was then the fashion to use the framework and
some of the songs of an opera and to introduce popular airs and incon-
gruous business. "Oberon" was in all probability first given in this
countr}^ in 1870. Performances, however, have been few. There
were some at San Francisco in December, 1882, when the part of Rezia
was taken alternately by Miss Lester and Miss Leighton.

BENJAMIN H.LUD WIG

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144

Third Rehearsal and Concert*

FRIDAY AFTERNOON, OCTOBER 23, at 2.30 o'clock.

SATURDAY EVENING, OCTOBER 24, at 8 o'clock.

PROGRAMME.

Beethoven

Symphony No. 3, " Eroica "

McDowell

Symphonic Poem, "Lamia" (after Keats)

Wagner

Prelude to "The Mastersingers "

145

3 T IS X 2>r :ei 'Hj rr n a. Xi Xj

The

Fox-Buonamici School

Pianoforte Playing

Faculty

Mt. FELIX FOX ) „. ,

> Dtrectors

Mr. CARLO BUONAMICI f
Mt. Gcofgfe F. Hamcr Miss Alice McDowell

Miss Mary Pratt Mrs. Grace Marshall Libke

Miss M. Rose Rochette Miss Laura M. Webster

Mr. Enrico Leboffe

The school aims primarily at pianoforte teaching, but all sides of
the art are thoroughly presented, there being classes for the study of
harmony, sight-playing, solfeggio, etc.

Pupils may enter at any time.

STEINERT HALL ANNEX
BOSTON

146

SPECIAL ANNOUNCEMENTS

Jordan Hall, Saturday Afternoon, October 24, at 3

Miss Adela Verne IZXZi

Tickets and Programs at Box Office, Symphony Hall

$1.50, $1.00, and 50c.

Jordan Hall, Monday Afternoon, October 26, at 3

Violinist

Arthur Fi8.rtina.nii Assutedby

■*^* ******* '■' **** l.AAAC*i»AA ALFRED CALZIN. Pianist

Tickets and Programs at Box Office, Symphony Hall

$1.50, $1.00, and 50c.

Symphony Hall, Friday Afternoon, November 6, at 2.30

Mme. Sembrich in song Recitai

TICKETS, $2.00, $1.50, and $1.00

Public Sale opens Friday, October 30

Symphony Hall, Monday Evening, November 9, at 8

A mm ^^ m m Assisted by

Apollo dub Geraldine Farrar

EMIL MOLLENHAUER, Conductor and COMPLETE ORCHESTRA

1871— 200th CONCERT — 1908

TICKETS, $2.50 and 2.00

Public Sale opens Monday, November 2

Jordan Hall, Monday Afternoon, November i6, at 3

Dr. Ludwig Wiillner RecLi

TICKETS, $1.50, $1.00, and 50c.

At Symphony Hall on and after Monday, November 9

MAIL ORDERS for the above concerts, accompanied by check or
money order, and addressed to L. H. Mudgett, Symphony Hall,
filled in order of receipt and as near the desired location as
possible, prior to public sale.

147

The LONGY CLUB

NINTH SEASON

WILL GIVE THREE CONCERTS

POTTER HALL

MONDAY EVENINGS AT 8J5 O'CLOCK

NOVEMBER 23, 1908 ^M

DECEMBER 21, 1908

FEBRUARY 8, 1909

Flutes .
Oboes .
Clarinets
Horns .
Bassoons
Piano .

MEMBERS

Messrs. D. MAQUARRE and A. BROOKE

Messrs. G. LONGY and C. LENOM

. Messrs. G. GRISEZ and P. MIMART

. Messrs. F. HAIN and H. LORBEER

Messrs. P. SADONY and J. HELLEBERG

. Mr. A. de VOTO

ASSISTING ARTISTS and PROGRAMMES TO BE ANNOUNCED

148

Debuchy's Concert

SYMPHONY HALL

Tuesday Afternoon, November 17th

at 2.30 o'clock
CONCERT of FRENCH OPERA-
TIC and ROMANTIC MUSIC
Soloist

Mme. EMMA QHL^E

Orchestra of 74 under the direction of
Mr. ALBERT DEBUCHY

Orchestral works by Reyer, Erlanger, Wider,
Chabrier, Bruneau, Saint-Saens.

Mme. CALVE will sing

Stances from " Sapho " .... Gounod

Aria from " Les P^cheurs de Perles" . Bizet

With orchestra

Ave Maria Bach-Gounod

With Violin, Harp, Organ accompaniment
and Songs with piano
Mr. G. Barrere will play the Intermezzo, Fhite
solo, from " Conte d' Avril " by Widor.

Tickets $2.50, $2.00, $1.50, $1.00. On sale at
Symphony Hall on and after November 2.

Advance orders by mail, accompanied by cheque made
payable to ALBERT DEBUCHY 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.

140

SANDERS THEATRE, Cambridge

Boston
SymphonyOrchestra

MAX FIEDLER, Conductor

Twenty-eighth Season, Nineteen Hundred Eight and Nine

EIGHT CONCERTS, THURSDAY EVENINGS AT 8

October 22, November 19, December 10, January 21,

February 11, March 4, April i and 29

First Concert, Thursday Evening, October 22,

at 8

PROGRAMME

Beethoven Overture, "Leonora" No. 3

Brahms ...... Symphony No. i, in C minor

Richard Strauss . . . Love Scene from the Opera, " Feuersnot"
Wagner . Overture to "Tannhauser"

SOLO ARTISTS

Miss LILLA ORMOND, Contralto Miss NINA FLETCHER, Violinist

Miss GERMAINE ARNAUD, Pianist Mr. GEORGE PROCTOR, Pianist

Miss LAURA HAWKINS, Pianist Mr. WILLY HESS, Violinist

SPECIAL ANNOUNCEMENT

SEASON TICKETS for the eight concerts, $7.

The seats unclaimed by last year's subscribers will be offered for sale
in the usual manner at Kent's University Bookstore, Harvard Square, Cam-
bridge, on Saturday morning, October 17, 1908, at eight o'clock. A limited
number of seats have been reserved for college officers and invited guests.

ISO

THE

KNEISEL QUARTET

FRANZ KNEISEL, First Vhlin LOUIS SVECENSKI, VhU

JULIUS ROENTGEN, S^ond Violin WILLEM WILLEKE, VioUcelb

TWENTY-FOURTH SEASON. 1908-1909

FENWAY COURT

FIVE CONCERTS

TUESDAY EVENINGS

at 8. 1 5 o'clock

November lO .

. 1908

December 8 . .

1908

January 5 ...

. 1909

February 16 .

1909

March 16 . . .

. 1909

ASSISTING ARTISTS:

Miss KATHARINE QOODSON Mr. OSSIP GABRILOWITSCH

Mr. ERNEST CONSOLO Mr. COURTLANDT PALMER

Mr. ARTHUR FOOTE

Subscribers to the concerts, season of 1907-08, have the priv-
ilege of renewing subscriptions by applying to the Boston Music
Co., 26-28 West Street, on or before October 17th. General
subscriptions may be secured on and after October 19th. ^Single
tickets on sale at the BOSTON MUSIC CO. before each
concert. ^Tickets will be forwarded on receipt of cheque or
money order payable to the Kneisel Quartet. ^All communi-
cations regarding the Boston Concerts should be addressed to the
BOSTON MUSIC CO.

SUBSCRIPTION SEASON TICKETS, FLOOR OR BALCONY, $6.25
TICKETS FOR SINGLE CONCERTS, $1.50 AND $1.00

161

HoFFmann Quartet

J. HOFFMANN, First Violin

A. BAK, Second Violin

K. RISSLAND, Viola

C. BARTH, Violoncello

Will give three Chamber Concerts

NEW JACOB SLEEPE-R HALL

688 Boylston Street

Next to the Public Library

On Monday Evenings
November 16, December 14, and February 1

WILHELM HEINRICH

TEACHER OF
SINGING

149 A Tremont Street Room 63

152

Alfred Pea(s Wall Paper

EFFECTIVE
INTERIOR
DECORATION

BOSTON'S EXCLUSIVE WALL PAPER SHOP

116=120 SUnnER STREET

HOTEL RENNERT

BALTIMORE, MD.

Within one square of the shopping dis-
trict.

The standard hotel of the South.

The cuisine of this hotel has made
Maryland cooking famous.

The only hotel in the world where the
Chesapeake Bay products, Fish, Oysters,
Terrapin, and Canvas-back Duck, are
prepared in their perfection.

MODERN IN EVERY DEPARTMENT

EUROPEAN PLAN

Rooms, $1.50 per day and upwards Fire-proof building

15.3

SYMPHONY HALL ^ BOSTON

FRIDAY EVENING, NOVEMBER

THIRTEENTH, NINETEEN

HUNDRED ^WEIGHT, at EIGHT

O'CLOCK

THE NIGHT BEFORE THE FOOTBALL GAME
AT CAMBRIDGE

SECOND JOINT CONCERT by the Glee,
Mandolin, and Banjo Clubs of

HARVARD % DARTMOUTH
UNI VERSIT IES

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, $\.so and ;^i.oo

CHICKERING HALL

Hess-Schroeder
Quartet

Prof. Willy Hess First Violin

Julius Theodorowicz Second Violin

Emil Ferir . . Viola

Alwyn Schroeder Violoncello

Will give five Chamber Concerts on Tuesday Evenings, November 1 7
December 22, January 19, March 2, and March 23

Season tickets with reserved seats for the five concerts, j?6.oo, $4.00,

and $2.50. Now on sale at Box Office, Symphony Hall.

Further particulars later.

154

MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and

SOPRANO SOLOIST

HARRIET S. WHITTIER, «»"<"<'• 2^* Hunti„gt.a Av.nu.. '

Exponent of the method of the late Charles R . Adams.
Portsmouth, New Harapshin, Mondays.

Mr. CHARLES B. STEVENS.

TEACHER OF SI/NGI^G.

STUDIOS,
Suite 14, Steinert Hall, 162 Boylston St.

Telephone, 1331 Oxford.

Miss Harriette C. Wescott,

Accompanist and Assistant Teacher.

Miss LAURA HAWKINS,

PIA/NIST.

LANQ STUDIOS,

No. 6 NEWBURY STREET.

Miss CAROLINE M.SODTHARD,

TEACHER OF THE PIANOFORTE.

Classes in Sight Reading

(EIQHT HANDS).

Advanced pupils follow the Symphony prognunmes
as far as practicable.

165 Huntington Avenue - Boston

Miss GERTRUDE EDMANDS,

Concert and Oratorio.

Vocal Instruction.

The Copley, ISHuntinetoa Areaae.

Mrs. HALL MCALLISTER.

TEACHER of SI/NGrNG.

407 Pierce Building,
COPLEY SQUARE.

Musical Management.

Miss ELEANOR BRIGHAM,

Pianist atid TeacKer.

Trinitx Court.

Mr. BERNHARD LISTEMANN'S

Master School for Violinists.

Training to competent teachers prin-
cipal aim. Ensemble lessons.

OFFICE
703 PIERCE BUILDING, COPLEY SQUARE.

Hours: Monday and Thursday, from i p.m.
Wednesdays and Saturdays, 9 to i and 2 to 4.

155

Miss CLARA E. fflUNGER,

TEACHER OF SINGING.

Century Building,
177 Huntington Avenue, Boston.

Miss JOSEPHINE COLLIER,

PIANIST and TEACHER.

LANG STUDIOS,

6 NEWBURY STREET.

Walter E. Loud — Violin.
Pupil of Ysaye.

32 Batavia Street.

Miss Bertha Wesselhoeft Swift

Soprano Soloist,

TEACHER OF SINGING.
) Studio, TRINITY COURT, Boston.

Miss Swift is ready to give her children's programs
before clubs, church societies, and in private houses

Miss LUCY CLARK ALLEN.

Pianoforte Lessons.

Accompaniments.

LANG STUDIOS, 6 NEWBURY STREET.

Mr.SAMDELJ.MacWATTERS,

Professor of Voice Building in
Boston University.

VOICE PLACING,

Development of Tone and
Resonance.

72 MOUNT VERNON STREET.

Mrs. LUCIA GALE BARBER,

Physical and Personal Culture,

Rhythm, Poise, Breathing,
Concentration, Relaxation,

Normal Course.

The Ludlow, Copley Sq., Boston.

ARL OOERING,

TENOR- BARITONE.

Pupil of Professor Jachman-Wagner, Berlin, and
Professor Galiiera, Milan, Italy.

Training and Finishing of Voice.

School for Grand Opera and Oratorio.
STEINERT HALL, ROOM 27.

Open Monday, October 12. Send for new Prospectus

156

Mrs. CAROLYN RING HUNT,

PIANISTEand TEACHER.

Hemenway Chambers,
BOSTON.

BERTHA CDSHING CHILD,

38 BABCOCK ST., BROOKI.INE.

TEACHING AT

LANG STUDIOS,

6 NEWBURY ST., BOSTON.

MARY B. SAWYER,

Leschetizky Method.

PIANO AND HARMONY.

For four years Pupil and Authorized Assistant of

Frau VARETTE STEPANOFF,

BERLIN, GERMANY.

Studio, Steinert Hall, 162 Boylston St.

Miss RENi I. BISBEE,

TEACHER OF P3AN0,

LANG STUDIOS,
6 NEWBURY STREET.

LUCY. FRANCES GERRISH,

PIANOFORTE INSTRUCTION.

GERRISH STUDIO,
140 Boylston Street . . Boston.

EDITH LYNWOOD WINN,

LECTURE-RECITALS

This season, Russian, Hungarian, 17th
Normal and Teachers' Courses for ^^^^ j3th Century Music.

Violin.

Children's classes at special rates

TRINITY COURT

BOSTON.

The Guckenberger School of
Music.

B. GUCKENBERGER, Director.

Piano, Voice, Violin (and all orchestral
instruments), Theory, Musical Analysis,
Analytical Harmony, Composition, Score
Reading, Chorus and Orchestral Con-
ducting.
30 Huntington Avenue Boston

HENRY T. WADE,

Teacher of

Pianoforte, Church Organ,

Theory of Music.

Steinert Hall, Boston.
77 Newtonville Avenue, Newton.

CLARENCE B. SHIRLEY,

Tenor Soloist and Teacher.
Concert and Oratorio.

studio, Huntington Chambers, Boston.

167

RICHARD PLATT,

PIANIST.

23 Steinert Hall . . Boston.

Mason & Hamlin Piano.

CHARLES S. JOHNSON,

PIANO, ORGAN,
HARMONY.

LANG STUDIO, 6 NEWBURY STREET.

Iss HARRIET A. SHAW,

HARPIST.

186 COMMONWEALTH AVENUE

Telephone.

SAM L. STUDLEY.

Pierce Buildingt Copley Square^ Room 313.

INSTRUCTION IN THE
ART OF SINGING.

OPERA, ORATORIO, AND SONQ.

Miss JESSIE DAVIS,

Pianist and Teacher.
289 Newbury Street, Boston.

Miss Rose Stewarf^j

Vocal Instruction.

246 Huntington Avenue.

Miss EDim E. TORREY,

TEACHER OF SINGING.

164 Huntington Avenue, Boston.
Tuesdays and Fridays at Wellesley College.

Mrs. E. C. WALDO.

Teacher of Miusic.

Lang Studios, 6 Newbury Street.

HELEN ALLE/N HUNT,

CONTRALTO SOLOIST.

Teacher of Singing.
No. 514 Pierce Building . Boston.

BOSTON MUSICAL BUREAU.

Established 1899.
Supplies Schools, Colleges, and Conservatories
with Teachers of Music, etc.; also Churches with
Organists, Directors, and Singers.

Address HENRY C. LAHEE,
'Phone, 475-1 Oxford. ziSTremont St., Boston

Mrs. 5. B. FIELD,

Teacher of the Piano and Accompanist.
HOTEL NOTTINGHAM.

Mrs. Field makes a specialty of Coaching, in both
vocal and instrumental music.

Artists engaged, programmes arranged, and all
responsibility assumed for private musicales.

Miss MARIE L EVERETT, :

Teacher of Singing.

Pupil of MADAME MARCHESI,

Paris.

THE COPLEY, BOSTON.

Miss MARY D. CHANDLER,

Concert Pianist and Teacher.

Pupil of Philipp, Paris.

149a TREMONT ST., Monday and Thursday.

Residence, 5 Ashland Street, Dorchester.

Telephone, 1828-3 Dorchester.

Miss PAULA MUELLER,

Teacher of Piano
and German Language.

STUDIOS,
28 Central Avenue, Room 30, Steinert Hall

MEDFORD. BOSTON.

RECITALS.

158

MR. ROBT. N.
MRS. ROBT. N.

LISTER CHARLOTTE WHITE.

I Violoncellist of the Carolyn Belcher String Quartet.

Teacher of Singing, j

Soprano Soloist. | TEACHER AND SOLOIST.

608 Huntington Chambers, Boston, Mass.

Symphony Chambers, opposite Symphony Hall,
BOSTON.

Mrs.V.PERNAUX=SCHUMANN,

TEACHER OF FRENCH and GERMAN.
French and German Diction a Specialty.

32 BATAVIA STREET, Suite 8, BOSTON.

Mr. EIVIIL MAMR,

JOACHIM SCHOOL.
Address, 69 Crawford St., Roxbury, Mass.

THOMAS L. CUSHMAN,

VOCAL TEACHER.
2i8 TREMONT STREET.

L. B.

MERRILL

BASS SOLOIST

AND

TEACHER.

2i8 Tremont Street.

Mrae. de BERQ-LOFGREN,

TEACHER OF SINGING.

The "GARCIA" Method.
Studio, 12 Westland Avenue. BOSTON, MASS.

Mrs. H. CARLETON SLACK,

VOCAL INSTRUCTION.

Lyric Soprano. Concerts and Recitals.
Lessons at residence, 128 Hemenway Street.

Miss PEARL BRICE,

CONCERT VIOLINIST, TEACHER.
Lang Studios, 6 Newbury Street.

Mrs.LOUISELATHROP MELLOWS,

Pianist and Teacher.

STUDIO, Jefferson HaU,
Trinity Court, Dartmouth Street, Bostoa.

Miss M. B. HARTWELL,

PIANO AND HARMONY.
Studio, 9 St. James Avenue.

Miss HartweU has but recently returned from

Vienna, where she studied the Leschetizky

Method for three years and a half.

VIOLET IRENE WELLINGTON,

Humorous and Dramatic Reader.

Also
Teacher of Voice, Elocution, Physical Culture.

59 "Westland Avenue.

Telephone, 3439-1 Back Bay.

STUDIOS

Assistant, GRACE R. HORNE

312 PIERCE BUILDING
COPLEY SQUARE

VOICE

LUISE LEIMER,

Contralto Soloist and Teacher of Singing.

Studio, 23 Crawford Street

and Steinert Building.

Miss RUTH LAIGHTON,

Violinist and Teacher

19 Chestnut Street - Boston

Miss jane:t duff,

(7 years pupil of Francis Korbay)

Contralto, Concerts, Oratorios, and Song Recitals.

Teacher of Voice Production and Singing.

Studio, 402 Huntington Chambers.

Monday, Wednesday, Thursday and Saturday morn-
ings

Miss KARIE WARE LAUGHTON,

Lecturer and Reader of Shakspere.
Instructor of tlie VOICE IN SPEECH.
Courses of Study for Personal Culture and Pro-
fessional Training.
418 PIERCE BUILDING. COPLEY SQUARE

Allen H. Daugherty,

PIANOFORTE INSTRUCTION,
HARMONY.

Tel., Oxford 1629-1. 218 Tremont Street.

MlisslVf ARY A.STOWELL,

Teacher oF Piano and Narmony.
The ILKLEY,

Huntington Avenue and Cumberland Street.
(Cumberland Street entrance )

Miss KATHERINE LINCOLN,

Soprano Soloist.
Teacher of Singing.

514 Pierce Building, Copley Square, Boston.

BARITONE.

George W. Mull,

Teacher of Singing.

The Copley, 18 Huntington Avenue,Boston.

JOHN CROGAN MANNING,

CONCERT PIANIST and TEACHER.

Monday, Wednesday, and Thursday
afternoons

Symphony Chambers, 246 Huntington Ave.

Mr. WILLIS W. GOLDTHWAIT,

Teacher of Piano.

Thorough instruction in Harmony, class or private.

7 ParK Square, Boston.

JOHN BEACH,

PIANIST.
10 Charles Street.

Miss MARGARET GORHAM,

PIANIST.

Trinity Court. Boston.

Mrs. H8RAM HALL,

Pianist and Teacher.
118 Charles Street.

Mrs. Alice Wentworth MaoGregor,

TEACHER OF SINGING.
Residence Studio, 780 Beacon Street.

Tuesdays and Fridays at Abbot Academy.

Mrs. NELLIE EVANS PACKARD.

Studio, 218 Tremont Street (Room 308), Boston.

VOCAL INSTRUCTION.

Mrs. Packard is commended by Walker, Randegger
(London), Marchesi, Bouhy, Trabadelo (Paris),
Leoni (Milan), Vannuccini (Florence), Cotogni,
Franceschetti (Rome).

Mr. P. FIUI^ARA

Will furnish a Small Orchestra of mem-
bers of the Boston Symphony Orchestra
for Musicales, Dinners, Receptions, etc.

Address, Symphony Hall.

ARTHUR THAYER,

TEACHER OF SINGING.
200 Huntington Avenue

Mr. CHARLES DUMAS,

Graduate of the University of Paris.
Former Assistant at Harvard.

French (all grades), Lectures, Diction,

Elocution, etc.
286 Columbus Ave.,Opp. Back Bay Station.

CLAUDE HACKELTON,

PIANIST AND TEACHER.
218 Tremont Street, Room 515, Boston

EVEREH E. TRUETTE,

CONCERT ORGANIST AND TEACHER.
218 Tremont Street, BOSTON.

EDWIN N. C. BARNES,

Basso Cantate and
Teacher of Singing.

Symphony Chambers . . . Boston.

Opposite Symphony Hall.

Concert. Oratorio

Mrs. AflfinDAD SOPRANO
Lafayette I1UUUDIIII9 30L0IST.
TEACHER OF SINGING.

Thorough preparation for Concert and Church.

Studio . . Steinert HaU.

( 'Phone, Oxford 1330. Mondays and Thursdays .

160

Willy Hess

Concert-master of the Boston Symphony Orchestra,
First Violin of the Hess-Schroeder Quartet,
and a virtuoso of international re-
nown, writes as follows of the

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(Signed) PROFESSOR WILLY HESS.

MASON&HAMLIN COMPANY

Opp. Institute of Technology 492-494 Boylston Street

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QjjL L T-.n« i" ^ piano is dependent upon the crown, or arch,

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"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
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A copy of the Scientific American article will be mailed upon application

MASON & HAMLIN COMPANY

0pp. Inst, of Technology 492-494 Boylston Street

SYMPHONY HALL, BOSTON

HUNTINGTON <S- MASSACHUSETTS AVENUES

^ , . ( Ticket Office, 1492 I „ , „

Telephones ] Administratiin Offices. 3200 \ Back Bay

TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

pr0gramm? of tijp

Third
Rehearsal and Concert

WITH HISTORICAL AND DESCRIP-
TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, OCTOBER 23
AT 2.30 O'CLOCK

SATURDAY EVENING, OCTOBER 24
AT 8.00 O'CLOCK

161

Mme. CECILE CHAMINADE

The World's Greatest "Woman Composer

Mme. TERESA CARRENO

The World's Greatest Woman Pianist

Mme. LILLIAN NORDICA

The World's Greatest Woman Singer

USE

^^ Piano.

THE JOHN CHURCH CO., 37 West sad Street
New York City

REPRESENTED BY

G. L SCHIRMER & GO,, 3S Huntington Avenue, Boston, Mass.

162

Boston Symphony Orchestra

PERSONNEL

Twenty-eighth Season, 1908=1909

MAX FIEDLER, Conductor

First Violins.

Hess, Willy Roth, O.

Concert-master. Kuntz, D.
Noack, S

Hoffmann, J.
Fiedler, E.

Krafft, W.
Theodorowicz, J.

Mahn, F.
Strube, G.

Eichheim, H.
Rissland, K.

Bak, A.
Kibarsch, A.

Second Violins.

Mullaly, J.
Traupe, W.

Barleben, K.
Fiumara, P.

Akeroyd, J.
Currier, F.

Fiedler, B.
Rennert, B.

Berger, H.
Eichler, J.

Tischer-Zeitz,
Goldstein, S.

H. Kuntz, A.
Kurth, R.

Marble, E.
Goldstein, H.

Violas.

Ferir, E.
Scheurer, K.

Heindl, H.
Hoyer, H.

Zahn, F. Kolster, A.
Kluge, M. Sauer, G.

Violoncellos.

Krauss, H.
Gietzen, A.

Warnke, H.
Keller, J.

Nagel, R.
Kautzenbach, A.

Barth, C. Loeffler, E.
Nast, L. Hadley, A.

Basses.

Warnke, J.
Smalley, R.

Keller, K.
Gerhardt, G.

Agiiesy, K.
Kunze, M.

Seydel, T.
Huber, E.

Ludwig, O.
Schurig, R.

Flutes.

Oboes.

Clarinets.

Bassoons.

Maquarre, A.
Maquarre, D.
Brooke, A.
Fox, P.

Longy, G.
Lenom, C.
Sautet, A.

English Horn.

Grisez, G. Sadony. P.
Mimart, P. Mueller, E.
Vannini, A. Regestein, E.

Bass Clarinet. Contra-Bassoon.

Mueller, F.

Stumpf, K.

Helleberg, J.

Horns.

Trumpets. Trombones. Tuba.

Hess, M.
Lorbeer, H.
Hain, F.
Phair, J.

Schmid, K.
Gebhardt, W.
Hackebarth, A.
Schumann, C.

Kloepfe], L. Hampe, C. Lorenz, O.
Mann, J. Mausebach, A.
Heim, G. Kenfield, L.
Merrill, C.

Harp.

Tympani.

Percussion.

Schuecker, H.

Rettberg, A.

Dworak, J.

Senia, T.

Kandler, F.

Ludwig, C.

Librarian.
Sauerquell, J.

Burkhardt, H

163

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BOSTON

4aacfciid <

TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT AND NINE

Third Rehearsal and Concert*

FRIDAY AFTERNOON, OCTOBER 23, at 2.30 o'clock.
SATURDAY EVENING, OCTOBER 24, at 8 o'clock.

PROGRAMME.

Beethoven . . Symphony No. 3, in E-flat major, "Eroica," Op. 55

I. Allegro con brio.

II. Marcia f unebre : Adagio assai.

III. Scherzo: Allegro vivace; Trio.

IV. Finale : Allegro molto.

MacDowell . "Lamia," third Symphonic Poem (after Keats), Op. 29

First performance

Wagner .... Prelude to "The Mastersingers of Nuremberg"

There will be an intermission of ten minutes after 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 an interval 66-
tween the numbers.

City of Boston. Revised Reiiulation of Auiiust 5. 189$.— Chapter 3. relating to the
coverinii of the head in places of public amusement.

165

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166

Symphony No. 3, in E-flat major, "Eroica," Op. 55.

LuDwiG VAN Beethoven.

(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.)

Anton Schindler wrote in his Life of Beethoven (Miinster, 1840):
''First in the fall of 1802 was his [Beethoven's] mental condition so
much bettered that he could take hold afresh 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, v/hich 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 sym-
phony 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 Lichnow-
sky, 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, then General Bernadotte,
Ambassador of the French Republic, was at Vienna, and Beethoven
had a lively recollection of the fact that Bernadotte indeed first awak-
ened in him the idea of the 'Sinphonia Eroica.'"

These statements are direct. Unfortunately, Schindler, in the third
edition 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 republican, and cited, in support of his admiration of
Napoleon, passages from Beethoven's own cop}' of " Schleiermacher's
translation of Plato.

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TWO SONGS OF ITALY by H. Bath. 2 Keys
A THOUGHT by Chas. J. Roberts. 2 Keys
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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 poHtics on Plato; "but," he adds, "Ber-
nadotte 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 1 803-1 804. The story is that the
title-page of the manuscript bore the word "Buonaparte" and at the
bottom of the page "L-uigi 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 immediately were erased. One of these words is plainly "Bona-
parte," and under his own name the composer wrote in large charac-
ters 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

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3. Danse Andalouse . . .40 Op. 62. New England Idyls. 10
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BOSTON

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over Beethoven, as over Berlioz, Hazlitt, Victor Hugo; for, according
to 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
Lobkowitz's in Decem.ber, 1804. The composer conducted, and in
the second 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 symphony was announced as "A new grand Symphony in D-
sharp by Herr Ludwig van Beethoven, dedicated to his ^Excellence
Prince von Lobkowitz." Beethoven conducted. Czerny remembered
that some one shouted from the gallery: "I'd give another kreuzer if
they would stop." Beethoven's friends declared the work a master-
piece. Some said it would gain if it were shortened, if there was 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 syniphony is longer than an ordinary sym-
phony, 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 performed too late, there is the danger that it will not produce
on the audience, whose attention will be already wearied by preceding
pieces, the effect which the composer purposed in his own mind to

attain.'

This symphony was performed in Boston for the first time at a

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concert of the Musical Fund Society, Mr. G. J. Webb conductor,
December 13, 1851, The programme was as follows: —

PART I.

I. Grand Symphony No. 3, "Eroica" Beethoven

(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 TArrivee" {sic), Op. 180 G. 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. Kummer

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

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at a Viennese garden-liouse (K. 50). Mozart's theme is in G major.
Beethoven's theme is finished by the violins and developed at length.
There is a subsidiary theme, which begins with a series of detached
phrases distributed 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 sotto voce, with the theme in the first violins, accompanied by simple
chords in the other strings. The theme is repeated by the oboe,
accompanied 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 fragmen-
tary form in the first violins, accompanied by a pizzicato bass and chords
in oboes and horns.

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Scherzo: Allegro vivace, E-flat major, 3-4. Strings are pianissimo 4
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 Pro-
metheus," 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 variations 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 theme is heard in C major. There is
a new fugal development of the inverted first theme. The tempo
changes to poco andante, wood-wind instruments play an expressive
version of the second theme, which is developed to a coda for full
orchestra, and the symphony ends with a jo}^ul glorification of the
theme.

The symphony is scored for two flutes, two oboes, two clarinets, two
bassoons, three horns, two trumpets, kettledrums, and strings.

* *

What strange and even grotesque "explanations" of this symphony
have been made !

At the second concert of the Philharmonic Society of New York,
February 18, 1843, the following comments were printed on the pro- ]
gramme: "This great work was commencecTwhen Napoleon was first
Consul, and was intended 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

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chaotic confusion, is a grand idea of Napoleon's determination of
character. The second movement is descriptive 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
mcidents are characterized by the chief themes and their developments
The ending with the return of the first theme is the triumph of the
victor's plan. The funeral march pictures Night spreading her shade
oyer the battlefield, which is covered with the corpses of those who
died for glory; in the scherzo are heard the rejoicings of the soldiery
homeward 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
triumphant 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' {'Held') the whole, the fuU-
lledged 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

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speaking accents of his tone-work. The artistic space of this work
is filled with all the varied, intercrossing feelings of a strong, a consum-
mate 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 manifesting 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
Billow said, at a concert of the Philharmonic Orchestra of Berlin (May
28, 1892): "Yes, the hero was the quintessence of the world to Beet-
hoven. We cannot know, we cannot surmise, what slumbered in his
soul. Perhaps there slumbered the picture of the great American
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181

"IvAmia/' Third Symphonic Poibm, (after Keats), Op. 29.

Edward MacDowelI/

(Born in New York, December 18, 1861; died there, January 23, 1908.)

This symphonic poem was pubHshed a few weeks ago by Arthur P.
Schmidt, of Boston, Leipsic, and New York.

The score, dedicated to Henry T. Finck, has an argument printed in
German and EngHsh. The English version is as follows: —

Lamia, an enchantress in the form of a serpent, loves Lycius, a young Corinthian.
In order to win him, she prays to Hermes, who answers her appeal by transforming
her into a lovely maiden. Lycius meets her in the wood, is smitten with love for
her, and goes with her to her enchanted palace, where the wedding is celebrated
with great splendor. But suddenly ApoUonius, the magician, appears ; he reveals
the magic. Lamia again assumes the form of a serpent, the enchanted palace
vanishes, and Lycius is found lifeless.

The symphonic poem is scored for piccolo, two flutes, two oboes,
two clarinets, two bassoons, four horns, two trumpets, three trombones,
bass tuba, kettledrums, cymbals, tam-tam, and the usual strings.

The introductory section is a slow movement, Lento misterioso,
con tristezza, 9-8, with a theme that is afterward much used in various
forms. After a long, stormy crescendo and crashing climax, an episode
for wind instruments and strings (3-4) leads to an Allegro con fuoco,
B-flat major, 9-8. This movement opens with a fanfare passage for
muted horns with theme for violins. The passage for horns, reinforced
by bassoons, returns fortissimo. There is development of this thematic
material. The contrasting section is a Piti moderato, e con tenerezza,
with a long and flowing theme. After a return to the mood of the
opening measures, comes a long Allegro con fuoco, with restless theme
for first violins. A fortissimo section, maestoso, changes the mood, but

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183

only for a moment. The fury of the Allegro subsides. The clarinet
laments. The poem ends with a few furious measures.

*
* *

I am indebted to Mrs. Edward MacDowell for the following informa-
tion concerning the composition and history of the work : " It [ " Lamia ' ']
was written in 1888, that is to say practically finished, though the
score was not in shape until the following year. We were in Wies-
baden,* then, living in the little cottage we had on the edge of the
forest. . . . Edward worked feverishly on the 'Eamia,' realizing that
his few free years were coming to an end. Both Shelley and Keats
had taken hold of him that year, for, strange to say, they were unknown
to him before we were married. He read them with the vivid imagi-
nation with which the unreal always filled him, though in a way the
'Lamia' seemed a strange subject for him to choose. It was never
published until now for the simple reason that, when he would have
been glad to see it in print, he did not have the money necessary, nor
had he had the opportunity of hearing it played.

"When we came to America, he ran up against the fact that it would
be impossible for him to get any orchestra to try over a composition
for him in a rehearsal unless it were going to be played in a concert.
He never wanted to publish a work unheard, and in Germany it had
been a simple and easy thing to accomplish. I can see, as if it were
yesterday, the kindly faces of the members of different orchestras in
Wiesbaden, Darmstadt, Frankfort, so wihing to help out the young

* Frankfort had little interest for MacDowell after the death of Rafi in 1882. In 1884 he married Miss
Marian Nevins, of New York, and in 1885 he made his'home at Wiesbaden until he returned to America. At
Wiesbaden he gave his undivided attention to composition, and, according to the statement in Mr. Lawrence
Oilman's "Edward MacBowell" (London and New York, 1905), he wrote at Wiesbaden all that is comprised
between his Op. 23 and 3s, — the second pianoforte concerto; the four pieces of Op. 24; "Lancelot and
Elaine," for orchestra; the songs, "From an Old Garden"; three songs for male chorus; the "Idyls" and
"Poems" for pianoforte after Goethe and Heine; the orchestral pieces, "The Saracens" and "The Beautiful
Alda" (after the "Song of Roland"); the "Poems" for pianoforte, — "The Eagle," "The Brook," "Moon-
shine," "Winter"; the songs of Op. 33 and Op. 34; and the Romance for 'cello and orchestra. — P. H.

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Atnerican by trying over his compositions. As I think of it now,
it seems quite wonderful, the ease with which all this came. For
instance, the 'Hamlet and Ophelia,' I think, was tried over at least
twice. The 6nly grumble I ever heard was over the voice parts. I
copied most of them, and the early ones must have been awful! I
can hear an old musician say under his breath, 'Schrecklich copiert,'
until he saw my look of distress and guessed the truth ! Then he gave
me a kindly nod, as much as to say, 'You will improve.'

"When the money was there for the necessary expense, or when he
might have been able to have it printed for nothing, it was too late.
Edward felt then that the 'Lamia' belonged to a period quite different
from the work he was doing, and he was most critical about work he
had finished. I think I do not exaggerate when I say, I doubt whether
he would have published any of his compositions if they had been
laid aside for even three or four years. He was merciless in his judg-
ment of himself. But, as it chanced, he never had any trouble in find-
ing a publisher for all he wrote, though with the orchestral things, as
I said before, he helped pay for all the early compositions.

"As the years rolled on, newer music pushed, 'Lamia' aside,
though it was always on the list of his printed works. Finally, his
feeling was that it was too late for it to appear as a recent work, too
soon to stand as a youthful one. Repeatedly, he said to me, 'When

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I am old, I shall have it printed, though there is a lot in the orches-
tra tion|I should like to change.' This he said of his printed works
as well.

"I hope I shall not be misunderstood in this matter. There has
not been one particle of vanity in wishing to add to Edward's pub-
lished works, and, fine as the 'I^amia' may or may not be, I think I am
not wrong in saying that his reputation in the future will rest greatly
on the work he did in the twelve years, between 1890 and 1902. The
'Lamia' was written when he was twenty-six.

"Three reasons decided me to have it published: first, because he
himself repeatedly said that in years to come he would do this, and
for that reason he would allow it to stay on his list of compositions;
secondly, I feel the wisdom of doing this while I am still alive, and
with authority can say that the 'Lamia' is in exactly the same con-
dition it was when first written, — not one note changed; thirdly, it
were better to publish it at once, during my lifetime, and avoid the
possibility of any question of its authenticity in the future. Whether
I have been wise or not, of that I cannot be sure. I hope the 'Lamia'
will be listened to and judged for just what it is, — a youthful work,
interesting as such."

MacDowell, while he was living in Boston, spoke to me about his
"Lamia," but only incidentally, when the conversation was about
various poets. He said, or rather he shyly admitted, that Keats's
"Lamia" had impressed him so deeply that he once wrote a sym-
phonic poem based on it. "If I ever have the time, I may rewrite
it." The subject of the poem evidently interested him then, and he
spoke of his own work with affection; but he said he had no wish to
publish it as then written. He said at the same time that he should
like to rewrite pages of his "Lancelot and Elaine." As he remembered
the music of the latter symphonic poem, it was "too full of horns."

Mr. Arthur P. Schmidt, who has done much for the interests and
the reputation of American composers, says that about two years
before MacDowell was taken sick they drew up together a catalogue
of MacDowell's compositions. This catalogue, which is now current,
though published by Mr. Schmidt, includes all compositions of Mac-

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188

Dowell in the catalogues of other pubHshers. In this complete cata-
logue the "Lamia" was included in the list of orchestral works,
though no publisher was then named. When Messrs. MacDowell
and Schmidt were at work on this catalogue, the former destroyed
manuscripts that he did not wish to leave behind him, for, though
he was apparently robust, he had then the premonition that he should
not live after his forty-fifth birthday, and this he said to Mr. Schmidt.
Among these manuscripts was a sketch of a string quartet. I am told
that a manuscript of three movements of a symphony is now in
existence, but there was never any thought of publishing this work
either when the composer was living or since his death.

Keats was fond of Robert Burton's "Anatomy of Melancholy."
Charles Brown gave him a copy* of it in 1819. Keats read it care-
fully "with pen in hand, scoring the margins constantly, even when
not annotating and underlining freely. He also began an index of
special passages on the last fly-leaf. Now and again his note is but a
word, a name, or a parallel quotation; once it is but a note of exclama-
tion. His underlinings are full of interesting suggestions connected
with his life and works."

He found the story of Lamia in Burton's book: "Third Partition,
Second Section, First Member, First Subsection : Heroical Love causeth
Melancholy. His Pedigree, Power, and Extent." And the story is
told as follows: —

"Philostratus in his fourth book, 'De Vita Apollonii,' hath a mem-
orable instance in this kind, which I may not omit, of one Menippus
Lycius, a young man twenty-five years of age, that, going between
Cenchreas and Corinth, met such a phantasm in the habit of a fair
gentlewoman, which, taking him by the hand, carried him home to her
house in the suburbs of Corinth, and told him she was a Phoenician
by birth, and if he would tarry with her, 'he would hear her sing and
play, and drink such wine as never any drank, and no man should

* After the death of Keats this book went back to Brown, whose son, Major Charles Brown, of Taranaki,
New Zealand, gave it to Sir Charles Dilke.

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190

molest him; but she being fair and lovely would live and die with

him that was fair and lovely to behold.' The young man, a philoso-
pher, otherwise staid and discreet, able to moderate his passions,
though not this of love, tarried with her awhile to his great content,
and at last married her, to whose wedding, amongst other guests,
came Apollonius, who, by some probable conjectures, found her out to
be a serpent, a lamia, and that all her furniture was like Tantalus'
gold described by Homer, no substance, but mere illusions. When she
saw herself descried, she wept and desired Apollonius to be silent, but
he would not be moved, and thereupon she, plate, house and all that
was in it, vanished in an instant: many thousands took note of this
fact, for it was done in the midst of Greece."

There is a striking version of this tale in Alexandre Dumas' fan-
tastical "Isaac Laquedem," which was never completed; and in Flau-
bert's "Temptation of St. Anthony," Damis tells the story to Anthony,
while Apollonius stands by silently exulting.

*
* *

Keats wrote from Winchester to his brother George, September i8,
1 819: "I have been reading over a part of a short poem I have com-
posed lately called 'Lamia,' and I am certain there is that sort of fire
in it which must take hold of people in some way. Give them either
pleasant or unpleasant sensation, — what they want is a sensation of
some sort." He had written to Benjamin Bailey on August 15 of the
same year : "I have written two tales, one from Boccaccio called ' The
Pot of Basil,' and another called 'St. Agnes's Eve,' on a popular super-
stition, and a third called 'Lamia' (half finished)." We know from a
letter of Keats to Reynolds that the first part of the poem was finished
by July 12 of that year. "I have great hopes of success," he added,
"because I make use of my judgment more deliberately than I have
yet done; but in case of failure with the world, I shall find my con-
tent." The extract from Burton is not in the manuscript copy; but
there is this foot-note on page i: "The groundwork of this story will
be found in Burton's 'Anatomy of Melancholy,' Part 3, Sect. 3, Memb.
ist. Subs, ist."

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191

ENTR'ACTE.

KEATS'S "LAMIA."
Part I.
Hermes searches after the nymph "to whom all hoofed Satyrs
kndt."

There as he stood, he heard a mournful voice.

Such as once heard, in gentle heart, destroys

All pain but pity: thus the lone voice spake:

"When from this wreathed tomb shall I awake!

When move in a sweet body fit for life.

And love, and pleasure, and the ruddy strife j?

Of hearts and lips! Ah, miserable me!"

The God, dove-footed, gUded silently

Round bush and tree, soft-brushing, in his speed.

The taller grasses and full-flowering weed.

Until he found a palpitating snake.

Bright, and cirque-couchant in a dusky brake.

She was a gordian shape of dazzling hue.
Vermilion-spotted, golden, green, and blue;
Striped like a zebra, freckled Uke a pard.
Eyed Uke a peacock, and all crimson barr'd ;
And full of silver moons, that, as she breathed,
Dissolv'd, or brighter shone, or interwreathed
Their lustres with the gloomier tapestries —
So rainbow-sided, touch'd with miseries.
She seem'd, at once, some penanced lady elf,
Some demon's mistress, or the demon's self.
Upon her breast she wore a wannish fire
Sprinkled with stars, like Ariadne's tiar: ■
Her head was serpent, but ah, bitter-sweet!
She had a woman's mouth with all its pearls complete:
And for her eyes: what could such eyes do there

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193

But weep, and weep, that they were born so fair ?
As Proserpine still weeps for her Sicilian air.
Her throat was serpent, but the words she spake
**4 Came, as through bubbling honey, for Love's sake.

Then, once again, the charmed God began

An oath, and through the serpent's ears it ran

Warm, tremulous, devout, psalterian.

Ravish'd, she lifted her Circean head,

Blush'd a live damask, and swift-lisping said,

"I was a woman, let me have once more

A woman's shape, and charming as before.

I love a youth of Corinth — O the bliss!

Give me my woman's form, and place me where he is."

^lf}~~ ' Left to herself, the serpent now began

To change; her elfin blood in madness ran.

Her mouth foam'd, and the grass, therewith besprent,

Wither'd at dew so sweet and virulent;

Her eyes in torture fix'd, and anguish drear.

Hot, glaz'd, and wide, with lid-lashes all sear,

Flash'd phosphor and sharp sparks, without one cooling tear.

The colours all infiam'd throughout her train,

She writh'd about, convuls'd with scarlet pain:

A deep volcanian yellow took the place

Of all her milder-mooned body's grace;

And, as the lava ravishes the mead.

Spoilt all her silver mail, and golden brede ;

Made gloom of all her freckhngs, streaks and bars,

EcUps'd her crescents, and lick'd up her stars:

So that, in moments few, she was undrest

Of all her sapphires, greens, and amethyst.

And rubious-argent: of all these bereft,

Nothing but pain and ugliness were left.

Still shone her crown; that vanish'd, also she

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194

Melted and disappear'd as suddenly;
And in the air, her new voice luting soft,
Cried, "Lycius! gentle Lycius!" — Borne aloft
With the bright mists about the mountains hoar
These words dissolv'd : Crete's forests heard no more.

Whither fled Lamia, now a lady bright,
A full-born beauty new and exquisite ?
She fled into that valley they pass o'er
Who go to Corinth from Cenchreas' shore;
And rested at the foot of those wild hills,
The rugged founts of the Peraean rills.
And of that other ridge whose barren back
Stretches, with all its mist and cloudy rack,
South-westward to Cleone. There she stood
About a young bird's flutter from a wood.
Fair, on a sloping green of mossy tread,
By a clear pool, wherein she passioned
To see herself escap'd from so sore ills,
While her robes flaunted with the daffodils.

Ah, happy Lycius! — for she was a maid
More beautiful than ever twisted braid.
Or sigh'd, or blush'd, or on spring-flowered lea
Spread a green kirtle to the minstrelsy:
A virgin purest lipp'd, yet in the lore
Of love deep learned to the red heart's core:
Not one hour old, yet of sciential brain
To unperplex bliss from its neighbour pain;
Define their pettish limits, and estrange
Their points of contact, and swift counterchange ;
Intrigue with the specious chaos, and dispart
Its most ambiguous atoms with sure art ;
As though in Cupid's college she had spent
Sweet days a lovely graduate, still unshent,
And kept his rosy terms in idle languishment.

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Why this fair creature chose so faerily
By the wayside to Unger, we shall see;
But first 'tis fit to tell how she could muse
And dream, when in the serpent prison-house,
Of all she list, strange or magnificent:
How, ever, where she will'd, her spirit went;
Whether to faint Elysium, or where
Down through tress-lifting waves the Nereids fair
Wind into Thetis' bower by many a pearly stair;
Or where God Bacchus drains his cups divine,
Stretch'd out, at ease, beneath a glutinous pine;
Or where in Pluto's gardens palatine
Muldber's columns gleam in far piazzian line.
And sometimes into cities she would send
Her dream, with feast and rioting to blend;
And once, while among mortals dreaming thus.
She saw the young Corinthian Lycius
Charioting foremost in the envious race,
Like a young Jove with calm uneager face.
And fell into a swooning love of him.
Now on the moth-time of that evening dim
He would return that way, as well she knew ,
To Corinth from the shore; for freshly blew
The eastern soft wind, and his galley now
Grated the quaystones wdth her brazen prow
In port Cenchreas, from Egina isle

For TEACHERS,
STUDENTS, and
LOVERS OF MUSIC

THE NOVEMBER NUMBER CONTAINS

The Story of the Founding of The Boston Symphony Orchestra H. J. Storer

Gottschalk and His Period Emil Liebling

The Music Room Beautiful, VI. . . . Antoinette Rehmann Perrett
Improvements in Tenors . . .- . . . . Henry T. Finck

Music Through the Furnace Jacques de Lyon

Economical Methods in Piano Practice, VIII. . . . T. P. Currier

The Future of the American Pianist E. B. Perry

Wagner and Debussy Lawrence Gilman

The Music Listeners of the Future . . . , W. S. B. Mathews

A Studio of Music and Art Emma Trapper

What is Needed in Harmony Teaching and Study . . S. N. Penfield

Special Departments for Singers, Organists, Choirmasters, Violinists, the

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196

FIRST APPEARANCE IN BOSTON

ADELA VERNE

Pianist

JORDAN HALL, Saturday
Afternoon, October 24, in com-
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Liszt, Mendelssohn, Couperin,
Handel, Scarlatti, Brahms,
Schumann, Rubinstein, Cho-
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VV^EBER PIANO USED

197

Fresh anchor' d; whithef he had been awhile

To sacrifice to Jove, whose temple there

Waits with high marble doors for blood and incense rare.

Jove heard his vows, and better'd his desire;

For by some freakful chance he made retire

From his companions, and set forth to walk,

Perhaps grown wearied of their Corinth talk:

Over the solitary hills he fared.

Thoughtless at first, but ere eve's star appeared

His phantasy was lost, where reason fades,

In the calm'd twilight of Platonic shades.

Lamia beheld him coming, near, more near —

Close to her passing, in indifference drear.

His silent sandals swept the mossy green;

So neighbour' d to him, and yet so unseen

She stood: he pass'd, shut up in mysteries,

His mind wrapp'd like his mantle, while her eyes

FoUow'd his steps, and her neck regal white

Turn'd — syllabling thus, "Ah, Lycius bright,

And will you leave me on the hills alone?

Lycius, look back! and be some pity shown."

He did ; not with cold wonder fearingly,

But Orpheus-Uke at an Eurydice;

For so deUcious were the words she sung.

It seem'd he had lov'd them a whole summer long:

And soon his eyes had drunk her beauty up.

Leaving no drop in the bewildering cup.

And still the cup was full, — while he, afraid

Lest she should vanish ere his lip had paid

Due adoration, thus began to adore;

Her soft look growing coy, she saw his chain so sure:

"Leave thee alone! Look back! Ah, Goddess, see

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Whether my eyes can ever turn from thee!

For pity do not this sad heart beUe —

Even as thou vanishest so shall I die.

Stay! though a Naiad of the rivers, stay!

To thy far wishes will thy streams obey:

Stay! though the greenest woods be thy domain,

Alone they can drink up the morning rain:

Though a descended Pleiad, will not one

Of thine harmonious sisters keep in tune

Thy spheres, and as thy silver proxy shme?

So sweetly to these ravish'd ears of mme

Came thy sweet greeting, that if thou shouldst fade

Thy memory will waste me to a shade: —

For pity do not melt!"— "If I should stay,"

Said Lamia, "here, upon this floor of clay,

And pain my steps upon these flowers too rough,

What canst thou say or do of charm enough

To dull the nice remembrance of my home?

Thou canst not ask me with thee here to roam

Over these hills and vales, where no joy is.

Empty of immortality and bUss!

Thou art a scholar, Lycius, and must know

That finer spirits cannot breathe below

In human climes, and Uve: Alas! poor youth.

What taste of purer air hast thou to soothe

My essence ? What serener palaces,

Where I may all my many senses please.

And by mysterious sleights a hundred thirsts appease?

It cannot be— Adieu!" So said, she rose

Tiptoe with white arms spread. He, sick to lose

The amorous promise of her lone complain,

Swoon'd, murmuring of love, and pale with pain.

The cruel lady, without any show

Of sorrow for her tender favourite's woe,

But rather, if her eyes could brighter be.

With brighter eyes and slow amenity,

Put her new lips to his, and gave afresh

The life she had so tangled in her mesh :

And as he from one trance was wakening

Into another, she began to sing,

Happy in beauty, Ufe, and love, and every thing,

A song of love, too sweet for earthly lyres, ,. ^

While; Uke held breath, the stars drew m their panting fires.

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And then she whisper'd in such trembling tone,

As those who, safe together met alone

For the first time through many anguish'd Jays,

Use other speech than looks; bidding him raise

His drooping head, and clear his soul of doubt.

For that she was a woman, and without

Any more subtle fluid in her veinsj

Than throbbing blood, and that the self-same pains

Inhabited her frail-strung heart as his.

And next she wonder' d how his eyes could^miss

Her face so long in Corinth, where, she said.

She dwelt but half retir'd, and there had led

Days happy as the gold coin could invent

Without the aid of love ; yet in content

Till she saw him, as once she pass'd him by.

Where 'gainst a column he leant thoughtfully

At Venus' temple porch, 'mid baskets heap'd

Of amorous herbs and flowers, newly reap'd

Late on that eve, as 'twas the night before

The Adonian feast; whereof she saw no more.

But wept alone those days, for why should she adore ?

Lycius from death awoke into amaze.

To see her still, and singing so sweet lays ;

Then from amaze into delight he fell

To hear her whisper woman's lore so well ;

And every word she spake entic'd him on

To unperplex'd deUght and pleasure known.

Let the mad poets say whate'er they please

Of the sweets of Faeries, Peris, Goddesses,

There is not such a treat among them all,

Haunters of cavern, lake, and waterfall.

As a real woman, lineal indeed

From Pyrrha's pebbles or old Adam's seed.

Thus gentle Lamia judg'd, and judg'd aright,

That Lycius could not love in half a fright.

So threw the goddess off, and won his heart

More pleasantly by playing woman's part.

With no more awe than what her beauty gave.

That, while it smote, still guaranteed to save.

Lycius to all made eloquent reply ,|

Marrying to every word a twinbom sigh;

And last, pointing to Corinth, ask'd her sweet,

If 'twas too far that night for her soft feet.

SYMPHONY CONCERT and
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After filling our orders, we have a few seats in different
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200

The way wa? short, for Lamia's eagerness
Made, by a spell, the triple league decrease
To a few paces; not at all surmised
By blinded Lycius, so in her comprized.
They pass'd the city gates, he knew not how,
So noiseless, and he never thought to know.

As men talk in a dream, so Corinth all,
Throughout her palaces imperial,
And all her populous streets and temples lewd,
Mutter'd, Uke tempest in the distance brew'd,
To the wide-spreaded night above her towers.
Men, women, rich and poor, in the cool hours,
Shuffled their sandals o'er the pavement white,
Companion'd or alone; while many a light
Flared, here and there, from wealthy festivals.
And threw their moving shadows on the walls,
Or found them cluster'd in the corniced shade
Of some arch'd temple door, or dusky colonnade.

MufHing his face, of greeting friends in fear.
Her fingers he press'd hard, as one came near
With curl'd gray beard, sharp eyes, and smooth bald crown,
Slow-stepp'd, and robed in philosophic gown:
Lycius shrank closer, as they met and past,
Into his mantle, adding wings to haste.
While hurried Lamia trembled: "Ah," said he,
"Why do you shudder, love, so ruefully?
Why does your tender palm dissolve in dew?"
"I'm wearied," said fair Lamia: "tell me who
Is that old man ? I cannot bring to mind
His features: — Lycius! wherefore did you blind

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201

Yourself from his quick eyes?" Lycius replied,
" 'Tis Apollonius sage, my trusty guide
And good instructor; but to-night he seems
The ghost of folly haunting my sweet dreams." '

While yet he spake they had arrived before
A pillar' d porch, with lofty portal door,
Where hung a silver lamp, whose phosphor glow
Reflected in the slabbed steps below.
Mild as a star in water; for so new.
And so unsullied was the marble's hue,
So through the crystal polish, liquid fine.
Ran the dark veins, that none but feet divine
Could e'er have touch'd there. Sounds ^olian
Breath'd from the hinges, as the ample span
Of the wide doors disclos'd a place unknown
Some time to any, but those two alone.
And a few Persian mutes, who that same year
Were seen about the markets : none knew where
They could inhabit ; the most curious
Were foil'd, who watch'd to trace them to their house:
And but the flitter-winged verse must tell,
For truth's sake, what woe afterwards befel,
'Twould humour many a heart to leave them thus,
Shut from the busy world of more incredulous.

Part II.

Love in a hut, with water and a crust.

Is — Love, forgive us! — cinders, ashes, dust;

Love in a palace is perhaps at last

More grievous torment than a hermit's fast: —

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(60 BAY STATE ROAD, BOSTON)

TEACHER OF SINGING

According to the method of the old Italian masters of singing. A pupil
of the last of these masters, Gerli, of Milan.

Mrs* Lichfield refers to the following remarks about her
distinguished pupil. Miss

Charlotte Grosvenor

as Margherita in Gounod^s

« FAUST "

New York, May 14.

I have heard my American debutante, (Miss Charlotte Grosvenor),
three nights in " Traviata " and she makes prodigious strides each per-
formance. The girlish timidity is gone, — that is, the timidity, not the
girlishness, — though she still has an innocent surprised look when the
applause refuses to stop. Last night I heard her as Margherita in
"Faust." If my "vision" was lovely in her pale blue satin and pink roses
as "Violetta," in Faust she was Margherita herself standing amongst the
flowers in her simple white gown, a cross at her throat, and the splendid
glory of her red-gold hair falling to her knees. A halo seemed to hover
round her head, and one felt sure the devil had much wisdom in choosing
so saint-Uke a temptation for the world-jaded Faust. And, best of all, the
singer's voice, wdth its fragrant freshness, matched the picture. I have
been told that this girl has been trained entirely in America, but one is told
so many tales nowadays. Be that as it may, wherever she may have
learned it, she can sing, and she may well be proud of it. The absolute
security of her notes was again apparent, and again the flawless intonation
seemed to create a whole army of charms in itself; the dainty peal of
staccato notes in the jewel song as she laughs to herself in the mirror was
in charming contrast to the beautiful legato of the "Moria cara Sorella
Mia." In the trio of the prison scene her way of throwing the high notes
was electrifying. She looked like a Madonna by some old master in this
scene and the angels who bore her upward seemed a fitting background.
The audience, however, contended with the angels for the possession of
this Margherita, insisting on the repetition of the high notes of the trio
before yielding her finally to the shelter of their white wings.

Fare thee well, Margherita 1 that a great future should await you is the
belief of AN OLD OPERA-GOER.

203

That is a doubtful talP froro faery land,

Hard for the non-elect to understand.

Had Lycius liv'd to hand^his story down,

He might have given the moral a fresh frown.

Or clench'd it quite : but too short was their bUss

To breed distrust and hate, that make the soft voice hiss.

Beside, there, nightly, with terrific glare,

Love, jealous grown of so complete a pair,

Hover'd and buzz'd his wings, with fearful roar,

Above the Untel of their chamber door,

And down the passage cast a glow upon the floor.

For aU this came a ruin: side by side
They were enthroned, in the even tide.
Upon a couch, near to a curtaining
Whose airy texture, from a golden string.
Floated into the room, and let appear
Unveil'd the summer heaven, blue and clear.
Betwixt two marble shafts : — there they reposed.
Where use had made it sweet, with eyeUds closed,
Saving a tythe which love still open kept.
That they might see each other while they almost slept ;
When from the slope side of a suburb hill.
Deafening the swallow's twitter, came a thrill
Of trumpets — Lycius started — the sounds fled,
But left a thought, a buzzing in his head.
For the first time, since first he harbour'd i.l
That purple-lined palace of sweet sin.
His spirit pass'd beyond its golden bourn
Into the noisy world almost forsworn.

The lady, ever watchful, penetrant, •

Saw this with pain, so arguing a want
Of something more, more than her empery
Of joys ; and she began to moan and sigh
Because he mused beyond her, knowing well
That but a moment's thought is passion's passing bell.
"Why do you sigh, fair creature?" whisper'd he:
"^Why do you think?" retum'd she tenderly:
"You have deserted me; — where am I now?
Not in your heart while care weighs on your brow:
No, no, you have dismiss' d me; and I go
From your breast houseless : aye, it must be so."
He answer'd, bending to her open eyes,

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Where he was mirror'd small in paradise,

"My silver planet, both of eve and mom!

Why will you plead yourself so sad forlorn,

While I am striving how to fill my heart

With deeper crimson, and a double smart ?

How to entangle, trammel up and snare

Your soul in mine, and labyrinth you there

Like the hid scent in an unbudded rose ?

Aye, a sweet kiss — you see your mighty woes.

My thoughts ! shall I unveil them ? Listen then !

What mortal hath a prize, that other men

May be confounded and abash' d withal.

But lets it sometimes pace abroad majestical.

And triumph, as in thee I should rejoice

Amid the hoarse alarm of Corinth's voice.

Let my foes choke, and my friends shout afar,

While through the thronged streets your bridal car

Wheels round its dazzling spokes." — The lady's cheek

Trembled ; she nothing said, but, pale and meek,

Arose and knelt before him, wept a rain

Of sorrows at his words ; at last with pain *

Beseeching him, the while his hand she wrung.

To change his purpose. He thereat was stung,

Perverse, with stronger fancy to reclaim

Her wild and timid nature to his aim:

Besides, for all his love, in self despite.

Against his better self, he took delight

Luxurious in her sorrows, soft and new

His passion, cruel grown, took on a hue

Fierce and sanguineous as 'twas possible

In one whose brow had no dark veins to swell.

Fine was the mitigated fury, like

Apollo's presence when in act to strike

The serpent — Ha, the serpent ! certes, she

Was none. She burnt, she lov'd the tyranny.

And, all subdued consented to the hour

When to the bridal he should lead his paramour.

Whispering in midnight silence, said the youth.

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207

"Sure some sweet name thou hast, though, by my truth,

I have not ask'd it, ever thinking thee

Not mortal, but of heavenly progeny,

As still I do. Hast any mortal name,

Fit appellation for this dazzling frame?

Or friends or kinsfolk on the citied earth.

To share our marriage feast and nuptial mirth?"

"I have no friends," said Lamia, "no, not one;

My presence in wide Corinth hardly known :

My parents' bones are in their dusty urns

Sepulchred, where no kindled incense burns.

Seeing all their luckless race are dead, same me,

And I neglect the holy rite for thee.

Even as you list invite your many guests ;

But if, as now it seems, your vision rests

With any pleasure on me, do not bid

Old Apollonius — from him keep me hid."

Lycius, perplex'd at words so blind and blank.

Made close inquiry ; from whose touch she shrank.

Feigning a sleep ; and he to the dull shade

Of deep sleep in a moment was betray'd.

It was the custom then to bring away
The bride from home at blushing shut of day,
Veil'd, in a chariot, heralded along
By strewn flowers, torches, and a marriage song,
With other pageants : but this fair unknown
Had not a friend. So being left alone,
(Lycius was gone to summon all his kin)
And knowing surely she could never win
His foolish heart from its mad pompousness.
She set herself, high-thoughted, how to dress
The misery in fit magnificence.
She did so, but 'tis doubtful how and whence
Came, and who were her subtle servitors.
About the halls, and to and from the doors,
There was a noise of wings, till in short space
The glowing banquet-room shone with wide-arched grace
A haunting music, sole perhaps and lone
Supportress of the faery-roof, made moan
Throughout, as fearful the whole charm might fade.
Fresh carved cedar; mimicking a glade I
Of palm and plantain, met from either side.

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208

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209

High in the midst, in honour of the bride:

Two palms and then two plantains, and so on.

From either side their stems branch'd one to one

All down the aisled place; and beneath all

There ran a stream of lamps straight on from wall to wall.

So canopied, lay an imtasted feast

Teeming with odours. Lamia, regal drest.

Silently paced about, and as she went.

In pale contented sort of discontent,

Mission'd her viewless servants to enrich

The fretted splendour of each nook and niche.

Between the tree-stems, marbled plain at first.

Came jasper pannels; then, anon, there burst

Forth creeping imagery of slighter trees,

And with the larger wove in small intricacies.

Approving all, she faded at self-will.

And shut the chamber up, close, hush'd. and still,

Complete and ready for the revels rude.

When dreadful guests would come to spoil her solitude

The day appear'd, and all the gossip rout.
O senseless Lycius! Madman! wherefore flout
The silent-blessing fate, warm cloister'd hours,
And show to common eyes these secret bowers?
The herd approach'd; each guest, with busy brain.
Arriving at the portal, gaz'd amain.
And enter'd marvelling: for they knew the street,
Remember' d it from childhood all complete
Without a gap, yet ne'er before had seen
That royal porch, that high-built fair demesne;
So in they hurried all, maz'd, curious and keen:
Save one, who look'd thereon with eye severe,
And with calm -planted steps walk'd in austere;
'Twas ApoUonius: something too he laugh'd.
As though some knotty problem, that had daft
His patient thought, had now begun to thaw.
And solve and melt: — 'twas just as he foresaw.

He met within the mvtrmurous vestibule
His young disciple. "'Tis no common rule,
Lycius," said he, "for uninvited guest
To force himself upon you, and infest
With an unbidden presence the bright throng

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210

Of younger friends; yet must I do this wrong,
And you forgive me." Lycius blush' d, and led
The old man through the inner doors broad-spread;
With reconciling words and courteous mien
Turning into sweet milk the sophist's spleen.

Of wealthy lustre was the banquet-room,
Fill'd with pervading brilhance and perfume:
Before each lucid pannel fuming stood
A censer fed with myrrh and spiced wood,
Each by a sacred tripod held aloft.
Whose slender feet wide-swerv'd upon the soft
Wool-woofed carpets: fifty wreaths of smoke
From fifty censers their light voyage took
To the high roof, still mimick'd as they rose
Along the mirror'd walls by twin-clouds odorous.
Twelve sphered tables, by silk seats insphered,
High as the level of a man's breast reared
On libbard's paws, upheld the heavy gold
Of cups and goblets, and the store thrice told
Of Ceres' horn, and, in huge vessels, wine
Come from the gloomy tun with merry shine.
Thus loaded with a feast the tables stood.
Each shrining in the midst the image of a God.

When in an antechamber every guest
Had felt the cold full sponge to pleasure press'd.
By minist'ring slaves, upon his hands and feet,
And fragrant oils with ceremony meet
Pour'd on his hair, they all mov'd to the feast
In white robes, and themselves in order placed
Around the silken couches, wondering
Whence all this mighty cost and blaze of wealth could spring.

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211

Soft went the music the soft air along,
While fluent Greek a vowel'd undersong
Kept up among the guests, discoursing low
At first, for scarcely was the wine at flow;
But when the happy vintage touch'd their brains.
Louder they talk, and louder come the strains
Of powerful instruments: — the gorgeous dyes,
The space, the splendour of the draperies,
The roof of awful richness, nectarous cheer,
Beautiful slaves, and Lamia's self, appear.
Now, when the wine has done its rosy deed.
And every soul from human trammels freed.
No more so strange; for merry wine, sweet wine,
Will make Elysian shades not too fair, too divine.
Soon was God Bacchus at meridian height;
Flush'd were their cheeks, and bright eyes double bright:
Garlands of every green, and every scent -
From vales deflower'd, or forest-trees branch-rent.
In baskets of bright osier'd gold were brought
High as the handles heap'd, to suit the thought
Of every guest; that each, as he did please.
Might fancy-fit his brows, silk-pillow'd at his ease.

What wreath for Lamia? What for Lycius?
What for the sage, old ApoUonius?
Upon her aching forehead be there hung
The leaves of willow and of adder's tongue;
And for the youth, quick, let us strip for him
The thyrsus, that his watching eyes may swim
Into forgetfulness ; and, for the sage,
Let spear-grass and the spiteful thistle wage
War on his temples. Do not all charms fly
At the mere touch of cold philosophy?
There was an awful rainbow once in heaven:
We know her woof, her texture ; she is given
In the dull catalogue of common things.
Philosophy will clip an Angel's wings.
Conquer all mysteries by rule and line,
Empty the haunted air, and gnomed mine —
Unweave a rainbow, as it erewhile made
The tender-person' d Lamia melt into a shade.

By her glad Lycius sitting, in chief place,
Scarce saw in all the room another face,

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213

Till, checking his love trance, a cup he took

Full brimm'd, and opposite sent forth a look

'Cross the broad table, to beseech a glance

From his old teacher's wrinkled countenance,

And pledge him. The bald-head philosopher

Had fix'd his eye, without a twinkle or stir

Full on the alarmed beauty of the bride.

Brow-beating her fair form, and troubling her sweet pride

Lycius then press'd her hand, with devout touch.

As pale it lay upon the rosy couch :

'Twas icy, and the cold ran through his veins;

Then sudden it grew hot, and all the pains

Of an unnatural heat shot to his heart.

Lamia, what means this? Wherefore dost thou start?

"Know'st thou that man?" Poor Lamia answer'd not

He gaz'd into her eyes, and not a jot

Own'd they the lovelorn piteous appeal:

More, more he gaz'd : his human senses reel :

Some hungry spell that loveliness absorbs;

There was no recognition in those orbs.

"Lamia!" he cried — and no soft-toned reply.

The many heard, and the loud revelry

Grew hush ; the stately music no more breathes ;

The myrtle sicken'd in a thousand wreaths.

By faint degrees, voice, lute, and pleasure ceased;

A deadly silence step by step increased,

Until it seem'd a horrid presence there.

And not a man but felt the terror in his hair.

"Lamia,!" he shriek' d; and nothing but the shriek

With its sad echo did the silence break.

"Begone, foul dream!" he cried, gazing again

In the bride's face, where now no azure vein

Wander' d on fair-spaced temples ; no soft bloom

Misted the cheek; no passion to illume

The deep-recessed vision : — all was blight ;

Lamia, no longer fair, there sat a deadly white.

"Shut, shut those juggHng eyes, thou ruthless man!

Turn them aside, wretch! or the righteous ban

Of all the Gods, whose dreadful images |

Here represent their shadowy presences.

May pierce them on the sudden with the thorn

Of painful blindness ; leaving thee forlorn.

In trembUng dotage to the feeblest fright

LOUDON CHARLTON

868 CARNEGIE HALL, NEW YORK

Has the honor to announce the following eminent artists under

his management this season:

Mme. Johanna Qadski* Mr. Ossip Qabrilowitsch *

Mme. Marcelja Sembrich * Miss Katharine Goodson *

Mr, David Bispham* Mr. Ernest Schelling*

Mme. Mary Hissem de Moss Mr. Theodore Spiering

Mr. George Hamlin * Miss Geraldine Morgan

Mr. Francis Rogers* Mr. Henry Bramsen

Miss Leila Livingston Morse Mr. Albert Rosenthal

Miss Cecelia Winter Mr. Edwin H. Lemare*

Miss Gertrude Lonsdale The Flonzaley Quartet*

* Artists thus designated will be heard here in recital this season. Specific announce-
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214

Of conscience, for their long offended might,

For all thine impious proud-heart sophistries,

Unlawful magic, and enticing lies.

Corinthians! look upon that grey-beard wretch!

Mark how, possess'd, his lashless eyelids stretch

Around his demon eyes! Corinthians, see!

My sweet bride withers at their potency."

"Fool!" said the sophist, in an under-tone

Gruff with contempt; which a death -nighing moan

From Lycius answer'd, as heart-struck and lost.

He sank supine beside the aching ghost, i <)>''^'^

"Fool! Fool!" repeated he, while his eyes still

Relented not, nor mov'd; "from every ill

Of life have I preserv'd thee to this day.

And shall I see thee made a serpent's prey?"

Then Lamia breath'd death breath; the sophist's eye.

Like a sharp spear, went through her utterly,

Keen, cruel, perceant, stinging: she, as well

As her weak hand could any meaning tell.

Motion' d him to be silent ; vainly so.

He look'd and look'd again a level — No !

"A serpent!" echoed he; no sooner said.

Than with a frightful scream she vanished:

And Lycius' arms were empty of deUght,

As were his limbs of life, from that same night.

On the high couch he lay! — his friends came round —

Supported him — no pulse, or breath they found,

And, in its marriage robe, the heavy body wound.

Prelude to "The Mastersingers op Nuremberg."

Richard Wagner

(Bom at Leipsic, May 22, 181 3; died at Venice, February 13, 1883.)

The Vorspiel to "Die Meistersinger von Niirnberg" was performed
for the first time at Leipsic, November i, 1862. The opera was first
performed at Munich, June 21, 1868.

The idea of the opera occurred to Wagner at Marienbad in 1845, and
he then sketched a scenario, which differed widely from the one finally

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215

adopted. It is possible that certain scenes were written while he was
composing "Lohengrin," and there is a legend that the quintet was
finished in 1845. Some add to the quintet the different songs of Sachs
and Walther. Wagner wrote a friend, March 12, 1862: "To-morrow
I at least hope to begin the composition of 'Die Meistersinger.'" The
libretto was completed at Paris in 186 1. He worked at Biebrich in
1 862 on the music. In the fall of that year he wished the public to hear
fragments of his new works, as yet not performed nor published,—
fragments of "Siegfried," "Tristan," "Die Walkiire,"— and he himself
added to these the overture to "Die Meistersinger," the entrance
of the mastersingers, and Pogner's address, from the same opera.

His friend, Wendelin Weissheimer (born in 1838), opera conductor at
Wiirzburg and Mainz, composer, teacher, essayist, organized a concert
at Leipsic for the production of certain works. Von Bulow was inter-
ested in the scheme, and the concert was given in the hall of the Gewand-
haus, November i, 1862, as stated above.

The programme was as follows : —

Part I.

Wagner

Prelude to "Die Meistersinger zu Numberg" (new)

"Das Grab im Busento," Ballade for Bass, Male Chorus, and

Orchestra • • • • '. . Weissheimer

Sung by Mr. RtyssAMEN.

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216

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Concerto in A major (No. 2) for Piano Liszt

Mr. V. BtJLOW.

"O lieb' so lang du lieben kannst," Cantata for Mixed

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Part II.

" Ritter Toggenburg," Symphony in one movement (five

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Chorus, "Trocknet nicht" Weisslieimer

Chorus, " FriihUngsUed " Weissheimer

The duet simg by Miss Lessiak and Mr. John.

Overture to the opera "Tannhauser" Wagner

Wagner conducted the two overtures. The hall was nearly empty,
and the concert was given at a pecuniary loss. This was naturally
a sore disappointment to Wagner, who had written to Weissheimer,

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217

October 12, 1862: "Good: 'Tannliauser* overture, then! l^hat's
all right for me. For what I now have in mind is to make an out-and-
out sensation, so as to make money." Wagner had proposed to add
the prelude and finale of "Tristan" to the prelude to "Die Meister-
singer"; but his friends in Leipsic advised the substitution of the
overture to "Tannhauser." There was not the faintest applause when
Wagner appeared to conduct. Yet the prelude to "Die Meistersinger "
was received then with such favor that it was immediately played
a second time.

One critic wrote: "The overture, a long movement in moderate
march tempo with predominating brass, without any distinguishing
chief thoughts and without noticeable and recurring points of rest,
went along and soon awakened a feeling of monotony." The critic
of the Mitteldeutsche Volkszeitung wrote in terms of enthusiasm. The
critic of the Signale was in bitter opposition. He wrote at length, and
finally characterized the overture as "a chaos, a 'tohu-wabohu,' and
nothing more." For an entertaining account of the early adventures
of this overture see "Erlebnisse mit Richard Wagner, Franz Liszt,
und vielen anderen Zeitgenossen, nebst deren Brief en," by W. Weiss-
heimer (Stuttgart and Leipsic, 1898), pp. 163-209.

The overture was then played at Vienna (the dates of Wagner's
three concerts were December 26, 1862, January 4, 11, 1863), Prague
(February 8, 1863), St. Petersburg (February 19, March 6, 8, 10, 1863),
and Moscow, Budapest, Prague again, and Breslau, that same year.

* *

Miss FRANCES L THOMAS

.. dorsetiere ..

BERKELEY BUILDING - BOSTON, MASS.

218

I give in condensed and paraphrased form Mr. Maurice Kufferath's
analysis of this overture.*

This Vorspiel, or prelude, is in reality a broadly developed overture
in the classic form. It may be divided into four distinct parts, which
are closely knit together.

1. An initial period, moderato, in the form of a march built on four
chief themes, combined in various ways. The tonality of C major
is well maintained.

2. A second period, in B major, of frankly lyrical character, fully
developed, and in a way the centre of the composition.

3. An intermediate episode after the fashion of a scherzo, developed
from the initial theme, treated in diminution and in fugued style..

4. A revival of the lyric theme, combined this time simultaneously
with the two chief themes of the first period, which leads to a coda,
wherein the initial phrase is introduced in the manner of a stretto.

The opening energetic march theme serves throughout the work to
characterize the mastersingers. As Wagner said, "The German is
angular and awkward when he wishes to show, his good manners, but
he is noble and superior to all when he takes fire." The theme might
characterize the German bourgeoisie. (Compare Elgar's theme of
"London Citizenship," in "Cockaigne.") Secondary figures are
formed from disintegrated portions of this theme, and there is a
peculiarly appropriate scholastic, pedantic polyphony. Note also how
from the beginning a cunning use of the ritardando contributes to the
archaic color of the work.

The exposition of the initial theme, with the first developments,
leads to a second theme of wholly different character. It is essentially
lyrical, and, given at first to the flute, hints at the growing love of
Walther for Eva. Oboe, clarinet, and horn are associated with the
flute, and alternate with it in the development.

A Weberish flourish of violins.leads to a third theme, intoned by the
brass, sustained by harp. It is a kind of fanfare. The theme seems
to have been borrowed by Wagner from the "Crowned Tone" of

*See "Les Maitres Chanteurs de Nuremberg," by Maurice Kufferath (Paris and Brussels, 1898), pp.
200-210.

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219

Heinrich Miigling.* This pompous theme may be called the fanfare of
the corporation, the theme of the guild, or the theme of the banner,
the emblem of the corporation. It is soon combined with the theme of
the mastersingers, and at the conclusion the whole orchestra is used.
There is in this brilliant passage an interesting chromatic walk of trum-
pets and trombones, supported by violas and 'cellos.

A short and nervous episode of eight measures introduces a series of
modulations, which lead to a sweet yet broadly extended melody, —
the theme that characterizes in general the love of Walther and Eva.
And here begins the second part of the overture. The love theme
after development is combined with a more passionate figure, which
is used in the opera in many ways, — as when Sachs sings of the spring ;
as when it is used as an expression of Walther's ardor in the accompani-
ment to his trial song in the first act.

The tonality of the first period is C major, that of the love music is
E major. And now there is an allegretto. The oboe, in staccato notes,
traces in double diminution the theme of the initial march; while the
clarinet and the bassoon supply ironical counterpoint. The theme of
youthful ardor enters in contention ; but irony triumphs, and there is a.
parody (in E-flat) of the solemn March of the Mastersingers, with a
new subject in counterpoint in the basses. The counter-theme in the
'cellos is the theme which goes from mouth to mouth in the crowd wheri
Beckmesser appears and begins his Prize Song, — ' ' What ? He ? Does
he dare ? Scheint mir nicht der Rechte! " " He's not the fellow to do it. "
And this mocking theme has importance in the overture ; for it changes
position with the subject, and takes in turn the lead.

After a return to the short and nervous episode there is a thunderous
explosion. The theme of the mastersingers is sounded by the brass
with hurried violin figures, at first alone, then combined simultaneously
with the love theme, and with the fanfare of the corporation played
scherzando by the second violins, violas, and a portion of the wood-wind.
This is the culmination of the overture. The melodious phrase is
developed with superb breadth. It is now and then traversed by the
ironical theme of the flouted Beckmesser, while the basses give a martial
rhythm until again breaks forth from the brass the theme of the corpora-
tion. The fanfare leads to a last and sonorous afiirmation of the
mastersinger theme, which serves at last as a song of apotheosis.

Weissheimer states that Wagner at Biebrich began his work by writing
the overture. "He showed me the broad development of the first
theme. He already had the theme in E, as well as the characteristic
phrase of the trumpets. He had written these themes before he had
set a note to the text ; and, writing this admirable melody of Walther,
he surely did not think of the Preislied in the third act."

Julien Tiersot replies to this: "But, when Wagner began to write
this music, not only had he been dreaming of the work for twenty
years, but he had finished the poem. Is it not plain that after such
elaboration the principal musical ideas were already formed in his
mind ? On the other hand, since the verses were already written, can
any one suppose that the melody which was applied to them was com-
posed without reference to them, that a simple instrumental phrase

* See " Der Meistergesang in Geschichte und Kunst," by Curt Mey (Carlsruhe, 1892, pp. 56, 57).

220

was fitted to verses that were already in existence? Impossible. If
we admit that the theme has appeared in notation for the first time in
this overture, we cannot agree with Weissheimer in his conclusion, that
it was composed especially for the overture, and that the composer
had not yet thought of applying it to the Preislied. On the contrary,
we may confidently affirm that the Preislied, words and music, existed,
at least in its essential nature, in Wagner's brain, when he introduced
the chief theme of it into his instrumental preface."

* *

And it is Tiersot who makes these discriminative remarks on the
overture as a whole: —

"Scholastic themes play the dominating parts. This is a curious
fact : the forms of ancient music are revived in such a masterly fashion
that the more modern elements seem to have assumed a scholastic
appearance. Look, for instance, at the themes borrowed from the music
of Walther. The composer has introduced several to mark the oppo-
sition of the tendencies which form the subject of the drama. In the
absorbing neighborhood of classic motives and developments the
modern themes lose largely their idealistic character. It is even hard
to explain why the composer, when he exposed for the first time the
melody of most lyrical nature, presented it at first (at the beginning
of the episode in E major) at a pace twice as rapid as that of its real
character, and why he overloads this song of pure line with arabesques,
which clasp it so closely that they deprive it of freedom, and give it a
kind of dryness that is foreign to its nature and peculiar character.

"In truth the scholastic style reigns here as sovereign. One would
think from the overture that Wagner had taken the side of the master-

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singers to the injury of Walther. But the work itself has the duty of
undeceiving us.

"And is it true that in this overture there are only contrapuntal
combinations? By no means: enthusiasm, hidden, but full of ardor,
expands under formulas that are voluntarily conventional. The
expression of this enthusiasm is truly emotional in two passages of the
overture: in the episode that follows the first exposition of the theme
of the guild, when the violins sing with dazzling brilliance the long
phrase derived from the theme of the masters ; then toward the end of
the piece, when, after three superposed themes are combined, the
basses solemnly and powerfully unroll this same theme, while the
violins seem to abandon themselves to a joyous, inspired improvisation,
leap up as rockets which mount higher and higher, prepare the
triumphant explosion of the peroration, which finally will become that
of the whole work, when the brilliance and power are redoubled by the
addition of shouts from the populace, a veritable and splendid hymn
in honor of Art."

Theodore Thomas's orchestra played this overture in Boston,
December 4, 1871; and Mr. John S. Dwight then undoubtedly spoke
for many hearers of that year : —

"Save us from more acquaintance with the Introduction to the
'Meistersinger' ! It is hard, harsh, forced, and noisy, ever on the verge
of discord (having the ungenial effect of discord, however literally
within the rules of counterpoint). .It is a kind of music which does
not treat you fairly, but bullies you, as it were, by its superior noise
of bulk, as physically big men are prone to do who can so easily displace
you on the sidewalk. We doubt not there is better music in the
'Meistersinger'; for this could never have won the prize before any
guild, whether of 'old fogy' Philistines or fresh young hearts."

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224

Fourth Rehearsal and Concert*

FRIDAY AFTERNOON, OCTOBER 30, at 2.30 o'clock.

SATURDAY EVENING, OCTOBER 31, at 8 o'clock.

PROGRAMME*

Smetana ...... Symphonic Poem, " Moldau "

Hugo Wolf Italian Serenade

Tschaikowsky .... Variations on a Roecoco Theme for

Violoncello and Orchestra

Schumann Symphony in D minor, No. 4

SOLOIST,
Mr. ALWIN SCHROEDER.

225

Th- CZERWONKY
String Quartet

RICHARD CZERWONKY, First Violin CARL SCHEURER, Viola

WILLY KRAFT, Second Violin RUDOLF NAGEL, Violoncello

Beg to announce

THREE CONCERTS

To be given on

Wednesday Evenings, December 9, February 10, and March 24

Assisting Artist for the first concert,
Mr. JOHANNES WARNKE, Violoncellist

Mr. and Mrs.
DAVID MANNES

Announce a series of •

THREE SONATA RECITALS

VIOLIN AND PIANO

Friday Evenings, December 4, 1908, January 29, February
J9, J909, at 8.15 o'clock

Subscription Tickets, $3.00 and $2, according to location, now on
sale at Steinert Hall, Boston. Telephone, Oxford 1330.

VIOLIN RECITAL

RICHARD CZERWONKY

Wednesday Evening, November U, at 8. J 5

PROGRAM

1. SONATA IN A Handel

2. FANTASIA APPASSIONATA ....... Vieuxtemps

3. (a) ADAGIO Viotti

(d) ZEFIR Hubay

4. AIRS HONGROISES Ernst

Mr. carl LAMSON, Accompanist

Reserved Seats, 75c., $1, $1.50. Tickets are now on sale at the hall

(Oxford 1330)

THE HUME PIANO USED
226

Miss

Carolyn Louise Willard

- (01 Chicago)

ANNOUNCES A

PIANOFORTE RECITAL

TO BE GIVEN ON

Wednesday Afternoon, /November 18

AT THREE O'CLOCK

Reserved Seat Tickets at 50c., $1.00, $1.50, are on sale at the Hall, or may bejordered

by telephone (Oxford 1330)

(Miss Willard is a former pupil of Leschetizky in Vienna, and a co-laborer

with Mrs. Zeisler)

THE STEINWAY PIANO USED

NEW JACOB SLEE-PER HALL

688 Boylston Street

Next to the Public Library

MoFFmann Quartet

J. HOFFMANN, First Violin K. RISSLAND, Viola

A. BAK, Second Violin C. BARTH, Violoncello

WILL GIVE THREE CHAMBER CONCERTS

On Monday Evenings
November 16, December 14, and February 1

Assisting Artists : Messrs. Charles Anthony, Richard Piatt, Walter Spry (Chicago), and others.
Compositions by Haydn, Mozart, Beethoven, Borodin, Foote, Reger, Castillon, etc., will be performed.

PROGRAM FOR NOVEMBER 16

Quartet, in B major . . . . . . . Mozart

Sonata, op. 72, for violin and piano ..... Reger

(isttime)
Quartet No. 2, in D major ....... Borodin

Mr. CHARLES ANTHONY Assisting

MASON & HAMLIN PIANO USED

Season tickets $4.00, $2.50, $1.50; on sale at 688 Boylston Street, Treasurer's office, on and after
October 26; orders for seats (accompanied by check made out to Hoffmann Quartet), may be sent to
J. Hoffman, go Gainsboro Street, and will.receive prompt attention.

227

The

Hess - Schroeder
Quartet

Prof. Willy Hess First Violin

J. Von Theodorowicz Second Violin

Emile Ferir Viola

Alwin Schroeder . . . . . . Violoncello

Will give Five Chamber Music Concerts on
Tuesday Evenings at 8A5 O* Clock

NOVEMBER 17, 1908

DECEMBER 22, 1908

JANUARY 19, 1909

MARCH 2, 1909

MARCH 23, 1909

At CHICKERING HALL

PROGRAMME for First Concert, November 17

I. QUARTET in G major, No. i . . . . Mozart

II. QUARTET in E minor, Op. 59, No. 2 . . . Beethoven

III. QUARTET in C major, Op. 33 . . . . Haydn

Season Tickets for Five Concerts, $6, $4, and $2.50, according
to location, now on sale at Box Office, Symphony Hall.

Single Tickets, ^1.50 ^i.oo, and 50 cents, on sale on and after
Monday, November 9.

228

DEBUCHY'S CONCERT . SYMPHONY HALL

Tuesday Afternoon, November 17, at 2.30

Concert of French Theatrical and Romantic Music, Orchestra of 74
Mr. Albert Debuchy, Conductor
Orchestral works by

Reyer, Erlanger, Widor, Chabrier, Bruneau, Saint-Saens

Mme. CALVE

Soloist

WILL SING

STANCES from "SAPHO" (with Orchestra) ■ Gounod

ARIA from " LES PECHEURS DE PERLES" (with Orchestra) . . . Bizet
AVE MARIA (with Violin, Harp, Organ Accompaniment) . . Bach-Gounod

and SONGS WITH PIANO

Mr. G. BARRERE will play the Intermezzo, flute solo froni " Conte d'Avril " by Widor

TICKETS, $2.50, ^2 00, ^1.50, $1.00. On sale at Symphony Hall on and after
November 2.

ADVANCE ORDERS BY MAIL accompanied by check made payable to
Albert Debuchy and addressed to him at Symphony Hall, Boston, will be filled in the
order of their reception.

fimT enLComnMi,

is.

229

SPECIAL ANNOUNCEMENTS

Jordan Hall, Monday Afternoon, October 26, at 3

Arthur Hartmann

Violinist

Assisted by
ALFRED CALZIN, Pianist

Tickets and Programs at Box Office, Symphony Hall

$1.50, $1.00, and 50c.

Jordan Hall, Monday Afternoon, November 2, at 3

SAUER Piano Recital

Tickets $2.00, $1.50, $1.00 and 50c., at Symphony Hall

Symphony Hall, Friday Afternoon, November 6, at 2.30

Mme. Sembrich in song Redtai

TICKETS, $2.00, $1.50, and $1.00

Public Sale opens Friday, October 30

Symphony Hall, Monday Evening, November 9, at 8

A V V ^^1 1 1 Assisted by

Apollo txlub Geraldine Farrar

EMIL MOLLENHAUER, Conductor and COMPLETE ORCHESTRA

1871 — 200th CONCERT — 1908

TICKETS, $2.50 and 2.00

Public Sale opens Monday, November 2

Jordan Hall, Monday Afternoon, November i6, at 3

Song
Recital

Dr. Ludwig Wiillner

TICKETS, $1.50, $1.00, and 50c.

At Symphony Hall on and after Monday, November 9

230

THE

KNEISEL QUARTET

FRANZ KNEISEL, Tint Violin LOUIS SVECENSKI, Viola

JULIUS ROENTGEN, Sicmd Violin WILLEM WILLEKE, Violoncello

TWENTY-FOURTH SEASON. 1908-1909

FENWAY COURT

FIVE CONCERTS

TUESDAY EVENINGS

at 8.15 o'clock

November lO .

. 1908

December 8 ...

1908

January 5 ...

. 1909

February 16 '.

1909

March 16 . . .

. 1909

ASSISTING ARTISTS:

Miss KATHARINE QOODSON Mr. OSSIP QABRILOWITSCH

Mr. ERNEST CONSOLO Mr. COURTLANDT PALMER

Mr. ARTHUR FOOTE

PROGRAM OF FIRST CONCERT

Haydn ..... Quartet in E-flat, Op. 33, No. 2

Courtlandt Palmer ...... Quintet in A minor

For Pianoforte, two Violins, Viola and Violoncello. (M.S. first time)
Beethoven ..... Quartet in C major, Op. 59, No. 3

ASSISTING ARTIST

Mr. COURTLANDT PAIMER

THE PIANO IS A STEINWAY

Subscription tickets for season of five Concerts, ;jS6.25. Tickets for single
• Concerts, ^1.50, {Ji.oo. Now on sale at

THE BOSTON MUSIC CO. (Q, Schirmer)
26 and 28 WEST STREET

231

SYMPHONY HALL - BOSTON

FRIDAY EVENING, NOVEMBER

THIRTEENTH, NINETEEN

HUNDRED and EIGHT, at EIGHT

O'CLOCK

THE NIGHT BEFORE THE FOOTBALL GAME AT

CAMBRIDGE

SECOND JOINT CONCERT by the Glee,
Mandolin, and Banjo Clubs of

HARVARD s DARTMOUTH
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, ;^i.5o and ;^i.oo

WILHELM HEINRICH

TEACHER OF
SINGING

149 A Tretnont Street Room 63

232

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233

The LONGY CLUB

Will give three
concerts in

POTTER HALL

THE MONDAY EVENINGS

November 23 December 21

February 8

The programmes will be selected amongf
the following^ works;

BACH . . . . Aria for Soprano, flute, and 2 English horns

HAENDEL ... Oboe Concerto with strings accompaniment

MOZART . Divertissement for 2 oboes, 2 horns, and 2 bassoons

BEETHOVEN .... Trio for 2 oboes and EngUsh horn

(First time at these concerts)

FALCONI Sextet for flute, oboe, clarinet, horn, bassoon, and piano

DESTENAY .... Trio for oboe, clarinet and piano

WOOLLETT . . 5 pieces for two flutes, clarinet, horn, and piano

ENESCO . Symphonic for 2 flutes, oboe, English horn, 2 clarinets,

2 horns, and 2 bassoons
(New, and first time in America)

CAPLET Suite Persane for 2 flutes, 2 oboes, 2 clarinets, 2 horns, and

2 bassoons

LOEFFLER .... Rapsodies for oboe, viola, and piano

MALHERBES Sextet for flute, oboe, English horn, clarinet, horn,

bassoon

PIERNE Pastorale Variee for flute, oboe, clarinet, trumpet, horn, and

2 bassoons

Assisting Artists to be announced

234

MUSICAL INSTRUCTION.

Bss HARRIET S. WHIHIER,

VOCAL INSTRUCTION and

SOPRANO SOLOIST.
Studio, 246 Huntington Avenue.

Exponent of the method of the late Charles R. Adams.
PoitKmouth, New Hampshira, Mondays.

Mr. CHARLES B. STEVENS.

TEACHER OF SIMGING.

STUDIOS,
Suite 14, Steinert Hall, 162 Boylston St.

Telephone, 133 1 Oxford.

Miss Harriette C. Wescott,
Accompanist and Assistant Teacher.

Miss LADRA HAWKINS,

PIA/NIST.

LANG STUDIOS,

No. 6 NEWBURY STREET.

Miss CAROLINE M. SOUTHARD,

TEACHER OF THE PIANOFORTE.

Classes in Sight Reading

(EIGHT HANDS).

Advanced pupils follow the Symphony programmes
as far as practicable.

165 Huntington Avenue - Boston

Hiss GERTRUDE EDHAND8.

Concert and Oratorio.

Vocal Instruction.

The Copley, 18 Huntington Avenae.

Mrs. HALL MCALLISTER.

TEACHER oF SINGING.

407 Pierce Building,
COPLEY SQUARE.

Musical Management.

Miss EEANOR BRIGHAM,

Pianist amd TeacHer.

Trii\ity Court.

Mr. BERNHARD LISTEMANN'S

Master School for Violinists.

Training to competent teachers prin-
cipal aim. Ensemble lessons.

OFFICE
703 PIERCE BUILDING, COPLEY SQUARE.

Hours: Monday and Thursday, from i p.m.
Wednesdays and Saturdays, 9 to i and 2 to 4.

235

Miss CLARA E. MHNGER,

TEACHER OF SINGING.

Century Building,
177 Huntington Avenue, Boston.

Miss JOSEPHINE COLLIER,

PIANIST and TEACHER.

LANG STUDIOS,

6 NEWBURY STREET.

Walter E. Loud — Violin.
Pupil of Ysaye.

32 Batavia Street.

Miss Bertha WesseMt Swilt

Soprano Soloist,

TEACHER OF SINGING.
) Studio, TRINITY COURT, Boston.

Miss Swift is ready to give her children's programs
before clubs, church societies, and in private houses

Miss LUCY CLARK ALLEN,

Pianoforte Lessons.

Accompaniments.

LANG STUDIOS, 6 NEWBURY STREET.

Mr.SAfflOELJ.MacWATTERS,

Professor of Voice Building in
Boston University.

VOICE PLACING,

Development of Tone and
Resonance.

72 MOUNT VERNON STREET.

Mrs. LUCIA GALE BARBER,

Physical and Personal Culture,
Rhythm, Poise, Breathing,
Concentration, Relaxation,

Normal Course.

The Ludlow, Copley Sq., Boston.

KARL DOERING,

TENOR- BARITONE.

Pupil of Professor Jachman-Wagner, Berlin, and
Professor Galliera, Milan, Italy.

Training and Finishing of Voice,

School for Grand Opera and Oratorio.

STEINERT HALL, ROOM 27.

Opeo Monday, October 12. Send for new Prospectus

236

Mrs. CAROLYN KING HUNT,

PIANISTEand TEACHER.

Hemenway Chambers,
BOSTON.

BERTHA GDSHIN6 CHILD.

MARY B, SAWYER

38 BABCOCK ST., BROOKLINE.

TEACHING AT

LANG STUDIOS,

6 NEAA^BURY ST., BOSTON.

Leschetizky Method.

Miss RENA I. BISBEE.

PIANO AND HARMONY.

For four years Pupil and Authorized Assistant of

Frau VARETTE STEPANOFF,

BERLIN, GERMANY.

Studio, Steinert Hall, 162 Boylston St.

TEACHER OF PIANO,

LANG STUDIOS,
6 NEWBURY STREET.

LUCY FRANCES GERRISH,

PIANOFORTE INSTRUCTION.

GERRISH STUDIO,
140 Boylston Street . . Boston.

EDITH LYNWOOD WINN

LECTURE-RECITALS

Normal and Teachers' Courses for '^^'^ '^f H^'fifv,"^^'^!^' ^""&^."^"' ^7th
YJqUjj and 18th Century Music.

ChUdren's classes at special rates TRINITY COURT

BOSTON.

The Gnckenberger School of
Music.

B. GUCKENBERGER, Director.

HENRY T. WADE,

RICHARD PLATT,

Piano, Voice, Violin (and all orchestral
instruments). Theory, Musical Analysis,
Analytical Harmony, Composition, Score
Reading, Chorus and Orchestral Con-
ducting.
30 Huntington Avenue Boston

Teacher oF

Pianoforte, Church Organ,

Theory of Music.

Steinert Hall, Boston.
77 Newtonville Avenue, Newton.

PIANIST.

23 Steinert Hall

Boston.

Mason & Hamlin Piano.

237

CHARLES S. JOHNSON,

PIANO, ORGAN,
HARMONY.

LANG STUDIO, 6 NEWBURY STREET.

Miss HARRIET A. SHAW,

HARPIST.

186 COMMONWEALTH AVENUE

Telephone.

SAM L. STUDLEY.

Pierce Building, Copley Square, Reom 313.

INSTRUCTION IN THE
ART OF SINGING.

OPERA, ORATORIO, AND SONG.

Miss JESSIE DAVIS,

Pianist and Teacher.
289 Newbury Street, Boston.

Miss Rose Stewart,

Vocal Instruction.

246 Huntington Avenue.

Miss EDITH E. TORREY.

TEACHER OF SINQING.

164 Huntington Avenue, Boston.

Tuesdays and Fridays at Wellesley College.

Mrs. E. C. WALDO,

Teacher oF Music.

Lang Studios, 6 Newbury Street.

HELEN ALLE/N HUNT,

CONTRALTO SOLOIST.

Teacher of Singing.
No. 514 Pierce Building Boston.

BOSTON MUSICAL BUREAU.

Established 1899.
Supplies Schools, Colleges, and Conservatories
with Teachers of Music, etc.; also Churches with
Organists, Directors, and Singers.

Address HENRY C. LAHEE,
'Phone, 475-1 Oxford. 2i8Tremont St., Boston

Mrs. 5 B. FIELD,

Teacher of the Piano and Accompanist.
HOTEL NOTTINGHAM.

Mrs. Field makes a specialty of Coaching, in both
vocal and instrumental music.

Artists engaged, programmes arranged, and all
•■Ksponsibility assumed for private musicales.

Miss MARIE L EVERETT,

Teacher of Singing.

Pupil of MADAME MARCHESl,

ParU.
THE COPLEY, BOSTON.

Miss MARY D. CHANDLER,

Concert Pianist and Teacher.

Pupil of Philipp, Paris.

149A TREMONT ST., Monday and Thursday.

Residence, 5 Ashland Street, Dorchester.

Telephone, 182S-3 Dorchester.

Miss PAULA MUELLER,

Teacher of Piano
and German Language.

STUDIOS,
28 Central Avenue, Room 30, Steinert HaU

MEDFORD. BOSTON.

RECITALS.

Miss EDITH JEWELL,
VIOLINIST AND TEACHER,

37 BRIMMER STREET.

Refers by permission to Mr. C. M. Loeffler.

Clarence B. Shirley,
Tenor Soloist and Teacher.

CONCERT AND ORATORIO.

Studio, Huntington Chambers, Boston.

238

MR. ROBT. N.
MRS. ROBT. N.

LISTER,

Teacher of Singing,
Soprano Soloist.

Symphony Chambers , opposite Symphony Hall,
BOSTON.

CHARLOTTE WHITE,

Violoncellist of the Carolyn Belcher String Quartets

TEACHER AND SOLOIST.
608 Huntington Chambers, Boston, Mass.

Mrs.V.PERNAUX=SCHUMANN,

TEACHER OF FRENCH and GERMAN.
French and German Diction a Specialty.

32 BATAVIA STREET, Suite 8, BOSTON.

Mr. EMIL MAHR.

JOACHIM SCHOOL.
Address, 69 Crawford St., Roxbury, Mass-

THOMAS L. CUSHMAN,

VOCAL TEACHER.
2i8 TREMONT STREET.

L. B.

MERRILL

BASS SOLOIST
TEACHER.
2i8 Tremont Street.

Mrae. de BERQ-LOFQREN,

TEACHER OF SINGING.

The "GARCIA "Method.
Studio, 12 Westland Avenue. BOSTON, MASS.

Mrs. H. CARLETON SLACKr

VOCAL INSTRUCTION.

Lyric Soprano. Concerts and Recitals.
Lessons at residence, 128 Hemenway Street.

Miss PEARL BRICE.

CONCERT VIOLINIST, TEACHER.
Lang Studios, 6 Newbury Street.

Mrs.lOUISELATHROP MELLOWS,

Pianist and Teacher.

STUDIO, JeHerson Hall,
Trinity Court, Dartmouth Street, Bostoo,

Miss M. B. HARTWELL,

PIANO AND HARMONY.
Studio, 9 St. James Avenue.

Miss Hartwell has but recently returned from

Vienna, where she studied the Leschetizky

Method for three years and a half.

VIOLET IRENE WELLINGTON,

Humorous and Dramatic Reader.

Also »

Teacher of Voice, Elocution, Physical Culture.

59 "Westland Avenue.
Telephone, 3439-1 Back Bay.

TIPPEH ^ "'^

PAIII I ^^' ^^^^^

STUDIOS

VOICE

Assistant, GRACE R. HORNE

312 PIERCE BUILDING
COPLEY SQUARE

LUISE LEIMER,

Contralto Soloist and Teacher of Singing,

Studio, 23 Crawford Street

and 5teinert Building.

Miss RUTH LAIGHTON,

Violinist and Teacher

19 Chestnut Street • Boston

Miss JANET DUFF.

(7 years pupil of Francis Korbay)

Contralto, Concerts, Oratorios, and Song Recitals.

Teacher of Voice Production and Singing.

Studio, 402 Huntington Chambers.

Management, W. S. Bigelow, Jr., Boston
Monday, Wednesday, Thursday and Saturday morn-
ings

Miss urn WARE LAUGHTON,

Lecturer and Reader of Shakspere.
Instructor of the VOICE IN SPEECH.
Courses of Study for Personal Culture and Pro-
fessional Training.

418 PIERCE BUILDING, COPLEY SQUARE

239

Allen H. Daugherty,

PIANOFORTE INSTRUCTION,
HARMONY.

Tel., Oxford 1629-1. 218 Trcmont Street.

MissMARY A.STOWELL,

Teacher of Piano and Harmony.
The ILKLEY,

Huntington Avenue and Cumberland Street.

(Cumberland Street entrance.)

Miss KATHERINE LINCOLN,

Soprano Soloist.
Teacher of Singing.

514 Pierce Building, Copley Square, Boston.

BARITONE.

George W. Mull,

Teacher of Singing.

The Copley, 18 Huntington Avenue,Boston.

JOHN CROGAN MANNING,

CONCERT PI ANISTmnd TEACHER.

Monday, Wednesday, and Thursday
afternoons

Symphony Chambers, 246 Huntington Ave.

Mr. WILLIS W. GOLDTHWAIT,

Teacher of Piano.

Thorough instruction in Harmony, class or private.

7 Park Square, Boston.

JOHN BEACH,

PIANIST.
10 Cliarles Street.

Miss MARGARET GORHAM,

PIANIST.

Trinity Court. Boston.

Mrs. niRAM HALL,

Pianist and Teacher.
118 Charles Street.

Mrs. Alice Wentworth MacGregor,

TEACHER OF SINQINQ.
Residence Studio, 780 Beacon Street.

Tuesdays and Fridays at Abbot Academy.

Mrs. NELLIE EVANS PACKARD.

Studio, 248 Tremont Street (Room 308), Boston.

VOCAL INSTRUCTION.

Mrs. Packard is commended by Walker, Randegger
<London), Marchesi, Bouhy, Trabadelo (Paris),
Leoni (Milan), Vannuccini (Florence), Cotogni,
Franceschetti (Rome).

Mr. P. nUMARA

Will furnish a Small Orchestra of mem-
bers of the Boston Symphony Orchestra
for Musicales, Dinners, Receptions, etc.

Address, Symphony Hall.

ARTHUR THAYER,

TEACHER OF SINGING.
200 Huntington Avenue

Mr. CHARLES DUMAS,

Graduate of the University of Paris.
Former Assistant at Harvard.

French (all grades), Lectures, Diction,

Elocution, etc.
286 Columbus Ave., Opp. Back Bay Station.

CLAUDE HACKELTOIN,

PIANIST AND TEACHER.
2i8 Tremont Street, Room 515, Boston

EVERETT E. TRUEHE,

CONCERT ORGANIST AND TEACHER.
218 Tremont Street, BOSTON.

EDWIN N. C. BARNES,

Basso Cantate and
Teaclier of Singing.

Symphony Chambers . . . Boston.

Opposite Symphony Hall..

Concert.
Mrs.
Lafayette

GOODBAh,

Oratorio
SOPRANO
SOLOIST.

240

TEACHER OF SINQINQ.

Thorough preparation for Concert and Church.

Studio . . Steinert Hall.

'Phone, Oxford 1330. Mondays and Thursdays.

Willy Hess

G)ncert-mastcr of the Boston Symphony Orchestra,
First Violin of the Hess-Schroeder Quartet,
and a virtuoso of international re-
nown, writes as follows of the

PIANOS

MASON & HAMLIN CO.:

Dear Sirs, — I write to offer you my sincere congratu-
lations on the manufacture of your very beautiful pianos, —
they are to me matchless. As you arc aware, I have heard
the Mason & Hamlin piano at many concerts given by my
quartet, and with orchestra, and it has been my constant
companion at my home. It has never failed to meet all the
demands, however exacting, made upon it, and I believe
that the Mason & Hamlin pianos excel all others in the
essential qualities which go to make up an artistic piano of
the very first quality.

(Signed) PROFESSOR WILLY HESS.

MASON&HAMLIN COMPANY

Opp. Institute of Technology 492-494 Boylston Street

HERE are many
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a fixed fact that the
STEINWAY Piano
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The Steinway Organiza-
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NEW YORK
LONDON HAMBURG

HEPRESBNTEB BY

M. STEINERT & SONS COMPANY
162 Boylston Street, Boston, Mass.

'^JU.^.^-A

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BOSTON

SYAPnONY

ORCnCSTRH

TWENTY-EIGHTH
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the most important of the three, as it pertains to tone
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Ql.. f 'T' in a piano is dependent upon the crown, or arch,

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The Mason & llamlm Tension Resonator

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A copy of the Scientific Atnerican article will be mailed upon application

MASON & HAMLIN COMPANY

0pp. Inst, of Technology 492-494 Boylston Street

SYMPHONY HALL, BOSTON

HUNTINGTON <9- MASSACHUSETTS AVENUES

_ , , { Ticket Office, 1492 ) ^ , r>

Telephones] Administrati;n Offices, 3200 } ^^'^'^^^^

TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

Programme nf t\}t

Fourth

Rehearsal and Concert

WITH HISTORICAL AND DESCRIP-
TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, OCTOBER 30
AT 2.30 O'CLOCK

SATURDAY EVENING, OCTOBER 31
AT 8.00 O'CLOCK

Mme. CECILE CHAMINADE

The World's Greatest Woman Composer

Mme. TERESA CARRENO

The World's Greatest Woman Pianist

Mme. LILLIAN NORDICA

The World's Greatest Woman Singer

USE

^^ Piano.

THE JOHN CHURCH CO., 37 West 32d Street
New York City

REPRESENTED BY

G. L SGHIRMER & CO., 38 Huntington Avenue, Boston, Mass.

242

Boston Symphony Orchestra

PERSONNEL

Twenty *ei

ighth Season, IPOS- 1909

MAX FIEDLER, Conductor

First Violins.

Hess, Willy

Roth, 0.

Hoffmann, J.

Krafft, W.

Concert-master. Kuntz, D.

Fiedler, E.

Theodorowicz, J.

Noack, S.

Mahn, F.
Strube, G.

Eichheim, H.
Rissland, K.

Bak, A.
Ribarsch, A.

Second Violins.

Mullaly, J.
Traupe, W.

Barleben, K.
Fiumara, P.

Akeroyd, J.
Currier, F.

Fiedler, B.
Werner, H.

Berger, H.
Eichler, J.

Tischer-Zeitz, H

Kuntz, A.

Marble, E.

Goldstein, S.

Kurth, R.

Goldstein, H.
Violas.

Ferir, E.

Heindl, H.

Zahn, F. Kolster, A.

Krauss, H.

Scheurer, K.

Hoyer, H.

Kluge, M. Sauer, G.
Violoncellos.

Gietzen, A.

Warnke. H.

Nagel, R.

Barth, C. Loeffler, E.

Warnke, J.

Keller, J.

Kautzenbach, A.

Nast, L. Hadley, A.

Smalley, R.

•

Basses.

Keller, K.
Gerhardt, G.

Agnesy, K.
Kunze, M.

Seydel, T.
Huber, E.

Ludwig, O.
Schurig, R.

Flutes.

Oboes.

Clarinets.

Bassoons.

Maquarre, A.
Maquarre, D.

Longy, G.
Lenom, C.

Grisez, G.
Mimart, P.

Sadony, P.
Mueller, E.

Brooke, A.

Sautet, A.

Vannini, A.

Regestein, E.

Fox, p.

English Horn

Bass Clarinet. Contra-Bassoon.

Mueller, F.

Stumpf, K.

Helleberg, J.

Horns.

Trumpets. Trom:

bones. Tuba.

Hess, M.
Lorbeer, H.

Schmid, K.
Gebhardt, W.

Kloepfel, L. Hampe, C. Lorenz, O
Mann, J. Mausebach, A.

Hain, F.

Hackebarth, A.

Heim, G. Kenfield, L.

Phair, J.

Schumann, C.

Merrill, C.

Harp.

Tympani.

Percussion.

Schuecker, H.

Rettberg, A.

Dworak, J.

Sen'ia, T.

Kandler, F.

Ludwig, C.

Librarian.
Sauerquell, J.

Burkhardt, H.

243

(t^it'kerm^

^inno

Bears a name which has become known to purchasers
as representing the highest possible value produced
in the piano industry.

It has been associated with all that is highest and best
in piano making since 1823.

Its name is the hall mark of piano worth and is a
guarantee to the purchaser that in the instrument
bearing it, is incorporated the highest artistic value
possible.

CHICK ERING & SONS

PIJNOFORTE MAKERS

Established 1823

791 TREMONT STREET

Cor. NORTHAMPTON ST.

Near Mass. Ave.

BOSTON

TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT AND NINE

, Fourth Rehearsal and G)ncert*

FRIDAY AFTERNOON, OCTOBER 30, at 2.30 o'clock*

SATURDAY EVENING, OCTOBER 3J, at S o'clock.

PROGRAMME.

Smetana . "The Moldau," Symphonic Poem (No. 2 of the cycle

" My Country ")
The source; the hunt; the rustic wedding; moonlight and
dance of the nymphs; the St. John Rapids; the broad river;
Vysehrad motive.

Wolf Italian Serenade for Small Orchestra

Tschaikowsky . Variations on a Rococo Theme for Violoncello

with Orchestral Accompaniment, Op. 33

First time at these concerts

Schumann .... Symphony in D minor, No. 4, Op. 120

I. Ziemlich langsam ; Lebhaft.

I. Ziemlich langsam ; Lebhaft. \

II Romanze : Ziemlich langsam. ( without pause.

III. Scherzo : Lebhaft ; 1 no. I

TV Tcinorsam • T pViViaft. '

IV. Langsam ; Lebhaft

SOLOIST,
Mr. ALWIN SCHROEDER.

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

T7ie 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 an interval be-
tween the numbers.

City of Boston, Revised Reiiulatlon of Aniiust 5. 1898.— Chapter 3, relating to the
coverinii 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
orovided for spectators, it being understood that a low head covering without projection, which does not
obstruct such view, may be worn. Attest J. M. GALVIN, City Clerk

245

Saint-Saehs: "^sj^fafggj

That aside from their r^^ar moclels^' they have in thdr

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Spedat Designs and Estimates Furnished upon Application,

WM. KNABE & CO.

BALTIMORE. NEW YORK WASHINGTON

246

Symphonic Poem, "The Moldau" (from "My Country," No. 2).

Friedrich Smetana

(Born at Leitomischl, Bohemia, March 2, 1824; died in the mad-house at Prague,

May 12, 18S4.)

Smetana, a Czech of the Czechs, purposed to make his country
famihar and illustrious in the eyes of strangers by his cycle of sym-
phonic poems, "Ma Vlast" ("My Country"). The cycle was dedicated
to the town of Prague. In a letter written (1879) to the publisher he
complained of the poem put as preface to "Vysehrad": "What is
here portrayed in tones is not mentioned in the verses!" He wished
a preface that might acquaint the foreigner with the peculiar love
entertained by the Czech for this fortress. Lumir sees visions the
moment he touches the harp ; and he tells of the founding of Vysehrad
in heathen times, of the various sights seen by the citadel, feasts,
jousts, court sessions, war and siege, until he at last tells of the down-
fall.

The cycle includes: —

I. Vysehrad (which bears this inscription on the score: "In a
condition of ear-disease"). Completed November 18, 1874, twenty-
four days after he had become completely deaf. The first performance
was at Prague, January 14, 1875.

II. Vltava* ("The Moldau"). Begun November 20, 1,874; com-
pleted December 8, 1874, and performed for the first time at Zofin,
April 4, 1875.

III. Sarka. Composed at Prague; completed February 20, 1875.
Performed for the first time at Zofin, May 17, 1877. Sarka is the
legendary Czech Amazon.

IV. Zceskych Luhuv a Hajuv ("From Bohemia's Fields and

* " ' Multava,' the Latin name of the river. But as the u is written v, Mvlta\'a, the words are the same."
William Ritter, in his interesting Life of Smetana, published at Paris by Felix Alcan, 1908. 4^

GRAND OPERAS

In this Season's Repertory

TIEFLAND, by E. D Albert, German and EngUsh text
LA HABANERA, by R. La Parra, French text .
LE VILLI, by G. Puccini, EngHsh text

The Same, Italian text

LA WALLY, by A. Catalani, Italian text .

F.-^LSTAFF, by Giuseppe Verdi, Itahan and English textj'

Price,

$3-50

2.50

3.00

4.00

BOOSEY & COMPANY, Publishers, 9 East Seventeenth Street

NEW YORK

L. P. Hollander & Co.

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Groves"). Composed at Jakbenice; completed on October i8, 1875;
and performed for the first time at Zofin on December 10, 1876. Sme-
tana wrote to Dr. Ludwig Prochazka that in this piece he endeavored
to portray the life of the Bohemian folk at work and in the dance; "as
the Germans say, "Volksweisen" or "Tanzweisen."

V. Tabor. Composed at Jakbenice in 1878; first performed at
a jubilee concert in honor of Smetana at Zofin, January 4, 1880. This,
as well as "Blanik," the sixth of the series, is based on the Hussite
choral, "Kdoz jste Bozibojovnici." The composer in a letter to Dr.
Otakar Hostinsky observed that in "Tabor" the choral, "You are
God's Warriors," dominates completely, while in "Blanik" there
are only partial remembrances of the choral, the last verse of which,
"With Him you will at last triumph, " serves as the motive of the finale.

VI. BiyANiK. Completed at Jakbenice on March 9, 1879 ; performed
for the first time with "Tabor" at the jubilee concert at Zofin. The
Hussite warriors sleep in the mountain of Blanik, and await the hour
to reappear in arms.

The first performance of the cycle as a whole was at a concert for

Smet^na's benefit at Prague, November 5, 1882.

*
* *

The following Preface* is printed with the score of "The Moldau" : —

Two springs gush forth in the shade of the Bohemian Forest, the one warm and
spouting, the other cold and tranquil. Their waves, gayly rushing onward over
their rocky beds, unite and glisten in the rays of the morning sun. The forest
brook, fast hurrying on, becomes the river Vltava (Moldau), which, flowing ever
on through Bohemia's valleys, grows to be a mighty stream: it flows through
thick woods in which the joyous noise of the hunt and the notes of the hunter's
horn are heard ever nearer and nearer; it flows through grass-grown pastures
and lowlands where a wedding feast is celebrated with song and dancing. At night

* The translation into English is by Mr. W. F. Apthorp.

New Compositions

^ FOR

VIOLONCELLO AND PIANO

BOHM, CARL. Op. 366. No. 8. Estella.

Arietta Jo. 60

FOOTE, ARTHUR. Op. 33. Romanza . .75

FRIML, RUDOLF. Op. 36 No. 2. Cre-

puscule (Twilight) .... .60

S0U2A, DAVID DE. Op. 17. Doux Som-

meil. Berceuse .50

SENT FREE. Catalogue of Music for Violin
and other String Instruments containing Portraits
of American and Foreign Composers.

Arthur P. Schmidt

(Walker Building), 120 Boylston Street
BOSTON

New Sacred Songs

MANNEY, CHARLES F.

Teach me, O Lord . . . ^^0.50

SCOTT, CHARLES P.

Soft as the 'Voice . . . .50

BULLARD, CARRIE

He calleth Thee ... .50

SCOTT, CHARLES P.

Father take my Hand . . .50

ALLITSEN, FRANCES

Lift thy Heart . . . .60

All music performed at these concerts
constantly on hand

CHARLES W.HOMEYER& GO.

332 BOYLSTON STREET

(Opposite Arlington Street)

BOSTON, MASS.

249

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the wood and water nymphs revel in its shining waves, in which many fortresse
and castles are reflected as witnesses of the past glory of knighthood, and the van-
ished warlike fame of bygone ages. At the St. John Rapids the stream rushes
on, winding in and out through the cataracts, and hews out a path for itself with
its foaming waves through the rocky chasm into the broad river bed in which it
flows on in majestic repose toward Prague, welcomed by time-honored Vysehrad,
whereupon it vanishes in the far distance from the poet's gaze.

*
* *

"The Moldau" begins Allegro commodo non agitato E minor, 6-8,
with a flute passage accompanied by pizzicato chords (violins and
harps). The "first stream of the Moldau" is thus pictured. The flow-
ing figure is then given to the strings and first violins, oboes and
bassoon play a melody against it. Development follows. Hunting
calls (C major) are heard from horns and other wind instruments,
while the strings continue the running figure. The noise of the hunt
waxes louder, the river is more and more boisterous. There is gay
music of the wedding dance, G major, 2-4. It swells to fortissimo, and
then gradually dies away." ' 'The moon rises in soft sustained harmo-
nies in the wood-wind ; and the flutes, accompanied by flowing arpeggios
in the clarinets and high sustained chords in the strings and horns,
begin the nimble nymphs' dance. Soon soft stately harmonies are
heard in the horns, trombones, and tuba, their rhythm being like that
of a solemn march." The strings take again the original flowing
figure and the graceful melody for first violins, oboes, bassoon, is again
against it. The development is much as before. The rhythm is now
livelier. There is a musical picture of St. John's Rapids, and, with a
modulation to E major, behold "the broadest part of the Moldau."
The melody continues fortissimo until a gradual decrescendo leads to
its disappearance.

"The Moldau" is scored for piccolo, two flutes, two oboes, two

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clarinets, two bassoons, four horns, two trumpets, three trombones,
bass tuba, kettledrum, bass drum, cymbals, triangle, harp, and strings,
thus divided throughout: first violins, second violins, violas, first

'cellos, second 'cellos, double-basses.

* *

These works by Smetana have been performed at Symphony Con-
certs in Boston : —

"Vysehrad," April 25, 1896, October 22, 1898, November 14, 1903.
March 16, 1907.

"Vltava," November 22, 1890, December 2, 1893, April 15, 1899.

"Sarka," January 26, 1895.

"From Bohemia's Fields and Groves," December 8, 1901.

"Wallenstein's Camp," symphonic poem, January 2, 1897.

"Richard III.," symphonic poem, April 25, 1903.

Overture to "The Sold Bride," December 31, 1887, March 23, 1889,
January 15, 1898, March 10, 1900, January 30, 1904, April 27, 1907.

Overture to the opera, "The Kiss," played only at the public
rehearsal, April 7, 1905. Beethoven's "Leonore" Overture, No. 3,
was substituted at the following concert (April 8). The programme
was changed suddenly, to pay tribute to Beethoven.

Overture to the opera "Libussa," October 21, 1905.

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263

Smetana in 1881 told the story of his deafness to Mr. J. Finch Thome,
who wrote to him from Tasmania a sympathetic letter. Smetana
answered 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
conductor; there were days when all voices and all octaves sounded
confused 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 enjoy-
ment, 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
interruption, 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

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tones, as the cry of a child or the barking of a dog, I hear very well,
just as 1 do loud whistling, and yet I cannot determine what the noise
is or whence it comes. Conversation with me is impossible. I hear my
own pianoforte-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 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
conductor. 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 conditions he wrote "The Kiss." The libretto pleased
him so much that he put aside the opera "Viola," which he had begun,
and composed the music to "The Kiss" in a comparatively short time
(February— August, 1876). He determined henceforth to set operatic
music only to librettos by Eliska Krasnohorska. The success of * 'The

256

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267

Kiss" at the first Jperformance was brilliant, and the opera gained
popularity quicker than "The Sold Bride."

There are references to his deafness in the explanatory letter which
he wrote to Josef Srb about his string quartet in E minor, "Aus
meinem Leben" : "I wish to portray in tones my life: First movement:
Love of music when I was young ; predisposition toward romanticism ;
unspeakable 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 beginning. 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 interrup-
tion by the terrible catastrophe ; the beginning of deafness ; a glance at
the gloomy future ; a slight ray of hope of betterment ; painful impers-
sions 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") (September 18,
1878, Prague).

His last appearance in public as a pianist was at his fiftieth jubilee
concert at Prague, January 4, 1880. His opera, ' 'Certova Stend" (' 'The
Devil's Wall"), was produced October 29, 1882, The proceeds of the
third performance 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

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him the blow of blows, for he had comforted-himself in former misfort-
unes 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 dreary benefit performance, the first performance of the
whole cycle, "My Fatherland," at Prague, November 5, 1882. On the
return from Prague, overstrain of nerves brought on mental disturbance.
Smetana lost the ability to make articulate sounds, to remember, to
think. Shivers, 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
physician forbade him any mental employment which should last over
a quarter of an hour. Soon he was forbidden to read or write or play

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261

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 composed
the beginning, the mob of masks, the opening of the ball with a polonaise.
He again thought of his sketched opera, "Viola."

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) in an insane asylum at Prague, and Smetana died
there on the twelfth of the next month without once coming to his
senses.

ITAUAN SkrBnade; for Small Orchestra ..... Hugo Wolf

(Born at Windischgratz, Steiermark, March 13, i860; died in a mad-house at Vienna,
February 22, 1^03.)

Wolf at Vienna in 1887 composed two movements for string quartet,
a " Humoristisches Intermezzo" and an "Italienische Serenade."
The latter is related thematically to the "Italienische Serenade" for
small orchestra, on which he worked in the course of the years 1893-94.

Only one movement, the first, was completed. Some say it was
finished in 1890. A second movement, orchestrated at Traunkirchen
in 1893, has only twenty-eight measures. Its chief theme is a gentle
song. The third movement, composed early in December, 1897,
when the unfortunate man was at Dr. Svetlin's asylum in Vienna,
has about forty measures. It is entitled "Tarantella," and in this

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tnOvement he introduced the celebrated "I^uniculi-I^unicula"* melody
of Denza, of which he was fond.

The score of this finished movement, edited by Max Reger, was
published in 1903. The piece is scored for two flutes, two oboes, two
clarinets, two bassoons, two horns, solo viola, and the usual strings.
In the original version the English horn was used instead of the solo
"viola.

Wolf did not hear this music in his lifetime. The Serenade as a
quartette was performed in Vienna in January, 1904, and the applause
was so great that the performance was repeated. On January 29 of
the same year the Serenade was performed at an orchestral concert of
the Styrian Music Society.

The first performance of this orchestral serenade in the United States
was by the Chicago orchestra at Chicago, January 21, 1905.

The first performance in Boston was at a concert of the Boston
Symphony Orchestra, led by Mr. Gericke, April i, 1905.

The string quartette Italian Serenade, edited by Max Reger, was
played for the first time in Boston by the Kneisel Quartette, October 25,
1904, and repeated by request at a concert of the same club, March 14,
1905.

The movement is a rondo on piffero t melodies. It opens in G major,
"Ausserst lebhaft" (as lively as possibly), 3-8. The chief theme, which
returns after two long spun-out interruptions, is given to the solo 'viola.
The pifferari are soon heard, for there is a droning-bass with empty
fifths. The development of the chief theme is divided into three sec-

* This Neapolitan ditty was composed by Luigi Denza in 1880, and was soon known throughout the
world. Richard Strauss, believing it to be a folk-tune, introduced it as the chief theme of the foitrth move-
ment, "Neapolitan Folk Life," of his symphonic fantasia, "From Italy."

tThe pifaro, or piffero, is an old form of the oboe, still in use in some districts of Italy and the Tyrol.
It was formerly called the " Schalmey." The pifferari are peasants who come to Rome in Christmas-tide
to pipe pastoral melodies to the street Madonnas. "The Pastoral Symphony" in "The Messiah" is based
on such tunes.

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tions easily distinguished by characteristic, melodic use of solo instru-
ments. The first episode begins with a 'cello theme, "with great
expression," 6-8, which is followed by a phrase for oboe. A crescendo
leads to a dashing melody, which, to borrow Dr. Ernst Decsey's phrase,
has Chianti in its veins, — tutti, and in a fiery manner, ff. At the end
of this episodic section the violins bring the chief melody back, and a
solo flute furnishes an opposing melody. There is free development of
the chief theme. A violoncello solo leads to the second episode. A
short period in imitation breaks the song of this serenade ; a crescendo
follows, and after a fortissimo is reached there is a dreamy theme for
the solo viola. Fantastically colored measures (tremolo of muted
strings) prepare the repetition of the chief theme. This time there is
no new development; the movement ends with the few introductory
measures, as it began. (See "Hugo Wolfs Letzten Jahren," by Dr.
Ernst Decsey, of Graz, an article published in Die Musik (1901, pp.
215-220), Professor Dr. H. Reimann's notes to the Berlin Philharmonic
Concerts, October 10, 1904, and Dr. Ernst Decsey's "Hugo Wolf" in
four volumes (Berlin and Leipsic, 1903-06).

* *
■ Philipp Wolf, the father of Hugo, was a currier, a currier against his
will. The man was interested in literature and art, but he was com-
pelled to follow the family calling. In 1867 his property was so injured

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by fire thai he was never again prosperous. Phihpp was something
of a violinist and guitarist, and he was the first teacher of Hugo, the
fourth of eight children. The boy learned the violin and the piano,
and there was household music, — string quartets or pieces for small
orchestra. From 1865 to 1869 Hugo attended the Pfarrhauptschule
in his native town; in 1870-71 he went to the Gymnasium in Graz,
where he took piano lessons of Joh. Buwa and violin lessons of Ferd.
Casper. He then studied at the Gymnasium in St. Paul and in 1874-75
the Gymnasium at Marburg.

In 1875 Hugo entered the Vienna Conservatory. He studied har-
mony with Franz Krenn and the piano with Wilhelm Schenner. In
1877 he was dismissed from the Conservatory. The Director of the
Conservatory was Josef Hellmesberger (1828-93), "a classical violinist
and classical conversationalist, a musician comme il faut and a Viennese
comme il faut, an artist whose quartet playing was as celebrated as was
the legion of bonmots told by him or attributed to him, a man of the
world, a distinguished character in the music life of Vienna." One
day he received an astounding note, which read pretty much as fol-
lows: "You have only one more Christmas to celebrate, then your
end will come. Hugo Wolf." Some humorous student played this
trick on Hellmesberger and Wolf. In vain did the latter protest his
innocence and show his own handwriting: he was dismissed. Then
began Wolf's dark and dreary life. From 1877 to 1 881 he lived in
Vienna as a needy music teacher. In 1875 he had experienced a great
pleasure, one that influenced him mightily. He met Richard Wagner,
and for a few minutes talked with him. The fifteen-year-old boy
wished to show him some of his compositions, and Wagner in a most
friendly manner told him to wait until he had written riper and more
important works; but the courtesy of Wagner's refusal moved Wolf

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268

deeply, just as the perfonnaiice of "Tannhauser" at Vienna in Novem-
ber, 1875, had turned him into a fanatical Wagnerite. In these years
of poverty Wolf became intimate with Felix Mottl and Adalbert von
Goldschmidt, and they endeavored to find violin and piano pupils
for him. In 1879 his lessons brought him in only thirty-six or thirty-
eight guldens a month. He loathed the drudgery of teaching the
dull, and he did not hesitate to address any such daughter of a most
respectable family as "blodes PVauenzimmer." He had begun to
compose songs in 1875. Tlie list of his works written from 1875 to 1889
and unpublished at the time of his death is in Decsey's lyife of the
Composer.

Wolf thought of going to America to try his fortune, for America
was surely a Tom Tiddler's ground for musicians, but in 1881 he went
to Salzburg as second conductor of the opera. He did not distinguish
himself at Salzburg, but he was allowed to conduct only light operas
and operettas. They say that at a rehearsal he addressed the chorus
as follows: "O let that stuff alone; I'll play you something from
'Tristan and Isolde.'" He left Salzburg in 1882.

From January 27, 1884, to May, 1887, Wolf was the music critic of
the Salonblatt, "a society journal of the high life of Vienna." It is to
be hoped that the Wolf Society will publish in book form the best
of the contributed articles, for they are singularly shrewd, pungent,
entertaining, and written with infinite gusto. The critic sided with the
Wagner-Bruckner faction, and, as we have already seen, he was reck-
oned by the superficial, indiscriminative readers of Vienna as a malig-
nant foe of Brahms.* He wrote enthusiastically in praise of Gluck.
Haydn, Mozart, Beethoven, Weber, Schubert, Schumann, Chopin,
Saint-Saens, and, above all, Wagner and Berlioz.

* See the reference to Wolf's articles in Miss Florence May's smug " Life of Johannes Brahms," vol.
ii. pp. 220-221 (London, 1905). Miss May speaks of Wolf gaining "unenviable notoriety by his persistent
attacks upon Brahms' compositions." On the other hand, see Decsey's "Hugo Wolf," vol. i. pp. 87-93.

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270

Wolf's first songs were published in 1887, and with the winter of
1888 began the period of his artistic ripeness. His fertility was amaz-
ing, and perhaps it will prove the destruction of his fame. He set
music to poems by Morike, Eichendorff, Goethe, Keller, cycles from
the Spanish and Italian song-books of Geibel and Heyse. It is said
that he composed over five hundred songs besides works of larger
proportions. His music to Ibsen's "Fest auf Solhang" was performed
at Vienna in 1892. His first opera, "Der Corregidor," was produced at
Mannheim, June 7, 1896. In 1892 he began to be known in Northern
Germany, and a propaganda soon made his name familiar. A Wolf
Society was started in Berlin, another in Vienna, for the purpose of
giving the composer material assistance and spreading his fame.
There were friends who were practical counsellors, as Joseph and Franz
Schulk in Vienna, and there were hysterical enthusiasts who did not
hesitate to call him the first of living composers.

Cut is the branch that might have grown full straight,
And burned is Apollo's laurel bough.

Wolf had always been of an excitable nature, and his enthusiasm
was akin to frenzy. In a letter written to Dr. Emil Kauffman * in
1890: "To me the supreme principle in art is the stern, harsh, inex-
orable truth, truth that goes to the extent of cruelty. Kleist, for
example, — Wagner always first, — is my man. His wonderfully mag-
nificent ' Penthesilea ' is in a lllikelihood the truest and at the same
time the most horribly ferocious tragedy that ever originated in a
poet's brain." Hermann Bahr tells us that, when he was with Wolf
at Rimbach in 1883, the composer generally had Kleist's tragedy with
him; "he raved about it; his hands shook if he read only a couple of

* Dr. Kauffmarm, son of a Heilbronn Gymnasium professor and song-writer, was then music-director of
the. University of Tubingen.

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271

verses from it; his eyes glittered; and he appeared as one transfigured,
as though he saw a higher and brighter sphere whose gates had opened
suddenly." When Wolf went home after a long absence he would
hardly exchange greetings before he would take a volume of Kleist
from his pocket and read from it to his family and friends. Bahr
tells a story that might have been imagined by B. T. A. Hoffmann,
and surely Wolf was an Hoflfmannesque character. Bahr and Wolf
were living together with a common friend, a Dr. E. L., in Vienna.
Bahr and his friend were given to hearing the chimes at midnight.
Returning home from a "Kneipe" about five one morning, they were
eager to go to bed. "The door opened, and from the other room
appeared to us Hugo Wolf in a very long shirt, with candle and book
in his hand, a most pale and fantastic apparition in the grey uncertain
light, with puzzling gestures, now scurrilous, now solemn. He laughed
a shrill laugh and jeered at us. Then he came to the middle of the
room, waved his candle, and while we were undressing, he began to
read to us, chiefly from 'Penthesilea.' And this with such force that
we became silent and did not dare to stir; so effective was his speech.
The words rushed from his pale lips like black and monstrous birds,
which seemed to grow until they filled the whole room with their hor-
rible living shadows ; then he suddenly laughed again, and again scoffed
at us, and in his long, long shirt, with the flickering candle in his out-
stretched hand, he disappeared slowly through the door." Bahr then
proceeds to tell in extravagant language how, when Wolf read, the
words became things of flesh and blood. (See his preface to "Ge-
sammelte Aufsatze liber Hugo Wolf," vol. i., Berlin, 1898.)

In 1888 Wolf wrote:—

"March 20. Just after my arrival to-day I produced my master-
work: 'Brstes lyiebeslied eines Madchens' is out and away the best

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272

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thing I have ever done. In comparison with this song everything
hitherto composed is child's play. The music has such a striking char-
acter, as well as such an intensity, that it would rend the nervous sys-
tem of a block of marble.

"March 21. I withdraw the statement that the 'Erstes Liebeslied
eines Madchens' is my best work, for what I wrote this forenoon, 'Fuss-
reise,' is a million times better. When you have heard this last song,
you can have only one wish — to die!"

His mind began to give way in the fall of 1897, when he told his
friends'that he had been appointed Director of the Vienna Court Opera.
His friends persuaded him that it was his duty to call on Gustav Mahler,
the director and conductor. He dressed himself in a ceremonious suit
of black, but he was taken to Dr. Svetlin's asylum in Vienna. There
he worked on "Penthesilea," the Italian Serenade, and other composi-
tions. He purposed to make Penthesilea the heroine of his third
opera, — his second, "Manuel Venegas," is unfinished. It was thought
that he was again sane, and in February, 1898, he was released. He
seemed the old familiar Wolf, amiable and social, even more amiable
than before his sickness. He visited, he journeyed for recreation.
Disappointed because "Der Corregidor" was not produced at the
Vienna opera season in the season of 1898, he worked hard on his
"Manuel Venegas." But his mind failed him, and he begged to be
taken again to an asylum. He entered the lyower Austrian State Insane
Asylum, where he was five years in dying. Now and then he would
exclaim, "God, I am then mad!" For a time he recollected clearly
, the titles, texts, melodies, of his songs, and, when a friend once read
to him a newspaper article in which Marcella Pregi was praised for
singing "Ich hab' in Pena einen Liebsten wonnen," he laughed and
whispered, "Yes, that is my song," and with his hand he gave the
right tempo.

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Mr. Alwin SchroEder, violoncellist, was born at Neuhaldensleben
June 15, 1855. He at first studied the pianoforte with his father Karl,
a conductor and a composer of operas (1823-89), and with his brother
Hermann; afterward he took lessons of J. B. Andre. Then he took
violin lessons of de Ahna in Berlin, and lessons in theory with Wilhelm
Tappert. In 1871-72 he played viola in the Schroeder Quartet, — ^his
three brothers were the other members. He abandoned the violin for
the violoncello, which he studied by himself. In 1875 he entered
lyiebig's Orchestra as first 'cellist. He was a member in like capacity
of Fliege's Orchestra, of Laube's in Hamburg, and in 1880 he joined
the Gewandhaus Orchestra, Leipsic, as the successor of his brother
Karl, who went to Sondershausen as chief conductor. He was in
Leipsic a member of the Petri Quartet, and he taught in the Leipsic
Conserv^atory of Music.

Mr. Schroeder came to Boston as the solo violoncellist of the Boston
vSymphony Orchestra in the fall of 1891, and at the same time he joined
the Kneisel Quartet. He resigned his position in the orchestra, with
his Quartet co-mates at the end of the season of 1902-03. With
them he afterward made New York his dwelling-place until the spring
of 1907, when he resigned from the Quartet and moved to Frankfort-
on-the-Main. His farewell concert in Boston was on April 25, 1907.
Returning to the United States late in the summer of 1908, he is now
the violoncellist of the Hess-Schroeder Quartet.

Mr. Schroeder has played as solo violoncellist with the Symphony
Orchestra in Boston: —

1 89 1, Oct. 24. Volkmann's Concerto in A minor, Op. 33.

1892, Nov. 26. Davidoff's Concerto No. 3, one movement. (First
time in Boston.)

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1893, Nov. 18. Brahms's Concerto in A minor, for violin and violon-
cello, Op. 102. (With Mr. Kneisel.)

Ivoeffler's Fantastic Concerto. (MS. First time.)
2. DvoMk's "Waldesruhe" and Julius Klengel's

Dvofdk's Concerto in B minor, Op. 104. (First time

1894, Feb. 3.

1895, March
Capriccio, Op. 8

1896, Dec. 19.
in Boston.)

1897, April 10. Brahms's Concerto in A minor, for violin and violon-
cello, Op. 102. (With Mr. Kneisel, at a concert in memory of Brahms.)

1898, Feb. 12. lyoeflfler'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.

1 901, March 9. D'Albert's Concerto in C major, Op. 20 (First time
in Boston.)

1902, Feb. I. Brahms's Concerto in A minor, for violin and violon-
cello, Op. 102. (With Mr. Kneisel.)

1903, Jan. 10. Saint-Saens's Concerto in A minor, Op. 33.

PIANO COMPOSITIONS of ^^^ Moreau Gottschalk

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adds value to the book for permanent reference.

CONTENTS
VOLUME I.

Illusions Perdues. (Caprice)

, Op. 36

Jeunesse. {Mazurka Brillante)

Last Hope, The (AUditatton
religietise .) Op. 16

Love and Chivalry. {Caf>rtce
iUgani)

Maiden's Blush, The {Grande
valse de concert)

Printemps d'Amour. {Mazur-
ka.) (Caprice de concert.)
Op. 40.

America. Op. 41
Bamboula. Op. 2
Bananier, Le (The Banana

Tree). Op. 5
Banjo, The. Op. 15
Berceuse (Cradle Song). Op. 47
Creole Eyes {Ojos criollos.)

Op. 37
Dying Poet, The {Mkditation)
Forest Glade Polka
Qallina, La(The Hen). {Danse

Cubaine )■ Op. 53
Home, Sweet Home. Op. 51

VOLUME II.

■March de Nuit. Op. 17
Miserere from " Trovatore.'

Op. 52
Mortel (She is dead!) Op. 60
Murmures Eoliens. Op. 46
Orf a. ( Grande Polka de salon)
Pasquinade. (Caprice.) Op. 59
Pensee Poetique. Op. 62.
Ricordati. {Mkdiiation.) Op. 26
Serenade. Op. n

Scintilla, La (The Spark.)
Mazurka sentimentale . Op.20
Sixth Ballade. Op. 85.
Solitude. Op. 65
Sospiro. {Valse poHique.)

^ Op. 24
Tremolo. {Gratuie itude de

concert^ Op.jS
Water Sprite, The.

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276

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277

Variations on a Rococo * The^mis for VioIvONC^IvIvO with OrchEvS
TRAL Accompaniment, Op. 33 Peter Tschaikowsky

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

These "Variations sur un Theme rococo" are dedicated to Wilhelm
Fitzenhagen.t In Mr. Paul Juon's translation into German of Modest
Tschaikowsky's life of his brother Peter, it is stated that the Varia-
tions were composed in December, 1876. Mrs. Newmarch's condensa
tion and translation into English of this monumental work says, after
the quotation of a short and dismal letter of Tschaikowsky to S. Tan-
eieff, dated February 10, 1877: "In spite of the bitterness left by the
comparative failure of 'Vakoula,' and the many other blows which

* The Italian adjective "rococo" means "old-fashioned." The noun means "antiquated style."

Mr. E. Markham Lee in his Life of Tschaikowsky says with reference to this title: "The term Rococo,
together with its companions Zopf and Baroque, refers to manner, and it is a term borrowed from architecture,
where it refers to a highly ornamental period, denoting a certain impress derived from the study of a school
of thought foreign to that of the artist's own natural groove. One would therefore not expect the theme of
this set of variations, although original, to be in Tschaikowsky's own distinctive style, nor is it really so, exhib-
iting rather a dainty Mozartean grace and simplicity together with a certain rhythmic charm."

"Rococo. The style of decoration into which that of the Louis Quinze period culminated, distinguished
for a superfluity of confused and discordant detail." J. W. MoUett's "Dictionary of Words used in Art and
Archseology."

Hence, according to the Standard Dictionary, "anything that is quaint, fantastic or tasteless in art or
literature."

t Wilhelm Karl Friedrich Fitzenhagen was born at Seesen, Brunswick, September 15, 1848. He died at
St. Petersburg, February 14, 1890. A distinguished violoncellist, he wrote much for his instrument.
He was violoncello professor at the Moscow Conservatory and 'cello leader of the Imperial Russian Musical
Society of the same city. Tschaikowsky's second quartet was first played at Nicolas Rubinstein's in Mos-
cow early in 1874 by £.aub, Hrlmaly, Gerber, and Fitzenhagen.

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278

his artistic ambitions had to suffer, Tschaikowsky, after his return to
Moscow, did not lose his self-confidence, nor let his energy flag for a
moment. On the contrary, although grieved at the fate of his 'favorite
offspring,' 'Vakoula,'" — the opera "Vakoula the Smith" was pro-
duced at St. Petersburg, December 6, 1876, and on December 14 the
composer heard that his orchestral "Romeo and Juliet" had been hissed
in Vienna, — "and at his unlucky debut as a composer in Vienna* and
Paris, although suffering from a form of dyspepsia, he was not only
interested in the propaganda of his works abroad, but composed his
Variations on a Rococo Theme for violoncello, and corresponded with
Stassov about an operatic libretto. The choice of the subject —
'Othello' — emanated from Tschaikowsky himself. When Stassov
tried to persuade him that this subject was not suitable to his tem-
perament, he refused to listen to arguments, and would only consider
this particular play." His enthusiasm cooled in a few months.

According to Mr. Juon's translation, the Variations were composed
in 1876, and during the season of 1876-77 Tschaikowsky also wrote
his Slav March, Op. 31; the symphonic fantasia, "Francesca da
Rimini," Op. 32; and the Valse Scherzo for violin and orchestra. Op.

*"Hans Richter, who conducted the Vienna performance of 'Romeo,' declared that the comparative
failure of the work did not amount to a fiasco. Certainly at the concert itself a few hisses were heard, and
Hanslick wrote an abusive criticism of it in the Neue Freie Presse but at the same time much interest, even
enthusiasm, was shown for the new Russian work." Mrs. Newmarch, "Lifeof Tschaikowsky," p. 191.

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279

34- He also sketched his fourth symphony and two-thirds of his
opera, "Eugene Oniegin."

Modest Tschaikowsky is usually careful to give the dates of first
performances of works by his brother. He does not give information
concerning the first performance of the Variations, but he refers to a
letter received by Peter from Fitzenhagen in June, 1879, in which the
violoncellist told him of the great success of this work as played by
him at a music festival at Wiesbaden. Liszt was present, and is re-
ported to have said, "This is indeed music." At this same festival
von Billow played Tschaikowsky 's first pianoforte concerto.

The Variations are scored for solo violoncello, two flutes, two oboes,
two clarinets, two bassoons, two horns, and strings.

A few introductory measures, Moderato quasi andante, leads to the
theme played by the violoncello, moderato semplice, A major, 2-4.
There are seven variations, interspersed with numerous cadenzas for
the solo instruments and separated by orchestral interludes. The first
two variations are in the tempo of the theme. The third. Andante
sostenuto, C major, 3-4, has a distinguished melody which is richly
accompanied. The fourth is an Andante grazioso, 2-4; the fifth an
Allegro moderato, 2-4; th« sixth an Andante, D minor. The seventh,
with coda, is of a brilliant nature.

The programme of Mr. P'rank Van der Stucken's concert in Chickering
Hall, New York, November 28, 1888, announced a theme and variations
"from concerto for violoncello" by Tschaikowsky, "accompaniment
for orchestra transcribed from the pianoforte arrangement by Mr.
Herbert and Mr. J. Ch. Rietzel."^ Mr. Herbert was the violoncellist.
Tschaikowsky never wrote a concerto for violoncello. He revised,
however, the Theme and Variations after publication, and the second
edition is the one known to-day. Is it possible that the title-page of
the first edition made any reference to a "concerto"? No biographer
of Tschaikowsky speaks of the composer's intention of writing a con-
certo for the violoncello.

^bamjf ^ou^t l^ljone^, <©jcforti 942, 4X330
#ranb (0pera Citkets jToot pall ®itkets5

280

ENTR'ACTE.
TAME ANIMALS AND MUSIC: AN INQUIRY.

BY JOHN F. RUNCIMAN.
(From the Saturday Review (London), October lo, 1908.)
To question the authority of Shakespeare on any matter whatsoever
has required some audacity since sundry gentlemen accompanied by
their ladies discovered that he is dead and set about devising a monu-
ment to his memory. However, the bones of the newly discovered
hero, regardless of the threat in his epitaph, were moved to West-
minster Abbey by a ha'penny morning paper for the purpose of laying
Sir Henry Irving's remains near them ; and encouraged by such temer-
ity, let us ask — but in all humility — if Shakespeare was quite correct
in his description of the efifect of music on animals. Let us consider
one passage:

"For do but note a wild and wanton herd.
Or race of youthful and unhandled colts

If they but hear perchance a trumpet sound,
Or any air of music touch their ears.
You shall perceive them make a mutual stand,
Their savage eyes turned to a modest gaze
By the sweet power of music."

Is this indeed so ?

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281

Indeed it is not so. Shakespeare drew this from imagination, not
from memory's store of observed facts. Lorenzo on that moonHght
night described things as his mood would have them be, not as they
are. Not even as they were in Shakespeare's time, unless we are
prepared to accept the theory that just as in the period between him
and Orpheus trees and the mountain tops that freeze had given up
following itinerant fiddlers, so since his time youthful and unhandled
colts and other animals have ceased to make mutual stands and to
turn their savage eyes to modest gazes under the sweet power of music.
We cannot assume this: it is bad natural history and worse evolu-
tionary history. Darwin would have scornfully rejected it, and so,
in all probability, would Spencer and Owen. It is a sad truth that
nowadays the effects of music are not soothing. The beanfeaster's
comet may petrify human beings to a mutual stand for a moment,
but it makes cab-horses bolt. Most dogs howl when the sweet power
of music is tried on them. Most cats twitch their ears nervously and
run home. Even well-bred parrots will mutter unintelligible but
doubtless terrible maledictions. Shakespeare loved music with a de-
vouring love and ruthlessly sacrificed innocent plain facts to justify
his passion. See how fiercely he condemned "the man that hath no
music in himself." Yet with the exception of Shakespeare himself,
Milton and Browning, the poets resembled Charles Lamb in that they

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(60 BAY STATE ROAD, BOSTON)

TEACHER OF SINGING

According to the method of the old Italian masters of singing. A pupil
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Charlotte Grosvenor

as Gilda in Vcrdi^s

"RIQOLETTO"

New York, May 21.

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three nights in "Faust," and last night I heard her as Gilda in "Rigoletto."
If my "vision " was lovely in her pale blue satin and pink roses as Violetta,
and a Madonna by an old master as Margherita, as Gilda she was a
"dream." Centuries rolled back as one gazed on her, a castle seemed to
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three times, and she sang all of the part well. That flawless intonation re-
fuses to be lured from any note this singer utters. I have tried to analyze
in what consists her charm as a singer and it all reduces itself to the one
simple truth, that she can really sing. As far as I can make out from my
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tresses, and then those "horrors" called "experienced artists" who can
take a part at a moment's notice and tear it to pieces. Why not add a
" vision " in pale blue satin and pink roses who can sing, or a madonna by
an old master with a beautiful legato, or a dream-maiden with a beautiful
smile and a flawless intonation?? Hammerstein and Gatti Casazza take
note ! ! ! We patient season-ticket holders swallow whole singing actresses
and professional beauties, but we are tired to death of the eternal experi-
enced artist who tears things, and in her place why not give us a few
"visions," "madonnas," and "dream-maidens" who can sing? Made in
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AN OLD OPERA-GOER.

283

had "no ear." Carlyle had no ear, and tried a thousand times to
make Shakespeare's utterance carry another meaning than its obvious
one. But Shakespeare was wrong about men, just as he was wrong
about animals. Men, said Sancho Panza, are as God made them and
often a good deal worse; and they may look after themselves. Animals
remain as God made them, and are comparatively helpless. May not
we, misled by Shakespeare, wrong them in expecting from them that
which it is not in their nature to give ?

Opportunities of studying animals in a wild state are scarce. Mr.
Selous prefers a rifle to a concertina for persuading his big game to
make a mutual stand. Mr. Roosevelt's lions, in these days, wear
trousers or petticoats, and are trapped in his drawing-room or at his
dinner- table ; and that amazing personage, Mr. Garnier, was much
too busy writing books to observe the effect of a piano on those apes
of which we have all heard so much more talk than he ever did. As
for tame animals, careful studies have still to be made. Novelists
use cats and dogs chiefly for decorative purposes. A cat meanders
through some chapters of "Daniel Deronda," but it is not a cat of
high intelligence; and Dickens makes no reference to the musical
proclivities of either Bill Sykes' dog or Hugh's — even Grip the raven
is not alleged to have done any singing. Playwrights touch neither
dogs nor cats. Excepting under the eye of a severe trainer they
cannot be relied on. The dog that played the piano ran away when
some one shouted "rats," and the piano proved to be a mechanical
one. We have heard of a play written round a poodle, but who has
seen it? Mr. Shaw ought to study animals and do something in that
line, if he is not occupied in dramatizing the forty-seventh proposition
of the first book of Euclid (Euclid, by the way, is too much neglected
by dramatists).

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The tales commonly recounted of the feats of animals cannot be
trusted as evidence. For the purpose of amusing (or boring) our
friends, or for profit, we may accept and retail any story; but in mak-
ing a scientific investigation like the present, when the reputation of
a Shakespeare is in the balance, we must weigh all we hear and cannot
be too careful. When to the sessions of sweet silent thought Shakes-
peare summoned up remembrance of things past, he ought with
microscopic pains to have gone over some of the colt stories he had
heard. He would then have been less eloquent about modest gazes
and mutual stands. We should have lost some fair poetry and found
fewer untruths in the poetry. I have kept and nurtured many pets,
but nothing startling in the musical way came of them. There was,
for example, Felix Mendelssohn-Bartholdy. This cat was given to me
by a thorough musician, and every care was bestowed on his education.
He had ample opportunities of hearing fine music of every description
in my own household. With such a name and such chances, surely
if ever cat should have developed extraordinary musical powers, this
was the cat. But, incredible though it will seem to those who blindly
follow Shakespeare, he had no more taste or judgment than a musical
critic. He never learnt to distinguish between "Knocked 'em in the
Old Kent Road" and a Bach fugue. The majority of critics can do
that, though their writings do not often lead one to think so. Felix
liked to sit on the piano and see the hammers flying; but he had no
regard for the instrument as a musical instrument at all, and was
wont to drop meat, cheese, fish, and dead mice into it. When Mr.

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Balling got out his viola-alta, he watched the tip of the bow, and after-
wards examined it curiously, and tried to make it squeak by tapping
it with his paw. Of the fiddle he took no notice. He evidently thought
the sounds came from the bow, which was a poor conclusion for a cat
whose education had cost such pains. Then there was Mopsy. Un-
doubtedly, he liked the vibrations caused by the piano ; but he discerned
no difference between a mellifluous third and a harsh minor ninth.
In fact, he was not ill-pleased if one sat on the keyboard. Dixie, an
Irish terrier, lifted up his head, stretched his throat, and emitted an
agonizing note, and this we called his singing. He was given bits of
sugar to do it to a piano accompaniment, but, though the thing had
become a habit with him, I am certain it had its origin with the com-
motion in his inside produced by music. This is true, I believe, of all
dogs that persist in joining in with the strains of a band. Their case
is the reverse of the case of S. Gregory, who always had pains in his
inside excepting while Mass was being sung. A rabbit I had used to
run up and down the keyboard, and he ate a great quantity of sheet
music; but he had no music in his soul, however much there might be
at times in his stomach.

These are my experiences. As for other credible tales, even the most
interesting only show that music is, for all animals, a kind of. noise,
and that in certain case, they associate noises with ideas. The war-
horse and the trumpet is a familiar instance, and I heard the other
day of a horse who had been in the South African war: he turned and
fled when a pistol was let off. There seems little hope that animals
will develop within the next million years, — wild animals because they
hear no music, and domestic ones because of the music they hear.
On that something might be said, only my subject is "Tame Animals
and Music," not "Animals and Domestic Mlisic." I don't know

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whether young ladies home from school ought to be classed as Domestic
Animals. Certainly, they are becoming more and more undomesti-
cated, and certainly are as little sensitive to fine music as any qat or
dog. But consider the music whose sweet power the majority of them
are subjected to. I would rather hear the pianola than a piano mal-
treated by an ill-taught girl, but pianolas, pianos, and indeed all decent
instruments seem in course of- being driven out by that abomination,
the gramophone. This is not an invention of the Evil One, — he would
have made it more sweetly seductive. It is the very product of that
stupidity against which the gods are powerless. Go through the streets
of Suburbia and listen: the noises proceeding from family sitting-
rooms proclaim loudly the news of tastes depraved, of harmless men
being driven frantically to drink, of wrecked homes, jail, and suicide.
Under the sweet power of such music human beings rapidly sink lower,
musically, than cats or dogs, — they even sometimes learn to like such
noises, which cats and dogs never do. A man who will buy a gramo-
phone and take it home will poison his innocent children. A man
who will insist on his invited guest listening to the infernal invention
will shoot the guest in the back.

MUSIC AND CHARITY.

(From the Daily Telegraph, London.)

"O Charity, Charity, how many taradiddles are uttered in thy
name!" Though this is not precisely what Madame Roland observed,
it will serve, since it is at least as true. Music almost more than any
other of the arts is in a chronic condition of helping on the sacred cause
of charity. And mighty well she does her work, performs her labor
of love. None but a churl would have it otherwise. But — there is

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290

a "but," for all things are not what they seem in the matter of music
and charity- Much is done unthinkingly by charity promoters, on the
basis that the end justifies the means, but those whose lot it is to
mingle with all sorts and conditions of musicians know that to many
of the latter the "sacred cause of charity" spells something very like
ruin. The bitter cry of the practical musician, instrumentalist, vocal-
ist, and, to some extent, composer, has not yet, perhaps, been uttered
aloud ; but it has been and is being constantly muttered, as all who are
cognizant of our musical life and its conditions of competition and
the like are only too well aware. It is more than likely that the time
is not far off when the discontent now only smouldering will burst into
flame, and the artists make their perfectly reasonable demand that
a broader interpretation be put upon the word "charity," that they,
too, have their share of it. A step in this direction has, as a matter
of fact, already been taken, for in the agreements to be signed by all
soloists engaged to appear at certain established and important con-
certs there is a clause which debars the artists from performing else-
where for a lesser or for no fee. As these particular concerts give a
cachet to an artist, he must (and, of course, is only too glad to) fall
in with this clause.

The term "charity" already covers a wide area. There is that
form which is for the benefit of the blind, the maimed, and the halt.

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291

There is another (though somewhat disguised) that ministers by means
of the multifarious Sunday concerts to the wants of — whom? Those
for whom they were primarily intended, the busy but poor bee, who
on the six working days of the week has not the leisure to attend a
concert (or, what is part and parcel of the same idea, visit a museum) ?
Not a bit. It is notorious that the more important of these concerts
are patronized by those who have "nothing to do to kill time" on a
L-ondon Sunday afternoon, who yet can perfectly well afford the time
(and the money) to extend their patronage to week-day concerts.
Do these "art patrons" realize where the charity comes in that on the
seventh day the fees fpr orchestras and artists are not doubled, as
justice and reason alike would seem to demand, but are actually halved
in most cases?

Up to a few years ago it was only on the rarest occasions (and then
usually to foreign musicians) that the management of the provincial
musical festivals thought fit to pay the composer of a "commissioned"
work any fee at all, or even to defray the travelling expenses to which
he was put in going personally to conduct his work. Few composers
are in a sufficiently substantial financial position to give a year's work
for nothing and to pay for the privilege of conducting it. We know
the case of a young Englishman whose life was one long struggle, bravely
and enthusiastically borne, to obtain the bare necessaries of existence,
who, on being invited to a wealthy musical city to direct a gratis per-
formance of one of his works, actually was compelled by his circum-
stances to sleep the long night through upon a public bench on the
cliffs above the sea, waiting wearily for the first morning train to
bring him back to town. To this type of musician is any kind of
"charity" extended once his academic scholarships are expired and he
is adrift on the ocean of life ?

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293

By common consent, the encore nuisance is another form of one-
sided charity. A performer, whose stock-in-trade is his voice or his
skill upon some instrument, is paid a fee for certain work. Having
accomplished that which is legitimately asked of him, is it either just
or common-sense business to demand more, for which he receives
nothing? A great many , musicians of the ingenuous or mediocre
kind look upon an encore as a compliment to them, with never an idea
that in a vast number 6f cases the applauders are merely "earning"
their free tickets.

Do the butcher, the Isaker, the candlestick-maker, throw in such
bonuses with your purchases? A pity, indeed, that the encore cannot
be regarded as coming within the meaning of the Secret Commission
Act. Mr. Henry J. Wood has been known to adopt a very subtle
form of punishment for the too exigent of the audience on the occasion
of encores, which upset the balance of a programme that has cost much
thought in the making. He simply omitted a later number from the
printed scheme. But so drastic a measure has this weak point that
the good are punished for the faults of the evil. Only a short time
ago a well-known Londoner protested loudly that he attended a con-
cert for the express purpose of hearing one particular work. When,
however, its place in the programme was reached, the piece was omitted,
because a too-lenient singer had used the time it was to have occupied
in ministering, by means of an encore, to the inconsiderate demands
of a handful of the large audience.

It is curious that the generally prevalent, but entirely fallacious,
idea is that by giving his services to charity, by performing "free,
gratis, and for nothing," the artist is giving that which costs him
nothing. For obviously the musicians, who receive no fee whatever
for their services on such occasions, are literally "running the show"

LOUDON CHARLTON

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his management this season:

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Mme. Mary Hissem de Moss Mr. Theodore Spiering

Mr. Qeorge Hamlin* Miss Geraldine Morgan

Mr. Francis Rogers * Mr. Henry Bramsen

Miss Leila Livingston Morse Mr. Albert Rosenthal

Miss Cecelia Winter Mr. Edwin H. Lemare*

Miss Gertrude Lonsdale The Flonzaley Quartet*

* Artists thus designated will be heard here in recital this season. Specific announce-
ments in later issues.

294

at their own expense, neither more nor less, since theV are charging
nothing for their wares, their stock-in-trade which is their means of
livelihood. A beginner, for whom, by the way, the excuse for a free
appearance may be made that any appearance is better than none,
may be mulcted in the cost of a new gown if she is to appear at a par-
ticularly "smart" charity concert. But this is as nothing by com-
parison with the price paid by the well-known artist, a price w^ell-nigh
incalculable, since he is spoiling his own market, while the visitor
who pays a guinea for charity will not pay the half of that to attend
the singer's own concerts. It is said that each concert-hall in London
has, roughly, its own audience. Much the same is as true of charity
concert audiences, a large number of whose members hear no other
than "charity" music during the year; and a grievous complaint
in the profession is that, while the elect are constantly being pressed
to lend their services, no form of reciprocity is practised by the organ-
izers, who neither engage the said artists for their private "parties"
nor attend their concerts. There is some truth in a statement once
made, some years ago, to the present writer by an eminent singer,
that, paradoxical though it may seem, the -less a well-known artist
appears in public, the greater demand there is for his services, and the
more, therefore, these artists lend their art for nothing, bv so much
do they discount the public demand for them.

As a general rule, — for all are not Pattis or Santleys,— the "life"
of a vocal artist is a short one, shorter than almost any other. Here
to-day, gone to-morrow, is true of an enormous number, and the case
of the distinguished singer who, holding an exalted position here
some years ago, toured the Colonies, only to find on returning that
a dozen had since filled the place once occupied so easily, is by no
means singular. On no professional folk is it so incumbent to make

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295

hay while the sun shines as upon the singers. Their public life is short,
far too short for them to make themselves independent or to lay up
a sufficient provision for old age, even if all received the fabulous fees
so often attributed by those ignorant of the facts to singers in general.
The days of fancy fortunes for vocalists (with very rare exceptions)
are gone with the advent of the enormous body of competitors out of
all proportion to the prizes that are to be won. Not long ago a well-
known musician said with some truth and much bitterness that only
they made fortunes as musical soloists who opened their careers with
a violin in one hand and a feeding-bottle in the other. These happy
children of fortune are, however, carefully guarded; kept, as it were,
under lock and key, and are very rarely permitted to appear at pseudo-
charity concerts.

Whether anything will be brought about to mitigate or, perhaps,
abolish the undoubted grievance by the movement now on foot among
artists remains to be seen. For the present we must rest content
with the knowledge that the attempt is being made. The spirit of
benevolence is deep in the human breast, but in none deeper than in
the musician's. But no true explanation has ever been vouchsafed
as to why every person practically employed at charity concerts should
receive his fee, with the single, solitary exception of the principal attrac-
tion, — the musician.

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296

Symphony in D minor, No. 4, Op. 120 . . . . Robert Schumann

(Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856.)

This symphony was composed in 1841, immediately after the Sym-
phony in B-flat major, No. i. According to the composer's notes it
was "sketched at Leipsic in June, 1841, newly instrumentated at Diis-
seldorf in 1851. The first performance of the original version at the
Gewandhaus, Leipsic, under David's direction, December 6, 1841."
Clara Schumann wrote in her diary on May 31 of that year: "Robert
began yesterday another symphony, which will be in one movement,
and yet contain an adagio and a finale. I have heard nothing about
it, yet I see Robert's bustle, and I hear the D minor sounding wildly
from a distance, so that I know in advance that another work will
be fashioned in the depths of his soul. Heaven is kindly disposed
toward us: Robert cannot be happier in the composition than I am

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297

when he shows me such a work." A few days later she wrote:
"Robert composes steadily; he has already completed three move-
ments, and I hope the symphony will be ready by his birthday."

Their first child, Marie, was born on September i, 1841, and on the
thirteenth of the month, his wife's birthday, Marie was baptized and
the mother received from her husband the D minor symphony; "which
I have quietly finished," he said.

The symphony was performed for the first time at a concert given by
Clara Schumann in the Gewandhaus, lycipsic, December 6, 1841. The
programme included Schumann's "Overture, Scherzo, and Finale," de-
scribed as "new"; the Symphony in D minor, then entitled the "Sec-
ond"; piano pieces by Bach, Bennett, Chopin, Mendelssohn, and Liszt
("Fantasia on Themes of 'Lucia'"); an aria from "Don Giovanni,"
sung by one Schmidt; Schumann's "Two Grenadiers," sung by Pogner;
a Rhine wine song by Liszt for male chorus (sung by students) ; and
a duet, "Hexameron," for two pianos by Liszt, which was played by
Clara Schumann and the composer. The Allgemeine Musikalische
Zeitung found that in the orchestral works there was no calmness,
no clearness in the elaboration of the musical thoughts; and it re-
proached Schumann for his "carelessness."

The "Hexameron" was the feature of the concert, as far as the audi-
ence was concerned. Clara wrote: "It made a furore, and we were

Miss FRANCES L THOMAS

.. Corsetiere ..

BERKELEY BUILniNC - BOSTON, MASS.

298

obliged to repeat a part of it. I was not contented: indeed, I was
very unhappy that night and the next day, because Robert was not
•satisfied with my playing, and I also was vexed because Robert's
symphony was not especially well performed. Then there were many
little accidents that evening, — the carriage, forgotten music, a rickety
piano stool, uneasiness in the presence of Liszt, etc." There was an
audience of nine hundred.

Schumann was not satisfied with the symphony, and he did not pub-
lish it. In December, 1851, he revised the manuscript, and the sym-
phony in the new form was played for the first time at the Diisseldorf
Festival, May 15, 1853. During the years between 1841 and 1853
Schumann had composed and published the Symphony in C (No. 2)
and the Symphony in E-flat (No. 3) ; the one in D minor was published
therefore as No. 4.

This symphony was performed in Boston for the first time at a Phil-
harmonic Concert, led by Carl Zerrahn, February 7, 1857. The pro-
gramme was as follows : —

PART I.

1. Symphony in D minor, No. 4 Schumann

(First time in Boston.)

2. Grand Fantasia for Violin Ernst

Mr. Eduard MollenhauEr.*

3. Second Part from "Hymn of Praise" Mendelssohn

(By request.)

PART II.

4. Grand Overture to Goethe's "Faust" Wagner

(By request.)

5. La Sylphide: Grand Fantasia Mollenhauer

Mr. Eduard MollEnhauer,

* Eduaxd Mollenhauer, bom at Erfurt in 1827, studied the violin with Ernst and Spohr. He landed in
New York in 1853 as a member of Jullien's famous orchestra. He composed an opera, "The Corsican Bride"
(New York, 1861), operettas, string quartets, violin pieces, songs, etc. He played as a soloist at Keith's
Theatre in Boston in the season of 1905-06 .

Mme. y. C. Rondelle

de Paris
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Original Designs

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299

6. Terzetto prom "Attila" (with solos for clarinet, English horn,

and bassoon) Verdt

Messrs. SchtjlTz, de Ribas Hunstock.

7. Overture, "Semiramis" Rossini

Mr. John S. Dwight found many beauties in the new symphony ; but
he also said — and the year was 1857 — that the orchestration of Wag-
ner's "Faust" overture was "masterly": "clearer and more eupho-
nious, it seemed to us, than much of Schumann's."

It was said for many years that the only changes made by Schumann
in this symphony were in the matter of instrumentation, especially
in the wood- wind.* Some time after the death of Schumann the
first manuscript passed into the possession of Johannes Brahms, who
finally allowed the score to be published. It was then found that
the composer had made important alterations in thematic develop-
ment. He had cut out elaborate contrapuntal work- to gain a broader,
simpler, more rhythmically effective treatment, especially in the last
movement. He had introduced the opening theme of the first move-
ment "as a completion of the melody begun by the three exclamatory
chords which make the fundamental rhythm at the beginning of the ^
last movement." And, on the other hand, some thought the instru-
mentation of the first version occasionally preferable on account of
clearness to that of the second. This original version was performed
at a Symphony Concert in Boston, March 12, 1892. It was performed
by the Philharmonic Society of New York, February 13, 1892.

It was Schumann's wish that the symphony should be played without
pauses between the movements. Mendelssohn expressed the same

* Schumann wrote from Dusseldorf (May 3, 1853) to Verhulst in Rotterdam that the "old symphony"
was performed almost agamst his will. "But the members of the committee, who heard it lately, urged me
so hard that I could not resist them. I have thoroughly re-instrumentated the symphony, and truly in a better
and more effective way than it was scored at first."

300

wish for the performance of his "Scotch" Symphony, which was pro-
duced nearly four months after the first performance of this Sym-
phony in D minor.

The symphony is scored for two flutes, two oboes, two clarinets,
two bassoons, two trumpets, three trombones, kettledrums, and strings.

The first movement begins with an introduction, Ziemlich langsam
(Un poco lento), in D minor, 3-4. The first motive is used later in the
"Romanze." The orchestra gives out an A which ser^^es as background
for this motive in sixths in the second violins, violas, and bassoons.
This figure is worked up contrapuntally. A dominant organ-point
appears in the basses, over which the first violins play an ascending
figure; the time changes from 3-4 to 2-4.

The main body of this movement, Lebhaft (Vivace), in D minor,
2-4, begins forte with the development of the violin figure just men-
tioned. This theme prevails, so that in the first section there is no
true second theme. The characteristic trombone figure reminds one
of a passage in Schumann's Piano Quartet in E-flat, Op. 47, and there
is a heroic figure in the wood-wind instruments. After the repetition
comes a long free fantasia. The true second theme, sung in F major
by first violins, appears. The development is now perfectly free.
There is no third part.

The Romanze, Ziemlich langsam (Un poco lento), in D minor — or,
rather, A minor plagal — opens with a mournful melody said to be
familiar in Provence, and Schumann intended originally to accompany
the song of oboe and first 'cellos with a guitar. This theme is followed
by the dreamy motive of the Introduction. Then the first phrases
of the Romanze are sung again by oboe and 'cellos, and there is a

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301

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302

second return of the contrapuntal work — now in D major — with
embroidery by a solo violin. The chief theme brings the movement
to a close on the chord of A major.

The Scherzo, Lebhaft (Vivace), in D minor, 3-4, presents the devel-
opment of a rising and falling scale-passage of a few notes. The Trio,
in B-flat major, is of a peculiar and beautiful rhythmic character.
The first beat of the phrase falls constantly on a rest in all the parts.
The melody is almost always in the wood-wind, and the first violins are
used in embroidery. The Scherzo is repeated after the trio, which
returns once more as a sort of coda.

The Finale begins with a short introduction, Langsam (Lento), in
B-flat major, and it modulates to D minor, 4-4. The chief theme of
the first movement is worked up against a counter-figure in the trom-
bones to a climax. The main body of the movement, Lebhaft (Vivace),
in D major, 4-4, begins with the brilliant first theme, which has the
character of a march, and it is not unlike the theme of the first move-
ment with its two members transposed. The figure of the trombones
in the introduction enters. The cantabile second theme begins in B
minor, but it constantly modulates in the development. The free
fantasia begins in B minor, with a G (strings, bassoons, trombones),
which is answered by a curious ejaculation by the whole orchestra.
There is an elaborate contrapuntal working-out of one of the figures
in the first theme. The third part of the movement begins irregu-
larly, with the return of the second theme in F-sharp minor. The
second theme enters in the tonic. The coda begins in the manner of
the free fantasia, but in E minor; but the ejaculations are now fol-
lowed by the exposition and development of a passionate fourth theme.
There is a free closing passage, Schneller (Pii^ moto), in D major, 2-2.

For a poetic appreciation of the many beauties of this romantic
symphony see W. J. Henderson's "Preludes and Studies" (New York,
1891).

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304

First orchestral trip next -week. There will be no public
rehearsal and concert on Friday afternoon and Saturday
evening, November sixth and seventh.

Fifth Rehearsal and Concert*

FRIDAY AFTERNOON, NOVEMBER J3, at 2.30 o'clock.

SATURDAY EVENING, NOVEMBER J4, at 8 o'clock.

PROGRAMME.

Tschaikowsky . . . - . Symphony No, 6, "Pathetic"

Other selections announced later.

SOLOIST,
Miss JEANNE GERVILLE-REACHE,

Of the Manhattan Opera Company, New York.

305

VIOLIN RECITAL

RICHARD CZERWONKY

Wednesday Evening, November U, at 8. J 5

PROGRAM

1. SONATA IN A . . . Handel

2. FANTASIA APPASSIONATA Vieuxtemps

3. (a) ADAGIO Viotti

{i>) ZEFIR Hubay

4. AIRS HONGROISES Ernst

Mb. carl LAMSON, Accompanist
Reserved Seats, 75c., $1, $1.50. Tickets are now on sale at the hall

(Oxford 1330)

THE HUME PIANO USED

Mr. and Mrs.
DAVID MANNES

Aimoimce a series of

THREE SONATA RECITALS

VIOLIN AND PIANO

Friday Evenings, December 4, J 908, January 29, February
J9, J909, at 8J5 o'clock

Subscription Tickets, $3.00 and $2, according to location, now on
sale at Steinert Hall, Boston. Telephone, Oxford 1330.

STEINWAY PIANO USED

A PIANOFORTE RECITAL

Will be given by

Mr. LOUIS BACHNER

MONDAY AFTERNOON, NOVEMBER 23, AT 3 O'CLOCK

Reserved seats at 75c., $J.OO, $1.50, may be engaged at the Hall, or by tele-
phone, Oxford J 330.

Mr. HEINRICH MEYN, Baritone

Assisted by Mr. COENRAAD V. BOS, the World's Greatest Accompanist

Will give a

SONG RECITAL

on I

THURSDAY EVENING, DECEMBER JO

Tickets, $1.50, $L00, 75c., are now on sale at the Hall

306

IM CZERWONKY
String Quartet

RICHARD CZERWONKY, First Violin CARL SCHEURER, Viola

WILLY KRAFT, Second Violin RUDOLF NAGEL, Violoncello

Beg to announce THREE C/ONC^ElxXib to be given on

Wednesday Evenings, December 9, February \0, and March 24

Course tickets, $3.00 and $2.00, at the Hall. Tickets for single concerts, $1.50, $1.00

Miss

CAROLYN LOUISE WILLADD c.^)

Announces a PIANOFORTE RECITAL
to be given on

Wednesday Afternoon, /November 18, at three o'clock

Reserved Seat Tickets, at 50c., ;^i.oo, J1.50, are on sale at the Hall, or may be ordered

by telephone (Oxford 1330)

(Miss Willard is a former pupil of Leschetizky in Vienna, and a co-laborer

with Mrs. Zeisler)

THE STEINWAY PIANO USED

NEW JACOB SLEEPER HALL

688 BOYLSTON STREET (Next to Public Library)

HoFfmann Quartet

J. HOFFMANN, ) xr.^. K. RISSLAND, Viola

A. BAK, i VicAin^ q BARTH, Violoncello

THREE CHAMBER CONCERTS

On Monday Evenings, November 16, Decem-
ber 14, February 1, at 8.15 o'clock

Assisting Artists : Messrs. Charles Anthony, Richard Piatt, Walter Spry (Chicago), and others to be an-
nounced.

The programs will be selected from compositions by Haydn, Mozart, Beethoven, Schumann, Borodin
Foote, Max Reger, Castillon, etc.

PROGRAM FOR THE FIRST CONCERT, NOVEMBER 16

Quartet in D major (K. V. 499) ....... Mozart

Sonata in C major, Op. 72. For violin and pianoforte .... Max Reger

(ist time)
Second Quartet (in D major) . ...... Borodin

Mr. CHARLES ANTHONY Assisting

Mason & Hamlin Pianoforte used

Subscription tickets at $4.00, $2.50, ;?i. 50; (balcony unreserved) on sale at 688 Boylston Street, Treasurer's
office, or orders (accompanied by check) maybe mailed to J. Hoffmann, 90 Gainsborough Street, Boston.
Single Tickets, $1.50, ^i.oo, 50 cents.

307

The

Hess - Schroeder
Quartet

PROF. WILLY HESS, First Violin

J. VON THEODOROWICZ, Second Violin

EMILE FERIR, Viola

ALWIN SCHROEDER, Violoncello

Will give Five Chamber Music Concerts on
Tuesday Evenings ^at 3A5

NOVEMBER 17, 1908

DECEMBER 22, 1908

JANUARY 19, 1909

MARCH 2, 1909

MARCH 23, 1909

At CHICKERING HALL

PROGRAMME for First Concert, November 17

I. QUARTET in C major . . . . Mozart

II. QUARTET in A major, Op. 41, No. 3 . Schumann

III. QUARTET in G major, Op. 18, No. 2 . '. Beethoven

Season Tickets for Five Concerts, $6, $4, and $2.50, according
to location, now on sale at Box Office, Symphony Hall.

Single Tickets, $1.50, $1.00, and 50 cents, on sale on and after
Monday, November 9.

DEBUCHY'S CONCERT . SYMPHONY HALL

Tuesday Afternoon, November 17, at 2.30

Mm£: CALVE

And an orchestra of 74,
ALBERT DEBUCHY, Conductor

TICKETS, $2.50, $2.00, $1.50, $1.00

Sale opens at Symphony Hall next Monday,

November 2

JORDAN HALL SPECIAL ENGAGEMENT

Isadora Duncan

In Classic Dances

Wednesday Evening, November 11, at 8.15

Thursday Evening, November 12, at 8.15

A REVIVAL OF THE GREEK ART OF 2,000 YEARS AGO

Miss Duncan will dance and interpret in pantomime a special pro
gramme of classical music. The music will be played by an orchestra.

FURTHER DETAILS LATER

Tickets $2.00, $1.50 and $1.00, on sale at Symphony Hall on and after Monday,
November 2. Mail orders may be addressed to L. H. Mudgett.

309

SPECIAL ANNOUNCEMENTS

Jordan Hall| Monday Afternoon, November 2

THREE O'CLOCK

Piano Recital by EMIL SAUER

PROGRAM

I. Concerto, D minor, Friedematm Bach. Transcribed by August Stradel. Molto maestoso e
pesante. Grave. Fuga. Largo. Finale. 2. Sonata No. i, D Major, Emil Sauer. Mod-
erato assai. Scherzo. Intermezzo. Tama con variazione. 3. {a) Impromptu, Op. 142, No.
i, Schubert. (6) Scherzo, "Midsummer Night's Dream," Mendelssohn. 4. (a) Ballade,
Op. 38, No. 2 ; {b) Nocturne, Op. 27, No. a; (c) Study, Chopin. 5. {a) Nocturne, Op. 54,
No. 4, Grieg, (b) Gnomenrkigen, Liszt. 6. Tarantelle, " Venezia e Napoli," Liszt.

Tickets now on sale at Symphony Hall. Prices, 50c., $1, $1.50 and $2.

Symphony Hall, Friday Afternoon, November 6, at 2.30

Mme. Sembrich in song Recitai

MR. ISIDORE LUCKSTONE AT THE PIANO
TICKETS, $2.00, $1.50, and $1.00, now on sale.

Symphony Hall, Monday Evening, November 9, at 8

A « « ^^ « « Assisted by

Apollo Club Geraldine Farrar

EMIL MOLLENHAUER, Conductor and COMPLETE ORCHESTRA

1871 — 200th CONCERT — 1908

TICKETS, $2.50 and 2.00

Public Sale opens Monday, November 2

Jordan Hall, Monday Afternoon, November i6, at 3

Dr. Ludwig Wiillner RecLi

TICKETS, $1.50, $1.00, and 50c.

At Symphony Hall on and after Monday, November 9

310

THF

KNEISEL QUARTET

FRANZ KNEISEL, Tim Violin LOUIS SVECENSKI, VicU

JULIUS ROENTGEN, Second Violin WILLEM WILLEKE, ViolmuBa

TWENTY-FOURTH SEASON, 1908-1909

FENWAY COURT

FIVE CONCERTS

TUESDAY EVENINGS

at 8.15 o'clock

November lo .

. 1908

December 8 ...

1908

January 5 ...

. 1909

February i6[.

1909

March 16 . . .

. 1909

ASSISTING ARTISTS:

Miss KATHARINE GOODSON Mr. OSSIP QABRILOWITSCH

Mr. ERNEST CONSOLO Mr. COURTLANDT PALMER

Mr. ARTHUR FOOTE

PROGRAM OF FIRST CONCERT
Haydn ..... Quartet in E-flat, Op. 33, No. 2

Courtlandt Palmer ...... Quintet in A minor

For Pianoforte, two Violins, Viola and Violoncello. (M.S. first time)
Beethoven . . . . . Quartet in C major, Op. 59, No. 3

ASSISTING ARTIST

Mr. COURTLANDT PALMER

THE PIANO IS A STEINWAY

Subscription tickets for season of five Concerts, ^56.25. Tickets for single
Concerts, ^1.50, $1.00. Now on sale at

THE BOSTON MUSIC CO. (G. Schirmer)
26 and 2? WEST STREET

811

SYMPHONY HALL - BOSTON

FRIDAY EVENING, NOVEMBER

THIRTEENTH, NINETEEN

HUNDRED and EIGHT, at EIGHT

O'CLOCK

THE NIGHT BEFORE THE FOOTBALL GAME AT

CAMBRIDGE

SECOND JOINT CONCERT by the Glee,
Mandolin, and Banjo Clubs of

HARVARD

and DARTMOUTH

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, ;^i.50 and $\.oo

812

Woolsey Hall - - New Haven

FRIDAY EVENING, NOVEMBER

TWENTIETH, NINETEEN

HUNDRED AND EIGHT, AT EIGHT

O'CLOCK

THE NIGHT BEFORE THE FOOTBALL GAME
AT NEW HAVEN

NINTH JOINT CONCERT

by the Glee, Mandolin,
and Banjo Clubs of

Yale and Harvard
Universities

TICKETS, $i.so and ^i.oo

313

TOWN HALL - - - MEDFIELD, MASS.

Wednesday Evening, November J 8, at 7.30

AMERICAN STRING QUARTETTE

GERTRUDE MARSHALL, First Violin ETHEL BANKART, Viola

EVELYN STREET, Second Violin GEORGIE PRAY LASELLE, Violoncello

Mr. HEINRICH QEBHARD Assisting

Programme

Dvorak • Quartet for Strings, Opus 96, in F

Benjamin Godard Three Duettini from Opus]i8, for two violins, with piano accom-
paniment.

Schumann Piano Quintet, Opus 44

Mail orders, accompanied by cheque made payable to Miss Evelyn Street, Medfield, Mass.,

will be filled in the order of their reception. Tickets, 50 cents.

Mason & Hamlin Piano used

HUNTINGTON CHAMBERS HALL
FOR RECITALS
30 HUNTINGTON AVENUE

The Boston Symphony Orchestra Programie

F. R. COHEE,

Symphony Hall, Boston.

314

Alfred Peats Wall Paper

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116=120 SUnriER STREET

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The standard hotel of the South.

The cuisine of this hotel has made
Maryland cooking famous.

The only hotel in the world where the
Chesapeake Bay products. Fish, Oysters,
Terrapin, and Canvas-back Duck, are
prepared in their perfection.

MODERN IN EVERY DEPARTMENT

EUROPEAN PLAN

Rooms, $1.50 per day and upwards Fire-proof building

315

The LONGY CLUB

Will give three
concerts in

POTTER HALL

THE MONDAY EVENINGS

November 23 December 21

February 8

The programmes will be selected among
the following works:

BACH .... Aria for Soprano, flute, and 2 English horns

HAENDEL . . . Oboe Concerto with strings accompaniment

MOZART . Divertissement for 2 oboes, 2 horns, and 2 bassoons

BEETHOVEN .... Trio for 2 oboes and English horn

(First time at these concerts)

FALCONI Sextet for flute, oboe, clarinet, horn, bassoon, and piano

DESTENAY .... Trio for oboe, clarinet and piano

WOOLLETT . . 5 pieces for two flutes, clarinet, horn, and piano

ENESCO . Symphonic for 2 flutes, oboe, English horn, 2 clarinets,

2 horns, and 2 bassoons
(New, and first time in America)

CAPLET Suite Persane for 2 flutes, 2 oboes, 2 clarinets, 2 horns, and

2 bassoons

LOEFFLER .... Rapsodies for oboe, viola, and piano

MALHERBES Sextet for flute, oboe, EngUsh horn, clarinet, horn,

bassoon

PIERNE Pastorale Variee for flute, oboe, clarinet, trumpet, horn, and

2 bassoons

Assisting Artists to be announced

316

SANDERS THEATRE, Cambridge

Boston
SymphonyOrchestra

MAX FIEDLER, Conductor

Twenty»eighth Season, Nineteen Hundred Eight and Nine

THURSDAY EVENINGS AT 8

November 19 December 10 January 21

February 11 March 4 April i and 29

SOLO ARTISTS

Miss LILLA ORMOND, Contralto Miss NINA FLETCHER, Violinist

Miss GERMAINE ARNAUD, Pianist Mr. GEORGE PROCTOR, Pianist

Miss LAURA HAWKINS, Pianist Mr, WILLY HESS, Violinist

Tickets on sale at Kent's University Bookstore, Harvard Square

317

318

MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and

SOPRANO SOLOIST

Hiss HARRIET S. IHITTIER, st-"'"- ^'o "-tin^fn Avenue. ■

Elxponent of the method of the late Charles R. Adams.
Portsmouth, New Hampshir*, Mondays.

Mr. CHARLES B. STEYENS.

TEACHER OF Si/NGiNG.

STUDIOS,
Suite 14, Steinert Hall, 162 Boylston St.

Telephone, 1331 Oxford.

Miss Harriette C. Wescott,

Accompanist and Assistant Teacher.

Miss LAURA HAWKINS,

PIA/NIST.

LANG STUDIOS,

No. 6 NEWBURY STREET.

Miss CAROLINE!. SOUTHARD,

TEACHER OF THE PIANOFORTE.

Classes in Sight Reading

(EIGHT HANDS).

Advanced pupils follow the Sjrmphony programme!
as far as practicable.

165 Huntington Avenue - Boston

Miss GERTRUDE EDMANDS,

Concert and Oratorio.

Vocal Instruction.

The Copley, 18 Huntington ATvaae.

Mrs. HALL MCALLISTER.

TEACHER of SI/NGING.

407 Pierce Building,
COPLEY SQUARE.

Musical Mlanagement.

Miss ELEANOR BRI6HAM,

Pianist and TeacHer,

Triiiity Court.

Mr. BERNHARD LISTEMANN'S

Training to competent teachers prin-
cipal aim. Ensemble lessons.

OFFICE

Macl^ Q h I f V I* • * ^®^ PIERCE BUILDING, COPLEY SQUARE.

IVIaSier OCnOOl for VlOliniSlS* Hours: Monday and Thursday, from i p.m.

Wednesdays and Saturdays, 9 to i and 2 to 4.
319

Miss CLARA E. MUN6ER,

TEACHER OF SINGING.

Century Building,
177 Huntington Avenue, Boston.

Hiss JOSEPHINE COLLIER,

PIANIST and TEACHER.

LANG STUDIOS,

6 NEWBURY STREET.

Walter E. Loud — Violin.
Pupil of Ysaye.

32 Batavia Street.

Miss Bertlia Wesselhoeft Swiit

Soprano Soloist,

TEACHER OF SINGING,
J Studio, TRINITY COURT, Boston.

Miss Swift is ready to give her children's programs
before clubs, church societies, and in private houses

Miss LUCY CLARK ALLEN,

Pianoforte Lessons.

Accompaniments.

LANQ STUDIOS, 6 NEWBURY STREET.

Mr.SAHDELJ.MacWATTERS,

Professor of Voice Building in
Boston University.

VOICE PLACING,

Development of Tone and
Resonance.

72 MOUNT VERNON STREET.

Mrs. LUCIA GALE BARBER.

Physical and Personal Culture,

Rhythm, Poise, Breathing,
Concentration, Relaxation,

Normal Course.

The Ludlow, Copley Sq., Boston.

KARL DOERING,

TENOR- BARITONE.

Pupil of Professor Jachman-Wagner, Berlin, and
Professor Galliera, Milan, Italy.

Training and Finishing of Voice.

School for Grand Opera and Oratorio.

STE INERT HALL, ROOM 27.

Opea Monday, October 12. Send for new Prospectus

BERTHA GUSHING CHILD,

38 BABCOCK ST., BROOKLINE.

TEACHING AT

LANG STUDIOS,

6 NEWBURY ST., BOSTON.

320

Mrs. CAROLYN KING BUNT,

PIANiSTEand TEACHER.

Hemenway Chambers,
BOSTON.

PIANO AND HARMONY.

MA BY R ^AWYFR ^°^ *°"'' y*"^ P^P^^ and Authorized Assistant of

mniii u, on uiuii, Frau VARETTE STEPANOFF,

Leschetizky Method. BERLIN, GERMANY.

Studio, Steinert Hall, 162 Boylston St.

Miss RENil I. BISBEE,

TEACHER or PIANO,

LANG STUDIOS,
6 NEWBURY STREET.

LUCY FRANCES GERRISH,

PIANOFORTE INSTRUCTION.

GERRISH STUDIO,
140 Boylston Street . . . Boston.

EDITH LYNWOOD WINN

Normal and Teachers' Courses for
Violin.
Children's classes at special rates

LECTURE-RECITALS

This season, Russian, Hungarian, 17th
and i8th Century Music.

TRINITY COURT

BOSTON.

The Guckenberger School of
Mnsic.

B. GUCKENBERGER, Director.

Piano, Voice, Violin (and all orchestral
instruments), Theory, Musical Analysis,
Analytical Harmony, Composition, Score
Reading, Chorus and Orchestral Con-
ducting.
30 Huntington Avenue . Boston

HENRY T. WADE.

RICHARD PLATT.

Teacher of

Pianoforte, Church Organ,

Theory oF Music.

Steinert Hall, Boston.
77 Newtonville Avenue, Newton.

PIANIST.

23 Steinert Hall . . Boston.

Mason & Hamlin Piano.

CHARLES S. JOHNSON,

PIANO, ORGAN,
HARMONY.

LANG STUDIO, 6 NEWBURY STREET.

321

Miss HARRIET A. SHAW,

HARPIST.

186 COMMONWEALTH AVENUE

Telephone.

SAM L. STUDLEY,

Picfoe Buildingt Copley Square, Room 313.

INSTRUCTION IN THE
ART OF SINGING.

OPERA, ORATORIO, AND SONG.

Miss JESSIE DAVIS,

Pianist and Teacher.
289 Newbury Street, Boston.

Miss Rose Stewart,

Vocal Instruction.

246 Huntington Avenue.

Miss EDITH E. TORREY,

TEACHER OF SINQINQ.

164 Huntington Avenue, Boston^
Tuesdays axid Fridays at Welleeley College.

Mrs. E. C. WALDO,

Teacher of Music.

Lang Studios, 6 Newbury Street.

HELEN ALLE/M HUNT,

CONTRALTO SOLOIST.

Teacher of Singing.
No. 514 Pierce Building . Boston.

BOSTON MUSICAL BUREAU.

Established 1899.
Supplies Schools, Colleges, and Conservatories
with Teachers of Music, etc.; also Churches with
Organists, Directors, and Singers.

Address HENRY C. LAHEE,
'Phone, 47S-I Oxford. 218 Trkmont St., Boston .

Mrs. 5. B. FIELD,

Teacher of the Piano and Accompanist.
HOTEL NOTTINGHAM.

Mrs. Field makes a specialty of Coaching, in both
vocal and instrumental music.

Artists engaged, programmes arranged, and all
responsibility assumed for private musicales.

Miss MARIE L EVERETT,

Teacher of Singing.

Pupil of MADAME MARCHESI,

Paris.

THE COPLEY, BOSTON.

Miss MARY D. CHANDLER,

Concert Pianist and Teacher.

Pttpil o/Philipp, Paris.

149A TREMONT ST., Monday and Thursday.

Residence, 5 Ashland Street, Dorchester.

Telephone, 1828-3 Dorchester.

Miss PAULA MUELLER,

Teacher of Piano
and German Language.

STUDIOS,
28 Central Avenue, Room 30, Steinert Hall

MEDFORD. BOSTON.

RECITALS.

Mrs.V.PERNAUX=SCHUMANN,

TEACHER OF FRENCH and GERMAN.
French and German Diction a Specialty.

32 BATAVIA STREET, Suite 8, BOSTON.

Mr. EMIL MAHR.

JOACHIM SCHOOL.
Address, 69 Crawford St., Roxbury, Mass

Miss EDITH JEWELL,

VIOLINIST AND TEACHER,

37 BRIMMER STREET.

Refers by permission to Mr. C. M. LoefHer.

Clarence B. Shirley,
Tenor Soloist and Teacher*

CONCERT AND ORATORIO.

Studio, Huntington Chambers, Boston.

322

MR. ROBT. N.
MRS, ROBT. N.

LISTER,

Teacher of Singing,
Soprano Soloist.

Symphony Chambers, opposite Symphony Hall,
BOSTON.

CHARLOTTE WHITE.

Violoncellist of the Carolyn Belcher String Quartet.

TEACHER AND SOLOIST.

608 Huntington Chambers, Boston, Mass.

THOMAS L. CUSHMAN,

VOCAL TEACHER.
218 TREMONT STREET.

L. B.

MERRILL

BASS SOLOIST

AND

TEACHER.

218 Tremont Street

Mrae. de BERQ-LOFGREN,
TEACHER OF SINGING.

The "GARCIA" Method.
Studio, 12 Westland Avenue. BOSTON, MASS.

Mrs. H. CARLETON SLACK,

VOCAL INSTRUCTION.

Lyric Soprano. Concerts and Recitals.
Lessons at residence, 128 Hemenway Street.

IVIiss PEARL BRICE,

CONCERT VIOLINIST, TEACHER.
Lang Studios, 6 Newbury Street.

Mrs.lOUISELATHROP MELLOWS,

Pianist and Teacher.

STUDIO, Jefferson HaU,
Trinity Court, Dartmouth Street, Bostoa.

Miss M. B. HARTWELL.

PIANO AND HARMONY.
Studio, 9 St. James Avenue.

Miss Hartwell has but recently returned from

Vienna, where she studied the Leschetizky

Method for three years and a half.

VIOLET IRENE WELLINGTON,

Humorous and Dramatic Reader.

Also
Teacher of Voice, Elocution, Physical Culture.

59 Westland Avenue.
Telephone. 3439-1 Back Bay.

TIPPEH " "^^

PAIII I ^^' ^^^^^

STUDIOS

VOICE

Assistant, GRACE R. HORNE

312 PIERCE BUILDING
COPLEY SQUARE

LUISE LEIMER,

Contralto Soloist and Teacher of Singing.

Studio, 23 Crawford Street

and 5tf inert Building.

Miss RUTH LAIGHTON,

Violinist and Teacher

19 Chestnut Street • Boston

Miss JANET DUFF,

(7 years pupil of Francis Korbay)

Contralto, Concerts, Oratorios, and Song Recitals.

Teacher of Voice Production and Singing.

Studio, 402 Huntington Chambers.

Monday, Wednesday, Thursday and Saturday morn-
ings
Management, W. S. Bigelow, Jr., Boston

Miss MARIE WARE LAUGHTON,

Lecturer and Reader of Shakspere.
Instructor of the VOICE IN SPEECH.
Courses of Study for Personal Culture and Pro-
fessional Training.

418 PIERCE BUILDING, COPLEY SQUARE

Arthur M. Curry,

Teacher of

Violin, Hatmony, Composition.
34 STEINERT HALL.

Ellen M. Yerrinton,

Vorbereiter to Teresa Carreno,
Uhland Str. 30, BERLIN, W., GERMANY

323

Allen H. Daugherty,

PIANOFORTE INSTRUCTION,
HARMONY.

Tei„ Oxford 1629-1. 218 Tremont Street.

MissMARY A.STOWELL,

Teacher of Piano and l1arnioni|.
The ILKLEY,

Huntington Avenue and Cumberland Street.

(Cumberland Street entrance.)

Miss KATHERINE LINCOLN,

Soprano Soloist.
Teacher of Singing.

514 Pierce Building, Copley Square, Boston.

BARITONE.

George W. Mull,

Teacher of Singing.

The Copley, 18 Huntington Avenue,Boston.

JOHN CROGAN MANNING,

CONCERT PIANIST and TEACHER.

Monday, Wednesday, and Thursday
afternoons

Symphony Chambers, 246 Huntington Ave.

Mr. WILLIS W. GOLDTHWAIT,

Teacher of Piano.

Thorough instruction in Harmony, class or private.

7 Park Square, Boston.

JOHN BEACH,

PIANIST.
10 Cliarles Street.

Miss MARGARET GORHAM,

PIANIST AND TEACHER.

Trinity Court. Boston.

Mrs. HIRAM HALL,

Pianist and Teacher.
1x8 Charles Street.

Mrs. Alice Wentworth MacGregor,

TEACHER OF SINGING.

Residence Studio, 780 Beacon Street.

Tuesdays and Fridays at Abbot Academy.

Mrs. NELLIE EVANS PACKARD.

Studio, 218 Tremont Street (Room 308), Boston.

VOCAL INSTRUCTION.

Mrs. Packard is commended by Walker, Randegger
(London), Marchesi, Bouhy, Trabadelo (Paris),
Leoni (Milan), Vannuccini (Florence), Cotogni,
Franceschetti (Rome).

Mr. P. FIUMARA

Will furnish a Small Orchestra of mem-
bers of the Boston Symphony Orchestra
for Musicales, Dinners, Receptions, etc.

Address, Symphony Hall.

ARTHUR THAYER,

TEACHER OF SINGING.
200 Huntington Avenue

Mr. CHARLES DUMAS,

Gradupite of the University of Paris.
Former Assistant at Harvard.

French (all .grades), Lectures, Diction,

Elocution, etc.
286 Columbus Ave., Opp. Back Bay Station.

CLAUDE HACKELTON,

PIANIST AND TEACHER.
218 Tremont Street, Room 515, Boston

EVEREH E. TRUETTE,

CONCERT ORGANIST AND TEACHER.
218 Tremont Street, BOSTON.

EDWIN N. C. BARNES,

Basso Cantante and
Teacher of Singing.

Symphony Chambers . . . Boston.

Opposite Symphony HalL

Oratorio
SOPRANO
SOLOIST.

Concert.

ur^y^iteGOODBAR,

TEACHER OF SINGING.

Thorough preparation for Concert and Church.

Studio . . Steinert Hall.

'Phone, Oxford 1330. Mondays and Thursdays

324

ALWIN SCHROEDER

The glorious artist and distinguished musician,

^Cellist of the Hess-Schroeder Quartet

writes as follows of the

PIANOS

MASON & HAMLIN CO., Bostont

Gentlemen: — During my residence in America for the
past several years, I have had great opportunity of studying
all the various pianos made in this country, as indeed I have
had opportunity of studying the pianos abroad before I came
to America. I want to write to express to you my sincere
admiration and appreciation of your very beautiful pianos.
I have heard them with orchestra, in hundreds of chamber
concerts, and at my home under various conditions; always
your noble instruments have stood the test, and not only
have they stood it, but they have added to the general
beauty and musical value of the occasion, whatsoever it
might have been.

I am, very truly yours,

(Signed) ALWIN SCHROEDER.

MASON & HAMLIN COMPANY

Opp. Institute of Technology BOYLSTON STREET

HERE are many
things which may
be prophesied for
the future, but it is
a fixed fact that the
STEINWAY Piano
will continue to be the
Standard of the World.

The Steinway Organiza-
tion insures this.

STEINWAY & SONS

NEW YORK
LONDON HAMBURG

KEPRESENTEI> BY

M. STEINERT & SONS COMPANY
162 Boylston Street, Boston, Mass.

:x^y

'^^^^

«P. BOSTON
SYAPnONY
ORCHESTRH

TWENTY-EIGHTH

SEASON ' (^imf
I908-J909 WSl/^

PRoGRSnnE

TENSION RESONATOR

(PATENTED IN THE UNITED STATES AND IN EUROPE)

Used exclusively in the

iias0it^l|aiirliii

PIANOS

'The Three Epoch-making Discoveries

IN THE MANUFACTURE OF GRAND PIANOS ARE

First, The French Repeating Action, 182 1

Second, The Full Iron Frame and Over-strung Scale, 1859

Third, The Mason & Hamlin Tension Resonator, 1900, —

the most important of the three, as it pertains to tone

production

Qi., e "y in a piano is dependent upon the crown, or arch,

USlliy 01 1 one of its sounding-board. Loss of tone-quality is
caused by the flattening of the sounding-board through the action of the
atmosphere and the great downward pressure of the strings.

The Mason & Hamlin Tension Resonator

1902, CONTAINS THE FOLLOWING:

A copy of the Scientific American article will be mailed upon application

MASON & HAMLIN COMPANY

0pp. Inst, of Technology 492-494 Boylston Street

SYMPHONY HALL, BOSTON

HUNTINGTON 6- MASSACHUSETTS AVENUES

T, , , 5 Ticket Office, 1492 ) „ , ^

Telephones J Administratiin Offices, 3200 } Back Bay

TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

pirngramm^ of ti|p

Fifth

Rehearsal and Concert

WITH HISTORICAL AND DESCRIP-
TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, NOVEMBER 13

AT 2.30 O'CLOCK

SATURDAY EVENING, NOVEMBER 14

AT 8.00 O'CLOCK

.325

Mme. CECILE CHAMINADE

The World's Greatest W^oman Composer

Mme. TERESA CARRENO

The World's Greatest Woman Pianist

Mme. LILLIAN NORDICA

The World's Greatest "Woman Singer

USE

Piano.

THE JOHN CHURCH CO., 37 West 32d Street
New York City

REPRESENTED BY

G. L SCHIRMER & GO., 38 Huntington Avenue, Boston, Mass.

Boston Symphony Orchestra

PERSONNEL

Twenty ^eighth Season, 1908-1909

MAX FIEDLER, Conductor

First Violins.

Hess, Willy Roth, O.

Concert-master. Kuntz, D.
Noack, S.

Hoffmann, J.
Fiedler, E.

Krafft, W.
Theodorowicz, J.

Mahn, F.
Strube, G.

Eichheim, H.
Rissland, K.

Bak, A.
Ribarsch, A.

Second Violins.

Mullaly, J.
Traupe, W.

Barleben, K.
Fiumara, P.

Akeroyd, J.
Currier, F.

Fiedler, B.
Werner, H.

Berger, H.
Eichler, J.

Tischer-Zeitz,
Goldstein, S.

H. Kuntz, A.
Kurth, R.

Marble, E.
Goldstein, H. •

Violas.

Ferir, E.
Scheurer, K.

Heindl, H.
Hoyer, H.

Zahn, F. Kolster, A.
Kluge, M. Sauer, G.

Violoncellos.

Krauss, H.
Gietzen, A.

Warnke, H.
Keller, J.

Nagel, R.
Kautzenbach, A.

Barth, C. Loeffler, E.
Nast, L. Hadley, A.

Basses.

Warnke, J.
Smalley, R.

Keller, K.
Gerhardt, G.

Agoesy, K.
Kunze, M.

Seydel, T.
Huber, E.

Ludwig, O.
Schurig, R.

Flutes.

Oboes.

Clarinets.

Bassoons.

Maquarre, A.
Maquarre, D.
Brooke, A.
Fox, P.

Longy, G.
Lenom, C.
Sautet, A.

English Horn

Grisez, G. Sadony, P.
Mimart, P. Mueller, E.
Vannini, A. Regestein, E.

Bass Clarinet. Contra-Bassoon.

Mueller, F.

Stumpf, K.

Helleberg, J.

Horns.

Trumpets. Trombones. Tuba.

Hess, M.
Lorbeer, H.
Hain, F.
Phair, J.

Schmid, K.
Gebhardt, W.
Hackebarth, A.
Schumann, C.

Kloepfel, L. Hampe, C. Lorenz, O.
Mann, J. Mausebach, A.
Heim, G. Kenfield, L.
Merrill, C.

Harp.

Tympani.

Percussion.

Schuecker, H.

Rettberg, A.

Dworak, J.

Senia, T.

Kandler, F.

Ludwig, C.

Librarian.
Sauerquell, J.

Burkhardt, H.

327

®t)r

at^it'ktrin^

%^inno

Bears a name which has become known to purchasers
as representing the highest possible value produced
in the piano industry.

It has been associated with all that is highest and best
in piano making since 1823.

Its name is the hall mark of piano worth and is a
guarantee to the purchaser that in the instrument
bearing it, is incorporated the highest artistic value
possible.

CHICKERING & SONS

PIANOFORTE MAKERS

Established 1833

791 TREMONT STREET

Cor. NORTHAMPTON ST.

Near Mass. Ave.

BOSTON

328

TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT AND NINE

Fifth Rehearsal and Concert*

FRIDAY AFTERNOON, NOVEMBER 13, at 2.30 o^cIock.

SATURDAY EVENING, NOVEMBER J4, at 8 o'clock.

PROGRAMME*

Tschaikowsky . Symphony No. 6, "Pathetic." in B minor, Op. 74

Dfed November 6, J 893.

I. Adagio ; Allegro non troppo.
II. Allegro con grazia.

III. Allegro molto vivace.

IV. Finale: Adagio lamentoso.

Weber . . Scene, " How Tranquilly I Slumbered," and Aria, " Softly
Sighing," from the Opera ""Der Freischiitz"

Grdtry . . Three Dance Pieces from "Cephalus and Procris,"
Heroic Ballet. First time in Boston
I. Tambourin.
II. Menuet ("The Nymphs of Diana").
III. Gigue.

(Freely arranged for concert use by Felix Mottl.)

Songs with Pianoforte Accompaniment:

a. Richard Strauss ...... "Allerseelen "

b. Mozart "Das Veilchen"

c. Grieg "Ein Traum"

Beethoven .... Overture to Goethe's "Egmont," Op. 84

SOLOIST,
Mme. MARIE RAPPOLD.

The pianoforte is a Stein-way.

There will be an intermission of ten minutes after the symphony.

The doors of the hall will he 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 an interval &e-
tween the numbers.

City of Boston. Revised Reiinlation of Ani{ust 5, 1898.— Chapter 3. relatlnii to the
coverinii 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 coveriog
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 bead covering without projection, which does not
obstruct sxich view, may be worn. Attest J. M. GALVIN, City Clerk.

329

with its supreme stemdaird of musical excellence and its many styles of case, ranging from
the simplest to the most elaborate, is within reach of the mam of fine musical taMte, be
his income moderate or beyond the need of economy; and, no matter how much or how
little may be paid, he is assured that exquisite tone smd perfect action which is exclusive to

THE WORLD'S BEST PIANO

The Knabe Piano is sold everywhere, and any Knabe representative
wiU only be too glad to have the privilege of thowing it to you.

WM. KNABE & CO.

BALTIMORE
LONDON

NEW YORK

ST. PETERSBURG

WASHINGTON

BERLIN

330

Symphony No. 6, ix B minor, "Pathetic," Op.. 74.

Peter Tschaikowsky

(Born at \'otkinsk, in the government of ^'iatka, Russia, May 7,* 1840; died at St
Petersburg, November 6, 1S93.)

This symphony is in four movements: —

I. Adagio, B minor, 4-4.

Allegro non troppo, B minor, 4-4
II. Allegro con grazia, D major, 5-4.

III. Allegro, molto vivace, G major, 4-4 (12-8).

IV. Finale: Adagio lamentoso, B minor, 3-4.

Tschaikowsky embarked at New York in May, 1891, for Hamburg.
The steamer was the "Ftirst Bismarck." His diary tells us that on
his Aoyage he made sketches for a sixth symphony. (The Fifth was
first performed in 1888.) The next mention of this work is in a letter
dated at Vichy, June 30, 1892, and addressed to W. Naprawnik: "After
you left me, I still remained at Klin about a month, and sketched two
movements of a symphony. Here I do absolutely nothing; I have
neither inclination nor time. Head and heart are empty, and my
mental faculties are concentrated wholly on my thoughts. I shall
go home soon." He wrote his brother in July that he should finish
this symphony in Klin. From IClin he wrote Serge Taneieff, the
same month, that before 'his last journey he had sketched the first
movement and the finale. "When I was away, I made no progress
with it, and now there is no time." He was then working on the opera
"lolanthe" and the ballet "The Nut-cracker," performed for the first
time at St. Petersburg, December i8,t 1892. He was reading the
letters of Flaubert with the liveliest pleasure and admiration. In
September he went to Vienna, and he visited Sophie Menter, the pianist,
at her castle Itter in the Tyrol. He wrote from IClin in October: "I

* ^Irs. Kewmarch, in her translation into English of Modest Tschaikowsky's life of his brother, gives
the date of Peter's bu-th April 28 (May 10). Juon gives the date April 25 (May 7). As there are typographical
and other errors in Mrs. Newmarch's version, interesting and valuable as it is, I prefer the date given by Juon,
Hugo Riemann, Iwan Knorr, and Heinrich Stiimcke.

t Mrs. Newmarch, in her translation into English of Modest's life of his brother, gives December 17 as
the date.

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shall be in St. Petersburg the whole of November; I must devote
December to the orchestration of my new symphony, which will be
performed at St. Petersburg toward the end of January." But in
December he travelled; he visited Berlin, Basle, Paris; and from Berlin
he wrote to W. Davidoff (December 28) : —

"To-day I gave myself up to weighty and important reflection.
I examined carefully and objectively, as it were, my symphony, which
fortunately is not yet scored and presented to the world. The impres-
sion was not a flattering one for me; that is to say, the symphony is
only a work written by dint of sheer will on the part of the composer :
it contains nothing that is interesting or sympathetic. It should be
cast aside and forgotten. This determination on my part is admirable
and irrevocable. Does it not consequently follow that I am generally
dried up, exhausted? I have been thinking this over for three days.
Perhaps there is still some subject that might awaken inspiration in me,
but;I do not dare to write any more absolute musijc, — that is, symphonic
or chamber music. To live without work which would occupy all of
one's time, thoughts, and strength, — that would be boresome. What
shall I do ? Hang composing upon a nail and forget it ? The decision is
most difficult. I think and think, and cannot make up my mind how
to decide the matter. Anyway, the last three days were not gay,
Otherwise I am very well."

On February 17, 1893, he wrote to his brother Modest from IClin:
"Thank you heartily for your encouraging words concerning compo-
sition — ^we'll see! Meanwhile think over a libretto for me when you
have time, something original and deeply emotional. Till then I shall
for the sake of the money write little pieces and songs, then a new
symphony, also an opera, and then'I shall perhaps stop. The operatic
subject must, however, move me profoundly. I have no special liking
for 'The Merchant of Venice.'" ^

The symphony, then, was destroyed. The third pianoforte concerto,
Op- 75» was based on the first movement of the rejected work; this
concerto was played after the composer's death by Taneieff in St.
Petersburg. Another work, posthumous, the Andante and Finale for
pianoforte with orchestra, orchestrated by Taneieff and produced at

SONGS FROM THE PROGRAMS OF
Mme. NORDICA Mme. SEMBRICH
Mme. GADSKI Mme. SCHUMANN-HEINK

Mme. EAMES

The Years at the Spring O let Night speak of me

Mrs. H. H. A. Beach George W. Chadwick

June . . Mrs. H. H. A. Beach Requiem . . Arthur Foote

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Mrs. H. H. A. Beach Arthur Foote

The Danza George W. Chadwick I'm wearin' awa' . . Arthur Foote

Two Folk Songs George W. Chadwick An Irish Love Song Margaret R. Lang

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St. Petersburg, February 20, 1896, was also based on the sketches for
this symphony.

The first mention of the Sixth Symphony is in a letter from
Tschaikowsky to his brother Anatol, dated at Klin, February 22,
1893: "I am now wholly occupied with the new work (a symphony),
and it is hard for me to tear myself away from it. I believe it comes
into being as the best of all my works. I must finish it as soon as
possible, for I have to wind up a lot of other affairs, and I must also
soon go to London and Cambridge." He wrote the next day to W.
Davidoff : " I must tell you that I find myself in most congenial mood
over my work. You know that I destroyed the symphony which I
composed in part in the fall and had orchestrated. I did well, for it
contained little that was good: it was only an empty jingle without
true inspiration. During my journey I thought out another symphony,
this time a programme-symphony, with a programme that should
be a riddle to every one. May they break their heads over it ! It will
be entitled 'Programme Symphony' (No. 6). This programme is
wholly subjective, and often during my wanderings, composing it in
my mind, I have wept bitterly. Now, on my return, I set to work
on the sketches, and I worked so passionately and so quickly that the
first movement was finished in less than four days, and a sharply
defined appearance of the other movements came into my mind. Half
of the third movement is already finished. The form of this symphony
will present much that is new; among other things, the finale will
be no noisy allegro, but, on the contrary, a very long drawn-out adagio.
You would not believe what pleasure it is for me to know that my
time is not yet past, that I am still capable of work. Perhaps I am
mistaken, but I do not think so. Please speak to no one except
Modest about it." On March 31 he wrote that he was working on the
ending of the sketches of the Scherzo and Finale. A few days later he
wrote to Ippolitoff-Ivanoff : "I do not know whether I told you that I
had completed a symphony which suddenly displeased me, and I tore
it up. Now I have composed a new symphony which I certainly shall
not tear up.*' He was still eager for an inspiring opera libretto, He

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did not like one on the story of Undine, which had been suggested.
He wrote to Modest: "For God's sake, find or invent a subject, if
possible not a fantastic one, but something after the manner of 'Carmen'
or of 'Cavalleria Rusticana.'"

Tschaikowsky went to London in May, and the next month he was
at Cambridge, to receive, on June 13, with Saint-Saens, Grieg, Boito,
Bruch, the Doctor's degree honoris causa. Grieg, whom Tschaikowsky
loved as man and composer, was sick and could not be present. ' ' Out-
side of Saint-Saens the sympathetic one to me is Boito. Bruch — an
unsympathetic, bumptious person." At the ceremonial concert
Tschaikowsky's "Francesca da Rimini" was played. General Roberts
was also made a Doctor on this occasion, as were the Maharadja of
Bhonnaggor and Lord Herschel.

At home again, Peter wrote to Modest early in August that he was
up to the neck in his symphony. "The orchestration is the more
difficult, the farther I go. Twenty years ago I let myself write at ease
without much thought, and it was all right. Now I have become
cowardly and uncertain. I have sat the whole day over two pages:
that which I wished came constantly to naught. In spite of this, I
make progress." He wrote to Davidoff, August 15: "The symphony
which I intended to dedicate to you — I shall reconsider this on account
of your long silence — is progressing. I am very well satisfied with
the contents, but not wholly with the orchestration. I do not succeed
in my intentions. It will not surprise me in the least if the symphony
is^^cursed or judged unfavorably; 'twill not be for the first time. I
myself consider it the best, especially the most open-hearted of all

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my works. I love it as I never have loved any other of my musical
creations. My life is without the charm of variety; evenjngs I am
often bored ; btit I do not complain, for the symphony is now the main
thing, and I cannot work anywhere so well as at home." He wrote
Jurgenson, his publisher, on August 24 that he had finished the orches-
tration: "I give you my word of honor that never in my life have I
been so contented, so proud, so happy, in the knowledge that I have
written a good piece." It was at this time that he thought seriously
of writing an opera with a text founded on "The Sad Fortunes of the
Reverend Mr. Barton," by George Eliot, of whose best works he was
an enthusiastic admirer.

Early in October he wrote to the Grand Duke Constantine : " I have
without exaggeration put my whole soul into this symphony, and I
hope that your highness will like it. I do not know whether it will
seem original in its material, but there is this peculiarity of form: the
Finale is an Adagio, not an Allegro, as is the custom." Later he
explained to the Grand Duke why he did not wish to write a requiem.
He said in substance that the text contained too much about God as
a revengeful judge; he did not believe in such deity; nor could such
a deity awaken in him the necessary inspiration: "I should feel the
greatest enthusiasm in putting music to certain parts of the gospels,
tf it were only possible. How often, for instance, have I been enthu-
siastic over a musical illustration of Christ's words: 'Come unto me,
all ye that labor and are heavy laden'; also, 'For my yoke is easy,
and my burden is light'! What boundless love and compassion for
mankind are in these words!"

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* *

Tschaikowsky left Klin forever on October 19. He stopped at
Moscow to attend a funeral, and there with Kaschkin he talked freely
after supper. Friends had died; who would be the next to go? "I
told Peter," said Kaschkin, "that he would outlive us all. He disputed
the likelihood, yet added that never had he felt so well and happy."
Peter told him that he had no doubt about the first three movements
of his new symphony, but that the last was still doubtful in his mind ;
after the performance he might destroy it and write another finale.
He arrived at St. Petersburg in good spirits, but he was depressed
because the symphony made no impression on the orchestra at the
rehearsals. He valued highly the opinion of players, and he con-
ducted well only when he knew that the orchestra liked the work.
He was dependent on them for the finesse of interpretation. "A
cool facial expression, an indififerent glance, a yawn, — these tied his
hands; he lost his readiness of mind, he went over the work carelessly,
and cut short the rehearsal, that the players might be freed from their
boresome work." Yet he insisted that he never had written and
never would write a better composition than this symphony.

The Sixth Symphony was performed for the first time at St.
Petersburg, October 28. The programme included an overture to an
unfinished opera by I^aroche, Tschaikowsky' s B-flat minor Concerto for
pianoforte, played by Miss Adele aus der Ohe, the dances from
Mozart's "Idomeneo," and lyiszt's Spanish Rhapsody for pianoforte.
Tschaikowsky conducted. The symphony failed. "There was
applause," says Modest, "and the composer was recalled, but with no
more enthusiasm than on previous occasions. There was not the
mighty, overpowering impression made by the work when it was con-
ducted by Naprawnik,. November 18, 1893, and later, wherever it was

played." The critics were decidedly cool.

* *

The morning after Modest found Peter at the tea-table with the
score of the symphony in his hand. He regretted that, inasmuch as
he had to send it that day to the publisher, he had not yet given it

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a title. He wished something more than "No. 6," and did not like
"Programme Symphony." "What does Programme Symphony mean
when I will give it no programme?" Modest suggested "Tragic," but
Peter said that would not do. "I left the room before he had come
to a decision. Suddenly I thought, ' Pathetic' I went back to the
room, — I remember it as though it were yesterday, — and I said the
word to Peter. 'Splendid, Modi, bravo, ''Pathetic"!' and he wrote
in my presence the title that will forever remain."

On October 30 Tschaikowsky asked Jurgenson by letter to put on
the title-page the dedication to Vladimir Liwowitsch Davidoff, and
added: "This symphony met with a singular fate. It has not exactly
failed, but it has incited surprise. As for me, I am prouder of it than
any other of my works."

On November i Tschaikowsky was in perfect health, dined with an
old friend, went to the theatre. In the cloak-room there was talk
about Spiritualism. Warlamofif objected to all talk about ghosts
and anything that reminded one of death. Tschaikowsky laughed at
Warlamoff's manner of expression, and said : ' 'There is still time enough
to become acquainted with this detestable snub-nosed one. At any
rate, he will not have us soon. I know that I shall live for a long time."
He then went with friends to a restaurant, where he ate macaroni and
drank white wine with mineral water. When he walked home about
2 A.M., Peter was well in body and in mind.

There are some who find pleasure in the thought that the death of
a great man was in some way mysterious or melodramatic. For years
some insisted that Salieri caused Mozart to be poisoned. There was
a rumor after Tschaikowsky's death that he took poison or sought
deliberately the cholera. When Mr. Alexandre Siloti, a pupil of
Tschaikowsky, visited Boston, he did not hesitate to say that there
might be truth in the report, and, asked as to his own belief, he shook
his head with a portentous gravity that Burleigh might have envied.
From the circumstantial account given by Modest it is plain to see that
Tschaikowsky's death was due to natural causes. Peter awoke
November 2 after a restless night, but he went out about noon to make
a call; he returned to luncheon, ate nothing, and drank a glass of water

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Edvard Grieg. A Dream. {Ein Traum) 50

Robert Schumann. The Soldier's Sweetheart. {Die Soldaienbraut) 40

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that had not been boiled. Modest and the others were alarmed, but

Peter was not disturbed, for he was less afraid of the cholera than of

other diseases. Not until night was there any thought of serious illness,

and then Peter said to his brother: "I think this is death. Good-by,

.Modi." At eleven o'clock that night it was determined that his

sickness was cholera.

Modest tells at length the story of Peter's ending. Their mother

had died of cholera in 1854, at the very moment that she was put into a

bath. The physicians recommended as a last resort a warm bath

for Peter, who, when asked if he would take one, answered: "I shall

be glad to have a bath, but I shall probably die as soon as I am in the

tub — as my mother died." The bath was not given that' night, the

second night after the disease had been determined, for Peter was too

weak. He was at times delirious, and he often repeated the name of

Mrs. von Meek in reproach or in anger, for he had been sorely hurt by

her sudden and capricious neglect after her years of interest and devotion.

The next day the bath was given. A priest was called, but it was not

possible to administer the communion, and he spoke words that the

dying man could no longer understand. "Peter Iljitsch suddenly

opened his eyes. There was an indescribable expression of unclouded

consciousness. Passing over the others standing in the room, he looked

at the three nearest him, and then toward heaven. There was a certain

light for a moment in his eyes, which was soon extinguished, at the

same time with his breath. It was about three o'clock in the morning."

What was the programme in Tschaikowsky's mind? Kaschkin

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says that, if the composer had disclosed it to the public, the world

would not have regarded the symphony as a kind of legacy from oijte

filled with a presentiment of his own approaching end ; that it seems

more reasonable "to interpret the overwhelming energy of the third

movement and the abysmal sorrow of the Finale in the broader light

of a national or historical significance rather than to narrow them to

the expression of an individual experience. If the last movement

is intended to be predictive, it is surely of things vaster and issues

more fatal than are contained in a mere personal apprehension of

death. It speaks rather of a 'lamentation large et souff ranee inconnue'

and seems to set the seal of finality on all human hopes. Even if we

eliminate the purely subjective interest, this autumnal inspiration of

Tschaikowsky, in which we hear 'the ground whirl of the perished

leaves of hope, still remains the most profoundly stirring of his

works.*" . . .

*
* *

Each hearer has his own thoughts when he is "reminded by the
instruments." To some this symphony is as the life of man. The
story is to them of man's illusions, desires, loves, struggles, victories,
and end. In the first movement they find with the despair of old age
and the dread of death the recollection of early years with the trans-
ports and illusions of love, the remembrance of youth and all that is
contained in that word.

The second movement might bear as a motto the words of the Third
Kalandar in the "Thousand Nights and a Night" : "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 fleet-
ing!'" The trio is as the sound of the clock that in Poe's wild tale
compelled even the musicians of the orchestra to pause momentarily in
their performance, to hearken to the sound; "and thus the waltzers
perforce ceased their evolutions ; and there was a brief disconcert of the
whole gay company; and, while the chimes of the clock yet rang, it

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was observed that the giddiest grew pale, and the more aged and
sedate passed their hands over their brows as if in confused revery
or meditation." In this trio Death beats the drum. With Tsehai-
kowsky, here, as in the "Manfred" symphony, the drum is the most
ttagic of instruments. The persistent drum-beat in this trio is poignant
in despair not untouched with irony. Man says: "Come now, I'll
be gay"; and he tries to sing and to dance, and to forget. His very
gayety is labored, forced, constrained, in an unnatural rhythm. And
then the drum is heard, and there is wailing, there is angry protest,
there is the conviction that the struggle against Fate is vain. Again
there is the deliberate effort to be gay, but the drum once heard beats
in the ears forever. For this, some, who do not love Tschaikowsky,
call him a barbarian, a savage. They are like Danfodio, who attempted
to abolish the music of the drum in Africa. But, even in that venerable
ahd mysterious land, the drum is not necessarily a monotonous instru-
ment. Winwood Reade, who at first was disturbed by this music
through the night watches, wrote before he left Africa: "For the drum
has its language: with short, lively sounds it summons to the dance;
it thunders for the alarm of fire or war, loudly and quickly with no
intervals between the beats ; it rattles for the marriage ; it tolls for the
death, and now it says in deep and muttering sounds, 'Come to the
ordeal, come to the ordeal, come, come, come. ' " Rowbotham's claim
that the drum was the first musical instrument known to man has been
disputed by some who insist that knowledge and use of the pipe were
first; but his chapters on the drum are eloquent as well as ingenious
and learned. He finds that the dripping of water at regular intervals
on a rock and the regular knocking of two boughs against one another
in a wood are of a totally different order of sound to the continual
chirrup of birds or the monotonous gurgling of a brook. And why ?
B^ecause in this dripping of water and knocking of boughs is "the
innuendo of design." Rowbotham also shows that there was a period
in the history of mankind when there was an organized system of
religion in which the drum was worshipped as a god, just as years
afterward bells were thought to speak, to be alive, were dressed and
adorned with ornaments. Now Tschaikowsky's drum has "the

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348

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innuendo of design " ; 1 am not sure but he worshipped it with fetishistic
honors; and surely the Tschaikowsky of the Pathetic Symphony
cries out with the North American brave: "Do you undef stand what
my drum says?" *

The third ^movement— the march-scherzo — is the excuse, the pre-
text, for the final lamentation. The man triumphs, he knows all that
there is in earthly fame. Success is hideous, as Victor Hugo said. The
blare of trumpets, the shouts of the mob, may drown the sneers of

♦Compare Walt Whitman's "Beat! Beat! Dnims!" published in his "Drvim-Taps" (New Ywk,
1865).

1.
Beat! beat! drums! — Blow! bugles! blow!

Through the windows — through doors — burst like a force of ruthless men,
Into the solemn church, and scatter the congregation;
Into the school where the scholar is studying:

Leave not the bridegroom quiet — no happiness must he have now with his brid»:
Nor the peaceful farmer any peace, plowing his field or gathering his grain;
So fierce you whirr and pound, you drums — so shrill you bugles blow.

2.
Beat! beat! drums! — Blow! bugles! blow!

Over the traffic of cities — over the rumble of wheels in the streets;
Are beds prepared for sleepers at night in the houses?
No sleepers must sleep in those beds;

No bargainers' bargains by day — no brokers or speculators — Would they continue?
Wojild the talkers be talking? Would the singer attempt to sing?
Would the lawyer rise in the coiurt to state his case before the judge?
Then rattie quicker, heavier drums — you bugles wilder blow.

Beat! beat! drums! — Blow! bugles! blow!

Make no parley — stop for no expostulation;

Mind not the timid — mind not the weeper or prayer;

Mind not the old man beseeching the young man;

I^et not the child's voice be heard, nor the mother's entreaties;

Make even the trestles to shake the dead, where they lie awaiting the hearses.

So strong you thump, O terrible drums — so loud you bugles blow.

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351

envy; but at Pompey passing Roman streets, at Tasso with the laurel
wreath, at coronation of Tsar or inauguration of President, Death
grins, for he knows the emptiness, the vulgarity, of what this world
calls success.

This battle-drunk, delirious movement must perforce precede the

mighty wail.

The glories of our blood and state

Are shadows, not substantial things;
There is no armour against fate;

Death lays his icy hands on kings.

Mr. Vernon Blackburn has compared this threnody to Shelley's
"Adonais": "The precise emotions, down to a certain and extreme
point, which inspired Shelley in his wonderful expression of grief and
despair, also inspired the greatest of modem musicians since Wagner
in his Swan Song, — his last musical utterance on earth. The first
movement is the exact counterpart of those lines: —

'He will awake no more, oh, nevermore! —
Within the twilight chamber spreads apace
The shadow of white death.'

"As the musician strays into the darkness and into the miserable
oblivion of death, . . . Tschaikowsky reaches the full despair of those

other lines: —

'We decay
Like corpses in a chamel; fear and grief
Convulse us and consume us day by day,
And cold hopes swarm like worms within our living clay.'

With that mysterious and desperate hopelessness the Russian comes

to an end of his faith and anticipation. . . . Fo^ as 'time,' writes Shelley,

'like a many-colored dome of glass, stains the white radiance of eternity,'

even so Tschaikowsky in this symphony has stained eternity's radiance :

he has captured^the years^and bound^them into a momentary emotional

pang." " , / \ e~;i Ml

*
* *

Tschaikowsky was not the first to put funeral music in the finale

of a symphony. The finale of Spohr's Symphony No. 4, "The Con-

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secration of Tones," is entitled "Funeral music. Consolation in Tears."
The first section is a larghetto in F minor, but an allegretto in F major
follows.

*
* *

The symphony is scored for three flutes (the third of which is inter-
changeable with piccolo), two oboes, two clarinets, two bassoons, four
horns, two trumpets, three trombones, one bass tuba, a set of three
kettledrums, gong, and strings.

The first performance in Boston was at a Boston Symphony
Orchestra Concert, December 29, 1894. Other performances at these
concerts were on January 11, 1896, February 15, 1896, April 3, 1897,
February 5, 1898, October 29, 1898, January 11, 1902, December 23,
1904, March 16, 1907.

The first performances in America were by the Symphony Society of
New York, Mr. Walter Damrosch leader, on March 16, 17, 1894.

Mrs. Julius Rappold was born, Marie Winteroth, in Brooklyn, N.Y.
She sang as a child, and it has been stated that she appeared as a
singer in London when she was ten years old. After her marriage
to a Brooklyn physician, she studied seriously with Mr. Oscar Saenger,
of New York, and sang at concerts of the German singing societies of
New York and Brooklyn, also in light operas given by the Lieder-
kranz of the former city and by Arion of the latter. She also sang
with orchestras and at music festivals in other States. Mr. Conried
heard her at the Schiller celebration in the Montauk Theatre, Brooklyn,
in May, 1905, and asked her to sing for him at the Metropolitan Opera
House.

She made her first operatic appearance at the Metropolitan Opera
House, New York, in a revival of Goldmark's "Die Konigin von
Saba," * November 22, 1905. The cast was as follows: the Queen of

*The first performance of the opera in America was at the Metropolitan Opera House, New York,
December 2, 1885, when the chief singers were Mmes. Kramer-Wiedl, Lilli Lehmann, Marianna Brandt, and
Messrs. Stritt, Robinson, Fischer, and Alexi. Mr. Seidl conducted. The first performance in Boston was at
the Boston Theatre, January 10, 1888 : The Queen of Sheba, Clara Poole ; Sulamith, Bertha Pierson; Asta-
roth, Amanda Fabris; Assad, Barton McGuckin; Solomon, A. E. Stoddard; the High Priest, Frank Vetta;
Baal-Hanan, William Merton. Mr. Hinrichs conducted.

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Sheba, Edyth Walker; Sulamith, Marie Rappold; Astaroth, Bella
Alten; Assad, Heinrich Knote; Solomon, Anton van Rooy; the High
Priest, Robert Blass; Baal-Hanan, Adolf Muehlmann. Mr. Hertz
was the conductor. Since then she has appeared at the Metropolitan
as Elsa and Elisabeth, and sung the music of the Forest Bird in "Sieg-
fried."

Recitative, "How tranquiIvIvY I sivUmber'd," and Aria, "vSofti^y

SIGHING," FROM THE OpERA, "DER FrEISCHUTZ."

CarIv Maria von Weber

(Born at Eutin, Oldenburg, December i8, 1786; died at London,
June 5, 1826.)

"Der Freischiitz," a romantic opera in three acts, book by Friedrich
Kind, music by Weber, was first performed at Berlin, June 18, 1821.

The recitative and aria of Agathe (act ii., No. 8) are sung by her
in a narrow antechamber with two side doors. In the centre is a
curtained doorway, which leads to a balcony. Aennchen's spinning-
wheel is on one side; on the other is a large table, upon which are a
lighted lamp and a white dress trimmed with green. Agathe is now
alone.

Wie nahte tnir der Schlummer, bevor ich ihn geseh'n!
Ja Liebe pflegt mit Kummer stets Hand in Hand zu geh'n.
Ob Mond auf seinem Pfad wohl lacht?
Welch' schone Nacht!

Leise, leise, fromme Weise
Schwing' dich auf zum Sternen-kreise !
Lied erschalle! Feiemd walle
Mein Gebet zur Himmelshalle.

O wie hell die goldnen Sterne, mit wie reinem Glanz' sie gliih'n! Nur dort, in der
Berge Feme, scheint ein Wetter aufzuziehn. Dort am Wald auch schwebt ein Heer
diist'rer Wolken dumpf und schwer.

Zu dir wende ich die Hande,
Herr ohn' Anfang und ohn' Ende!

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365

Vor Gefahren uns zu wahfen
Sende deine Engelschaaren !

AUes pfle|t schon langst der Ruh' ;
Trauter Freund! was weilest du ?
Ob mein Ohr auch eifrig lauscht,
Nur der Tannen Wipfel rauscht,
Nur das Birkenlaub im Hain
Fliistert durch die hehre Stille;
Nur die Nachtigall und Grille
Scheint der Nachtluft sich zu freu'n

Doch wie! tSuscht mich nicht mein Ohr? Dort klingt's wie Schritte, dort aus
der Tannen Mitte kommt was hervor — Er ist's! Er ist's! die Flagge'der Liebe
mag weh'n! Dein Madchen wacht noch in der Nacht! Er scheint mich noch
nicht zu seh'n— Gott! tauscht das Licht des Mond's mich nicht, so schmiickt ein
Blumenstrauss den Hut! Gewiss, er hat den besten Schuss gethan! Das kiindet
GlUck fiir morgen an! O siisse Hoffnung! Neubelebter Muth!

Air meine Pulse schlagen
Und das Herz wallt ungestfim,
Siiss entziickt entgegen ihm!
. Konnt' ich das zu hoflfen wagen?
Ja! es wandte sich das Gliick
Zu dem theuren Freimd zuriick;
Will sich morgen treu bewahren !

■ Ist's nicht Tauschung, ist's nicht Wahn?
Himmel, nimm des Dankes Zahren
Fflr dies Pfand der Hofifnung an !
Air meine Pulse schlagen
Und das Herz wallt ungestiim,
Sflss entziickt entgegen ihm!

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357

* How tranquilly I slumber'd before on him I gaz'd! But evermore with sorrow
love hand in hand must go. The moon reveals her silv'ry light. {She draws the
curtain from before the balcony; a bright starlight^ night is seen.) O lovely night !
(She steps out upon the balcony and folds her hands in prayer.)

Softly sighing, day is dying, y

Soar my prayer heav'nward flying!
Starry splendor shining yonder,
Pour on us thy radiance tender!

{Looking out.) How the golden stars are burning thro' yon vault of ether blue;
but, lo, gath'ring o'er the moimtains is a cloud, foreboding storm, and along yon
pinewood's side veils of darkness slowly glide.

Lord, watch o'er me, I implore thee;
Humbly bending, I adore thee;^
Thou hast tried us, ne'er denied us.
Let thy holy angels guide us !

Earth has lull'd her care to rest;
Why delays my loit'ring love?
Fondly beats my anxious breast:
Where, my Rodolph,t dost thou rove ?

Scarce the breeze among the boughs wakes a murmur thro' the silence; save
the nightingale lamenting, not a sound distturbs the night. But hark! doth my
ear deceive? I heard a footstep; there in the pinewood's shadow I see a form!
'Tis he, 'tis he ! O love, I will give thee a sign. Thy maiden waits through storm
and shine. {She waves a white kerchief.) He seems not to see me yet. Heav'n,
can it be I see a-right? With flow'ry wreath his hat is bound! Success at last
our hopes have crown'd. What bliss to-morrow's dawn will bring! Oh! joyful
token, hope renews my soul!

How ev'ry pulse is flj^ng.
And my heart beats loud and fast ;
We shall meet in joy at last.
Could I dare to hope such rapture?
Frowning Fate at last relents
And to crown our love consents.
Oh, what joy for us to-morrow!
Am I dreaming? Is this true?

* The translation into English is by Natalia Macfarren.

1 Here the translator follows an old English version, in which Rodolph was substituted for Max.

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358

ijounteous heav'n, my heart shall praise thee

For this hope of rosy hue.

How ev'ry pulse is flying,

And my heart beats loud and fast;

We shall meet in joy at last.

The accompaniment is scored for two flutes, two oboes, two clarinets,
two bassoons, four horns, strings.

Three Dance Pieces from "Cephalus and Procris," Heroic Bal-
let; Tambourin; Menuet ("The Nymphs of Diana"); GiguE:

FREELY arranged FOR CONCERT PERFORMANCE BY FELIX MoTTL.

Andr6 Erneste Modeste Gr^ry.

(Gretry, born at Li^ge, February 8, 1741; died at Montmorency, near Paris,

September 24, 1813.
Mottl, born at Unter St. Veit, near Vienna, August 29, 1856; now living in

Munich.)

Gretry 's "Cephale et Procris," heroic ballet in three acts, words by
Jean Francois Marmontel (1723-99), was performed for the first time
at Versailles before Louis XV., December 30, 1773, at the wedding
festivities of Charles Philippe of France, Count of Artois, who married
the Princess Marie Theresa of Savoy November 16 of that year.*
There was only this one performance at Versailles, and the singers were
as follows: Larrivee, Cephale; Sophie Arnould, Procris; Mme. Larriv^e,
I'Aurore; Miss Rosalie (afterward Levasseur), Flore and I'Amour;
Miss Beaumenil, Pal^s; Miss Duplant, la Jalousie; Miss La Suze, la
Soupgon; Miss Dubois, Une Nymphe. The ballets were arranged by
Vestris and Gardel.

* Gustave Chouquet in his "Histoire de la Musique Dramatique en France" (p. 357), says that "Cephale
et Procris" was performed at Versailles at the end of the series of entertainments in honor of the inarriag;e
of the Dauphin and Marie Antoinette. The late conservator of the collection of musical instruments belong-
ing to the Paris Conservatory was an unusually accurate and sound writer, but the marriage of the Dauphin
and Marie Antoinette took place on May 16, 1770, over three years before the performance of "Cephale
et Procris" at Versailles. The marriage of the Comte d'Artois and Marie Theresa was first by procuration at
Turin in the palace of the King of Sardinia and Savoy, Marie's father, October 24, 1773. On November 14
of that year- she arrived in the environs of Fontainebleau, and was there met by the KiiQg of France. Castil-
Blaze, in his "L'Acad^mie Imp^riale de Musique" (Paris, 1855), makes the mistake of Chouquet. No doubt
Chouquet followed Castil-Blaze blindly in the matter.

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359

"Cephale et Procris" was produced at the Academie Royale de
Musique, Paris, May 2, 1775, and performed a dozen times. Larriv^e,
Cephale; Miss Levasseur, Procris; Miss Mallet, Flore and I'Amour;
Miss Beaumenil, Pal^s; Miss Duplant, la Jalousie; Miss Chateauneuf,
la Soupfon; Miss Dubois, Une Nymphe. The chief dancers were
Mmes. Guimard, Peslin, Dorival; Messrs. Vestris, d'Auberval, Gardel.

There was a revival May 23, 1777, and there were twenty-six per-
formances that year.

Marmontel based his libretto on the story as told by Ovid in the
seventh book of the "Metamorphoses." In Marmontel's version,
Aurora, in love with Cephalus, disguises herself as a nymph, and comes
down from her celestial home to see him; but her brilliance betrays
her. She learns from him that he loves Procris. She then informs
him that Diana has condemned Procris to die by the hand of her lover,
but Cephalus runs to his fate. Jealousy and her followers prepare to
take vengeance on Aurora, who appears as one of Diana's nymphs.
Procris calls Cephalus. Jealousy advances, and tells her that her lover
has abandoned her for Aurora. Cephalus, wearied by the chase, falls
on the ground. Faint and wishing a refreshing breeze, he calls on
Aura.* There is a stir in the foliage, and he hurls a dart. Procris
comes forward with the dart that she has drawn from her breast.
Jealousy rejoices, but Love brings Procris back to life, and the lovers
are joined.

Mottl has taken three of the dance numbers and arranged them for

* Aiira, a light wind. There were two statues called " Aurae" at Rome in the time of Pliny the Elder.
The Aurae were represented by the ancients as clothed in long and floating veils of a light texture.

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360

PADEREWSKI

to the WEBER PIANO

COMPANY

New York, May theJ4th, 1908.
To the WEBER PIANO CO:

Gentlemen — It seems to me superfluous to give you in
writing my appreciation of your instruments. Practically
you do not need it. I have been playing the Weber for
seven months in this country, and this fact alone proves
more than anything which could be said or written.
Whatever "disinterested" detractors may object to, had I
not found in your pianos a perfect medium for my art I
would have never played them in public.

But you insist upon having my opinion. So let me
say this:

For the first time I do not feel tired of piano-playing
after a long concert tour, I gave during the season
ninety-three performances and my fingers are not sore, my
arms are not aching, my nerves and muscles are as strong
and fresh as on the day of my arrival. This is entirely
due to the supreme qualities of your instruments: positive
perfection of mechanism, exceptionally easy production of
tone, its beautiful singing quality, and, in spite of it, its
marvelous clearness.

There is an unquestionably great progress in piano-
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Most sincerely yours,

I. J. PADEREWSKI.

THE WEBER PIANO COMPANY

AEOLIAN HALL 362 Fifth Avenue, near 34th Street, New York

Write for Special Catalog and Description of New Weber Modek

361

concert use. The fifth scene of the first act is entitled "Les Nymphes
de Diane." There is a chorus, which is followed by a ballet'of Diana's
njonphs: Minuet, Contredanse, Pantomime (followed by a'^repetition
for chorus of the Minuet), Tambourin. The Gigue of Mottrs|suite is
from the fifth scene of the second act; chorus, "Mouvement de^Loure,"
Gigue.

I. Tambourin, Presto, ma non troppo (original, presto), D major
(original key, C major), 2-2. Mottl has scored the music for two flutes
(interchangeable with two piccolos), two oboes, two clarinets, two
bassoons, two horns, two trumpets, kettledrums, triangle, tambourine,
strings. The chief motive is given to piccolos and oboes, while violas,
'cellos, horns, and tambourine play rhythmically a pedal with violins
pizzicati, and the triangle on the weaker beat. The middle section is
in D minor (C minor in the original) with melody for violins, while
the horns sustain a pedal. After the repetition in major there is a
coda.

The Tambourin is an old dance popular on the French stage of the
eighteenth century. The melody was gay and lively. At the moment
the flutes imitated the "fluitet," or "flaiutet," or "galoubet" of Pro-
vence, the bass marked strongly the note of the tambourin, or "tam-
boron." This tambourin of Provence should not be confounded with
the familiar tambourine. The former is a long drum of small diameter,
beaten with a stick in one hand, while the other hand plays the galou-
bet, a pipe with three holes, which are covered by the thumb, index
finger, and the middle one. Prsetorius attributes an English origin to the
galoubet. The music for this instrument is written two octaves lower

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than the real sound, and the instrument has a chromatic'scale of at least
an octave and four notes. The tambourin, as a rule, has no snare.
When there is one, it is a single cord stretched across the upper end
of the drum. The player (le tambourinaire) bears the drum suspended
from his left forearm; he beats with his right, and holds the galoubet
in his left. If he plays the galoubet, he is called an "Escoular." To
play the two instruments together is called "tutupomponeyer," and
Daudet in "Port Tarascon" gives the transport ship the name "Tutu-
panpan," a name expressive of the sound of the two instruments.
Bizet in "L'Arl^sienne" gives an imitation of galoubet and tambourin,
substituting the piccolo in the place of the former. For a further
description of the instruments, their history, literature, and the man-
ner of playing them, see "Lou Tambourin," by F. Vidal (Avignon,
s. d.), and "Notice sur le Tambourin," by "Un Tambourinaire," — de
Lombardon-Montezan (Marseilles, 1883).

The Tambourin, the dance, was a stage dance. Folk-dances of
Provence were the Olivettes, the Lacets, the Quenouilles, the Soufflets,
the Joilte, the Cocos, the Cerceaux, the Folies Espagnoles, the Faran-
dole, and all Branles for which the tambourin, the instrument, was
used. As a stage dance, the tambourin was most popular, so that,
according to rule, every opera at the Academic Royale de Musique
had passepieds in the prologue, musettes in the first act, tambourins
in the second, and chaconnes and passepieds in those remaining. Marie
Anne Camargo was famous for dancing the tambourin.

There is a celebrated tambourin in Rameau's "Pieces for Clavecin,"

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363

and the composer introduced it afterward in his opera-ballet, "LeS
Fetes d'H^be" (Paris, 1739). There is another one in Berton's "Aline,
Reine de Golconde" (Paris, 1803). A still more celebrated one is
in Adam's "Le Sourd" (Paris, 1853), with the couplets beginning

Sur le pont
D'Avignon,
En cadence
L'on y danse ;
Sur le pont
D'Avignon
L'on y danse
Tous en rond.

Mr. Fritz Kreisler has played in Boston transcriptions of tambourins
for violin: Rameau (February 12, 1901), Leclair's (January 23, 1902J
and January 13, 1905).

II. Menuetto: moderato, B-flat major, 3-4 (original, menuet, C
major, 3-4, without indication of pace). Mottl has scored this music
for two flutes, two oboes, two clarinets, two bassoons, two horns, two
trumpets, kettledrums, and strings.

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The minuet was a dance in Poitou, F^rance. It was called menuet
on account of the small steps, — pas menus. The dance, it is said, was
derived from the courante. It quickly made its way to court, and
Louis XIV. danced it to music composed for him by Lully. For the
minuet, originally a gay and lively dance, soon lost its vivacity when
exported, and became a stately dance of the aristocracy. The Grande
Encyclopedic described its characteristic as "a noble and elegant
simplicity; its movement is rather moderate than rapid; and one
may say that it is the least gay of all such dances." Louis XV. was
passionately devoted to the minuet, but his predecessor, the Grand
Monarch, is said to have excelled all others.

The court minuet was a dance for two, a man and a woman. The
tempo was moderate, and the dance was followed in the balls by a
gavotte. Those proficient in other dances were obliged to spend three
months learning the most graceful and ceremonious of all dancing
steps and postures.

An entertaining volume could be written on this dance, in which
Marcel saw all things, and of which Senac de Meilhan said: "Life is
a minuet: a few turns are made in order to curtsy in the same spot
from which we started." It was Count Moroni who remarked that the
eighteenth century was truly portrayed in the dance. "It was the
expression of that Olympian calm and universal languor which char-
acterized everything, even the pleasures of society. In 1 740 the social
dances of France were as stiff as the old French gardens, and were
marked by an elegant coolness, prudery, and modesty. The pastime
was not even called 'dancing.' People spoke of it as 'tracer les chiffres

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d'amour,* and no such commonplace expression as violin was used
during this stilted period. The musical instruments which accom-
panied the dance were called 'les dmes des pieds.'" Women never
looked more beautiful when dancing than in a minuet. Don John
of Austria journeyed to Paris in disguise merely to look on Marguerite
of Burgundy in the dance. There were five requisites, — "a languishing
eye, a smiling mouth, an imposing carriage, innocent hands, and
ambitious feet."

When Haydn was in London in 1791, he went to balls in November,
and he described his adventures in his entertaining diary. He wrote
of one ball: "They dance in this hall nothing but minuets. I could
not stay there longer than a quarter of an hour; first, because the heat
was so intense on account of so many people in a small room ; secondly,
on account of the miserable dance music, for the whole orchestra con-
sisted of two violins and a violoncello. The minuets were more like
the Polish ones than ours or those of Italy."

The four famous minuets were the Dauphin's, the Queen's, the
Minuet of Exaudet,* and the Court.

The minuet has been revived within recent years in Paris, in London,
and even in this country, as a fashionable dance, and it has kept its
place on the stage.

For a minute description of the steps of minuets, ancient and modem,
see G. Desrat's " Dictionnaire de la Danse," pp. 229-246 (Paris, 1895)

HI. Gigue. Allegro non troppo, D major, 6-8 (original, "Gigue

* The song known as Minuet d'E:5audet — the words axe from Favart's comedy, " La Rosifere de Salency " —
was sung m Boston at a Symphony Concert by Mr. Charles Gilibert, AprU 4, 1903. It was sung here by Mme.
Blanche Marches!, January 21, 1899.

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According to the method of the old Italian masters of singing. A pupil
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Mrs. Lichfield refers to Mr. Louis C. Elson^s remarks in the Boston
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Charlotte Qrosvenor

as Juliette in Gounod's

"Romeo et Juliette"

Yesterday the performance of "Romeo et Juliette" was chiefly
memorable because of the debut of a new Juliette. Two years ago we
listened to the work of Miss Charlotte Grosvenor in concert with much
pleasure and predicted at least a chance of an operatic career for
the young singer. She is a pupil of Mrs. Avonia Bonney Lichfield,
who was herself an operatic singer of renown, and who seems singu-
larly successful in imparting her knowledge to those who study under
her. Miss Grosvenor deserves especial attention as being an Ameri-
can singer, trained in America, a living proof that it is not always
necessary to take the voyage to Italy before treading the operatic
boards. In passing judgment upon the young debutante two points
must be kept in mind. She was hampered in some degree by the
inequality of the support which was sometimes overweighted in the
Gounod masterpiece. Secondly, it is not possible to attain one's very
best when the results of years of training are focussed into one single
occasion. We do not believe in triumphant operatic debuts — they
are impossible. A little allowance must always be made for the
abnormal situation. Miss Grosvenor certainly required only the
minimum of allowances on this occasion. She acted and sang with
almost veteran ease and "gewandheit." Her Waltz in the first act
(her opening number) was as delicate and as easily sung as possible.
There was not a trace of nervousness in her work and the action was
without any of the stiffness of the amateur. Her vocal work was
definitely in advance of her histrionic ability, but the latter can only
come with acquaintance with the stage. The audience was a very
brilliant one, evidently drawn by interest in the debutante. At the
end of the first act there was a long procession of flower-bearers carry-
ing public tribute to the new Juliette. These things, however, do not
make a true success. It is far more to the purpose that Miss Gros-
venor sang without a flaw of intonation and that there was a sym-
pathetic quality in her voice that was quite in keeping with the char-
acter of the Shakespearian heroine. The balcony scene was very
near to perfection. The heroine rose to the occasion, and there is no
doubt but that Mrs. Lichfield (the teacher of Miss Grosvenor) has
here launched a sterling prima donna, and to her and to the new Juliette
all good wishes may be extended.

Louis C. Elson.

387

tr^s l^^re, A major, 6-8). Mottl has changed the melodic contour of
Grfeury's simple littk dance, and elaborated the music. He has scored
the jig for piccolo, flute, two oboes, two clarinets, two bassoons, two
horns, two trumpets, a set of three kettledrums triangle, and strings.

Dr. Hugo Riemann derives the word "gigue'* from "giga," the name
of the old Italian fiddle, and says that it was originally a French nick-
name for a violin (viella, fidel) with a big and bulging belly, so that
it looked not unlike a ham (gigue). The word first appeared in the
dictionary of Johannes de Garlandia (about 1230). This form of fiddle
was popular in Germany, so that the troubadour Adenes spoke of the
gigueours d'Allemagne (German fiddlers). Others dispute this origin.
Stainer and Barrett's "Dictionary of Musical Terms" (first published
in 1876) says: "A fiddlestick is still called in the west of England a
'jigger,'" but the word does not appear with this meaning in Wright's
great "English Dialect Dictionary" (i 896-1905). Dr. Murray's "New
English Dictionary" says that the origin of the word is uncertain.
The first appearance of the word in English literature was about 1560
in A. Scott's poems.

* *

"Airs de Ballet" from "Cephale et Procris" were played at a concert
of the American Symphony Orchestra, Mr. Sam Franko, conductor, at
the Lyceum Theatre, New York, January 15, 1901. These airs were
Tambourin, Air lent. Gavotte, and Gigue legere. The programme
stated "First time in America." This was a statement not easily con-
tradicted, yet much music by Gretry was played and sung in the United
States in the eighteenth century.

Mr. Franko joined the Gavotte from "Cephale et Procris" with three
dances from other operas by Gretry, and they were played at one of
his Concerts of Old Music in Mendelssohn Hall, New York, February
23, 1905. At one of Mr. Franko's concerts, February 14, 1907, Ballet
des Nymphes de Diane, Pantomime, and Tambourin from "Cephale
et Procris" were performed. The Pantomime was also played as the
fourth movement of "Suite de Danses Villageoises " at Mr. Franko's
concert in Daly's Theatre, New York, February 17, 1903.

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Gr^try says of "C^phale et Procris" in his "M6moires ou Essais
sur la Musique" (Paris, Pluvi6se, An V., 3 vols.) '• "This opera was
performed the year of the marriage of the Comte d'Artois; its success
was only mediocre both at Versailles and at Paris. At the time it was
received at the Op6ra, there was no such thing as strict time except
for choruses and dances. If certain verses of recitative were expres-
sive, the actor would give it the importance to which a pathetic air
is susceptible. If the accompaniments forced him to follow an indi-
cated movement, he attained it only by running after the orchestra;
and the result of this was a shock, a counterpoint, a perpetual syncope.
The effect of this I leave to your imagination.

"One of the rehearsals was interrupted by the following dialogue,
from which the state of affairs can be judged: —

' 'The Actress on the stage : ' What is the meaning of this, sir ? I
think there is a rebellion in your orchestra.'

"The Conductor at his post: 'A rebellion? We are all here in the
service oi*the King and we serve him zealously.'

"The Actress: 'I too should like to serve him, but your orchestra
puts me out, and prevents me from singing.'

"The Conductor: 'But we were keeping the time.'

"The Actress: 'In time? What sort of a beast is that? Follow
me, sir, and know that your accompaniment is the most humble ser-
vant of the actress who recites.'

"The Conductor: 'When you recite, I follow you; but you are
singing an air with a decidedly marked time.'

"The Actress: 'Well, leave all these follies, and follow me.'"

(The actress, others tell us, was Sophie Arnould; the condiictor
was Francoeur.)

"The dance tunes were esteemed by the dancers. The duet, 'Donne-
la moi dans nos adieux,' was not known until it had made its way

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in the societies. After the performances, I proposed the following
changes: 'The Vengeance of Diana in three acts.' Diana began the
piece by receiving a new nymph. She then called Jealousy, acquainted
her with the desertion of Procris, seduced by the hunter Cephalus,
and charged her with her vengeance. This was a terrible lesson for
the novice. This scene with dances and pantomime, with the choruses
of nymphs imploring Diana to forgive Procris, would have made a
long act, and prepared the interest. I cut out wholly the part of
Aurora, which had given an uninteresting double action. Men as-
sembled together do not like to see a woman disdained, and this woman
is Aurora, more beautiful than the day. Jealousy disguised as a
nymph would have taken her place ; and Procris with Cephalus would
have ended the second act as it is in the poem. The third act remained
as it is. . . . The author did not wish to adopt these changes, and the
opera has not been performed since.

"Gluck was at two of my rehearsals at Versailles. The music of
the third act should have appeared to him as dramatic as it really is. If
Gluck had been only a disinterested amateur, he would have said with-
out doubt that which a consummate artist has the right to say to a
young man of thirty years: 'Measured song, as you have made it, does
not suit your actors ; your poet nevertheless should inspire you to put
more warmth and interest in your first two acts; he should cut out
airs in which he has made you too subservient, and allow you to make
measured song when it pleases you; then you can choose the places
which admit of a music that will suit your singers.' But Gluck was
preparing his 'Iphig6nie en Aulide' and it was more natural for him
to profit by my mistakes than to draw me from them."

* *

"C^phale et Procris" at Versailles ended a long row — several weeks
— of festivities arranged by Papillon de la Ferte. After the operatic
performance, which provoked yawns, the Dauphin was reported as
saying to the Due de Richelieu: "At last our divertissements are at
an end! Now we can begin to amuse ourselves." But Grimm wrote
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performed for the court festivities 'C^phale' gave the most pleasure,
and this is not a high eulogy. The success of the work seems at present
below the reputation of the two authors. But it is only at Paris that
these important cases are judged in a court of last resort, and we await
the supreme judgment. . . . The poem, which, according to custom,
has been printed for Versailles, has found very severe judges. The
amiability of Mr. de Marmontel in cutting and hacking his verses to
make them more suitable for musical expression has not been suflGi-
ciently recognized. Miss Arnould has even been so malicious as to
say that the music of 'Cephale' seemed to her much more French than
the words. The word 'aura,' which the poet thought he should keep
in French, has inspired puns, because it recalled 'ora pro nobis.' But
all these jests of the moment do not destroy the interest inspired by
a good work. The first scene of the second act where Flora surprises
adroitly the secret of Aurora is conceived in a most ingenious manner,
and the details are charming; but the scene where Cephalus makes
long excuses to Procris for having killed her appeared rather ridicu-
lous to everybody. As it probably will be corrected, we give a few
lines of it: —

Cephalus.
And thou- diest by my hand.

Procris.
I still cherish this hand; '

Give it to me.

No.

Cephalus

Procris.
Give, give it.

Cephalus.
Pardon, alas! Pardon
For the error of my hand

Procris
You love me; I pardon
The error of thy hand.

"The 'erreur de ma main' is not surely, in this situation, theheart-

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felt word. Bonus aliquando dormitat Homer us; but he should at least

have chosen his moment a little better."

* *

Miss de Lespinasse was not pleased with the opera in Paris. She
wrote: "This music is of a pale color. My friend Gr^try should keep
to his own style, which is gentle, agreeable, sensitive, witty — it is good
enough, and when a man of a small figure is well made, it is dangerous
and surely ridiculous for him to mount on stilts; he falls on his nose
and the passers-by laugh. The worst of Gr6try's operas for the Co-
m^die Italienne is better than this one at the Theatre Lyrique."

Perhaps Gr^try was consoled by the sums given him at Versailles:

2,000 francs for the composition and 3,599 for the "copies."

* *

Gr^try in his "Memoirs" often complains of the stupidity and the
shrieking of the singers at the Opera. Burney heard Mr. and Mrs.
Ivarrivee in Paris and other famous singers of Gretry's time, and he
censured their art severely, yet he added : ' ' One thing I find here which
makes me grieve at the abuse of nature's bounty, the voices are in
themselves really good and well toned ; and this is easily to be discov-
ered, in despite of false direction and a vitiated taste." "The French
voice never comes further than from the throat; there is no voce di
petto, no true portamento, or direction of the voice, on any of the
stages."

As for the dancers, male and female, their inordinate vanity, incred-
ible extravagance, and extraordinary lives, the curious reader should
consult "La Guimard" by Edmond de Goncourt (Paris, 1893); "La

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ALSO A CHOICE LINE OF FURS

375

Camargo" by Gabriel Ivetainturier-l^radm (Paris, s. d.) ; "Les Vestris"

by Gaston Capon (Paris, 1908.) The life of Sophie Arnould, brilliant

wit and accomplished actress, has been written by the de Goncourts;

also by Robert B. Douglas (Paris, 1898).

*
* *

Henri Lavoix, the Younger, describes Gretry, Monsigny, Dalayrac,
Nicolo, as "a school whose expression is accurate and true, whose
melody is somewhat short-breathed, but most expressive, with en-
sembles slightly developed, but admirably true to the scenic situation.
Not only were they the musical representatives of Sedaine, Marmontel,*
Bernardin de Saint-Pierre, but they enlarged the qualities that distin-
guished these writers and at the same time shunned their faults. Their
music remains touching and simple, while the writers fell into senti-
mentalism and mannerisms. ... As Adolphe Adam wittily wrote:
'Gretry had learned badly, but he divined much.' His instrumentation
is weak and his harmony is often insufficient. He reduced the string
quartet to three parts, and, as they said^even in his time, 'You can
drive a coach and four between the bass and the two upper parts.'
In spite of this, thanks to the accuracy of his dramatic talent, thanks
to the true sentiment of the effect to be produced, the composer of
'Richard Coeur de Lion' found things full of finesse, things unex-
pected. An entertaining chapter could be written on the instrumen-
tation of masters who did not know how to write. . . . We study in this
volume" — "Histoire de 1' Instrumentation" (Paris, 1878) — "only those
who have contributed to the progress of the orchestra, and in this
instance the position of Gretry can be only one of little importance.
Sonorous combinations, powerful orchestral effects, are little suited to
the witty composer; I might even say that his musical thought, fine,
true, and sometimes rather curt, would not bear heavy orchestral
ornamentation; for him the orchestra was simply the fitting pedestal
for his charming statutte. There are few new instrumental devices
to note in Gretry' s operas; yet we should cite from memory the in-
troduction of the organ in opera in 'La Rosiere republicaine ' and in-

- *For an interesting discussion of early French librettists see "Le Livret d'Op&a francais de Lully k
Gluck" by Eugfene H. de Bricqueville (Paris, 1888). [Ed.]

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376

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SWITZERLAND December 4, 5

ITALY December 11, 12

THE DESERT December 18, 19

Tickets on sale at Tremont Temple Ticket office on and after Monday, November 9

377

struments of percussion in 'La Fausse Magie.' * The latter are thus
indicated in the orchestral score: 'March of Gypsies, accompanied by
cymbals, triangles, and other singular instruments.' Gr^try also used
cymbals, bass drum, and snare drum in the finale of the second act of
his 'Guillaume Tell.'" t

"AlI/ SouivS' Day," Op. ID, No. 8 Richard Strauss

(Born at Munich, June ii, 1864; now living at Charlottenburg, Berlin.)

"Acht Gedichte aus 'Letzte Blatter' von Hermann von Gilm"
were composed by Strauss in 1882-83.

ALLERSEELEN.

Stell' auf den Tisch die duftenden Reseden,
Die letzten rothen Astern trag' herbei,
Und lass uns wieder von der Liebe reden,
Wie einst im Mai.

Gib mir die Hand, dass ich sie heimlich drucke, —

Und wenn man's sieht, mir ist es einerlei ;
Gib mir nun einen deiner sUssen Blicke,
' ' Wie einst im Mai.

Es bluht und duftet heut auf jedem Grabe,
Ein Tag im Jahr ist ja den Todten frei,
Komm an mein Herz, dass ich dir wieder habe,
Wie einst im Mai.

ALL SOULS' DAY.

(English version by Dr. Th. Baker.)

Beside me set the ruddy glowing heather.

The last autumnal asters bring to-day,

And let us tell again of love together, ■"■^ -;:

As once in May. 1

*"La Fausse Magie" (Aux Italians, Paris, Febraary i, i77S).
t" Guillaume Tell" (Aux Italiens, Paris, April 9, 1791).

LOUDON CHARLTON

868 CARNEGIE HALL, NEW YORK

Has the honor to announce the following eminent artists under

his management this season:

Mme. Johanna Qadski* Mr. Ossip Qabrilowitsch *

Mme. Marcella Sembrich * Miss Katharine Qoodson *

Mr. David Bispham* Mr. Ernest Schelling*

Mme. Mary Hissem de Moss Mr. Theodore Spiering

Mr. George Hamlin * Miss Qeraldine Morgan

Mr. Francis Rogers* Mr. Henry Bramsen

Miss Leila Livingston Morse Mr. Albert Rosenthal

Miss Cecelia Winter Mr. Edwin H. Lemare*

Miss Gertrude Lonsdale The Flonzaley Quartet*

* Artists thus designated will be heard here in redtal this season. Specific announce-
ments in later issues.

378

Give me thy hand, that I may fondly press it,
Should others see^ — I care not what they say.
Let one fond glance, love, fill my heart and bless it,
As once in May.

On every grave to-day sweet flowers are glowing.
So every year we give the dead one day;
Come to my heart, thy love again bestowing.
As once in May.

"The Violet" Wolfang Amadeus Mozart

(Bom at Salzburg, January 27, 1756; died at Vienna, December 5, 1791.)

Goethe vi^rote this ballad surely as early as 1773. He afterward
put it in his Singspiel "Erwin und Elmire, " and it was published in
Jacobi's Iris in 1775. It was widely copied, and in 1789 it was included
in the first genuine edition of Goethe's works.

Mozart wrote the music at Vienna, June 8, 1785. This song and a
song of farewell ("Die Trennung,"' K. 519?) were the only ones of
Mozart's songs published in his lifetime. They appeared in 1790.

DAS VEILCHEN.

Ein Veilchen auf der Wiese stand

Gebtickt in sich und unbekannt:

Es war ein herzig's Veilchen.

Da kam eine junge Schaferin

Mit leichtem Schritt und muntrem Sinn

Daher, daher,

Die Wiesse her und sang. \

Ach! denkt das Veilchen, war' ich nur

Die schonste Blume der Natur,

Ach, nur ein kleines Weilchen,

Bis mich das Liebchen abgepfliickt

Und an dem Busen matt gedruckt!

Ach nur, ach nur

Ein Viertelstiindchen lang!

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379

Ach, aber ach I das Madchen kam

Und nicht in Acht das Veilchen nahm,

Ertrat das arme Veilchen.

Es sank und starb und freut' sich nodi :

Und sterb' ich denn, so sterb' ich doch

Durch sie, durch sie,

Zu ihren Fflssen dodi.

THE VIOLET.
(English version by the Rev. J. Trout beck.)

A violet in the meadow grew,

It dwelt apart, and hid from view,

It was a lovely violet.

There came a gay young shepherdess,

And lightly tripped in carelessness

Along, along,

The fields along, and sang.

Ah, thought the violet, would^I were
Among the flowers supremely fair
Awhile, though but a violet.
Until this dear one gathers me
Upon her bosom pressed to be
Awhile, awhile,
Although it be not long.

But, but alas, the maiden gay,
When passing heedless on her way.
Trod down the hapless violet.

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380

It sunk and died, yet thought with joy,
If die I must, 'tis mine to die
Through her, through her,
And at her feet to lie.

"A Dream" Edvard Grieg

(Bom at Bergen, Norway, Jxme 15, 1843; died there September 4, 1907.)

EIN TRAUM.
(Friedrich Bodenstedt.)

Mir traumte einst ein schoner Traum,

Mich liebte eine blonde Maid;
Es war am griinen Waldesraum,

Es war zur warmen Friihlingszeit

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381

Die Knospe sprang, der Waldbacli schwoll,
Fern aus dem Dorfe schoU Gelaut,

Wir waren ganzer Wonne vol! —
Versunken ganz in Seeligkeit.

Und schoner noch als einst der Traum
Begab es sich in Wirklichkeit;

Es war am griinen Waldesraum,
Es war zu warmen Eriihlingszeit.

Der Waldbach schwoll, die Knospe sprang,
Gelaut erschoU vom Dorfe her,

Ich hielt dich fest, ich hielt dich lang,
Und lasse dich nun nimmermehr.

O friihlingsgrUner Waldesraum,
Du lebst in mir durch alle Zeit ;

Dort ward die Wirklichkeit zum Traum,
Dort ward der Traum zur Wirklichkeit.

A DREAM.
(Translation by Frederick Corder )

I had a wondrous, lovely dream :

Methought'I wooed a blue-eyed maid;

We stood beneath the greenwood shade
When April shed his sunny beam.

The buds did throng, the brooklet gushed,
Afar we heard the village chime;

Through ev'ry vein the rapture flushed.
We stood entranced in bliss sublime!

Miss FRANCES L THOMAS

.. Covrsetiere ..

BERKELEY BUILPING - BOSTON, MASS.

382

But fairer far than was my dream,
The bliss one waking hour displayed:

We stood beneath the greenwood shade
When April shed his sunny beam.

The brooklet gushed, the buds did throng.
And village chime the breezes bore;

I held thee fast, I held thee long, —
For fate shall part us nevermore !

A greenwood lit by April's beam,

Through life thou wilt abide with me!

Here did the truth a vision seem.
Here was my dream made verity!

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383

OvERTUim TO "EgmONT," Op. 84

IvUDwiG VAN Beethoven

(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.)

This overture was composed in 18 10; it was published in 181 1.
The music to Goethe's play — overture, four entr'actes, two songs
sung by Clarchen, "Clarchen's Death," "Melodram," and "Triumph
Symphony" (identical with the coda of the overture) for the end of
the play, nine numbers in all — ^was performed for the first time with
the tragedy at the Hofburg Theatre, Vienna, May 24, 1810. Antonie
Adamberger was the Clarchen.

The first performance of the overture in Boston was at a concert

of the Boston Academy of Music, November 16, 1844. ^^1 the music

of "Egmont" was performed at the fourth and last Philharmonic

concert, Mr. Zerrahn conductor, on March 26, 1859. This concert

was in commemoration of the thirty-second anniversary of Beetho-

J ven's death. The programme included the "Bgmont" music and the

''■ Ninth Symphony. The announcement was made that Mrs. Barrows

had been engaged, "who, in order to more clearly explain the com-

• poser's meaning, will read those portions of the drama which the music

especially illustrates." Mr. John S. Dwight did not approve her

reading, which he characterized in his Journal of Music ais "coarse,

inflated, over-loud, and after all not clear." Mrs. Harwood sang

Clarchen's solos. The programme stated: "The grand orchestra,

perfectly complete in all its details, will consist of fifty of the best

-Boston musicians."

All the music to "Egmont" was performed at a testimonial concert
to Mr. Carl Zerrahn, April 10, 1872, when Professor Evans read the
poem in place of Charlotte Cushman. who was prevented by sickness.

384

This music was performed at a Symphony Concert, December 12,

1885, when the poem was read by Mr. Howard Malcolm Ticknor.

When Hartl took the management of the two Vienna Court theatres,
January i, 1808, he produced plays by Schiller. He finally determined
to produce plays by Goethe and Schiller with music, and he chose
vSchiller's "Tell" and Goethe's "Egmont." Beethoven and Gyrowetz
were asked to write the music. The former was anxious to compose
the music for ' 'Tell " ; but, as Czemy tells the story, there were intrigues,
and, as "Egmont" was thought to be less suggestive to a composer,
the music for that play was assigned to Beethoven. Gyrowetz's
music to "Tell" was performed June 14, 1810, and it was described
by a correspondent of a Leipsic journal of music as "characteristic
and written wdth intelligence." No allusion was made at the time
anywhere to Beethoven's "Egmont."

iyong and curious commentaries have been written in explanation
of his overture. As though the masterpiece needed an explanation!
We remember one in which a subtle meaning was given to at least
every half-dozen measures: the Netherlanders are under the crushing
weight of Spanish oppression; Egmont is melancholy, his blood is
stagnant, but at last he shakes off his melancholy (violins), answers
the cries of his country-people, rouses himself for action; his death
is portrayed by a descent of the violins from C to G; but his country-
men triumph. Spain is typified by the sarabande movement; the
heavy, recurring chords portray the lean-bodied, lean-visaged Duke
of. Alva; "the violin theme in D-flat, to which the clarinet brings
the under-third, is a picture of Clarchen," etc. One might as well

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385

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Formerly one of the first violias in the

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A Vision 30

If I were a Prince 50

Sweet Mary, says I 50

Sung by Herbert Witherspoon
Boy o' Dreams, high and low voice, each, .50

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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 $3.00 by applying before the last concert.
Address all communications to

F. R. COMEE.
Symphony Hall, Bostoo

Mrs. J. M. MORRI SON

LINGERIE AND FRENCH NECKWEAR
Exclusive agency for the WADE CORSET

367 BOYLSTON STREET

TelepHone, 3142-5 BacR Bay

/ 386

illustrate word for word the solemn ending of Thomas Fuller's life of
Alva in "The Profane State" : "But as his life was a mirror of cruelty,
so was his death of God's patience. It was admirable that his tragical
acts should have a comical end; that he that sent so many to the
grave should go to his own, and die in peace. But God's justice on
offenders goes not always in the same path, nor the same pace: and
he is not pardoned for the fault who is for a -while reprieved from the
punishment; yea, sometimes the guest in the inn goes quietly to bed
before the reckoning for his supper is brought to him to discharge."
The overture is at first a mighty lamentation. There are the voices
of an aroused and angry people, and there is at the last tumultuous
rejoicing. The "Triumph Symphony" at the end of the play forms

the end of the overture.

*
* *

The overture has a short, slow introduction, sostenuto ma rion
troppo, F minor, 3-2. The main body of the overture is an allegro,
F minor, 3-4. The first theme is in the strings; each phrase is a
descending arpeggio in the 'cellos, closing with a sigh in the first violins ;
the antithesis begins with a "sort of sigh" in the wood- wind, then
in the strings, then there is a development into passage-work. The
second theme has for its thesis a version of the first two measures
of the sarabande theme of the introduction, fortissimo (strings), in
A-flat major, and the antithesis is a triplet in the wood-wind. The
coda. Allegro con brio, F major, 4-4, begins pianissimo. The full
orchestra at last has a brilliant fanfare figure, which ends in a shout-
ing climax, with a famous shrillness of the piccolo against fanfares of
bassoons and brass and between crashes of the full orchestra.

The overture is scored for two flutes (one interchangeable with pic-
colo), two oboes, two clarinets, two bassoons, four horns, two trumpets,
kettledrums, and strings.

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387

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388

Sixth Rehearsal and Concert*

FRIDAY AFTERNOON, NOVEMBER 20, at 2.30 o'clock.

SATURDAY EVENING, NOVEMBER 21, at 8 o'clock.

PROGRAMME-

Sibelius

(First time.)

a. Varsang (Spring Song)

b. Finlandia.

Max Bruch

Concerto for Violin No. 3

Beethoven

Symphony No. 7

SOLOIST,
Mn WILLY HESS.

389

FIRST PIANO_^ RECITAL by

Carolyn LoviscWillard

WEDNESDAY AFTERNOON, NOVEMBER i8, AT 3

PROGRAM

Loeilly (1660), Godowsky . . .

Gigue, E mindr (first time)

Beethoven

Sonata, op. loi

Schumann

. Ende vom Lied
Des Abends

Chopin

- - .

Four Preludes — C major
A major
C-sharp minor

Chopin

. Scherzo, C-sharp minor

Ernest Hutcheson

. Andante Tranquillo (first time)

MacDowell

Hungarian, op. 39, No. 12

Liszt

. Eclogue

Liszt-Busoni

. Heroischer Marsch (first time)

STEINWAY PIANO

USED

RESERVED SEATS, 75c.,

$1.00, $t.50

Tickets are now on sale at the Hall

SONG RECITAL by

Heinrich Meyn

THURSDAY EVENING, DECEMBER lo, AT 8.15

II.

HI.

PROGRAM

Ganymed .......

Schubert

Kinderwacht .......

, Schumann

Aus Meinen Grossen Schmerzen ....

Franz

Standchen .......

Jensen

Feldeinsamkeit t
Von Ewiger Liebe ( '

Brahms

Abendlied with violin obligate \
Jetzt und Immer J *

. Hugo Kaun

Im Zitternden Mondlicht . . . .

Eugen Haile

Drei Wandrer . .

Hans Hermann

Tryste Noel .......

. Gerrit Smith

Ballad of the Bony Fiddler .... William G. Hammond

CesDeuxYeux ) ^ Schastian B. Schlesinger
Avec Un Bouquet J

Vielle Chanson ......

Nevm

Les Deux Amours |
Un Grand Sommeil Noir ) '

Clayton Johns

Benvenuto .......

. Diaz

THE STEINWAY PIANO USED

Mr. COENRAAD V. BOS, Accompanist

RESERVED SEATS, $1.50, $100, $75
Tickets are now on sale at the Hall (Telephone, Oxford 1330)
300

SECOND SEASON - = - 1908*1909

THREE CHAMBER CONCERTS BY THE

CZERWONKY

String Quartet

RICIL\RD CZERWONKY, First Violin CARL SCHEURER, Viola

WILLY KRAFT, Second Violin RUDOLF NAGEL, Violoncello

Wednesday Evenings, December 9, February JO, and March 24

AT 8.15 O'CLOCK
PROGRAM for December Ninih

1. QUARTET, C minor • Beethoven

2. QUARTE r, C major, op. 5 Pogojeff

(First time in Boston)

3. QUARTET, C minor H. Kann

(First time in Boston) ,

Tickets for the course of three concerts, $2.00 and $3.00 (with reserved seat), may be obtained at the
hall (Telephone Oxford 1330).

A PIANOFORTE RECITAL

Will be given by

Mr. LOUIS BACHNER

MONDAY AFTERNOON, NOVEMBER 23, AT 3 O'CLOCK

Reserved seats at 75c., $1.00, $1.50, may be engaged at the Hall, or by tele-
phone, Oxford 1330.

Mr. and Mrs.
DAVID MANNES

Announce a series of

THREE SONATA RECITALS

VIOLIN AND PIANO

Friday Evenings, December 4, J 908, January 29, February
J 9, 1909, at 8.1*5 o'clock

Subscription Tickets, $3.00 and $2, according to location, now on
sale at Steinert Hall, Boston. Telephone, Oxford 1330.

STEINWAY PIANO USED

391

NEW JAGOB SLEEPER HALL

688 BOYLSTON STREET (Next to Public Library)

Monday Evening, November 16, at 8.15
FIRST CONCERT by the

HoFfmann Quartet

J. HOFFMANN, First Violin K. RISSLAND, Viola

A. BAK, Second Violin C. EARTH, Violonceflo

(Seventh Sea3on, 1908-1909)

Program

Quartet in D major (K.V. 499) Mozart

Sonata in C, Op. 72. For violin and pianoforte. (First time) . . Max Reg«r

Second Quartet (in D major) . Borodin

Assisting Artist, Mr. CHARLES A/NTHO/SV

Mason & Hamlin Piano

Tickets at $1.50, Ji-oo and 50 cents (balcony unreserved) on sale at the Hall.

SANDERS THEATRE, Cambridge

Boston
SymphonyOrchestra

MAX FIEDLER, Conductor

SECOND CONCERT, THURSDAY EVENING, NOVEMBER 19, at 8

PROGRAM

BRAHMS Symphony No. i

TSCHAIKOWSKY ..... Concerto for Pianoforte, No. i

WAGNER Vorspiel, "Die Meistersinger"

Soloist, Mr. GEORGE PROCTOR

Tickets on tale at Kent's University Bookstore, Harvard Square.

30«

DEBUCHY'S CONCERT . SYMPHONY HALL

Next Tuesday Afternoon, November 17, at 2.30

Madame

CALVE

And an orchestra of 74,
ALBERT DEBUCHY, Conductor

Tickets, $2.50, $2.00, $1.50, $1.00 at Symphony Hall

JORDAN HALL - - - - BOSTON

Friday Evening and Saturday Evening, November 27
and 28, J908, at 8.J5

TWO PERFORMANCES ONLY by

Isadora Duncan

Accompanied by an Orchestra under the directioi\ of Paul Eisler of the Metropolitan

Opera House, New York

A REVIVAL OF THE GREEK ART OF 2,000 YEARS AGO
PROGRAM, NOVEMBER 27

iphige:nie: en aulide

PROGRAM, NOVEMBER 28

DANCES IDYLLES

Tickets, $2.00, $1.50, and $1.00 at Symphony Hall.

Tickets for November 1 1 a»d 1 2 wiil be good for November 27 and 28

Boston Management, L. H. MUDGETT.
393

The

Hess - Schroeder
rw Quartet

PROF. WILLY HESS, First Violin

J. VON THEODOROWICZ, Second Violin

EMILE FERIR, Viola

ALWIN SCHROEDER, Violoncello ^

Will give Five Chamber Music Concerts on
Tuesday Evenings at 8. J 5

NOVEMBER 17, 1908

DECEMBER 22, 1908

JANUARY 19, 1909

MARCH 2, 1909

MARCH 23, 1909

At CHICKERING HALL

PROGRAMME for First Concert, November 17

I. QUARTET in C major . . . . Mozart

II. QUARTET in A major, Op. 41, No. 3 . Schumann

III. QUARTET in G major, Op. 18, No. 2 . . Beethoven

Season Tickets for Five Concerts, $6, $4, and ^2.50, according
to location, now on sale at Box Office, Symphony Hall.

Single Tickets, 1^1.50, $1.00, and 50 cents, on sale on and after
Monday, November 9.

394

THF

KNEISEL QUARTET

FRANZ KNEISEL, Fir,t Violin LOUIS SVECENSKI, yiola

JULIUS ROENTGEN, Stcond Violin ^X^ILLEM WILLEKE, yiohncclh

TWENTY-FOURTH SEASON. 1908-1909

FENWAY COURT

FIVE CONCERTS

TUESDAY EVENINGS

at 8. 1 5 o'clock

November lo . . . . 1908

December 8 ... 1908

January 5 .... 1909

February 16 . . . . 1909

March 16 .... 1909

ASSISTINQ ARTISTS:

Miss KATHARINE GOODSON Mr. OSSIP GABRILOWITSCH

Mr. ERNEST CONSOLO Mr. COURTLANDT PALMER

Mr. ARTHUR FOOTE

The programme of the Second Concert and the
name of the assisting artist will be announced in
next week's issue of this book.

Admission tickets, at $1.00, entitling to a seat, for sale at

THE BOSTON MUSIC CO. (Q. Schirmer)
26 and 28 WEST STREET

395

CONCERT ANNOUNCEMENTS

Jordan Hall, Monday Afternoon, November i6

THREE O'CLOCK
FIRST APPEARANCE IN BOSTON

li^.Wb. DR. LUDWIG WiJLLNER

Accompanist, COENRAAD V. BOS

PROGRAMME

(Dr. Wullner's Repertoire comprises some 700 works)

1. 3.

I. Der Wanderer l ^ i. Auf dem Kirchhofe ) t t>

a. Du liebst mich nicht { p Schubert '■ "^^"^^ • Brahms

3. Der Doppelganger ( ' 3. Verschwiegene Liebe ) tj •,,,

4. Erlkonig ^ ^ j 4. DerGartnlr l Hugo Wolff

2_ 5- Das Lied des Steinklopfers ) Richard

_.. ~ . . '^ 6- Cacilie ) Strauss

1 . Die Taubenpost \

2. Die Forelle I 4-

3. Alinde V tt. Or-„,,„„„T '■ Mit Myrthen und Rosen \

4. Eifersucht und Stolz f *• Schubert ^ Der Soldat I t, c

5. Das Lied im Griinen 1 3. Waldesgesprach ( ^- Schumann

6. Der Musensohn J 4. Die beiden Grenadiere )

Reserved Seats now on sale at Box Office, Symphony Hall

Jordan Hall ORGAN RECITAL

Tuesday Evening, November 24, at 8.15

WILLIAM WOLSTENHOLME

ASSISTED BY

E. BLUM (Tenor)
Tickets, $i.oo, 75c., and 50c., at Symphony Hall

Symphony Hall, Saturday Afternoon, December 12,
1908, at 2.30

MME. CECILE GHAMINADE ITSsr

ASSISTED BY

Mile. YVONNE DE ST. ANDRE, Mez7 --soprano, and

Mr. ERNEST QROOM, Baritone

Tickets, $2.00, $1.50 and $1.00 Public sale opens Friday, December 4

Symphony Hall, Tuesday Evening, November 24,

at 8.15

ILLUSTRATED
LECTURE

KELLOGG, THE BIRD MAN

Wonderful discoveries in nature during the past 8 months.

Bird, Animal, Reptile, and Insect Life portrayed by moving pictures.

Tickets, $1.50, $1.00, and 50c., on and after November 16

396

Woolsey Hall - - New Haven

FRIDAY EVENING, NOVEMBER

TWENTIETH, NINETEEN

HUNDRED AND EIGHT, AT EIGHT

O'CLOCK

THE NIGHT BEFORE THE FOOTBALL GAME
AT NEW HAVEN

NINTH JOINT CONCERT

by the Glee, Mandolin,
and Banjo Clubs of

Yale and Harvard
Universities

TICKETS, ^1.50 and ^i.oo

307

Mr. H. G. TUCKER |

Announces a SERIES OF SIX

SUNDAY CHAMBER CONCERTS

At CHICKERING HALL

SUNDAY AFTERNOONS IN

JANUARY AND FEBRUARY, 1909

At 3.30 O'CLOCK

Organizations and Artists to be announced later

Tickets for the Course, $2.50, and a limited number at $4

Subscription List now open at Chickering Hall

Subscribers may have the privilege of securing their former seats
for the series of Sunday Chamber Concerts

HUNTINGTON CHAMBERS HALL

rOR RECITALS

30 HUNTINGTON AVENUE

TESTIMONIAL CONCERT

Miss MABEL GOING

Under the auspices of the Professional Women's Club
CHICKERING HALL, THURSDAY AFTERNOON. NOVEMBER 19, AT 3 P.M.

TALENT: Mr. Arthur Foote, Mr. Felix Fox, Mrs. Bertha CusWng Child, Mr. Stephen Townsend,
Mrs. Jeanette Bell Ellis, Miss Going and others.

(Songs by Mr. Foote and Miss Going, with the composers at the Piano.)

Tickets $1.00 each, obtainable at the Hall (Telephone 1670 Back Bay), or of Miss Going,
332 Massachusetts Avenue. (Telephone 22005 Back Bay). All checks made payable to Miss
Mabel Going. Balcony, 50 cents.

The HUME PIANO used.
398

Alfred Peats Wall Paper

EFFECTIVE
INTERIOR
DECORATION

BOSTON'S EXCLUSIVE WALL PAPER SHOP

116=120 SUnriER STREET

HOTEL RENNERT

BALTIMORE, MD.

Within one square of the shopping dis-
trict.

The standard hotel of the South.

The cuisine of this hotel has made
Maryland cooking famous.

The only hotel in the world where the
Chesapeake Bay products, Fish, Oysters,
Terrapin, and Canvas-back Duck, are
prepared in their perfection.

MODERN IN EVERY DEPARTMENT

EUROPEAN PLAN

Rooms, $1.50 per day and upwards Fire-proof building

399

POTTER HALL

Monday Evening, November 23, at 8.15 o'clock

Season 1908-1909
Ninth Season

Chamber Music for Wind Instruments

The LONGY CLUB

MEMBERS.
Flutes : Messrs. D. Maquarre and A. Brooke.
Oboes : Messrs. G. Longy and C. Lenom.
Clarinets : Messrs. 6. Grisez and P. Mimart.
Horns : Messrs. F. Hain and H. Lorbeer.
Bassoons : Messrs. P. Sadony and J. Helleberg.
Piano : Mr. A. de Voto.

PROGRAMME OF THE FIRST CONCERT.

No. I. FALCONI . Sextet for flute, oboe, clarinet, bassoon, and^piano

(First time)

No. 2. HANDEL . Concerto for Oboe with strings accompaniment

(First time at these concerts)

No. 3. CAPLET Suite Persane for 2 flutes, 2 oboes, 2 clarinets, 2 horns,
and 2 bassoons

Tickets now on sale at Box Office, Symphony Hall.
Season tickets for the three concerts, four dollars.
Single tickets, $1.50.

PIANO, MASON AND HAMLIN
400

SYMPHONY HALL

Wednesday Evening^ November 18^ 1908

AT 8J5 O'CLOCK

Ben Greet^s Players

In a performance of
Shakespeare's

"A MIDSUMMER
NIGHT'S DREAM"

Mendelssohn's incidental music by an orchestra of fifty
Symphony players, Gustav Strube, Conductor

PRINCIPAL CHARACTERS

BOTTOM

BEN GREET

OBERON

MILTON ROSMER

DEMETRIUS

SAYRE CRAWLEY

LYSANDER .

ERIC BLIND

PUCK

GEORGE VIVIAN

TITANIA

. RUTH VIVIAN

HELENA

IRENE ROOK

HERMIA

VIOLET VIVIAN

The company numbers fifty.

Incidental dances by Mrs. Lou Wall Moore, assisted by a ballet of
children.

Incidental solos by Mrs. John Warren and Mrs. Kenny.

Decorative draperies by Troy and Marguerite Kenny.

Seats, $1.50, $1.00, and 50 cents. Now on sale at box oflfice of
Symphony Hall.

401

SUNDAY EVENING, DECEMBER 13

AT EIGHT

CONCERT

BY THE

BOSTON SYMPHONY ORCHESTRA

MAX FIEDLER, Conductor

IN AID OF ITS

PENSION FUND

PROGRAMME AND FURTHER DETAILS LATER

II -fr^

402

MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and

SOPRANO SOLOIST

Miss HARRIET S. WHITTIER, s"""". 2^* H«ntingtoo av.»u.. "

Exponent of the method of the late Charles R. Adans.
Portsmouth, New Hampshira, Mondays.

Mr. CHARLES B. STEVENS,

TEACHER or Si/NGING.

STUDIOS,

Suite 14, Steinert Hall, 162 Boylston St.

Telephone, 1331 Oxford.

Miss Harriette C. Wbscott,

Accompanist and Assistant Teacher.

Miss LADRA HAWKINS,

PIA/NIST.

LANG STUDIOS,

No. 6 NEWBURY STREET.

Miss CAROLINE M. SOUTHARD,

TEACHER OF THE PIANOFORTE.

Classes in Sight Reading

(EIGHT HANDS).

Advanced pupils follow the Symphony programmes
as far as practicable.

165 Huntington Avenue - Boston

Iss GERTRUDE EDMANDS,

Concert and Oratorio.

Vocal Instruction,

The Copley, 18 Huntington Avenue.

Mrs. HALL MCALLISTER,

TEACHER of SI/NGING.

407 Pierce Building,
COPLEY SQUARE.

Musical Manaqement.

Miss ELEANOR 6RI6HAM,

Pianist and TeacHer«

Trinity Court.

Mr. BERKHARD LISTEMANN'S

Master School for Violinists.

Training to competent teachers prin-
cipal aim. Ensemble lessons.

OFFICE
703 PIERCE' BUILDING, COPLEY SQUARE.

Hours: Monday and Thursday, from i p.m.
Wednesdays and Saturdays, 9 to i and 2 to 4.

Miss JOSEPHINE COLUER,

PIANIST and TEACHER.

LANG STUDIOS,

6 NEWBURY STREET.

403

Miss CLARA E. MDN&ER,

TEACHER OF SINGING.

Century Building,
177 Huntington Avenue, Boston.

Walter E. Loud— Violin.
Pupil of Ysaye.

32 Batavia Street.

Hiss Bertba Wesselhoeft Svift,

Soprano Soloist,

TEACHER OF SINGING.
Studio, TRINITY COURT, Boston.

Miss Swift is ready to give her children's programs
before clubs, church societies, and in private houses

Hiss LUCY (MRK ALLEN,

Pianoforte Lessons.

Accompaniments.

LANG STUDIOS, 6 NEWBURY STREET.

Hr.SAHUELJ.MacWATTERS,

Professor of Voice Building in
Boston University.

VOICE PLACING,

Development of Tone and
Resonance.

72 MOUNT VERNON STREET.

Mis. LUGIA GALE BARBER,

Rhythm applied to Physical and Per-
sonal Development,
Music Interpretation,
Lectures and Instruction.

The Ludlow, Copley Sq., Boston.

KARL DOERINfi,

TENOR- BARITONE.

Pupil of Professor Jachman-Wagner, Berlin, and
Professor Galliera, Milan, Italy.

Training and Finishing of Voice.

School for Orand Opera and Oratorio.

STEINERT HALL, ROOM 27.

Open Monday, October i2'. Send for new Prospectus

BERTHA GDSHIN6 CHILD,

38 BABCOCK ST., BROOKLINE.

TEACHING AT

LANG STUDIOS,

6 NEWBURY ST., BOSTON.

MARY B. SAWYER,

Leschetizky Method.

PIANO AND HARMONY.

For four years Pupil and Authorized Assistant oi

Frau VARETTE STEPANOFF,

BERLIN, GERMANY.

Studio, Steinert Hall, 162 Boylston St.

404

PIANISTEand TEACHER.

Mrs. CAROLYN KING HUNT, Hen,e„„.ycb.»,b„s,

BOSTON.

Hiss RENA I. BISBEE,

TEACHER or PIANO,

LANG STUDIOS,
6 NEWBURY STREET.

LDCY FRANCES GERRISH,

PIANOFORTE INSTRUCTION.

GERRISH STUDIO,
140 Boylston Street . . . Boston.

EDITH LYNWOOD WINN,

LECTURE-RECITALS

This season, Russian, Hungarian, 17th
Normal and Teachers Courses for and i8th Century Music.

Violin.
Children's classes at special rates TRINITY COURT . . BOSTON.

The Guckenberger School of inSrLrnTs')!'7h^tr"y,^MiiSiT^^^^^

II ■ Analytical Harmony, Composition, Score

fflllSlCi Reading, Chorus and Orchestral Con-

ducting.
B. GUCKENBERGER, Director. 30 Huntington Avenue . . Boston

Teacher of

Pianoforte, Church Organ,

TKeory of Music.

Steinert Hall, Boston.
77 Newtonville Avenue, Newton.

HENRY T. WADE,

RICHARD PLATT,

PIANIST.

23 Steinert Hall . . Boston.

Mason & Hamlin Piano.

PIANO, ORGAN,

CHARLES S. JOHNSON, HARMONY.

LANG STUDIOS, 6 NEWBURY STREET.

HARPIST.

Miss HARRIET A. SHAW, '^^ commonwealth avenue

Telephone.

405

SAM L. STHDLEY,

Pierce Buildings Copley Square, Room 313.

INSTRUCTION IN THE
ART OF SINGING.

OPERA, ORATORIO, AND SONQ.

mss PRISCILLA WHITE,

TEACHER OF SINGING.

602 Pierce Building,
Copley Square, BOSTON.

Tuesdays and Fridays at Lasell Seminary.

EARL CARTWRMT,

BARITO/ME.

TEACHER OF SINGING.
Lang Studios, 6 Newbury Street.

Miss JESSIE DAVIS,

Pianist and Teaclier,
289 Newbury Street, Boston.

Miss Rose Stewart,

Vocal Instruction.

246 Huntington Avenue.

Miss EDITH E. TORREY,

TEACHER OF SINQINQ.

164 Huntington Avenue, Boston.
Tuesdays and Fridays at Wellesley College.

Miss EDITH JEWELL,

VIOLINIST AND TEACHER,

37 BRIMMER STREET.

efers by permission to Mr. C. M. Loeffler.

HELEN ALLE/M HUNT.

CONTRALTO SOLOIST.

Teacher of Singing.
No. 514 Pierce Building Boston.

BOSTON MUSICAL BUREAU.

Established 1899.
Supplies Schools. Colleges, and Conservatories
with Teachers of Music, etc.; also Churches with
Organists, Directors, and Singers.

Address HENRY C. LAHEE,
'Phone, 47S-I Oxford. 2i8Tremont St., Boston,

Mrs. S. B. FIELD,

Teacher of tlie Piano and Accompanist.
HOTEL NOTTINGHAM.

Mrs. Field makes a specialty of Coaching, in both
vocal and instrumental music.

Artists engaged, programmes arranged, and all
responsibility assumed for private musicales.

Miss MARIE L EVERETT,

Teacher of Singing.

Pupil of MADAME MARCHES!,

ParU.
THE COPLEY, BOSTON.

Miss MARY D. CHANDLER,

Concert Pianist and Teacher.

Pui>il ofPhilipp, Paris.

I49A TREMONT ST., Monday and Thursday.

Residence, s Ashland Street, Dorchester.

Telephone, 182S-3 Dorchester.

Miss PAULA MUELLER.

Teacher of Piano
and German Language.

STUDIOS,
28 Central Avenue, Room 30, Steinert Hall
MEDFORD. BOSTON.

RECITALS.

Mrs.V.PERNAUX=SCHUMANN,

TEACHER OF FRENCH and GERMAN.
French and German Diction a Specialty.

32 BATAVIA STREET Suite 8, BOSTON.

Clarence B, Shirley,
Tenor Soloist and Teacher.

CONCERT AND ORATORIO.

Studio, Huntington Chambers, Boston.

406

S^s "r^o'Jt blister, charlotte white.

Teacher of Singing,
Soprano Soloist.

Symphony Chambers, opposite Symphony Hall,
BOSTON.

Violoncellist of the Carolyn Belcher String Quartet.

TEACHER AND SOLOIST.

608 Huntington Chambers, Boston, Mass.

THOMAS L. CUSHMAN,

VOCAL TEACHER.
218 TREMONT STREET.

L. B.

MERRILL

BASS SOLOIST

AND

TEACHER.

218 Tremont Street.

Mme. de BERQ-LOFGREN,

TEACHER OF SINGING.

The "GARCIA" Method.
Studio, 12 Westland Avenue. BOSTON, MASS.

Mrs. H. CARLETON SLACK,

VOCAL INSTRUCTION.

Lyric Soprano. Concerts and Recitals.
Lessons at residence, 12S Hemenway Street.

Miss PEARL BRICE,

CONCERT VIOLINIST, TEACHER.
Lang Studios, 6 Newbury Street.

Mrs.LOUISELATHROP MELLOWS,

Pianist and Teacher.

STUDIO, JeHerson Hall,
Trinity Court, Dartmouth Street, BosbMi,

Miss M. B. HARTWELL,

PIANO AND HARMONY.
Studio, 9 St. James Avenue.

Miss Hartwell has but recently returned from

Vienna, where she studied the Leschetizky

Method for three years and a half.

VIOLET IRENE WELLINGTON,

Humorous and Dramatic Reader.

Also
Teacher of Voice, Elocution, Physical Culture.

59 "Westland Avenue.
Telephone, 3439-1 Back Bay.

TIPPETT

CLARA

WM. ALDEN

STUDIOS

VOICE

Assistant, GRACE R. HORNE

312 PIERCE BUILDING
COPLEY SQUARE

LUISE LEIMER,

Contralto Soloist and Teacher of Singing.

Studio, 23 Crawford Street

and 5teinert Building.

Miss RUTH LAIGHTON,

Violinist and Teacher

19 Chestnut Street • Boston

Miss JANRT DUFF.

(7 years pupil of Francis Korbay)

Contralto, Concerts, Oratorios, and Song Recitals.

Teacher of Voice Production and Singing.

Studio, 402 Huntington Chambers.

Monday, Wednesday, Thursday and Saturday morn-
ings
Management, W. S. Bigelow, Jr., Boston

Miss MARIE WARE LAUGHTON,

Lecturer and Reader of Shakspere.
Instructor of the VOICE IN SPEECH.
Courses of Study for Personal Culture and Pro-
fessional Training.

418 PIERCE BUILDING, COPLEY SQUARE

ARTHUR M. CURRY, Ellen M. Yerrinton,

Teacher of

Violin, Harmony, Composition, I Vorbereiter to Teresa Carreno,

34 STEINERT HALL.

Uhland Str. 30, BERLIN, \\ ., GERMANY

407

Allen H. Daugherty,

PIANOFORTE INSTRUCTION,
HARMONY.

Tel., Oxford 1 629-1. 218 Trcmont street.

IVIisslVIARYA.STOWELL,

Teacher of Piano and Harmony.
The ILKLEY,

Huntington Av.enue and Cumberland Street.

(Cumberland Street entrance )

Miss CATHERINE LINCOLN,

Soprano Soloist.
Teacher of Singing.

514 Pierce Buildine, Copley Square, Boston.

BARITONE.

George W. Mull,

Teacher of Singing.

The Copley, 18 Huntington Avenue,Boston.

JOHN GR06AN MANNING,

CONCERT PIANIST and TEACHER.

Monday, Wednesday, and Thursday
afternoons

Symphony Chambers, 246 Huntington Ave.

Mr. WILLIS W. GGLDTHWAIT,

Teacher of Piano.

Thorough instruction in Harmony, class or private.

7 Park Square, Boston.

JOHN BEACH,

PIANIST.
10 Charles Street.

Miss MARGARET GORHAM,

PIANIST AND TEACHER.

Trinity Court. Boston.

Mrs. HIRAM HALL,

Pianist and Teacher.
118 Charles Street.

Mrs. Alice Wentworth MacGregor,

TEACHER OF SINGING.

Residence Studio, 780 Beacon Street.
Tuesdays and Fridays at Abbot Academy.

Mrs. NELLIE EVANS PACKARD.

Studio, 218 Tremont Street (Room 308), Boston.

VOCAL INSTRUCTION.

Mrs, Packard is commended by Walker, Randegger
(London), Marches!, Bouhy, Trabadelo (Paris),
Leoni (Milan), Vannuccini (Florence), Cotogni,
Franceschetti (Rome).

Mr. P. nUMARA

Will furnish a Small Orchestra of mem-
bers of the Boston Symphony Orchestra
for Musicales, Dinners, Receptions, etc.

Address, Symphony Hall.

ARTHUR THAYER,

TEACHER OF SINGING.
200 Huntington Avenue

Mr. CHARLES DUMAS,

Graduate of the University of Paris.
Former Assistant at Harvard.

French (all grades), Lectures, Diction,

Elocution, etc.
286 Columbus Ave., Opp. Back Bay Station.

CLAUDE HACKELTON, I EVERETT E. TRUETTE,

PIANIST AND TEACHER.
218 Tremont Street, Room 515, Boston

CONCERT ORGANIST AND TEACHER.
218 Tremont Street, BOSTON.

EDWIN N. C. BARNES,

Basso Cantante and
Teacher of Singing.

Symphony Chambers . . . Boston..

Opposite Symphony Hall.

Oratorio
SOPRANO a

SOLOIST.

Concert.

u,^?». GOODBAR,

TEACHER OF SINGING.

Thorough preparation for Concert and Church.

Studio . . Stelnert Hall.

'Phone, Oxford 1330. Mondays and Thursdays

408

ALWIN SCHROEDER

The glorious artist and distinguished musician,

'Cellist of the Hess-Schroeder Quartet

writes as follows of the

ilason^Jjaralin

PIANOS

MASON & HAMLIN CO., Boston:

Gentlemen: — Dwring my residence in America for the
past several years, I have had great opporttjnity of studying
all the various pianos made in this country, as indeed I have
had opportunity of studying the pianos abroad before I came
to America. I want to write to express to you my sincere
admiration and appreciation of your very beautiful pianos.
I have heard them with orchestra, in hundreds of chamber
concerts, and at my home under various conditions; always
your noble instruments have stood the test, and not only
have they stood it, but they have added to the general
beauty and musical value of the occasion, whatsoever it
might have been.

I am, very truly yours,

(Signed) ALWIN SCHROEDER.

MASON & HAMLIN COMPANY

Opp. Institute of Technology BOYLSTON STREET

HERE are many
things which may
be prophesied for
the future, but it is
a fixed fact that the

STEINWAY Piano
will continue to be the
Standard of the World.

The Steinway Organiza-
tion insures this.

STEINWAY & SONS

NEW YORK
LONDON HAMBURG

REPEESENTED BY

M. STEINERT & SONS COMPANY
162 Boylston Street, Boston, Mass.

PRoGRSnAE

TENSION RESONATOR

(PATENTED IN THE UNITED STATES AND IN EUROPE)

Used exclusively in the

PIANOS

'The Three Epoch-making Discoveries

IN THE MANUFACTURE OF GRAND PIANOS ARE

First, The French Repeating Action, 182 1

Second, The Full Iron Frame and Over-strung Scale, 1859 .

Third, The Mason & Hamlin Tension Resonator, 1900, —

the most important of the three, as it pertains to tone
production

Ql.f. C "ir^^^ in a piano is dependent upon the crown, or arch,

U3liry OT 1 On^ of its sounding-board. Loss of tone-quality is
caused by the flattening of the sounding-board through the action of the
atmosphere and the great downward pressure of the strings.

TKe Mason & liamlin Tension Resonator

Permanently preserves the crown, or arch, of the sounding-board, and gives to
the Mason & HamUn piano a superior quality of tone and a tone which is inde-
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A Technical Description in "The Scientific American" of October 11,

1902, CONTAINS THE FOLLOWING:

A copy of the Scientific Atnerican article will be mailed upon application

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T^VENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

f rogramm? of tijp

Sixth

Rehearsal and Concert

WITH HISTORICAL AND DESCRIP-
TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, NOVEMBER 20
AT 2.30 O'CLOCK

SATURDAY EVENING, NOVEMBER 21
AT 8.00 O'CLOCK

409

Mme. CECILE CHAMINADE '

The "World's Greatest "Woman Composer

Mme. TERESA CARRENO

The World's Greatest "Woman Pianist

Mme. LILLIAN NORDICA

The W^orld's Greatest W^oman Singer

USE

Piano.

THE JOHN CHURCH CO., 37 West sad Street
New York City

REPRESENTED BY

G. L SCHIRMER & CO., 38 Huntington Avenue, Boston, Mass.

410

Boston Symphony Orchestra

PERSONNEL

Twenty -ei

ighth Season, 1908° 1909

MAX FIEDLER, Conductor

First Violins.

Hess, Willy Roth, O.

Concert-master. Kuntz, D.
Noack, S.

Hoffmann, J.
Fiedler, E.

Krafft, W.
Theodorowicz, J.

Mahn, F.
Strube, G.

Eichheinfi, H.
Risslandj K.

Bak, A.
Ribarsch, A.

Second Violins.

Mullaly. J.
Traupe, W.

Barleben, K.
Fiumara, P.

Akeroyd, J.
Currier, F.

Fiedler, B.
Werner, H.

Berger, H.
Eichler, J.

Tischer-Zeitz,
Goldstein, S.

H. Kuntz, A.
Kurth, R.

Marble, E.
Goldstein, H. -

Violas.

Ferir, E.
Scheurer, K.

Heindl, H.
Hoyer, H.

Zahn, F. Kolster, A.
Kluge, M. Sauer, G.

Violoncellos.

Krauss, H.
Gietzen, A.

Warnke, H.
Keller, J.

Nagel, R.
Kautzenbach, A.

Barth, C. Loeffler, E.
Nast, L. Hadley, A.

Basses.

Warnke, J.
Smalley, R.

Keller, K.
Gerhardt, G.

Agnesy, K.
Kunze, M^

Seydel, T.
Huber, E.

Ludwig, O.
Schurig, R.

Flutes.

Oboes.

Clarinets.

Bassoons.

Maquarre, A.
Maquarre, D.
Brooke, A.
Fox, P.

Longy, G.
Lenom, C.
Sautet, A.

English Horn

Grisez, G. Sadony, P.
Mimart, P. Mueller, E.
Vannini, A. Regestein, E.

Bass Clarinet. Contra-Bassoon.

Mueller, F.

Stumpf, K.

Helleberg, J,

Horns.

Trumpets. Trombones. Tuba.

Hess, M.
Lorbeer, H.
Hain, F.
Phair, J.

Schmid, K.
Gebhardt, W.
Hackebarth, A.
Schumann, C.

Kloepfel, L. Hampe, C. Lorenz, O,
Mann, J. Mausebach, A.
Heim, G. Kenfield, L.
Merrill, C.

Harp.

Tympani.

Percussion.

Schuecker, H.

Rettberg, A.

Dworak, J.

Senia, T.

Kandler, F.

Ludwig, C.

Librarian.

Sauerquell, J.

411

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412

TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT AND NINE

Sixth Rehearsal and G^ncert*

FRIDAY AFTERNOON, NOVEMBER 20, at 2.30 o'clock.

SATURDAY EVENING, NOVEMBER 2t, at 8 o'clock.

PROGRAMME.

Sibelius

(a) "A Song of Spring" for Orchestra, Op. i6
I First time in Boston

j(d) "Finland": Symphonic Poem for Orchestra,
Op. 26, No. 7. First time in Boston

Bruch . . . . Concerto No. 3, for Violin and Orchestra, Op. 58

I. Allegro energico.

II. Adagio.

III. Finale: Allegro molto.

Beethoven

Symphony in A major, No. 7, Op. 92

I. Poco Sostenuto ; Vivace.

II. Allegretto.

III. Presto : Presto meno assai.

IV. Allegro con brio.

SOLOIST,
Professor WILLY HESS.

There will be an interimssion of ten minutes befofe the symphony.

City of Boston. Revised Re^nlation of Anfiust 5. 1898.— Chapter 3. relating to the
covering of the head in places of public amusement.

413

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414

"A Song of Spring," Op. i6; "Finland": Symphonic Poem for
Orchestra, Op. 26, No. 7 Jean Sibeuus

(Born at Tavastehus, Finland, December 8, 1865; now living in Helsingfors.*)
The score of "Varsang" was copyrighted in 1903. The title-page
bears these titles: "Varsang," "Friihlingslied," "La Tristesse du
Printemps." I do not know whether the French ""title is the com-
poser's or the publisher's. Mrs. Newmarch in her biographical sketch
of Sibelius says: "The second title of this work, 'The Sadness of
Spring,' seems to indicate that it is not so much a glad and triumphant
vernal mood which this music is intended to express, as some subjective
feeling not easy to define. Perhaps the dryness of heart which fol-
lows upon some corroding embittering sorrow, for which the swift,
magic beauty of the northern spring bears a message of mockery
rather than of hope.. But this is left to our imagination, as also the
meaning of the strange peal of bells and the impassioned coda at the
close of the work."

The music, one continuous song, romantic and gradually increasing
in passion, requires no analysis. It is scored for two flutes (inter-
changeable with piccolos), two oboes, two clarinets, two bassoons,
four horns, three trumpets, three trombones, bass tuba, a set of three
kettledrums, bells (in F, B-flat, C), and strings. The song begins, tempo
moderato e sostenuto, F major, 3-4, with a theme for 'cello, violas, and
clarinet.

* *
"Finlandia: Tondight for orkester," Op. 26, No. 7, was composed in
1894, some years before the loss of Finland's identity as a nation, yet
it is said to be so national in sentiment, "and it evokes such popular
enthusiasm in the composer's native land, that during the recent
political conflict between Russia and Finland its performance is said

* It was stated recently that Mr. Sibelius now lives at Kerava, near Helsingfors.

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to have been prohibited." It is not a fantasia on genuine folk-tunes.
The composer is the authority for this statement. To quote Mrs.
Newmarch again: "Like Ghnka, Sibelius avoids the crude material
of the folksong; but like this great national poet, he is so penetrated
by the spirit of his race that he can evolve a national melody calculated
to deceive the elect. On this point the composer is emphatic. 'There
is a mistaken impression among the press abroad,' he has assured
me, 'that my themes are often folk melodies. So far I have never
used a theme that was not of my own invention. Thus the thematic
material of "Finlandia" and "En Saga" is entirely my own.'"

"Finlandia" was performed for the first time in America at a Metro-
politan Opera House Concert in New York, December 24, 1905. Mr.
Arturo Vigna conducted. It was performed at concerts of the Russian
Symphony Society, Mr. Modest Altschuler conductor, in Carnegie Hall,
New York, December 30 and 31, 1905.

The following note is from the programme notes of the Russian
Symphony Society: —

"'Finland,' though without explanatory sub-title, seems to set
forth an impression of the national spirit and life. . . . The work records
the impressions of an exile's return home after a long absence. An
agitated, almost angry theme for the brass choir, short and trenchant,
begins the introduction, Andante sostenuto (alia breve). This theme
is answered by an organ-like response in the wood-wind, and then a
prayerful passage for strings, as though to reveal the essential earnest-
ness and reasonableness of the Finnish people, even under the stress
of national sorrow. This leads to an allegro moderato episode, in
which the restless opening theme is proclaimed by the strings against
a very characteristic rhythmic figure, a succession of eight beats, the
first strongly accented. . . . With a change to Allegro, the movement,

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418

looked at as an example of the sonata form, may be said to begin.
A broad, cheerful theme by the strings, in A-flat, against the per-
sistent rhythm in the brass, is followed by a second subject, introduced
by the wood-wind and taken up by the strings, then by the 'cello and
first violin. This is peaceful and elevated in character, and might
be looked upon as prophetic of ultimate rest and happiness. The
development of these musical ideas carries the tone poem to an eloquent
conclusion."

"Finland" is scored for two flutes, two oboes, two clarinets, two
bassoons, four horns, three trumpets, three trombones, bass tuba,
kettledrums, bass drum, cymbals, triangle, and strings.

The following paragraphs from Mrs. Rosa Newmarch's "Jean Si-
belius: A Finnish Composer," 24 pp. (1906), are here pertinent. (See
also the entr'acte.)

"From its earliest origin the folk music of the Finns seems to have
been pentrated with melancholy. The Kanteletar, a collection of
lyrics which followed the Kalevala, contains one which gives the
key-note of the national music. It is not true, says the anonymous
singer of this poem, that Vainomoinen made the 'Kan tele' out of the
jaw of a gigantic pike: —

The Kan tele of care is carved,
Formed of saddening sorrows only ;
Of hard times its arch is fashioned
And its wood of evil chances.
All the strings of sorrows twisted,
All the screws of adverse fortunes ;
Therefore Kantele can never
Ring with gay and giddy music,
Hence this harp lacks happy ditties,
Cannot sound in cheerful measures.
As it is of care constructed,
Formed of saddening sorrows only.

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419

"These lines, while they indicate the prevailing mood of the future
music of Finland, express also the difference between the Finnish
and Russian temperaments. The Finn is more sober in sentiment,
less easily moved to extremes of despair or of boisterous glee than his
neighbor. Therefore, while we find accents of tragic sorrow in the
music of the Russian peasantry, there are also contrasting moods in
which they tune their gusslees * to 'ga}^ and giddy music'

"The causes of this innate gravity and restrained melancholy of
the Finnish temperament are not far to seek. Influences climatic and
historical have moulded this hyperborean people into what we now
find them. Theirs is the most northern of all civilized countries. From
November till the end of March it lies in thrall to a gripping and relent-
less winter ; in the northern provinces the sun disappears entirely during
the months of December and January. Every yard of cultivated
soil represents a strenuous conflict with adverse natural conditions.
Prosperity, or even moderate comfort, has been hardly acquired under
such circumstances.

* The gusslee, or gusli, was a musical instrument of the Russian people. It existed in three forms, that
show in a measure the phases of its historical development: (i) the old Russian gusli, with a small, flat^ousding
box, with a maple-wood cover, and strung with seven striags, an instrument not linlike those of neighboring
folks, — the Finnish "kantele," the Esthonian "kannel," the Lithuanian "kankles," and the Lettic "kuakles";
(2) the gusli-psaltery of the fourteenth and fifteenth centuries, difEering from the first named in these respects,
— greater length and depth of the sounding-box, from eighteen to thirty-tsjro strings, and it was trapeziform; (3)
the piano-like gusli of the eighteenth centm-y, based on the form and character of the clavichord of the time.
See Faminzin's "Gusli, a Russian Folk Musical Instrument" (St. Petersbm-g, 1890). The gusli is not to be
confounded with the Dalmatian gusla, an instrument with soundiag-box, swelling back, and finger-board cut
out of one piece of wood, with a skin covering the mouth of the box and pierced with a- series of holes in
a circle. A lock of horse-hairs composed the one string, which was regulated by a peg. This string had no
fixed pitch; it was tuned to suit the voice of the singer, and accompanied it always in unison. 'The gusli was
played with a horse-hair bow. The instrument was'foimd on the- wall of a tavern, as the guitar, orj Spanish
pandero on the wall of a posada, or as the English cithern of the sixteenth and seventeenthjcenturies, commonly
keptiin barber shops for the .use of thelcustomers. — P. H.

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421

"Situated between Sweden and Russia, Finland was for centuries
the scene of obstinate struggles between these rival nationalities;
wars which exhausted the Finns without entirely sapping their fund
of stubborn strength and passive endurance. Whether under Swedish
or Russian rule, the instinct of liberty has remained unconquerable
in this people. Years of hard schooling have made them a serious-
minded, self-reliant race; not to be compared with the Russians for
receptivity or exuberance of temperament, but more laborious, steadier
of purpose and possessed of a latent energy which, once aroused, is not
easily diverted or checked.

. . . "Many so-called Finnish folk-songs being of Scandinavian
origin. That the Finns still live as close to Nature as their ancestors,
is evident from their literature, which reflects innumerable pictures
from this land of granite rocks and many- tin ted moorlands; of long
sweeps of melancholy fens and ranges of hills clothed with dark pine-
forests ; the whole enclosed in a silver network of flashing waters — ^the
gleam and shimmer of more than a thousand lakes. The solitude and
silence, the familiar landscape, the love of home and country — ^we
find all this in the poetry of Runeberg and Tavaststjerna, in the paint-
ings of Munsterhjelm, Westerholm, and Jarnefelt, and in the music of Si-
belius.

. . . "Sibelius's strong individuality made itself felt at the outset
of his career. It was, of course, a source of perplexity to the academic
mind. Were the eccentricity and uncouthness of some of his early
compositions the outcome of ignorance, or of a deliberate effort to be
original at any price ? It was, as usual, the public, not the specialists,

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who fouud the just verdict. Sibehus's irregularities were, in part
the struggles of a very robust and individual mind to express itself in
its own way; but much that seemed weird and wild in his first works
was actually the echo of the national spirit and therefore better under-
stood by the public than by the connoisseurs. . . . From his novitiate
Sibelius's melody has been stamped with a character of its own. This
is due in a measure to the fact that it derives from the folk-music and
the runo: — the rhythm in which the traditional poetry of the Finns
is sung. The inviolable metrical law of the rune makes no distinction
between epos and melos. In some of Sibelius's earlier works, where
the national tendency is more crudely apparent, the invariable and
primitive character of the rune-rhythm is not without influence upon
his melody, lending it a certain monotony which is far from being
devoid of charm. 'The epic and lyric runes,' says Comparetti, 'are
sung to a musical phrase which is the same for every line; only the
key is varied every second line, or, in the epic runes, at every repetition
of the line by the second voice. The phrase is sweet, simple without
emphasis, with as many notes as there are sylables.' Sibelius's
melody, at its maturity, is by no means of the short-winded and broken
kind, but rather a sustained and continuous cantilena, which lends
itself to every variety of emotion curve and finds its ideal expres-
sion through the medium of the cor anglais. His harmony — a law
unto itself — is sometimes of pungent dissonance and sometimes has a
mysterious penetrating sweetness, like the harmony of the natural
world. In the quaint words of the Finnish critic Flodin: 'It goes
its own way which is surely the way of God, if we acknowledge that
all good things come from Him.' It seems impossible to hear any one
of Sibelius's characteristic works without being convinced that it voices
the spirit of an unfamiliar race. His music contains all the essential
qualities to which I have referred as forming part and parcel of the
Finnish temperament."
! • * *

These works of Sibelius have been performed in Boston by the Bos-
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426

Symphony, No. i, K minor, Op. 39, January 5, 1907, Dr. Muct
conductor.

Symphony No. 2, D major, Op. 43, March 12, 1904, Mr. Gericke
conductor

Concerto in D minor, for violin and orchestra, Op. 47, April 20, 1907

(Mme. Maud Powell, violinist).

*
. * *

Sibelius at first studied the violin ; but, as it was intended that he
should be a lawyer after his schooling, he entered the University
of Helsingfors in 1885. He soon abandoned the law for music. He
studied at the Helsingfors Conservatory under Martin Wegelius, then
with Albert Becker and Woldemar Bargiel at Berlin (1889-90) and
with Fuchs and Goldmark at Vienna (1890-91). He then returned
to Helsingfors. He received a stated sum from the government, so
that he was able to compose without annoyance from the cares of this
life that is so daily, — to paraphrase Jules Laforgue's line: "Ah! qiie
la Vie est quotidienne! " *

His chief works are the Symphony No. i, E minor, composed in
1899; Symphony No. 2, D major (1901-1902) ; Symphony No. 3,! led
by the composer in St. Petersburg in November, 1907; "Kullervo,"
a symphonic poem in five parts for solo voices, chorus, and orchestra
(composed in 1898, but not yet published); "Lemminkainen," sym-
phonic poem in four parts. Op'. 22 (two of these parts are entitled,
respectively, "The Swan of Tuonela," Op. 22, No. 3, and "Lem-
minkainen's Home-faring," Op. 22, No. 4); "Finlandia," symphonic
poem; overture and orchestral suite, "Karelia," Op. 10 and Op. 11;
"Islossningen," "Sandels," and "Snofrid," three symphonic poems
with chorus; "Varsang," Op. 16; "En Saga," tone poem. Op. 9;
"Jungfrau i Tornet" ("The Maid in the Tower"), a dramatized bal-
lad in one act, the first Finnish opera (Helsingfors, 1896); incidental
music to Adolf Paul's tragedy, "King Christian II." (1898),' — an
orchestral suite has been made from this music; incidental music to

♦This stipend has been withdrawn, according to report.

t The Symphony No. 3, was performed in New York at a concert of the Russian Symphony Society, Jan-
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NEW MASTER LITERATURE FOR THE VIOLIN

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Maeterlinck's "Pelleas and M61isande," an orchestral suite, Op. 46,
of eight numbers; Concerto for violin, Op. 47, played in Berlin, October
19, 1905, by Carl Halir, and in New York by Mme. Maud Powell at a
Philharmonic Concert, November 30, 1906; Valse Triste for orchestra
from the music to Arvid Jarnefelt's drama "Kuolema" (Death);
"Des Feuer's Ursprung," cantata; "Koskenlaskijan Morsiamet"
("The Ferryman's Betrothed"), ballad for voice and orchestra, Op. 33;
Sonata for pianoforte, Op. 12; pianoforte quintet, string quartet.
Fantasia for violoncello and pianoforte; "Kylliki," lyric suite for
pianoforte, Op. 41 ; other pieces for pianoforte, as Barcarole, Idyll,
and Romanze, from Op. 24, also Op. 5, 13, 15, 18, 26, 27, 31, 36, and
transcriptions for the pianoforte of his songs; choruses and many
songs. Op. 13, 31, 36, 37, 38, — fifteen have been published with
English words.

Mr. Willy Hess was born on July 14, 1859, at Mannheim. When
he was six years old, he began to study the violin with his father,
Julius, a pupil of Spohr. He was in America with his family in 1865,
and in 1868-69 he made a tour with Theodore Thomas's orchestra.
He played in Music Hall, Boston, on November 6, 1869, Leonard's
"Concert Militaire" and Beethoven's Romanze in F major. In 1872
he left America for Holland. In 1873 he made Heidelberg his dwell-
ing-place. He visited London for the first time in 1874. In 1876 he

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went to Berlin to study with Joachim. In 1878 he was appointed con-
cert-master of the Opera and of the Museumsgesellschaft orchestra at
Frankfort-on-the-Main, where he founded a string quartet and a trio
with Kwast and Hugo Becker. He remained in Frankfort for eight
years. In 1 886 he was called to Rotterdam as professor at the Con-
servatory and as concert-master, but after two years he was called to
Manchester, England, to take the place of lyudwig Strauss, who had
resigned his position as concert-master of the orchestra led by Charles
Hall6. In 1895 he settled at Cologne as concert-master of the Guer-
zenich concerts, leader of the Guerzenich Quartet, and professor of
the violin at the Conservatory. He was appointed professor of the
violin at the Royal Academy of Music, London, 1903, and he re-
signed this position to come J:o Boston in 1904 as concert-master
of the Boston Symphony Orchestra. At the end of the season of
1906-07 he obtained a leave of absence for one year. He was
given the title of "Royal Prussian Professor" by the Emperor Wil-
helm II. in 1900 on the occasion of the 50th anniversary of the es-
tablishment of the Conservatory of Music at Cologne.

Mr. Hess has played at concerts of the Boston Symphony Orchestra
in Boston these pieces : —

Joachim: Hungarian concerto. Op. 11, October 22, 1904.

Bruch: Concerto No. i, G minor. Op. 26, November 12, 1904.

Beethoven: Concerto, D major, Op. 61, January 6, 1906.

Spohr: Concerto No. 9, D minor, October 20, 1906.

He was leader 1904-07 of the Boston Symphony Quartet, which
was composed 1904-05 of Messrs. Hess, Roth, Ferir, Krasselt, and
1905-06 and 1906-07 of Messrs. Hess, Roth, Ferir, and Warnke.

In the course of the three years of this Quartet the following com-
positions were performed : —

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.An asterisk here denotes a first performance in Boston or the first public appearance here of a singer or
player. Two asterisks denote a first performance.)

Arensky: Piano trio, D minor, Op. 32 (Carlo Buonamici, pianist),
March 5, 1906.

Aus der Ohe: Violin sonata, F-sharp major, Op. 16 (MSS.),** Janu-
ary 2, 1905 (Adele aus der Ohe, pianist). •

Bach: Ciaconna for violin alone, November 7, 1904 (Mr. Willy
Hess, violinist).

Beethoven: Quartet, G major. Op. 18, No. 2, January 2, 1905.

Beethoven: Quartet, C minor. Op. 18, No. 4, November 27, 1905.

Beethoven: Quartet, C major. Op. 59, No. 3, March 6, 1905.

Beethoven: Quartet, F minor. Op. 95, November 19, 1906.

Beethoven: Quartet, B-flat major. Op. 127, March 5, 1906.

Beethoven: Quintet, C major. Op. 29, November 7, 1904 (Max
Zach, second viola).

Beethoven: Septet, E-flat major, Op. 20, April 22, 1907 (Messrs. G.
Grisez, clarinet, M. Hess, horn, P. Sadony, bassoon, K. Keller, double
bass) . ,

Beethoven: Trio, B-flat, Op. 97, February 6, 1905 (Eugen d'Albert,
pianist) .

Brahms: Sextet, B-flat major. Op. 18, October 30, 1905 (Max Zach,
second viola, J. Keller, second 'cello).

Brahms: Quintet, piano and strings F minor, Op. 34, February 6,
1905 (Eugen d'Albert, pianist).

Brahms: Quartet, piano and strings, A major, Op. 26, February
5, 1906 (Carl Stasny, pianist).

Brahms: Quartet, B-flat major. Op. 67, January 21, 1907.

Brahms: Song, "Liebliche Wangen," April 9, 1906 (Susan Metcalfe*).

Brahms: Song, "Die Mainacht," April 9, 1906 (Susan Metcalfe*).

Cherubini: Scherzo from Quartet in D minor, No. 3, March 6, 1905.

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Debussy: Quartet, G minor, Op. lo, February 25, 1907.

Dvorak: Sextet, A major. Op. 48, March 6, 1905 (Max Zach, second
viola, C. Earth, second 'cello).

Dvorak : Quartet for piano and strings, E-flat major. Op. 87, Novem-
ber 19, 1906 (H. G. Tucker, pianist).

Faure: violin sonata, A major, Op. 13, February 25, 1907 (Willy
Hess and Ossip Gabrilowitsch) .

Franck: Quintet for piano and strings, October 29, 1906 (Heinrich
Gebhard, pianist).

Franck: Violin sonata, A major, November 27, 1905 (Willy Hess
and Raoul Pugno).

Glazounoff : Quintet, A major. Op. 39,* January 2, 1905 (J. Keller,
second 'cello).

Glazounoff: Novelettes, Op. 15 (Alia Spagnuola, Interlude in modo
antico, Orientale) October 30, 1905.

Handel: Air from "Serse," April 9, 1906 (Susan Metcalfe*).

Haydn: Quartet, C major. Op. 33, No. 3, December 17, 1906.

Haydn: Quartet, D minor. Op. 76, No. 2, February 6, 1905.

Jaques-Dalcroze : Three movements from Serenade, Op. 61,* April
22, 1907.

Kaun: Quartet, D major. Op. 41, No. 2,* November 19, 1906.

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Leclair: Sonata for violin and viola with piano,*(?) D major, Novem-
ber 28, 1904 (Willy Hess and Emile Ferir).

Mendelssohn: Octet, E-flat major, Op. 20, April 10, 1905 (with the
Hoffmann Quartet).

Mozart: Quartet, C major (K. 465), February 5, 1906.

Mozart: Quartet, B-flat major (K. 589), April lo, 1905.

Mozart: Clarinet quintet (K. 581), January 21, 1907 (G. Grisez,
Clarinet) .

Mozart: Song, "Das Veilchen", April 9, 1906 (Susan Metcalfe*).

Reger; Serenade for flute, violin, viola, D major, Op. 77a*, February
5, 1906 (Andre Maquarre, flute, Willy Hess and Emile Ferir).

Saint-Saens; Piano trio, F major. Op. 18, January i, 1906 (George
Proctor, pianist).

Saint-Saens: 'Cello sonata, C minor. Op. 32, April 10, 1905 (Olga
Samaroff,* pianist).

Saint-Saens: 'Cello sonata, F major. Op. 123,* December 17, 1906
(Otto Neitzel,* pianist).

Schubert: Piano quintet, A major, Op. 114, December 17, 1906
(Otto Neitzel,* pianist, K. Keller, double bass).

Schubert: Quintet, C major. Op. 163, January i, 1906 (Carl Barth,
second 'cello).

Schubert: Quartet, A minor. Op. 29, October 30, 1905.

Schubert: Quartet, D minor. Op. posth., November 7, 1904.

Schubert: Quartetsatz, Op. posth., October 29, 1906.

Schubert: Song, "Der Neugierige," April 9, 1906 (Susan Metcalfe*).

Schubert: Song, "Ungeduld," April 9, 1906 (Susan Metcalfe*).

Schumann: Quartet, A major, Op. 41, No. 3, January i, 1906.

Schumann: Piano trio, F major. Op. 80, February 25, 1906 (Ossip
Gabrilowitsch, pianist) .

Schumann: Piano quintet, E-flat major, Op. 44, November 28,
1904 (Fannie Bloomfield-Zeisler, pianist).

Sinding. Andante and allegretto scherzando from Quartet in A
minor. Op. 70, March 5, 1906.

Suk: Quartet, B-flat major. Op. 11, October 29, 1906.

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A Collection of Pieces •written for the Virginal, Spinet, Harpsichord, and Clavi-
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essays by Richard Aldricb.

436

Svendsen: Octet, A major, Op. 3, April 9, 1906 (Messrs. Kuntz,
Krafft, Zach, and Nagel, assisting).

Taneieff, S.: Quartet, B-flat minor, Op. 4,* November 27, 1905.

Tschaikowsky : Quartet, D major. Op. 11, No. i, April 22, 1907.

Tschaikowsky. Quartet, F major. Op. 22, No. 2, November 28, 1904.

Tschaikowsky: Piano trio, A minor. Op. 50, January 21, 1907
(Victor Benham, pianist).

Wolf: Quartet, D minor,* April 9, 1906.

*
* *

In 1908 Mr. Hess founded, with Mr. Alwin Schroeder, the Hess-

Schroeder Quartet (Messrs. Hess, Theodorowicz, Ferir, Schroeder).

The first concert of this Quartet in Boston was on November 17, 1908,

Third Concerto for Violin with Orchestral Accompaniment,
Op. 58 Max Bruch

(Born at Cologne, January 6, 1838; now living at Friedenau, Berlin.)

This concerto, dedicated to Josef Joachim, was played for the first
time at a concert given in honor of the composer at Diisseldorf, May
31, 1 89 1. Joachim was the violinist. The programme was made up
of works by Bruch: selections from "Das Lied von der Glocke,"
"Frithjof," and "Achilleus"; the whole of "Das Feuerkreuz." Miss
Wally Schauseil and Max Biittner were the chief singers.

Joachim played the concerto in Berlin at a Philharmonic Concert,
November 9, 1891, and at Hamburg and Frankfort-on-the-Main in the
same year. Sarasate played it in London for the first time, October
17, 1891 ; and Heermann played it in 1891 at Wiirzburg.

The first performance of the concerto in the United States was at
a concert of the Symphony Society led by Walter Damrosch at New
York, February 6, 1892, when Miss Geraldine Morgan was the violinist.

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The concerto was played at a concert of the Philharmonic Society of
New York by Mme. Camilla Urso, February 13, 1892. Miss Geraldine
Morgan played the concerto at a concert of the Boston Symphony
Orchestra in Philadelphia, February 8, 1892.

The first performance in Boston was at a concert of the Boston
Symphony Orchestra, Mr. Nikisch, conductor, March 5, 1892. Mme.
Camilla Urso was the violinist.

The concerto was published in 1892. The accompaniment is scored
for two flutes, two 'oboes, two clarinets, two bassoons, four horns,
two trumpets, three trombones, kettledrums, and strings.

I. Allegro energico, D minor, 4-4. There is an orchestral intro-
duction in which the strongly rhythmed first theme and another sturdy
motive (largamente) are introduced. The solo violin after a cadenza
takes up the energetic first theme, then the sturdy theme and a third,
a more melodious and expressive cantilena. This material is used at
great length. Portions of the themes are interwoven, and they are
developed into essential elements of the solo part.

II. Adagio, B-flat major, 6-8. The solo violin preludes to a slight
accompaniment. The chief theme, a tender melody, is sung by orches-
tral violins. The solo violin takes up this melody. The second motive,
not unlike a chant, is played by strings, then by wood-wind instruments,
and is embroidered by the solo violin. There are changes of tonality
and a return to the first subject.

III. Finale. Allegro molto, 3-4. Introductory measures in D
minor have a nimble dancing theme for solo violin that is used liberally
in the main body of the movement. The chief theme of a heroic char-
acter is announced by the solo violin. The song theme, also for solo
violin, is opposed to the dance theme.

F major. Song theme in orchestra is embroidered by the solo instru-

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ment. The coda is based on foregoing thematic material, and there

is a brilliant close in D major.

*
* *

The following compositions by Max Bruch have been played in
Boston at concerts of the Boston Symphony Orchestra : —

Symphony No. 3, in E (MSS.), March 3, 1883 (first time in Boston).

Prelude to "Loreley": December 16, 1882; November 17, 1883.

Concerto for violin and orchestra, No. i, G minor: October 21,
1882 (Louis Schmidt, Jr.); November 28, 1885 (C. M. Loeffler) ; March
5, 1887 (Maud Powell); January 21, 1893 (Henri Marteau) ; April
13, 1895 (I. Schnitzler) ; November 12, 1904 (Willy Hess).

Concerto for violin and orchestra. No. 2, D minor, Op. 44*. Adagio
from it (first time), December 20, 1884 (C. M. Loeffler); whole con-
certo, March 2, 1889 (Otto Roth); December 3, 1904 (Eugene Ysaye) .

Concerto for violin and orchestra. No. 3, Op. "; March 5, 1891
(Camilla Urso); November 21, 1908 (Willy Hess).

Scottish Fantasie for violin and orchestra, Op. 46: November 24,
1888, first time (C. M. Loeffler); January 11, 1896 (Timothee Ada-
mowski) ; February 4, 1899 (Timothee Adamjowski) ; November 28,
1903 (Alexander Birnbaum).

Serenade in A minor for violin and orchestra, Op. 75, February 11,
1905 (Marie Nichols).

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441

Romanza for violin and orchestra, Op. 42, F'ebruary 17, 1894 (C M.
Loeffler).

"Kol Nidrei" for violoncello and orchestra, Op. 47: November 16,
1889 (Leo Schulz); March 24, 1894 (Leo Schulz).

"Odysseus," Op. 41: Scene and air, "Thou far-darting sun,"
October 22, 1881 (Annie Louise Cary), the first concert and the first
soloist; April 23, 1904 (Marguerite Hall); January 7, 1905 (Muriel
Foster).

"Odysseus," Op. 41: Scene: "Penelope weaving," January 12, 1884
(Louise Rollwagen).

"Achilles," Op. 50: Aria, December 10, 1887 (Gertrude Edmands).

"Achilles," Op. 50: Andromache's Lament, February 27, 1904
(Ernestine Schumann-Heink).

ENTR'ACTE.
MUSIC IN FINLAND.

The Musical Courier (London) published in 1899 a sketch of the
early history of music in Finland. This article, signed A. Ingman,
is of interest in connection with the performance of Sibelius's two
pieces. «

"For the right judgment of the character of this music a short pre-
liminary sketch as to the origin of the people seems necessary. We
learn from history that the Finns belong to a tribe of the Aryan and
Turanian race, called Ugro-Finns, being first spoken of in the second
century by Ptolemaeus. About five hundred years later they settled
on the Finnish peninsula, gradually driving the Laps, who then occu-

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442

pied the countn^, towards the North, into those regions now known
as Lapland. In the twelfth century Swedish influence took root among
the people, when King Erik Yedwardson undertook the first crusade
to Finland, the inhabitants of which in 1157 became converts to the
Christian faith, the two first bishops — Saint Henry and Saint Thomas —
being, by the way, English by birth. By a treaty from 132^ the whole
country was subdued, remaining under Swedish government until
1809, when, after several wars with Russia, Tsar Alexander I. became
Grand Duke of Finland, confirming by his 'Act of Assurance to the
Finnish people,' their religion, their laws, and their constitution, as
runs the edict, 'for the time of his reign and the reigns of his successors.'
"The rich imagination of the Finns and their prominent mental
endowments are manifested in their mythology contained in the grand
national epic, 'Kalevala.'* The folk-songs testify the deep musical
vein of the people. The Finnish tunes are of a simple, melancholy,
soft character, breathing the air of the lonely scenery where they were
first sung; for there is a profound solitude in that beautiful 'land of
the thousand lakes,' as it has been called, a loneliness so entire that it
can be imagined only by those who have spent some time there, an
autumnal day, for instance, in those vast forests, or a clear summer
night on one of its innumerable waters. There is a sublime quietude,
something desolate, over those nights of endless light, which deeply

* Max Miiller said of this epic: "A Finn is not a Greek, and a Wainamoinen was not a Homer. But if
the poet may take his colors from that nature by which he is surrounded, if he may depict the men with
whom he lives, 'Kalevala' possesses merits not dissimilar from those of the 'Iliad,' and will claim its place
ai the fifth national epic of the world, side by side with the Ionian songs, with the 'Mahabharata,' the 'Shah-
nameh,' and the ' Nibelunge.' It may be remembered that Longfellow was accused in 1855 of having borrowed
'the entire form, spirit, and many of the most striking incidents' of 'Hiawatha' from the 'Kalevala.' The
accusation, made originally in the National Intelligencer of Washington, D.C., led to a long discussion in this
country and England. Ferdinand Freiligrath published a summary of the arguments in support and in refu-
tation of the charge in the Athenceum (London), December 29, 1855, in which he decided that 'Hiawatha' was
written in 'a modified Finnish metre, modified by the exquisite feeling of the American poet, according to
the genius of the English language and to the wants of modem taste'; but Freiligrath, familiar with Finnish
runes, saw no imitation of plot or incidents by Longfellow." The " Kalevala, " translated from the original
Finnish by W. F. Kirby, F.L.S., F.E.S., corresponding member of the Finnish Literary Society, was included
in 1908 in Everyman's Library, and is therefore within the reach of all. — P. H.

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443

impresses the native, and still more strangely touches the mind of the
foreigner. At intervals such a one is overcome by those moods, often
pictured in the songs, some of which are full of subdued resignation
to fate, most touchingly demonstrating that the people 'learned in
suffering what it taught in song.' The rough climate made the Finns
sturdy in resistance, and all the hard trials which in course of time
broke in upon them were braved valiantly, until better days dawned
again. This theme of a 'hope on, hope ever,' is highly applicable to
the nation. Even some of their erotic songs bear this feature, — the
rejected lover seldom despairs, — although there are, of course, excep-
tions of a very passionate colouring. Many are a mere communion
with the singer's nearest and truest friend, — the beauty of nature
around him.

"The original instrument (constructed somewhat like a harp) to
which these idyllic strains were sung is called 'Kantele.'* The na-
tional epic, 'Kalevala,' translated into English by Mr. Crawford, con-
tains the ancient myth of the origin of this instrument, beginning with
the fortieth canto.

* A kantele was shown at the Paris Exposition of 1889. It was a horizontal sort of the lute as known to
the Greeks. It had sixteen steel strings, and its compass was from D, third line of the bass staff, to E,
fourth space of the treble staff, in the tonality of G major. Its greatest length was about thirty inches; its
greatest width, about ten inches. The late General Neovius, of Helsingfors, invented a kantele to be played
with a bow in the accompaniment of song. This instrument looks like a violin box; it has two strings, and
requires two players, who, on each side of the instrument, rub a bow on the string nearer him. For a minute
description of this kantele and the curious manner of timing see Victor Charles MahUlon's "Catalogue du
Mus^e instrumental du Conservatoire Royal de Musique de Bruxelles," vol. iii. pp. 9-11 (Ghent, 1900). — P. H.

A NEW VOLUME OF THE MUSICIANS LIBRARY

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"Wainamoinen, the inspired bard and ideal musician — thus runs
the tale — out of the jawbones of a big fish had made himself an uncom-
monly lovely specimen of an instrument, which he called kantele.
For strings he took some hairs from the mane of tlie bad spirit's (Hiisi's)
horse, which gave it a mysterious, bewitching sound. When singing
to its accompaniment, he, by his soul-compelling mighty melodies,
awakened the sympathy of all beings, charming and ruling the powers
of nature around him. The sun, the moon, and the stars descended
from heaven to listen to the songster who was himself touched to tears
by the power of his own song.

"His happiness, however, did not last very long. The harp, his
greatest comfort, was lost in the waves, where it was found by the sea
nymphs and the water king, to their eternal joy. When sounding the
chords to their fair songs of old, the waves carried the tunes along to the
shores, whence they were distantly echoed back by the rocks around;
and this, one says, causes the melancholy feelings which overcome the
wanderer at the lonely quietude of the clear northern summer nights.

"Deploring the loss of his kantele, old Wainamoinen, the bard,
was driving restlessly along through the fields, wailing aloud. There
he happened to see a young birch complaining of its sad lot: in vain,
it said, it dressed itself so fairly in tender foliage, in vain it allowed
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enjoyed it. It was bom to 'lament in the cold, to tremble at the frost*
of the long dreary winter. But the songster took pity upon it, saying
that from it should spring the eternal joy and comfort of mankind,
and so he carved himself a new harp from the tender birch-tree's wood.
For chords he asked the tresses of a beautiful maiden, whom he met
in the bower waiting for her lover. By means of this golden hair,
her languishing sighs crept into the instrument, which sounded more
fascinating than ever the old one did. This restored to the bard the
full possession of his supernatural power. His success henceforth was
something unheard of.

"The following cantos may be regarded as proofs of the influence
of Christianity upon the epic: A maiden, Mariatta, and a child (the
Virgin Mary and Christ) came to deprive the bard of his reign. He
found that his time had come to an end, and he once more took his
harp. He sang for the last time, and by words of magic power he
called into existence a copper boat. On this he took his departure,
passing away over the waste of waters, sailing slowly toward the un-
fathomable depth of space, bequeathing his harp, as a remembrance
of him, to his own people for their everlasting bliss.

' 'The period of musical culture in Finland may be said to have begun

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447

about a hunaiea years ago, wlien|in 1790 the first musical society was
founded by members of the University under the leadership of K. V.
Salg4. His successor, Fredrik Pacius, was the founder of the national
musical development, and to him the merit is due of having given the
Finns their beautiful national anthem. Their enthusiasm knew no
bounds when, on the solemn never-to-be-forgotten May festival, 1848,
this song was first heard in the park of Kajsaniemi, near Helsingfors.
The spontaneous inspiration of the music, borne along and carried away
by the glowing patriotic spirit of Runeberg's poem 'Wartland,' makes
the composition immortal. As long as the Finnish nation exists
'Wartland' shall never lose its magnetism and its elevating sway over

the hearts of the people." *

* *

Let us add to the sketch of Ingman. For much of the information
about the present condition of music in Finland we are indebted to
Dr. Karl Flodin, of Helsingfors.

The national epic, "Kalevala," and the lyric poems known under the
collective name "Kanteletar" were first transcribed and arranged by
Elias lyonnrot (1802-84). The first composer who was born in Fin-
land and made a name for himself was Bernhard Crusell (1775-1838),
who lived for the most part in Sweden and Germany. A famous
clarinetist, he set music to Tegner's "Frithjof," and he wrote an opera,
"Die kleine Sklavin."

The father of Finnish music was Pacius, to whom reference has
already been made. His son-in-law. Dr. Karl Collan (1828-71),
wrote two popular patriotic marches with chorus, "Wasa" and "Sa-
volaisen laulu." Filip von Schantz (1835-65), conductor, composed
cantatas, choruses, and songs. Carl Gustaf Wasenius, of Abo, which
was formerly the capital of Finland, conductor, composer, and director
of an organ school, died an old man in 1899. Conrad Greve, of Abo,

* Pacius was'born at Hamburg in 1809; he died at Helsingfors in 1891. A pupil of Spohr, he was an
excellent violinist, and he was active as composer and conductor. He founded orchestral and choral societies
at Helsingfors, and was music teacher at the University. His "Kung Carls jakt," produced in 1852, was
the first native Finnish opera. His opera "Loreley," produced in 1887, was more in accordance with the.
theories of Wagner. Pacius wrote a lyric "Singspiel," "The Princess of Cyprus," a symphony, a violin con-
certo, choruses, songs, etc. His hymn, "Suomis Sang" (text by the Finnish poet, Ercul von Qvanten), is, as
well as his "Wartland" ("Our Country"), a national song. — P. H.

€onntll^ ^ l^ntkt

448

who wrote music to Fredrik Berndtson's play, "Out of Life's Struggle,"
died in 1851, and A. G. Ingelius, a song writer of wild talent, died in
1868. Other song writers were F. A. Ehrstrom (died in 1850), K. J.
Mohring (died in 1868), teacher and conductor at Helsingfors, Gabriel
Linsen, born in 1838.

Richard Falten, born in 1835, succeeded Pacius as music teacher
at the University of Helsingfors. He founded and conducted a choral
society; he is an organist and pianoforte teacher. He has composed
a cantata, choruses, and songs.

Martin Wegelius, born in 1846, is director of the Music Institute of
Helsingfors, which is now about twenty years old. Busoni once taught
at this Institute. Wegelius has composed an overture to Wecksell's
tragedy, "Daniel Hjort," cantatas, choruses, and he has written trea-
tises and a "History of Western Music."

Robert Kajanus, born in 1856, is the father and the conductor of
the Philharmonic Society of Helsingfors. He has made journeys with
this orchestra and Finnish singers in Scandinavia, Germany, France,
and Belgium, and with his symphony chorus he has produced at Hel-
singfors Beethoven's Mass in D, Berlioz's "Romeo and Juliet" and
"Damnation of Faust," Bach's Mass in B minor, and other works of
importance. Among his own compositions are the symphonic poems,
"Kullervos Trauermarsch " and "Aino," illustrative of subjects in the
"Kalevala"; Finnish Rhapsodies; an orchestral suite, "Recollections
of Summer," which are founded on folk-songs or folk-dance rhythms.

Armas Jarnefelt, born in 1869, has composed orchestral suites,
symphonic poems, as " Heimat-Klang, " overtures, the prelude "Kors-

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holm," etc. The death of Ernst Mielck, who died at IvUC9,rno in 1899,
at the age of twenty-two, was a severe loss, for his orchestral composi-
tions, among them a symphony, had attracted marked attention.
Mielck studied in St. Petersburg the pianoforte with Tietzes, and
studied at Berlin (1890-94) with Erhlich, Radecke, and Bruch. His
Symphony in F minor. Op. 4, the first Finnish one, was composed in
1897 and revised in 1899 for Dresden. He also wrote a " Dramatic"
overture, Op. 6, a Fantasia for pianoforte with orchestra, Op. 9, a
" Finnish suite," Op. 10, for orchestra, and other works of merit. He
left in manuscript an overture to " Macbeth," Op. 2, and a violin Con-
certo in D major, Op. 8. His music, as a rule, was intended to illustrate
Finnish life and to glorify his country. Oskar Merikanto, born in
1868, has composed an opera, "The Maiden of Pohja," * and songs;
Erik Melartin, born in 1875, who studied under Wegelius and after-
ward at Vienna and in Italy, has written songs and a Symphony in
C minor, which was played at Helsingfors in a revised form in the
season of 1905-06. Dr. Ilmari Krohn, a music teacher at the Uni-
versity, has composed motets and instrumental works; Emil Genetz,
born in 1852, has written choruses for male voices, among them the
patriotic hymn, "Heraa Suomi!" ("Awake, O Finland!"); and Selim
Palmgren, born in 1878, has composed songs and pianoforte pieces,
among them a concerto produced at Helsingfors in the season of
1904-05. Karl Flodin, the most distinguished music critic of Finland,
born in 1858, has composed: " Helen," a dramatic scene from Goethe's

* " Pohian Reito" was performed at Wiborgjin June, 1908, and has been announced for performance at
Helsingfors.

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461

" Faust," for soprano and orchestra; " Cortege," for wind instruments;
" Sommemacht, " for mixed chorus; " Auf der Fraueninsel, " for male
chorus; stage music for Hauptmann's "Hannele, " etc.

Wegelius, Kajanus, Krohn, and Merikanto studied at I^eipsic, and
Kajanus with Svendsen when the latter was living at Paris. Jarnefelt
studied with Massenet,

* *

Finnish singers. Johanna von Schoultz in the thirties of the last
century sang successfully in European cities, but she fell sick, left the
stage, and died alone and forgotten in her native land. Ida Basilier,
an operatic coloratura singer, now lives in Norway. Emma Strommer-
Achte, herself a successful singer, is the mother of Aino Achte (or
Ackte) , formerly of the Paris Opera and of the Metropolitan, New' York.
Aino was born at Helsingfors, April 23, 1876, studied at the Paris
Conservatory, where she took the first prize for opera in 1897, and
made her debut as Marguerite at the Opera, Paris, October 8, 1897.*
Her younger sister Irma is also a singer of reputation in Europe.
Emma Engdahl-Jagerskold created the part of Loreley in Pacius's
opera, and has sung in Germany. Alma Fohstrom-Rode,t a member of
the Moscow opera, has sung in other countries, especially in Germany.
Elin Fohstrom-Tallqvist, a coloratura singer, is her sister. Hortense
Synnerberg, mezzo-soprano, has sung in Italy and Russia. J Maikki
Jarnefelt is known in German opera-houses, and Ida Ekman is engaged
at Nuremberg. Adee Ivcander-Flodin, once of the Opera-Comique
Paris,: has made concert trips in Scandinavia and South America
Filip Forsten became a teacher m Vienna, Hjalmar Frey is a member
of the Court Opera of St. Petersburg, and Abraham Ojanpera now
teaches at the Music Institute of Helsingfors.

Karl Ekman and Mrs. Sigrid Sundgren-Schneevoigt are pianists of

* Aino Ackte appeared with the Metropolitan Opera House Company at the Boston Theatre in 1904 as
Elsa (April 4), Juliet (April 9). Marguerite (April 13), Elisabeth (April 14).

t Alma Fohstrom made her first appearance in the United States at the Academy of Music, New York,
as Lucia, November 9, 1885. She sang at the Boston Theatre in 1886; Zerlina in "Fra Diavolo," January
5,13; Maritana (in Italian), January 7; Margherita La Goimod's" Faust," January 11; and Martha in Flotow'i
opera, January i5. She also sang in a Sunday night operatic concert.

t A Mme. Synnerberg visited Boston in March, 1890, as a member of the Abbey, Schoeffel and Grau
Company, and sang the parts of Emilia in Verdi's "Otello" and Azucena.

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talent, and the husband of the latter, Georg Schn^evoigt, is a violon-
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There are many male choruses in Finland. The "Muntra Mu-
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chorus from the choral societies gave concerts some years ago in Scan-
dinavia, Germany, and Holland. The churches all have their choir of
mixed voices and horn septet. At the Music Festival at Helsingfors
in 1900 about two thousand singers took part.

Mr. Charles Gregorowitsch, a Russian by birth, for some years con-
cert-master at Helsingfors, gave a recital in Boston, February 27, 1897,
and played here at a concert of the Boston Symphony Orchestra,
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which reason it was rejected. In one of the sketches for the Finale
Beethoven wrote: "Goes at first in F-sharp minor, then in C-sharp
minor." He preserved this modulation, but he did not use the theme
to which the indication was attached. Another motive in the Finale
as sketched was the Irish air, "Nora Creina," for which he wrote an
accompaniment at the request of George Thomson, the collector of
Scottish, Welsh, and Irish melodies.

Thayer states that Beethoven began the composition of the Seventh
Symphony in the spring of 1812. Prod'homme believes that the work
was begun in the winter of 1811-12. The autograph manuscript that
belongs to the Mendelssohn family of Berlin bears the inscription:
"Sinfonie. L. v. Bthvn 1812 i3ten M." A clumsy binder cut the
paper so that only the first line of the M is to be seen. There was
therefore a dispute as to whether the month were May, June, or July.
Beethoven wrote to Varena on May 8, 181 2: "I promise you imme-
diately a wholly new symphony for the next Academy, and, as I now
have opportunity, the copying will not cost you a heller." He wrote
on July 19: "A new symphony is now ready. As the Archduke Ru-
dolph will have it copied, you will be at no expense in the matter.''
It is generally believed that the symphony was completed May 13,
in the hope that it would be performed at a concert of Whitsuntide.

Other works composed in 181 2 were the Eighth Symphony, a piano-
forte trio in one movement (B-fiat major), three equale for four trom-
bones, the sonata in G major for pianoforte and violin. Op. 96, some of
the Irish and Welsh melodies for Thomson.

The score of the symphony was dedicated to the Count Moritz von
Fries and published in 181 6. The edition for the pianoforte was
dedicated to the Tsarina Elizabeth Alexiewna of All the Russias.

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The first performance of the symphony was at Vienna, in the large
hall of the University, on December 8, 1813.

Malzel, the famous maker of automata, exhibited in Vienna during the
winter of 181 2-13 his automatic trumpeter and panharmonicon.
The former played a French cavalry march with calls and tunes; the
latter was composed of the instruments used in the ordinary military
band of the period, — trumpets, drums, flutes, clarinets, oboes, cymbals,
triangle, etc. The keys were moved by a cylinder, and overtures by
Handel and Cherubini and Haydn's Military Symphony were played
with ease and precision. Beethoven planned his "Wellington's Sieg,"
or "Battle of Vittoria," for this machine. Malzel made arrangements
for a concert, — a concert "for the benefit of Austrian and Bavarian
soldiers disabled at the battle of Hanau."

This Johann Nepomuk Malzel (Malzl) was bom at Regensburg, August
15, 1772. He was the son of an organ-builder. In 1792 he settled at
Vienna as a music teacher, but he soon made a name for himself by
inventing mechanical music works. In 1808 he was appointed court
mechanician, and in 181 6 he constructed a metronome, though Winkel
of Amsterdam, claimed the idea as his. Malzel also made ear- trumpets,
and Beethoven tried them, as he did others. His life was a singular
one, and the accounts of it are contradictory. Two leading French
biographical dictionaries insist that Malzel's "brother Leonhard"
invented the mechanical toys attributed to Johann, but they are wholly
wrong. Fetis and one or two others state that he took the panhar-
monicon with him to the United States in 1826, and sold it at Boston
to a society for four hundred thousand dollars, — an incredible statement.
No wonder that the Count de Pontecoulant, in his "Organographie,"
repeating the statement, adds, "I think there is an extra cipher." But
Malzel did visit America, and he spent several years here. He landed

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at New York, F'ebruary 3, 1826, and the Ship News announced the
arrival of "Mr. Maelzel, Professor of Music and Mechanics, inventor
of the Panharmonicon and the Musical Time Keeper." He brought
with him the famous automata, — the Chess Player, the Austrian
Trumpeter, and the Rope Dancers, — and he opened an exhibition of
them at the National Hotel, 112 Broadway, April 13, 1826. The
Chess Player was invented by Wolfgang von Kempelen. Malzel
bought it at the sale of von Kempelen's effects after the death of the
latter, at Vienna, and made unimportant improvements. The Chess
Player had strange adventures. It was owned for a time by Eugene
Beauharnais, when he was viceroy of the kingdom of Italy, and Malzel
had much trouble in getting it away from him. Malzel gave an ex-
hibition in Boston at Julien Hall, on a corner of Milk and Congress
Streets. The exhibition opened September 13, 1826, and closed
October 28 of that year. He visited Boston again in 1828 and in 1833.
On his second visit he added "The Conflagration of Moscow," a pano-
rama, which he sold to three Bostonians for six thousand dollars.
Hence, probably, the origin of the parharmonicon legend. He also
exhibited an automatic violoncellist. Malzel died on the brig "Otis"
on his way from Havana to Philadelphia on July 21, 1838, and he was
buried at sea, off Charleston. The United States Gazette published his
eulogy, and said, with due caution: "He has gone, we hope, where the

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music of his Harmonicons will be exceeded." The Chess Player was
destroyed by fire in the burning of the Chinese Museum at Philadelphia.
July 5, 1854. A most interesting and minute account of Malzel's life
in America, written by George Allen, is published in the "Book of the
•First American Chess Congress," pp. 420-484 (New York, 1859). See
also "Metronome de Maelzel" (Paris, 1833); the "History of the
Automatic Chess Player," published by George S. Hilliard, Boston,
1826; Mendel's "Musikalisches Conversations- Lexicon." In Poe's
fantastical "Von Kempelen and his Discovery" the description of his
Kempelen, of Utica, N.Y., is said by some to fit Malzel, but Poe's story
was probably not written before 1848. Poe's article, "Maelzel's Chess
Player," a remarkable analysis, was first published in the Southern
Literary Messenger of April, 1836. Portions of this article other than
those pertaining to the analysis were taken by Poe from Sir David
Brewster's "Lectures on Natural Magic."

The arrangements for this charity concert were made in haste, for
several musicians of reputation were then, as birds of passage, in Vienna,
and they wished to take parts. Among the distinguished executants
were Salieri and Hummel, two of the first chapel-masters of Vienna,
who looked after the cannon in "Wellington's Sieg"; the young
Meyerbeer, who beat the bass drum and of whom Beethoven said
to Tomaschek : ' ' Ha ! ha ! ha ! I was not at all satisfied with him ; he
never struck on the beat ; he was always too late, and I was obliged to
speak to him rudely. Ha ! ha ! ha ! I could do nothing with him ; he
did not have the courage to strike on the beat!" Spohr and Mayseder
were seated at the second and third violin desks, and Schuppanzigh
was the concert-master; the celebrated Dragonetti was among the
double-basses. Beethoven conducted.

The programme was as follows: "A brand-new symphony," the

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Seventh, in A major, by Beethoven ; two marches, oiie by Dussek, the
other by Pleyel, played by Malzel's automatic trumpeter with full
orchestral accompaniment; "Wellington's Sieg, oder die Schlacht bei
Vittoria." "Wellington's Sieg" was completed in October of 1 813 to
celebrate the victory of Wellington over the French troops in Spain on
June 21 of that year. Malzel had persuaded Beethoven to compose
the piece for his panharmonicon, and furnished material for it, and had
even given him the idea of using "God save the King" as the subject
of a lively fugue. Malzel's idea was to produce the work at concerts,
so as to raise money enough for him and Beethoven to go to London.
He was a shrewd fellow, and saw that, if the "Battle Symphony" were
scored for orchestra and played in Vienna with success, an arrangement
for his panharmonicon would then be of more value. Beethoven
dedicated the work to the Prince Regent, afterward George IV., and
forwarded a copy to him, but the "First Gentleman in Europe" never
acknowledged the compliment. "Wellington's Sieg" was not per-
formed in London until February 10, 1815, when it had a great run.
The news of this success pleased Beethoven very much. He made a
memorandum of it in the note-book which he carried with him to
taverns.

This benefit concert was brilliantly successful, and there was a
repetition of it December 1 2 with the same prices of admission, ten and
five florins. The net profit of the two performances was four thousand
six gulden. Spohr tells us that the new pieces gave "extraordinary
pleasure, especially the symphony; the wondrous second movement
was repeated at each concert; it made a deep, enduring impression on
me. The performance was a masterly one, in spite of the uncertain and
often ridiculous conducting by Beethoven." Gloggl was present at a
rehearsal when the violinists refused to play a passage in the symphony.

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Mr. George Hamlin * Miss Geraldine Morgan

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Miss Gertrude Lonsdale The Flonzaley Quartet *

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462

and declared that it could not be played. ' ' Beethoven told them to take
their parts home and practise them ; then the passage would surely go,"
It was at these rehearsals that Spohr saw the deaf composer crouch
lower and lower to indicate a long diminuendo, and rise again and spring
into the air when he demanded a climax. And he tells of a pathetic
yet ludicrous blunder of Beethoven, who could not hear his own soft
passages.

The Chevalier Ignaz von Seyfried told his pupil Krenn that at a
rehearsal of the symphony, hearing discordant kettledrums in a passage
of the Finale and thinking that the copyist had made a blunder, he said
circumspectly to the composer: "My dear friend, it seems to me there
is a mistake: the drums are not in tune." Beethoven answered:
"I did not intend them to be." But the truth of this tale has been
disputed.

Beethoven was delighted with his success, so much so that he wrote
a public letter of thanks to all that took part in the two performances.
"It is Malzel especially who merits all our thanks. He was the first
to conceive the idea of the concert, and it was he that busied himself
actively with the organization and the ensemble in all the details. I
owe him special thanks for having given me the opportunity of offering
my compositions to the public use and thus fulfilling the ardent vow
made by me long ago of putting the fruits of my labor on the altar of the
country."

The symphony was repeated in Vienna on February 27, 18 14. On
November 29 of that year it was performed with a new cantata, "Der
glorreiche Augenblick," composed in honor of the Congress at Vienna
and "Wellington's Sieg." The Empress of Austria, the Tsarina of
Russia, the Queen of Prussia, were in the great audience. The concert

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was repeated for Beethoven's benefit on December 2, but the hall was
half empty.

* *

The first performance in Boston was at a concert of the Boston
Academy, November 25, 1843.

The first performance in New York was at a concert of the Phil-
harmonic Society, November 18, 1843, when Mr. U. C. Hill conducted.

The first performance in Leipsic was on December 12, 1816. The
symphony was repeated "by general request" on April 23, 1817, and a
third soon followed. Yet Friedrich Wieck, the father of Clara Schu-
mann, could find nothing in the music, and he declared that musicians,
critics, amateurs, and frankly unmusical persons were unanimous in
the opinion that this symphony, especially the first movement and the
finale, had been composed in a lamentable state of drunkenness {trun-
kenen Zustand) ; it lacked melody, etc.

Other first performances: London, June 9, 181 7 (Philharmbnic So-
ciety). Only the allegretto found favor with the critics. Paris, — the
allegretto was performed at the Concerts Spirituels of the Opera in 182 1,
and it was substituted for the larghetto of the Second Symphony, in D
major. In 1828 the Seventh Symphony, as a whole, was played in a
transcription for the pianoforte, eight hands, April 20, by Bertini (the
transcriber), Liszt, Sowinski, and Schunke. The first orchestral per-
formance of the whole was by the Societe des Concerts, March i, 1829,
under the direction of Habeneck. St. Petersburg, March 6, 1840. Mos-
cow, December 28, i860. In Italy the Societa orchestrale romana per-
formed the symphony seven times during the years 1874-98.

The symphony has been played at Colonne concerts in Paris twenty
times from February 8, 1874, to December, 1905. It has been played
thirty-five times at Lamoureux concerts in Paris from October 23, 1881,

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to March 17, 1906. The symphony was "danced" by Miss Isadora
Duncan at the Trocadero, Paris, in 1904, when Mr. Laporte conducted
Colonne's orchestra.

Beethoven gave a name, "Pastoral," to his Sixth Symphony. He
went so far as to sketch a simple programme, but he added this caution
for the benefit of those who are eager to find in music anything or
everything except the music itself: "Rather the expression of the re-
ceived impression than painting." Now the Seventh Symphony is a
return to absolute music, the most elevated, the most abstract.

Yet see what commentators have found in this same Seventh Sym-
phony.

One finds a new pastoral symphony; another, a new "Eroica."
Alberti is sure that it is a description of the joy of Germany delivered
from the French yoke. Nohl shakes his head and swears it is a knightly
festival. Marx is inclined to think that the music describes a Southern
race, brave and war-like, such as the ancient Moors of Spain. An old
edition of the symphony gave this programme : ' 'Arrival of the Villagers ;
Nuptial Benediction; The Bride's Procession; The Wedding Feast.
Did not Schumann discover in the second movement the marriage cere-
mony of a village couple? D'Oftigue found that the andante pictured
a procession in an old cathedral or in the catacombs; while Diirenberg,
a more cheerful person, prefers to call it the love-dream of a sumptuous
odalisque. The Finale has many meanings: a battle of giants or war-
riors of the North returning to their country after the fight ; a feast of
Bacchus or an orgy of villagers after a wedding. OulibicheflF goes so
far as to say that Beethoven portrayed in this Finale a drunken revel,
to express the disgust excited in him by such popular recreations. Even
Wagner writes hysterically about this symphony as "the apotheosis of
the dance," and he reminds a friend of the "Stromkarl" of Sweden,
who knows eleven variations, and mortals should dance to only ten of
them: the eleventh belongs to the Night spirit and his crew, and, if
any one plays it, tables and benches, cans and cups, the grandmother,

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465

the blind and lame, yea, the children in the cradle, fall to dancing.
"The last movement of the Seventh Symphony," says Wagner, "is this
eleventh variation."

In these days the first question asked about absolute music is, "What
does it mean?" The symphonic poem is free and unbridled in choice
of subject and purpose. The composer may attempt to reproduce in
tones the impression made on him by scenery, picture, book, man,
statue. He is "playing the plate," like the sesthete-pianist in Punch.

But why should anything be read into the music of this Seventh Sym-
phony? It may be that the Abbe Stadler was right in saying that the
theme of the trio in the third movement is an old pilgrim hymn of
Lower Austria, but the statement is of only antiquarian interest.

To them that wish to read the noblest and most poetic appreciation
of the symphony, the essay of Berlioz will bring unfailing delight.
Such music needs no analysis: it escapes the commentator. As the
landscape is in the eye of the beholder, so the symphony is in the ear

of the hearer.

*
* *

The symphony is scored for two flutes, two oboes, two clarinets,
two bassoons, two horns, two trumpets, kettledrums, strings.

I. The first movement opens with an Introduction, poco sostenuto,
A major, 4-4. A melodic phrase is given to the oboe, then clarinets,
horns, bassoons, against crashing chords of the full orchestra. This
figure is worked contrapuntally against alternate ascending scale
passages in violins andjn basses. There is a modulation to C major.

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A more melodious motive, a slow and delicate dance theme, is given
out by wood-wind instruments, then repeated by the strings, while
double-basses, alternating with oboe and bassoon, maintain a rhythmic
accompaniment. (A theme of the first movement is developed out of
this rhythmic figure, and some go so far as to say that all the movements
of this symphony are in the closest relationship with this same figure.)
The initial motive is developed by the whole orchestra fortissimo, A
major; there is a repetition of the second theme, F major; and a
short coda leads to the main portion of the movement.

This main body. Vivace, A major, 6-8, is distinguished by the per-
sistency of the rhythm of the "dotted triplet." The tripping first
theme is announced, piano, by wood-wind instruments and horns,
accompanied by the strings. It is repeated by the full orchestra
fortissimo. The second theme, of like rhythm and hardly distin-
guishable from the first, enters piano in the strings, C-sharp minor,
goes through E-flat major in the wood-wind to E major in the full
orchestra, and ends quietly in C major. The conclusion theme is
made up of figures taken from the first. The first part of the movement
is repeated. The free fantasia is long and elaborate. The third
section is in orthodox relationship with the first, although the first
theme is developed at greater length. The coda is rather long.

II. Allegretto, A minor, 2-4. The movement begins with a solemn
first theme played in harmony by violas, violoncellos, and double-
basses. The strongly marked rhythm goes almost throughout the
whole movement. The second violins take up the theme, and violas
and violoncellos sing a counter-theme. The first violins now have the

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chief theme, while the second violins play the counter- theme. At
last wood-wind instruments and horns sound the solemn, march-like
motive, and the counter-theme is given to the first violins. The
rhythm of the accompaniment grows more and more animated with
the entrance in turn of each voice. A tuneful second theme, A major,
is given to wood-wind instruments against arpeggios for the first violins,
while the persistent rhythm is kept up by the basses. There is a
modulation to C major, and a short transition passage leads to the
second part. This is a repetition of the counter-theme in wood-wind
instruments against the first theme in the basses and figuration for the
other strings. There is a short fugato on the same theme, and the
second theme enters as before. There is a short coda.

III. The third movement. Presto, F major, 3-4, is a brilliant scherzo.
The theme of the trio, assai meno presto, D major, 3-4, is said to be that
of an old pilgrim hymn in I^ower Austria. "This scherzo in F major
is noteworthy for the tendency the harmony has to fall back into the
principal key of the symphony, A major." A high-sustained A runs
through the trio.

IV. The Finale, Allegro con brio, A major, 2-4, is a wild rondo on two
themes. Here, according to Mr. Prod'homme and others, as Beethoven
achieved in the Scherzo the highest and fullest expression of exuberant
joy, — "unbuttoned joy," as the composer himself would have said, —
so in the Finale the joy becomes orgiastic. The furious, bacchantic
first theme is repeated after the exposition, and there is a sort of coda
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tic theme. A second theme of a more delicate nature is announced by
the strings and then given to wind instruments. There are strong
accents in this theme, accents emphasized by full orchestra, on the
second beat of the measure. Brilliant passage-work of the orchestra,
constantly increasing in strength, includes a figure from the first theme.
There is a repeat. The first theme is then developed in an elaborate
manner, but the theme itself returns, so that the rondo character is
presei-ved. There is a return to the first theme in A major. The third
part of the movement is practically a repetition of the first, but the
second theme is now in A minor. There is a long coda with a develop-
ment of the figure from the first theme over a bass which changes from
E to D-sharp and back again. The concluding passage of the theme
is used fortissimo, and the movement ends with a return of the con-
spicuous figure from the main theme.

* *

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Spool Box . . . 75c.

Boxes are lined with Light
Bine, Pink, Green, or Red.

MISS EMMA A. SYLVESTER
3 Winter Street . Boston, Mass.

Room 32

Bureau of Social
Requirements

601=3 Boylston Street,
Boston, Mass.

TELEPHONE, BACK BAY 409 '

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Hygienic Treatment of Head»
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469

tone-shapes that same compactness, that directly cognisable and
physically sure stability, whiclj he had witnessed with such blessed
solace in Nature's own phenomena — this was the soul of the joyous
impulse which created for us that glorious work, the Symphony in
A major. All tumult, all yearning and storming of the heart, become
here the blissful insolence of joy, which snatches us away with bac-
chanalian might and bears us through the roomy space of Nature,
through all the streams and seas of Life, shouting in glad self-con-
sciousness as we tread throughout the Universe the daring measures of
this human sphere-dance. This symphony is the Apotheosi of Dance
herself: it is Dance in her highest aspect, as it were the loftiest Deed
of bodily motion incorporated in an ideal mould of tone. Melody and
Harmony unite around the sturdy bones of Rhythm to firm and fleshy
human shapes, which now with giant limbs' agility, and now with
soft, elastic pliance, almost before our very eyes, close up the supple,
teeming ranks; the while now gently, now with daring, now serious,*
now wanton, now pensive, and again exulting, the deathless strain
sounds forth and forth; until, in the last whirl of delight, a kiss of
triumph seals the last embrace"! — Englished by William S. Ellis.

*
* *

Miss Isadora Duncan, assisted by the Symphony Orchestra of New

York, Mr. Walter Damrosch conductor, danced the Seventh Symphony in

the Metropolitan Opera House, New York, November 6, 1908. While

Mr. H. E. Krehbiel in the Tribune of November 7 deplored the fact that

* Amid the solemn -striding rhythm of the second section, a secondary theme uplifts its wailing, yearning
song ; to that rhythm, which shows its firm-set tread throughout the entire piece, without a pause, this longiag
melody clings like the ivy to the oak, which without its clasping of the mighty bole would trail its crumpled,
straggling wreaths upon the soil, ia forlorn rankness ; but now, while weaving a rich trapping for the rough
oak-rind, it gains for itself a sure and undishevelled outline from the stalwart figure of the tree. How brain-
lessly has this deeply significant device of Beethoven been exploited by our modern instrumental-composers
with their eternal "subsidiary themes"! — R. Wagner.

470

this music was chosen to display Miss Duncan's art, he declared that her
exhibition was "dignified, beautiful, moving," and he made these re-
marks, which are now pertinent: —

"The suggestion to use Beethoven's A major symphony as an accom-
paniment to a pantomimic dance evidently came from Wagner, who
once, descanting on its superbly rhythmical character, spoke of it as
the 'apotheosis of the dance, the ideal embodiment in tones of bodily
movements.' It is not the first time that it has occurred to some one
to associate a plastically delineative art with Beethoven's symphonic
music; but heretofore the purpose has been to help to an appreciation
of the beauty and significance of the music, not to make the music a
help to an appreciation of the art arbitrarily consorted with it. Years
ago in Germany the experiment was tried of accompanying the 'Pas-
toral' symphony with a series of panoramic paintings. The 'Pastoral'
symphony is programmatic music of a pretty obvious sort, with its
imitations of nature's voices; but the experiment was a failure be-
cause the listeners who loved the music did not want to have imagina-
tion and emotion fettered by the pictures presented to another sense.
The same objection militates against Miss Duncan's pantomimic inter-
pretation of the seventh symphony, though in a less degree, perhaps,
because that interpretation is sufficiently vague to leave the imagina-
tion free; but it does disturb perfect appreciation of the music which
is here sufficient unto itself.

"It is a pleasure to recognize great beauty, exquisite grace and elo-
quent expressiveness in Miss Duncan's art. It is easy to ridicule her
claim that she is reviving an art which was cultivated by the Greeks

Corner MASSACHUSETTS AVENUE and BOYLSTON STREET

Is conveniently situated for residents of the Back Bay, Longwood, Jamaica Plain,
and Brookline.

There are Safe Deposit Vaults and Storage Vaults at the Branch Office.

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and in all directions. Also personally conducted tours to Florida, California, Mexico,
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RAYMOND & WHITCOMB COMPANY

Authorized Ticket Agents of the Boston and Albany, Boston and Maine, New
York, New Haven and Hartford Railroad, and all their connections, also all

Steamship Lines.

471

322

MISS M. F. FISK

THE RED GLOVE SHOP

BOYLSTON STREET

Opposite Arlington Street

Announces her opening of Ladies', Gentlemen's,

and Children's Gloves

Ladies' Neckwear, Veiling, and Belt,

SONGS BY
William Lewis Glover

Norwegian Love Song 50

The Sea and the Sun 50

Album of Six Songs . . . . net i. 00
Words by F. W. Bourdillon

1. In an Album.

2. Relief.

3 . Waiting. •

4. Biithday in November.

5. Troubled Sea.

6. After Storm.

Foreign Books
Foreign Periodicals

Tauchnitz's British Authors

G. W. THOMPSON & GO.

A and B Park Street, Boston.

SCHOENHOF BOOK CO.

128 Tremont St., 2d doornorth of Winter Street
over Wood's Jewelry Store. (Tel., Oxford 1099-2.

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 $2.00 by applying before the last concert.
Address all communications to

F. R. COMEE,
Symphony Hall, Boston.

Mrs. J. M. MORRI SO J^

COR^ETvS

LINGERIE AND FRENCH NECKWEAR
Exclusive agency for the WADE CORSET

367 BOYLSTON STREET

TelepKone, 3142-5 BacR Bay

472

two millenniums ago, but one possessed of artistic sensibilities cannot
see her without feeling some of the enthusiasm which fired the mind of
Charles Kingsley at the mere imagining of what the ancient dance was
— 'in which every motion was a word, and rest as eloquent as motion;
in which every attitude was a fresh motion for a sculptor of the purest
school, and the highest physical activity was manifested, not, as in
coarse pantomime, in fantastic bounds and unnatural distortions, but
in perpetual, delicate modulations of a stately and. self-sustained grace.'
We can scarcely think of a happier description than this of Miss Duncan's
art. When applied to so extended a work as a symphony, however,
it necessarily loses consistency, becomes diffuse. Her notion of Beetho-
ven's instrumental poem seems to be something like that of Professor
Ludwig Bischoff, one of the early antagonists of Wagner, and the one
to whom we owe the phrase 'music of the future.' In a programme
written more than a generation ago he treated the work very happily
as a sequel to the 'Pastoral' symphony, conjuring up pictures of the
autumnal merrymakings of the gleaners and vine-dressers, the tender
melancholy of a lovelorn youth (here, in the allegretto, is where Miss
Duncan entered the wordless play yesterday), the pious canticle of joy
and gratitude for Nature's loveliness and Nature's gifts, and the final
outburst when 'Joy beckons again and the dance melodies float out upon
the air and none stands idle ; the ground trembles, joyous shouts sound
through the merry din and old and young are borne off in the mazes.'
All this is fanciful, of course, but Miss Duncan made it seem very real
and natural. Her finale was a classic bacchanale in which there floated
past the vision scores of the pictures with which ancient art has made
us familiar, their beauty enhanced by the exquisitely rhythmic move-
ments of the dancer's bod}'. No doubt there were many who went
to yesterday's exhibition filled merely with curiosity; if so, they surely
remained to wonder and admire."

BENJAMIN H. LUDWIG

FURRIER

420 BOYLSTON STREET BOSTON, MASS.
Telephone, Back Bay 3149-5

HIGH GRADE FURS that will be fashion-
able this season and many others may be inspected
at my establishment.

REPAIRING REDYEING
REMODELING

Old Fur garments altered to the newest
styles. Each order receives the same careful
attention as new work.

Every garment sold by me must carry a
recommendation to other customers, for the rea-
son everything is of the best quality procurable,

473

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Telephones

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1829-1908

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Also Philadelphia Washington Albany Providence Newport Hartford
New Haven Bridgeport Worcester Lynn and many other cities in the East

474

Seventh Rehearsal and Concert*

FRIDAY AFTERNOON, NOVEMBER 27, at 2.30 o'clock.

SATURDAY EVENING, NOVEMBER 28, at 8 o'clock.

PROGRAMME.

Richard Strauss

Tone Poem, "Ein Heldenleben "

Tschaikowsky .

Concerto for Pianoforte, in B-flat minor. No. i

Wagner

Vorsplel and Liebestod from " Tristan und Isolde "

SOLOIST,
Mt. OSSIP GABRILOWITSCH.

475

Mr. SYDNEY BECKLEY

THE ENGLISH ELOCUTIONIST

Now touring the United States, will, on MONDAY EVENING,
November 30, at 8,15 o'clock, read Tennyson's

"ENOCH ARDEN

assisted by Mr. BENJAMIN LAMBORD, Mosenthal Fellow at Columbia
University, who will play Richard Strauss' illustrative music.

Reserved Seats, $1.00 and ^1.50, tickets for which may now be obtained
at Herrick's or at the Hall.

SECOND SEASON = . . 1908-1909

THREE CHAMBER CONCERTS BY THE

CZERWONKY

String Quartet

RICHARD CZERWONKY, First Violin CARL SCHEURER, Viola

WILLY KRAFT, Second Violin RUDOLF NAGEL, Violoncello

Wednesday Evenings, December 9, February JO, and March 24

AT 8.15 O'CLOCK
PROGRAM for December Ninth

1. QUARTET, C minor • Beethoven

2. QUARTET. C major, op. 5 Pogojeff

(First time in Boston)

3. QUARTET, C minor H. Kaun

, (First time in Boston)

Tickets for the course of three concerts, $2.00 and $3.00 (with reserved seat), may be obtained at the
hall (Telephone Oxford 1330).

MONDAY AFTERNOON, NOVEMBER 23, J908, at thtce o'clock
PIANOFORTE RECITAL

LOUIS BACHNER

PROGRAM

BACH .

Transcribed for piano by Liszt

Prelude and Fugue in A minor

BEETHOVEN

Sonata in E Major. Op. log

BRAHMS

Ballade. Op. ii8

SCHUMANN .

Arabesque

DEBUSSY

Passepied

SCRIABINE .

Poeme d' Amour
Etude. Op. 8, No. 5

CHOPIN

Nocturne in B. Op. 62

Impromptu in G flat

Etude in E-flat from Op. 10.

Etude in C sharp minor from Op. 25

Scherzo in B-flat minor. Op. 31

TICKETS, 7Sc„ $1.00, and $1.50 NOW ON SALE AT THE HALL

THE MASON & HAMLIN PIANOFORTE
476

First of a. Series of

THREE SONATA RECITALS BY

(Violin and Pianoforte)

Mr. and Mrs.
DAVID MANNES

FRIDAY EVENING, DECEMBER FOURTH, at 8.15

PROGRAM

BACH— 1685-1750
GRIEG— 1843-1907
NARDINI— 1722-1793
LEKEU — 1870-1894

Sonata in E Major

Sonata in G Major, Op. 13

Sonata in D Major

Sonata in G Major

STEINWAY PIANOFORTE USED

Tickets for Course of Three Recitals, $3.00, $2.00 Single tickets $ 1 .50, $ 1 .00

Tickets are now on sale at the Hall

SONG RECITAL by

Heinrich Meyn

THURSDAY EVENING, DECEMBER lo, AT 8.15

II.

III.

PROGRAM

Ganymed

Scbubert

Kinderwacht

Schumann

Aus Meinen Grossen Schmerzen ....

Franz

Standchen

Jensen

Feldeinsamkeit (
Von Ewiger Liebe i

Brahms

Abendlied with violin obligate
Jetzt und Immer

)

Hugo Kaun

Im Zitternden Mondlicht

Eugen Haile

Drei Wandrer

Hans Hermann

Tryste Noel .

. Gerrit Smith

Ballad of the Bony Fiddler

Willi:

im G. Hammond

Ces Deux Yeux [
Avec Un Bouquet j

Sebastian B. Scblesinger

Vielle Chanson

Nevin

Les Deux Amours {
Un Grand Sommeil Noir \

Clayton Johns

Benvenuto

. Diaz

THE STEINWAY PIANO USED

Mr . COENRAAD V. BOS, Accompanist

RESERVED SEATS, $1.50, $J.OO, $.75

Tickets are now on sale at the Hall (Telephone, Oxford 1330)

477

CHICKERING HALL

TUESDAY EVENING, NOVEMBER 24, AT 8.15

PIANOFORTE RECITAL by

GEORGE COPELAND, Jr.

PROGRAM

First Movement of Italian Concerto ....

Bach

"Alceste," Caprice sur les airs de Ballet

. Gliick-Saint-Saens

Polonaise Op. 44 |

Valse Op. 34, No. 2 > .....

Ballade No. i )

Chopin

Reflets dans I'eau |

Cortege et air de Danse, first time V . .

Et la lune descend sur le temple qui fut, first time )

Debussy

Spanish Dances Habanera .....

Chabrier

Alborada del graciosa, first time

HALL

Ravel

TICKETS, $1.50, $1.00, 50c., AT THE

MASON & HAMLIN PIANO

CHICKERING HALL

SATURDAY AFTERNOON, NOVEMBER 28

at 3.30 o'clock

Beatrice Herford

IN HER

Original Monologues

TICKETS, $1.50, $1, and 75 cents

On sale at Chickering Hall and Herrick's

478

The Cecilia Society

WALLACE GOODRICH, Conductor

THIRTY.THIRD SEASON

First Concert

Symphony Hall, Wednesday, Dec. 9, 1908, at 8.15 P. n.
**THE LEGEND OF ST. CHRISTOPHER"

By Horatio Parker.

A dramatic work for Chorus, Solo Voices, Orchestra, and Organ

Soloists: Mrs. Blanche H. Kilduff, Soprano
Miss Charlotte Williams, Soprano

Dr. Franklin D. Lawson, Tenor

Mr. Stephen Townsend, Baritone

Mr. Reinald Werrenrath, Bass

Second Concert

Jordan Hall, Tuesday, February 2, 1909, at 8.15 p.m.
A PROGRAM OF SHORT WORKS FOR CHORUS

a capella and with accompaniment
Soloists to be announced.

Third Concert

Jordan Hall, Thursday, flarch 25, 1909, at 8.15 p.m.
**LA VITA NUOVA"

By Ermanno Wolf- Ferrari
{First time in Boston^

A cantata based on Dante's poem, for Baritone and Soprano Solos, Chorus,
Orchestra, Organ and Pianoforte.

Soloists: Mrs. Frances Dunton Wood, Soprano

Mr. Earl R. Cartwright, Baritone

Season ticket subscriptions, at $5 each, will be received at Box Office,
Symphony Hall.

479

The

Hess -Schroeder
Quartet

PROF. WILLY HESS, First Violin

J. VON THEODOROWICZ, Second Violin

EMILE FERIR, Viola

ALWIN SCHROEDER, Violoncello

At CHICKERING HALL

Second Concert, December 22

Tickets, ^1.50, $1.00, and 50 cents, on sale at Symphony Hall.

THE

KNEISEL QUARTET

FRANZ KNEISEL, Frm n^Hn LOUIS SVECENSKI, F10/4

JULIUS ROENTGEN, Stand f^iolin WILLEM WILLEKE, riolmulb

TWENTY-FOURTH SEASON. 1908-1909

FENWAY COURT

FIVE CONCERTS

TUESDAY EVENINGS

at 8. 1 5 o'clock

November lo ,

. 1908

December 8 ...

1908

January 5 ...

. 1909

February 16 .

1909

March 16 . . .

. 1909

ASSISTING ARTISTS:

Miss KATHARINE GOODSON Mr. OSSIP QABRILOWITSCH

Mr. ERNEST CONSOLO Mr. COURTLANDT PALMER

Mr. ARTHUR FOOTE

PROGRAMME OF THE SECOND CONCERT

Schumann, R Quartet in A major, Op. 41, No. 3

Arthur Foote ...... Trio (No. 2) in B-flat major, Op. 65

Eugene D'Albert . . . Scherzo from Quartet in E-flat major, Op. 1 1
Grieg, E. ..... . Unfinished Quartet in F major, (Posth)

ASSISTING ARTIST

Mr. ARTHUR FOOTE

Admission tickets, at $1.00, entitling to a seat, for sale at

THE BOSTON MUSIC CO. (Q. Schirmer)
26 and 28 WEST STREET

481

CONCERT ANNOUNCEMENTS

Symphony Hall, Tuesday Evening, November 24,

KELLOGG, THE BIRD MAN tMb^xJa^"'

Wonderful discoveries in nature during the past 8 months.

Bird, Animal, Reptile, and Insect Life portrayed hy moving pictures.

Tickets, $1.50, $1.00, and 50c., on and after November 16

Jordan Hall ORGAN RECITAL

Tuesday Evening, November 24, at 8.15

WILLIAM WOLSTENHQLME H^otrr'

ASSISTED BY

E. BLUM (Tenor)
PROGRAM

t. Toccata and Fugue in F . . ... . . . J. S. t ach

2. Evening Song . . . . . . . . C. E. Bairstow

( a. Panis angelicus ........ Cesar Franck

3- ) b. Prayer (Gebet) Hugo Wolf

' Mr. E. BtuM

4. Suite Gothique . . . . . . Boellmann

(Chorale. Minuet. Priere a Notre Dame. Toccata)

5- {t Kfvaf Toccata in B-flat! Wolstenholme

6. Benediction Nuptiale ........ A. Hollins

(rt. Allah G. W.Chadwick

7. } b. Requiem ......... Arthur Foote

[c. June ......... Mrs. H. H. A. Beach

Mr. E. Blum

S f«. PsstoraleinD ,,«,.,,} . . . Wolstenholme

( b. Intermezzo and Y male from Sonata m F I
9. Extemporization.

Tickets, $i.oo, 75c., and 50c., at Symphony Hall

Jordan Hall, Monday Afternoon, November 30

AT THREE
CDilCOT eOUCI I lilf^ ONLY PIANO RECITAL IN

tKNtol OuHtLLINu boston this year

Tickets, 5S1.50, $1.00, and 50c., at Symphony Hall

Symphony Hall, Saturday Afternoon, December 12,
1908, at 2.30

MME. GEGILE GHAMINADE ^^p^n^st

ASSISTED BY

Mile. YVONNE DE ST. ANDRE, Mezzo-soprano, and

Mr. ERNEST GROOM, Baritone

Tickets, $2.00, $1.50 and $1.00 Public sale opens Friday, December 4

MAIL ORDERS for the above concerts, accompanied by check or
money order, and addressed to L. H, Mudgett, Symphony Hall,
filled in order of receipt and as near the desired location as
possible, prior to public sale.

482

SUNDAY EVENING, DECEMBER 13

AT EIGHT

CONCERT

BY THE

BOSTON
SYMPHONY ORCHESTRA

MAX FIEDLER, Conductor

IN AID OF ITS

PENSION_ FUND

PROGRAMME AND FURTHER DETAILS LATER

Geo. Lincoln Parker
PIANOS

The Krakauer, "the Piano with a Human Voice."
The Sohmer-Cecilian 88 note Player, the acme of

Player construction.
"Connorized" guaranteed music for Player-Pianos.
Catalogs on postal card request.

GEO. LINCOLN PARKER

213 TREMONT STREET

Near Majestic Theatre

4S3

The Lekeu Club

MR. GEORGE COPELAND, Jr., Piano MR. FREDERICK MAHN, 1st Violin

MR. HANDASYD CABOT, Violoncello MR ALFRED GIETZEN, Viola

FRANK CURRIER, 2nd Violin

Will give Three Concerts on Sunday Afternoons at 4 o'clock

November 29th, December 20th, and January 1 7th

AT POTTER HALL

Each program will be shorter than is customary, about one hour and twenty minutes, and
will include one group of solo pieces.

Subscription tickets for the Series, ;?3.oo for two reserved seats ; single tickets 75 cents each, are on sale at
Symphony Hall and the Boston Music Co., 26 West Street.

THE MASON & HAiWLIN PIANO

HUNTINGTON CHAMBERS HALL
rOR RECITALS
30 HUNTINGTON AVENUE

JORDAN HALL
Thursday Evening, December 10, at 8.15

PIANOFORTE RECITAL

CHARLES ANTHONY

PROGRAM

SONATA IN G MINOR • • Chopin

TWO CHORALS • Bach

Arranged for piano by Max Reger

VARIATIONS ON A THEME BY BACH Max Reger

IMPROVISATION )

I MacDowell

THE JOY OF AUTUMN )

SCHERZO, C SHARP MINOR Chopin

Tickets on sale at Jordan Hall Box Office.

Management of Ralph L. Flanders.
484

Alfred Peats Wall Paper

EFFECTIVE
INTERIOR
DECORATION

The modem idea of furnishing a
room — a rug, not too much furniture, beau-
tiful walls. That is all. The efifect is
most charming, if the walls are beautiful.
With the accumulation of wealth
taste or style in the decorations of the home has advanced. This
improved taste recognizes more and more that the keynote of
interior decoration is the walls — that there is nothing more
important.

BOSTON'S EXCLUSIVE WALL PAPER SHOP

116=120 SUnnER STREET

HOTEL RENNERT

BALTIMORE, MD.

Within one square of the shopping dis-
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The standard hotel of the South.

The cuisine of this hotel has made
Maryland cooking famous.

The only hotel in the world where the
Chesapeake Bay products, Fish, Oysters,
Terrapin, and Canvas-back Duck, are
prepared in their perfection.

MODERN IN EVERY DEPARTMENT

EUROPEAN PLAN

Rooms, $1.50 per day and upwards Fire-proof building

486

POTTER HALL

Next Monday Evening, November 23, at 8.15

FIRST CONCERT

Chamber Music for Wind Instruments

The LONGY CLUB

(Ninth Season)

... PROGRAMME...

No. I. FALCONI . . Sextet for flute, oboe, clarinet, horn, bassoon,

and piano

No. 2. HAENDEL . Concerto for Oboe with strings accompaniment

No. 3. CAPLET Suite Persane for 2 flutes, 2 oboes, 2 clarinets, 2 horns,
and 2 bassoons

Mr. MAX FIEDLER, Conductor, ASSISTING

Tickets now on sale at Box Office, Symphony Hall.
Season tickets for the three concerts, four dollars.
Single tickets, $1.50.

PIANO, MASON and HAMLIN
4S6

MUMCAL INSTRUCTION.

Miss HARRIET S. WHITTM,

VOCAL INSTRUCTION and

SOPRANO SOLOIST.
Studio, 246 Huntington Avenue.

Exponent of the method of the late Charles R. Adams.
Portsmouth, New Hampshire, Mondays.

Mr. CHARLES B. STEVENS.

TEACHER OF SI/NGING.

STUDIOS,

Suite 14, Steinert Hall, 162 Boylston St.

Telephone, 133 1 Oxford.

Miss Harriettk C. Wbscott,

Accompanist and Assistant Teacher.

Iss MORA HAWKINS,

PIA/NIST.

LANG STUDIOS,

No. 6 NEWBURY STREET.

Miss CAROLINE!. SOUTHARD,

TEACHER OF THE PIANOFORTE.

Classes in Sight Reading

(EIGHT HANDS).

Advanced pupils follow the Symphony programmes
as far as practicable.

165 Huntington Avenue - Boston

Miss GERTRUDE EDMANDS,

Concert and Oratorio.

Vocal Instruction.

The Copley, 18 Huntington Avenue.

Mrs. HALL MCALLISTER,

TEACHER of Si/NGING.

407 Pierce Building,
COPLEY SQUARE.

Musical IVIanaqement.

Miss ELEANOR BRIGHAM,

Pianist and TeacHer.

Trinity Court.

Mr. BERNHARD LISTEMANN'S

IVfaster School for Violinists.

Training to competent teachers prin-
cipal aim. Ensemble lessons.
OFFICE
703 PIERCE BUILDING, COPLEY SQUARE.

Hours: Monday and Thursday, from i p.m.
Wednesdays and Saturdays, 9 to i and 2 to 4.

Miss JOSEPHINE COLLIER,

PIANIST and TEACHER,

LANG STUDIOS,

6 NEWBURY STREET.

487

Iss GLARA E. HUNGER,

TEACHER OF SINGING.

Century Building,
177 Huntington Avenue, Boston.

Walter E. Loud— Violin.
Pupil of Ysaye.

32 Batavia Street.

Hiss Bertha Wesselhoelt Swift,

Soprano Soloist^

TEACHER OF SINGING.
Studio, TRINITY COURT, Boston.

Miss Swift is ready to give her children's programs
before clubs, church societies, and in private houses

Miss LUCY CLARK ALLEN,

Pianoforte Lessons.

Accompaniments.

LANG STUDIOS, 6 NEWBURY STREET.

Hr.SAMDELJ.MacWATTERS,

Professor of Voice Building in
Boston University.

VOICE PLACING,

Development of Tone and
Resonance.

72 MOUNT VERNON STREET.

Mis. LUGIA GALE BARBER,

Rhythm applied to Physical and Per-
sonal Development,
Music Interpretation,
Lectures and Instruction.

The Ludlow, Copley Sq., Boston.

KARL DOERING,

TENOR= BARITONE.

Pupil of Professor J achman- Wagner, Berlin, and
Professor Galliera, Milan, Italy.

Training and Finishing of Voice.

School for Grand Opera and Oratorio.
STE INERT HALL, ROOM 27.

Open Monday, October 12. Send for new Prospectus

BERTHA GUSHING CHILD,

38 BABCOCK ST., BROOKLINE.

TEACHING AT

LANG STUDIOS,

6 NEWBURY ST., BOSTON.

MARY B. SAWYER,

Leschetizky Method.

PIANO AND HARMONY.

For four years Pupil and Authorized Assistant of

Frau VARETTE STEPANOFF,

BERLIN, GERMANY.

Studio, Steinert Hall, 162 Boylston St.

488

PiANiSTEand TEACHER.

Mrs. CAROLYN KING BDHT, h™-- ^ c"™^'-.

BOSTON.

Miss REN& I. BISBEE,

TEACHER OF PIANO,

LANG STUDIOS,
6 NEWBURY STREET.

LDCY FRANCES GERRISH,

PIANOFORTE INSTRUCTION.

GERRISH STUDIO,
140 Boylston Street . . . Boston.

EDITH LYNWOOD WINN

LECTURE-RECITALS

, , „ ^ , „ . This season, Russian, Hungarian, 17th

Normal and Teachers' Courses for ^^^ i8th Century Music.

Viohn.

Children's classes at special rates TRINITY COURT . . BOSTON.

The Guckenberger School of
Mosic.

Piano, Voice, Violin (and all orchestral
instruments), Theory, Musical Analysis,
Analytical Harmony, Composition, Score
Reading, Chorus and Orchestral Con-
ducting.
B. GUCKENBERGER, Director. 30 Huntington Avenue . . Boston

HENRY T. WADE.

Teacher of

Pianoforte, Church Organ,

Theory of Music.

Steinert Hall, Boston.
77 Newtonville Avenue, Newton.

RICHARD PLATT,

PIANIST.

23 Steinert Hall . . Boston.

Mason & Hamlin Piano.

PIANO ORGAN

CHARLES S. JOHNSON, HARMONY.

LANG STUDIOS, 6 NEWBURY STREET.

HARRIST.

ISS HARRIET A. SHAW, ^^^ commonwealth avenue

Telephone.

489

SAM L. STUDLEY,

Pierce Buildingt Copley Square, Room 3)3.

INSTRUCTION IN THE
ART OF SINGING.

OPERA, ORATORIO, AND SONG.

Miss PRISCILLA WHITE,

TEACHER OF SINGING.

602 Pierce Buiidlng,
Copley Square, BOSTON.

Tuesdays and Fridays at Lasell Seminary.

EARL CARTWRIGHT,

BARITO/ME.

TEACHER OF SINGING.
Lang Studios, 6 Newbury Street.

Miss JESSIE DAVIS,

Pianist and Teacher,
289 Newbury Street, Boston.

Miss Rose Stewart,

Vocal Instruction.

246 Huntington Avenue.

Miss EDITH E. TORREY,

TEACHER OF SINQINQ.

164 Huntington Avenue, Boston.

Tuesdays and Fridays at Wellesley College.

Miss EDITH JEWELL,

VIOLINIST AND TEACHER,

37 BRIMMER STREET.

efers by permission to Mr. C. M. Loeffler.

HELEN ALLEM HUNT,

CONTRALTO SOLOIST.

Teacher of Singing.
No. 514 Pierce Building Boston.

BOSTON MUSICAL BUREAU.

Established 1899.
Supplies Schools, Colleges, and Conservatories
witii Teachers of Music, etc.; also Churches with
Organists, Directors and Singers.

Address HENRY C. LAHEE.
'Phone, 475-1 Oxford. 2i8Trkmont St., Boston.

Mrs. S. B. FIELD,

Teacher of the Piano and Accompanist.
HOTEL NOTTINGHAM.

Mrs. Field makes a specialty of Coaching, in both
vocal and instrumental music.

Artists engaged, programmes arranged, and all
•■esponsibility assumed for private musicales.

Miss MARIE L EVERETT,

Teacher of Singing.

Pupil of MADAME MARCHESI,

Paris.
THE COPLEY, BOSTON.

Miss MARY D. CHANDLER,

Concert Pianist and Teacher.

Pupil of Philips, Paris.

I49A TREMONT ST., Monday and Thursday.

Residence, 5 Ashland Street, Dorchester.

Telephone, 1828-3 Dorchester.

Miss PAULA MUELLER,

Teacher of Piano
and German L.anguage.

STUDIOS,
28 Central Avenue, Room 30, Steinert Hall

MEDFORD. BOSTON.

RECITALS.

Mrs.V.PERNAUX=SCHUMANN,

TEACHER OF FRENCH and GERMAN.
French and German Diction a Specialty.

32 BATAVIA STREET Suite 8, BOSTON.

Clarence B. Shirley,
Tenor Soloist and Teacher.

CONCERT AND ORATORIO.

Studio, Huntington Chambers, Boston.

490

MR. ROBT. N.
MRS. ROBT. N.

LISTER,

Teacher of Singing,
Soprano Soloist.

Symphony Chambers, opposite Symphony Hall,
BOSTON.

CHARLOTTE WHITE,

Violoncellist of the Carolyn Belcher String Quartet.

TEACHER AND SOLOIST.

608 Hontington Chambers, Boston, Mass.

THOMAS L. CUSHMAN.

VOCAL TEACHER.
218 TREMONT STREET.

L. B.

MERRILL

BASS SOLOIST

AND

TEACHER.

218 Tremont Street.

Mme. de BERG-LOFGREN,
TEACHER OF SINGING.

The '« GARCIA " Method.
Studio, 12 Westland Avenue. BOSTON, MASS.

Mrs. H. CARLETON SLACK,

VOCAL INSTRUCTION.

I Lyric Soprano. Concerts and Recitals.
Lessons at residence, 128 Hemenway Street.

Miss PEARL BRICE,

CONCERT VIOLINIST, TEACHER.
Lang Studios, 6 Newbury Street.

MrslOUISELATHROP MELLOWS,

Pianist and Teacher.

STUDIO, Jefferson Hall,
j Trinity Court, Dartmouth Street, Boston.

Miss M. B. HARTWELL,

PIANO AND HARMONY.
Studio, 9 St. James Avenue.

Miss HartweO has but recently returned from

Vienna, where she studied the Leschetizky

Method for three years and a half.

VIOLET IRENE WELLINGTON,

Humorous and Dramatic Reader.

Also
Teacher of Voice, Elocution, Physical Culture.

59 Westland Avenue.
Telephone, 3439-1 Back Bay.

TIPPETT

CLARA

WM. ALDEN

VOICE

Assistant, GRACE R. HORNE

312 PIERCE BUILDING
COPLEY SQUARE

LUESE LEIMER,

Contralto Soloist and Teacher of Singing.

Studio, 23 Crawford Street

and Steinert Building.

Miss RUTH LAIGHTON,

Violinist and Teacher

19 Chestnut Street - Boston

Miss JANET DUFF,

(7 years pupil of Francis Korbay)

Contralto, Concerts, Oratorios, and Song Recitals.

Teacher of Voice Production and Singing.

Studio, 402 Huntington Chambers.

Monday, Wednesday, Thursday and Saturday morn-
ings
Management, W. S. Bigelow, Jr., Boston

Miss MARIE WARE LAUGHTON,

Lecturer and Reader of Shakspere.
Instructor of the VOICE IN SPEECH.
Courses of Study for Personal Culture and Pro>
I fessional Training.

I 418 PIERCE BUILDING, COPLEY SQUARE

ARTHUR M. CURRY,

Teacher of

Violin, Harmony, Composition.
34 STEINERT HALL.

Ellen M. Yerrinton,

Vorbereiter to Teresa Carreno,
Uhland Str. 30, BERLIN, W., GERMANY

491

Allen H. Daugherty,

PIANOFORTE INSTRUCTION,
HARMONY.

Tel., Oxford 1629-1. 218 Tremont Street.

MissMARY A.STOWELL,

Teacher of Piano and Harmony.
The ILKLEY,

Huntington Avenue and Cumberland Street.

(Cumberland Street entrance )

Miss kATHERINE LINCOLN,

Soprano Soloist.
Teacher of Singing.

514 Plarc« Building, Copley Square, Boston.

BARITONE.

George W. Mull,

Teacher of Singing.

TheCop]ey,I8 Huntington Avenue,Boston.

JOHN GROGAN MANNING,

CONCERT PIANIST and TEACHER.

Monday, Wednesday, and Thursday
afternoons

Symphony Chambers, 246 Huntington Ave.

Mr. WILLIS W. GOLDTHWAIT,

Teacher of Piano.

Thorough instruction in Harmony, class or private.

7 Park Square, Boston.

JOHN BEAGH,

PIANIST.
10 Charles Street.

Miss MARGARET GORHAM,

PIANIST AND TEACHER.

Trinity Court. Boston.

Mrs. HIRAM HALU

Pianist and Teacher.
118 Charles Street.

Mrs. Alice Wentworth MaoGregor,

TEACHER OF SINQINQ.

Residence Studio, 780 Beacon Street.
Tuesdays and Fridays at Abbot Academy.

Mrs. NELLIE EVANS PACKARD.

Studio, 218 Tremont Street (Room 308), Boston.

VOCAL INSTRUCTION.

Mrs. Packard is commended by Walker, Randegger
(London), Marchesi, Bouhy, Trabadelo (Paris),
Leoni (Milan), Vannuccini (Florence), Cotogni,
Franceschetti (Rome).

Mr. P. FIUIVIARA

Will furnish a Small Orchestra of mem-
bers of the Boston Symphony Orchestra
for Musicales, Dinners, Receptions, etc.

Address, Symphony Hall.

ARTHUR THAYER,

TEACHER OF SINGING.
200 Huntington Avenue

Mr. CHARLES DUMAS,

Graduate of the University of Paris.
Former Assistant at Harvard.

French (all grades), Lectures, Diction,

Elocution, etc.
286 Columbus Ave., Opp. Back Bay Station.

CLAUDE HACKELTON.

PIANIST AND TEACHER.
218 Tremont Street, Room 515, Boston

EVEREH E. TRUETTE,

CONCERT ORGANIST AND TEACHER.
218 Tremont Street, BOSTON.

EDWIN N. C. BARNES,

Basso Cantante and
Teacher of Singing.

^mphony Chambers . . . Boston.,

Opposite Symphony Hall.

492

Concert. Oratorio

Mrs. nnnnDAD soprano

Lafayette UUIIUDAIi^ soloist.
TEACHER OF SINQINQ.

Thorough preparation for Concert and Church.

Studio . . Steinert Hall.
'Phone, Oxford 1330. Mondays and Thursday!.

ALWIN SCHROEDER

The glorious artist and distinguished musician,

^Cellist of the Hess-Schroeder Quartet

writes as follows of the

Mason ^l|amlm

PIANOS

MASON & HAMLIN CO., Boston:

Gentlemen: — Daring my residence in America for the
past several years, I have had great opportttnity of studying
all the varioas pianos made in this country, as indeed I have
had opportunity of studying the pianos abroad before I came
to America. I want to write to express to you my sincere
admiration and appreciation of your very beautiful pianos.
I have heard them with orchestra, in hundreds of chamber
concerts, and at my home under various conditions; always
your noble instruments have stood the test, and not only
have they stood it, but they have added to the general
beauty and musical value of the occasion, whatsoever it
might have been.

I am, very truly yours,

(Signed) ALWIN SCHROEDER.

MASON & HAMLIN COMPANY

Opp. Institute of Technology BOYLSTON STREET

HERE are many
things which may
be prophesied for
the future, but it is
a fixed fact that the

STEINWAY Piano
will continue to be the
Standard of the World.

The Steinway Organiza-
tion insures this.

STEINWAY & SONS

NEW YORK
LONDON HAMBURG

KEPRESENTEU BY

M. STEINERT & SONS COMPANY
162 Boylston Street, Boston, Mass.

y^'^T

BOSTON

SYAPHONY

PRoGRHnnc

TENSION RESONATOR

(PATENTED IN THE UNITED STATES AND IN EUROPE)

Used exclusively in the

PIANOS

Ti'he Three Kpoch-making Discoveries

IN THE MANUFACTURE OF GRAND PIANOS ARE

First, The French Repeating Action, 182 1

Second, The Full Iron Frame and Over-strung Scale, 1859

Third, The Mason & Hamlin Tension Resonator, igoo, —

the most important of the three, as it pertains to tone

production

Ql.i f nr in a piano is dependent upon the crown, or arch,

U3liry 01 1 One of its sounding-board. Loss of tone-quality is
caused by the flattening of the sounding-board through the action of the
atmosphere and the great downward pressure of the strings.

The Mason & llamlin Tension Resonator

Permanently preserves the crown, or arch, of the sounding-board, and gives to
the Mason & Hamlin piano a superior quality of tone and a tone which is inde-
structible.

A Technical Description in "The Scientific American" of October U,

1902, CONTAINS THE FOLLOWING:

A copy of the Scientific American article will be mailed upon application

MASON & HAMLIN COMPANY

0pp. Inst, of Technology 492-494 Boylston Street

SYMPHONY HALL, BOSTON

HUNTINGTON ^-MASSACHUSETTS AVENUES

», , , < Ticket Office, 1492 ) „ , „

Telephones j Administratiin Offices, 3200 \ Back Bay

TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

programme of %

Seventh

Rehearsal and Concert

WITH HISTORICAL AND DESCRIP-
TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, NOVEMBER 27

AT 2.30 O'CLOCK

SATURDAY EVENING, NOVEMBER 28
AT 8.00 O'CLOCK

493

GABRILOWITSCH

ENDORSES

{^lANO

EVERETT PIANO CO.:

Gentlemen — Having^ just reached St. Petersburg' I take the first opportunity to
express to you what I feel concerning the pianos you furnished for my American
tour and to offer you my gratitude and heartiest thanks for the same.

I am quite conscious of the enormous share which belongs to the superior
qualities of your pianos for the success of my tour, and it gives me much pleasure
to say so openly. There is no necessity, at this time, to dwell upon the many
special attainments of the Everett concert grand; it is a wonderful instrument
and its future is enormous. It is amazing what a number of enthusiastic friends
among musicians and the public generally it has made in this short time. Anyone
who has heard it cannot fail to recognize and admit that in beauty and nobility
of tone, in power and brilliancy, in color, in absolute perfection of mechanism and
action, it cannot be surpassed. These qualities, combined with a wonderfully sym-
pathetic singing tone, enabled me to express my musical feelings most satisfactorily.

Your baby grands and uprights are to me just as perfect as the concert grands
and the more I have played them the more I got to appreciate and admire them.
I am confident that the Everett is destined to be famous the world over, and
America may well be proud of having produced such a beautiful work of art
Believe me, gentlemen, very sincerely yours,

OSSIP GABRILOWITSCP

THE JOHN CHURCH CO., 37 West 32d Street
New York City

REPRESENTED BY

G. L. SCHIRMER & CO.

38 Huntington Avenue, Boston, Mass.

494

Boston Symphony Orchestra

PERSONNEL

Twenty -ei

ighth Season, 1908-1909

MAX FIEDLER, Conductor

First Violins.

Hess, Willy

Roth, O.

Hoffmann, J.

Krafft, W.

Concert-master. Kuntz, D.

Fiedler, E.

Theodorowicz, J.

Noack, S.

Mahn, F.
Strube, G.

Eichheim, H.
Rissland, K.

Bak, A.
Ribarsch, A.

Second Violins.

Mullaly, J.
Traupe, W.

Barleben, K.
Fiumara, P.

Akeroyd, J.
Currier, F.

Fiedler, B.
Werner, H.

Marble, E.

Berger, H.
Eichler, J.

Tischer-Zeitz,

H. Kuntz, A.

Goldstein, S.

Kurth, R.

Goldstein, H.
Violas.

Ferir, E.

Heindl, H.

Zahn, F. Kolster, A.

Krauss, H.

Scheurer, K.

Hoyer, H.

Kluge, M. Sauer, G.
Violoncellos.

Gietzen, A.

Warnke, H.

Nagel, R.

Barth, C. Loeffler, E.

Warnke, J.

Keller, J.

Kautzenbach, A.

Nast, L. Hadley, A.
Basses.

Smalley, R.

Keller, K.
Gerhardt, G.

Agnesy, K.
Kunze, M.

Seydel, T.
Huber, E.

Ludwig, O.
Schurig, R.

Flutes.

Oboes.

Clarinets.

Bassoons.

Maquarre, A.
Maquarre, D.

Longy, G.
Lenom, C.

Grisez, G.
Mimart, P.

Sadony, P.
Mueller, E.

Brooke, A.

Sautet, A.

Vannini, A.

Regestein, E.

Fox, p.

" English Horn

Bass Clarinet. Contra- Bassoon.

Mueller, F.

Stumpf, K.

Helleberg, J.

Horns.

Trumpets. Trombones. Tuba.

Hess, M.
Lorbeer, H.

Schmid, K.
Gebhardt, W.

Kloepfel, L. Hampe, C. Lorenz, O
Mann, J. Mausebach, A.

Hain, F.

Hackebarth, A.

Heim, G. Kenfielc

I, L.

Phair, J.

Schumann, C.

Merrill, C.

Harp.

Tympani.

Percussion.

Schuecker, H.

Rettberg, A.

Dworak, J.

Senia, T.

Kandler, F.

Ludwig, C.

Librarian.

Sauerquell, J.

495

Burkhardt, H.

^w X,.-

Bears a name which has become known to purchasers
as representing the highest possible value produced
in the piano industry.

It has been associated with all that is highest and best
in piano making since 1823.

Its name is the hall mark of piano worth and Is a
guarantee to the purchaser that in the instrument
bearing it, is incorporated the highest artistic value
possible.

CHICKERING & SONS

PIANOFORTE MAKERS

Established 1833

791 TREMONT STREET

Cor. NORTHAMPTON ST.

Near Mass. Ave.

BOSTON

496

TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT AND NINE

Seventh Rehearsal and Concert*

FRIDAY AFTERNOON, NOVEMBER 27, at 2.30 o'clock.

SATURDAY EVENING, NOVEMBER 28, at 8 o'clock.

PROGRAMME.

Strauss Tone Poem, "A Hero Life," Op. 40

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.

Wagner . Prelude and " Love Death" from " Tristan and Isolde"

SOLOIST,
Mr. OSSIP GABRILOWITSCH.

The Mason & Hamlin Pianoforte.

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

City of Boston, Revised Refiulation of Auifust 5, 1898.— Chapter 3. relatlnii to the
covering of the head In places of puhllc amusement.

497

nee Ac Kiale
Always ftel^abe

C. C. HARVEY CO.

144 BOYLSTON STREET
BOSTON

49S

Tone Poem, "A Hero IvIFE," Op. 40 .... Richard Strauss

(Bom at Munich, June 11, 1864; now living at Charlottenburg, Berlin.)

"Ein Heldenleben," a "Ton-Dichtung," was first performed at a con-
cert of the "Museumsgesellschaft," Frankfort-on-the-Main, March 3,
1899, when Strauss conducted. In the course of the year it was per-
formed at BerHn (March 22), Cologne (April 18), Diisseldorf (May 22),
Munich, Dresden (December 29), Mayence, Constance, Crefeld, Bremen.
There were also early performances at Hamburg, Leipsic, Sonders-
hausen, Halle, Mannheim, Paris (March 4, 1900), Brussels (October 21,
1900), and other cities.

The first performance in America was by the Chicago orchestra,
Theodore Thomas, conductor, at Chicago, March 10, 1900. The first
performance in New York was by the Philharmonic Society, Mr. Emil
Paur conductor, December 8, 1900, when th.e orchestra numbered one
hundred and twenty-five players. The first performance in Boston
was by the Boston Symphony Orchestra, Mr. Gericke conductor,
December 7, 1901.

The score calls for these instruments: Sixteen first and sixteen sec-
ond violins, twelve violas, twelve violoncellos, eight double-basses,
two harps ; a piccolo, three flutes, three or four oboes, an English horn,
one clarinet in E-flat, two clarinets in B-flat, one bass clarinet, three
bassoons, one double-bassoon, eight horns, five trumpets, three trom-
bones, a tenor tuba, a bass tuba, kettledrums, bass drum, snare-
drum, side-drum, cymbals. The score is dedicated to Wilhelm Mengel-
berg* and his orchestra in Amsterdam.

Strauss has said that he wrote "A Hero Life" as a companion, work

* J. W. Mengelberg was born at Utrecht, May 28, 1870. He studied music at Utrecht, then at the Cologne
Conservatory witli Seiss and Jensen. In 1891 he conducted a society at Lucerne, and in 1895 he was
appointed conductor of the Concertuebouw Orchestra in Amsterdam. He conducted the concerts of the
Philharmonic Society of New York, November 10, 11, 190s.

SONGS WORTH SINGING

KING FISHER BLUE by Amy Woodforde-Finden. 2 Keys
LOVE ME by F. P. Tosti. 3 Keys . . . .

I HEAR YOU CALLING ME by C. Marshall. 3 Keys .
O, FRAGRANT MIGNONETTE by Laura Lemon. 4 Keys
TWO SONGS OF ITALY by fi. Bath. 2 Keys
A THOUGHT by Chas. J. Roberts. 2 Keys
BELL AT SEA by Stephen Adams. 3 Keys .

Price, 60c.

" 60c.

" 60c,

" 60c.

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NEW YORK
499

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to his ' Don Quixote," Op. 35: "Having in this later work sketched
the tragi-comic figure of the Spanish Knight whose vain search after
heroism leads to insanity, he presents in 'A Hero's Life' not a single
poetical or historical figure, but rather a more general and free ideal
of great and manly heroism — not the heroism to which one can apply
an everyday standard of valour, with its material and exterior rewards,
but that heroism which describes the inward battle of life, and which
aspires through effort and renouncement towards the elevation of the
soul."

* *

Mr. Krehbiel wrote in his program notes for a concert of the Philhar-
monic Society of New York: "Those who wish to understand the poetic
purposes of the composer in this work must yield to him not only
the right to try to express the simpler feelings, which are generally
conceded to be in the province of absolute music, but to publish a
great variety of emotional phases, and to do so by giving arbitrary
significance to the themes out of which the work is woven. They
must note significances not only in the character of the themes them-
selves, but also in the transformations which they go through, their
combinations and their instrumental colorings. They may, if they
wish, rest on the music alone, or they may take the program of the
composer and its amplification by sympathetic analysts, as a starting
point and guide for the imagination."

There are many descriptions and explanations of "Ein Helden-
leben." One of the longest and deepest — and thickest — is by Mr.
Friedrich Rosch. This pamphlet contains seventy thematical illus-
trations, as well as a descriptive poem by Mr. Bberhard Konig.

What is the purpose of the story, of this "tone-poem" or "poem of
sounds"? (It has been said that Strauss is a musician who wishes to

RUDOLF FRIML

NEW PIANOFORTE MUSIC

Op. 35-

Suite Mignonne.

No. I.

Solitude

(2B)

.^0

No. 2.
No. 3.
No. 4.
No. 5.

Morning Song
Valse romantique
A little Story
Danse Bohemienne

(3A)

(3A)
(3A)
(3A)

•30
■30
•30
.30

No. 6. Contemplation
Complete. (Edition Schmidt

(2C)

No.

.40

129

•75

Op. 36.

Three Compositions.

No. 1.
No. 2.
No. 3.

At Dawn

Twilight

Melodie sentimentale

(3c)

(3B)

(3A)

.40
.40
.40

Arthur P* Schmidt

120 Boylston Street, (Walker Building)
BOSTON

STANDARD TREATISES
ON VOICE AND SINGING

LUISA CAPPFANI

Practical Hints for Perfection

in Singing .... $1.25
FRANQCON DAVIES

The Singing of the Future . 2.50
BROWN & BEHNCKE

Voice, Song, and Speed . '. 2.00
W. J. HENDERSON

The Art of the Singer . .1.25

All music performed at these concerts
constantly on hand

CHARLES W.HOMEYER& GO.

332 BOYLSTON STREET

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501

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write poetry.) Is the heroic life that of a hero famous in war and dear
to the people or the life of a hero who does not wrestle merely against
flesh and blood? It seems to be the purpose of the composer to show
the hero as one arrayed against the world, a hero of physical and mental
strength, who fights to overcome the world and all that is common, low,
pitiably mean, and yet perhaps dominant and accepted. Mr. Remain
Rolland quotes Strauss as saying: "There is no need of a program.
It is enough to know there is- a hero fighting his enemies."

The work is in six sections: —

(i) The Hero, (2) The Hero's Adversaries, (3) The Hero's
HeivPmate, (4) The Hero's Battlefield, (5) The Hero's Works
OF Peace, (6) The Hero 's Escape I^rom the World, and the Com-
pletion.

Mr. Rosch makes two divisions of the contents, — one of the poetic
sequence of ideas, one of purely technical interest. The former is as
follows : —

I. The Hero (first section).
II. The World that enters in Opposition to the Hero.

(a) The Foes of the Hero (second section) .

(b) The Helpmate of the Hero (third section).

III. The Life-work of the Hero.

(a) The Battlefield of the Hero (fourth section).
(6) The Hero's Works of Peace (fifth section).

IV. The Hero's Escape from the World, and the Completion, —
the conclusion of the whole matter (sixth section).

The technical division is as follows : —
I, Introductory clause (introduction of themes).

(a) Group of the chief themes of the whole work (first sec-
tion).

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(b) Group of the chief contrasting themes (sections 2 and 3) .

II. Intermediate sentence (thematic development). Working-up

of the chief themes from the preceding introduction; and there is a

subordinate clause with themes which in part are new (sections 4 and 5).

III. Concluding clause (coda). Short development and repetition

of some earlier themes.

The Hero.

The chief theme, which is typical of the hero, the whole and noble
man, is announced at once by horn, violas, and 'cellos, and the violins
soon enter. This theme, E-flat major, 4-4, is said to contain within
itself four distinct motives, which collectively illustrate the will power
and self-confidence of the hero, and their characteristic features are
used throughout the work in this sense. Further themes closely
related follow. They portray various sides of the hero's character, —
his pride, emotional nature, iron will, richness of imagination, "inflex-
ible and well-directed determination instead of low-spirited and sullen
obstinacy," etc. This section closes with pomp and brilliance, with
the motive thundered out by the brass ; and it is the most symphonic
section of the tone-poem. "A pause is made on a dominant seventh:
'What has the world in store for the young dreamer?'"

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Ths Hero's Antagonists.
They are jealous, they envy him, they sneer at his aims and endeavors,
they are suspicious of his sincerity, they see nothing except for their
own gain ; and through flute and oboe they mock and snarl. They
are represented by about half a dozen themes, of which one is most
important. Diminutions of the preceding heroic themes show their
belittlement of his greatness. (It has been said that Strauss thus
wished to paint the critics who had not been prudent enough to pro-
claim him great.) "Fifths in the tubas show their earthly, sluggish
nature." The hero's theme appears in the minor; and his amazement,
indignation, and momentary confusion are expressed by "a timid, writh-
ing figure." Finally the foes are shaken off.

The Hero's Hei^pmate.

This is an amorous episode. The hero is shy. The solo violin
represents the loved one, who at first is coy, coquettish, and disdains
his humble suit. There is a love theme, and there are also two "the-
matic illustrations of feminine caprice" much used later on. At last
she rewards him. The themes given to the solo violin, and basses,
'cellos, and bassoon, are developed in the love duet. A new theme is
given to the oboe, and a theme played by the violins is typical of the |

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crowning of happiness. The clamorous voices of the world do not
mar the peacefulness of the lovers.

Th^ H:eRO's Battive;imki<,d.
There is a flourish of trumpets without. The hero rushes joyfully to
arms. The enemy sends out his challenge. The battle rages. The
typical heroic theme is brought into sharp contrast with that of the
challenger, and the theme of the beloved one shines forth amid the din
and the shock of the fight. The foe is slain. The themes lead into a
song of victory. And now what is there for the hero ? The world does
not rejoice in his triumph. It looks on him with indifferent eyesv

The Hero's Mission of Peace.
This section describes the growth of the hero's soul. The composer
uses thematic material from "Don Juan," "Also sprach Zarathustra,"
"Tod und Verklarung," "Don Quixote," "Till Eulenspiegel's lustige
Streiche," "Guntram," "Macbeth," and his song, "Tiraum durch die
Dammerung." Mr. Jean Mamold claims that there are twenty- three
of these reminiscences, quotations, which Strauss introduces suddenly,
CM- successively, or simultaneously, "and the hearer that has not been
warned cannot at the time notice the slightest disturbance in the devel-
opment. He would not think that all these themes are foreign to the
work he hears, and are only souvenirs."

The Hero's Escape from the WorivD, and Conci^usion.
The world is still cold. At first the hero rages, but resignation and
content soon take possession of his soul. The bluster of nature reminds
him of his old days of war. Again he sees the beloved one, and in peace

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and contemplation his soul takes flight. For the last time the hero's
theme is heard as it rises to a sonorous, impressive climax. And then
is solemn music, such as might serve funeral rites.

* *

It has been said that Strauss chose the appellation "tone-poem" for
these compositions to mark the predominate importance of the purely
musical character; that he repudiated the word "symphonic" to show
that he did not fear to abandon the guiding thread when he plunged
boldly into the tonal labyrinth ; that his musical poems are subjective,
untainted by that material objectivity into which too definite pro-
grams lead the composer. It is true that these works of Strauss
have no detailed program, and that titles and even sub-titles or
quotations are used as hints to suggestions, not as maps, not even as
inexorable guide-posts. On the other hand, the music itself is by no
means music that exists through very independence of form, and is
ruled by laws of development even when the subject suggests a spe-
cial color or tendency. This later music of Strauss seems to be gov-
erned by a fancy that is heated by a program which is fully and
clearly in the mind of the composer, and is not given to the hearer
for his advantage.

The melody of vStrauss is chiefly diatonic, and melodic invention is
not his strongest characteristic. As a melodist he is nearer Brahms
than Wagner, Weber, Tschaikowsky, Verdi. Yet his themes have a
common physiognomy, and they are individual. Nor is it too much
to say that his whole inspiration is diatonic rather than chromatic.
As a developer of themes, as a polyphonist, Strauss is a virtuoso of
amazing brilliance, and whatever may be thought of his aims, and —
is recklessness the word ? — his wildest pieces are by no means without
a certain unity. His inspiration is not versatile: his thought, where-

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ever it be directed, wears the same face. His orchestration is almost
always interesting. And, after all, is his polyphony art? Is not his
genius sometimes hidden by fumes of "Dionysiac drunkenness"?
There are these thoughts, and Mr. Jean Marnold has voiced them
admirably.

There are others who claim that Strauss has gone beyond Wagner*
that he is the founder not of a new school, but of a new art. Their
eulogy is frenetic, nor do they hesitate to proclaim Strauss as the hero
of his ''Heldenleben."

Some, as Claude Achille Debussy, rub their eyes and would say as he
said after hearing "Till Bulenspiegel " : "This piece is like an hour of
new music at the madhouse, — clarinets describe distracted trajectories,
trumpets are always muted, horns foresee a latent sneeze, and hurry
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italicizes the clown's kick and gesture; you burst with laughter or
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found seated on the knees of an ouvreuse, all this would not sur-
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ways, especially in the prodigious surety of the orchestration, and the
mad spirit that sweeps one along from beginning to end."

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Thus are men divided, in opinion; thus is there wrangling in families;
thus is their wordy war on account of Music, which to thousands of
well-to-do and estimable citizens is nothing but a succession of more
or less displeasing sounds.

* *

The symphony in F minor by Strauss, which first called marked
attention to the composer, was an orthodox work. It was cast in the
traditional mould. It was in no wise revolutionary. Themes were
conscientiously developed, the spirit was respectful and serious, and
there was a technical facility unusual in such a young man. Here
was a composer who had been brought up on the classics, knew his
Brahms, and was without any pronounced individuality.

It was the year 1885 that Strauss became intimate with a man who
influenced him mightily. This man was Alexander Ritter.* "Before
I knew Ritter," says Strauss, "I had been brought up in a severely
classical school. I had been nourished exclusively on Haydn, Mozart,

* Ritter was bom at Narva, Russia, June 27, 1833; he died at Munich, April 12, 1896. Although Ritter
was bom in Russia, he was of a German family.- His forbears had lived at Narva since the seventeenth
century. In 1841, soon after the death of his father, he and his mother moved to Dresden, where he became
the school-fellow of Hans von Biilow, and studied the violin with Franz Schubert (1808-78). Ritter afterward
studied at the Leipsic Conservatory under David and Richter (1849-51), and in 1852 he was betrothed to
the play-actress, Franziska Wagner, a niece of Richard Wagner. ,He married her in 1854 and moved to
Weimar, where he became intimately acquainted with Liszt, Cornelius, Raff, Bronsart, and of course saw
much of von Bulow. He determLaed to devote himself to composition, but in 1856 he went to Stettin to
conduct in the City Theatre, where his wife played. They lived in Dresden (1858-60), again in Stettin
(1860-62), but Ritter then had no official position, and in 1863 they made Wurzburg their home. (The winter
of 1868-69 was spent in Paris and thaj; of 1872-73 in Chemnitz.) From 1875^ to 1882 he was at the head
of a music shop at Wurzburg. In 1882 he gave over the business to an agent, and in i88s_ sold it,_ for m
1882 he became a member of the Meiningen orchestra led by von Bulow. After von Biilow resigned this posi-
tion (in the fall of 1885), Ritter moved to Munich and made the town his dwelling-place. His most important
works are the operas: "Der faule Hans," one act (Munich, 1885), dedicated to Liszt; "Wem die Krone?"
one act. Op. 15 (Weimar, June 7, 1890), dedicated to Richard Strauss; "Gottfried der Sanger,'' one act,
was only partially sketched, but the poem was completed; orchestral: "Seraphische Phantasie"; "Erotische
Legende," composed in 1890-91, with use of former material; "Olaf's Hochzeitsreigen," composed in 1891-92;
"Charfreitag und Frohnleichnam," composed in 1893; "Sursum Corda! Storm and Stress Fantasia," jiro-
duced at Munich early in 1896; "Kaiser Rudolf's Ritt zum Grabe" (1895), produced by Richard Strauss
at Weimar (?) and at Berlin in 1902.

"Olaf's Wedding Dance" was played in Boston by the Boston Symphony Orchestra, Dr. Muck conduc-
tor, March 2, 1907. Before that he was known here as the author of the poem published in the score of
Strauss's "Death and Transfiguration," a poem written a}ter the music had been composed. A life of Ritter
by Sigismund von Hausegger was published at Berlin in 1908.

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and Beethoven; and then I became acquainted with Mendelssohn,
Chopin, Schumann, and Brahms. It is through Ritter alone that I
came to understand Liszt and Wagner."

Strauss journeyed to Rome and Naples. The result of his impres-
sions was the symphonic fantasie, "Aus Italien" (1886). The com-
poser gave an explanatory title to each of the four movements. Yet
this step toward program music was a modest one. The indications
were of the nature of those inscribed by Beethoven in his "Pastoral"
symphony. Suddenly Strauss began his cycle of "Tone-poems" with
"Macbeth" (1887). There is no explanation or guide except the word
"Macbeth," written over a theme, and later in the work the annota-
tion "Lady Macbeth" and a quotation from the tragedy (Act I.,
scene v.). This score was dedicated to Ritter. Then followed "Don
Juan" (1888), a musical gloss on Lenau's poem; "Tod und Verkla-
rung (1889); "Till Eulenspiegel's lustige Streiche" in rondo form, after
an old Rogue's tune (1895), — Strauss refused to furnish a program
for this work: "Let me leave it therefore to my-hearers to crack the
hard nut which the Rogue has provided for them," yet he gave a hint
by pointing out the two motives, which "in the most manifold dis-
guises, moods, and situations, pervade the whole up to the catastro-
phe, when, after he has been condemned to death. Till is strung up to
the gibbet"; "Also sprach Zarathustra" (1896), a translation into
music of certain passages from Nietzsche's book of that name; "Don
Quixote" (1897), fantastical variations on a theme of a chivalric
character, with themes appropriate to the Don and Sancho Panza,
with thoughts of the Lady Dulcinea of Toboso and the famous sheep and
windmills, and hints at "the tendency of Don Quixote toward erro-
neous conclusions," as the indefatigable commentator, Mr. Arthur
Hahn, assures us. Add to this list an opera, "Guntram" (1892-93),
and pieces of smaller dimensions. Then came "Ein Heldenleben."
Remember that during several of these years Strauss was exceedingly
busy as a conductor, stationary and wandering, and we may then

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form some idea of the remarkable capacity and ability of the man

for work.

*
* *

A Hst of works by Richard Strauss which has been performed at these
concerts in Boston: —

"Aus Italien," symphonic fantasia, Op. i6: December 22, 1888;
January 12, 1901; March 3, 1906.

"Don Juan," tone poem, Op. 20: October 31, 1891; November 5,
1898; November i, 1902; February 11, 1905; April 29, 1905 (by
request); October 27, 1906.

Symphony in F minor. Op. 12: November 4, 1893; January 6, 1900.

Prelude to Act I. of "Guntram," Op. 25: November 9, 1895; Novem-
ber 12, 1904.

Prelude to Act II. of "Guntram," Op. 25: November 9, 1395; March
25, 1905-

"Till Eulenspiegel's lustige Streiche," Op. 28: February 22, 1896;
November 25, 1899; January 6, 1906; January 25, 1908.

"Tod und Verklarung," tone poem. Op. 24: February 6, 1897;
March 18, 1899; February 7, 1903; October 21, 1905; April 21, 1906.

"Also sprach Zarathustra," tone poem, Op. 30: October 30, 1897-
March 17, 1900.

"Ein Heldenleben," tone poem. Op. 40: December 7, 1901; Novem-
ber 28, 1908.

"Ivove Scene," from the opera "Feuersnot," Op. 50: March 8, 1902;
October 10, 1908.

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Burle&ke in D minor for pianoforte and orchestra (Heinrich Gebhard,
pianist) : April i8, 1903.

"Don Quixote," fantastic variations, Op. 35 (Rudolf Krasselt,
violoncello; Max Zach, viola) : February 13, 1904.

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Mr. OssiP Gabrilowitsch was born, the son of a lawyer, at St.
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he was sixteen, he had taken many prizes, among them the Rubin^
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His first appearance in America was at New York, November 12, 1900.
His first appearance in Boston was at a Kneisel concert, November
19, 1900 (Arensky's Trio in D minor and Brahms's Quintet in F minor.
Op. 31). He played Tschaikowsky's Concerto in B-flat minor and
Liszt's Hungarian Fantaisie at a charity concert in Symphony Hall,
December 16, 1900, and he gave recitals in Boston, January 2,* March 9,
.March 22, 1901. He played at a Kneisel concert in Boston, November
17, 1902 (Schubert's Trio in B-flat major), and gave recitals, April 18
and 22, 1903. He visited Boston again in the season of 1906-07:

*The date January 3 in the Programme Book of February 16, 1907, is incorrect.

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the Modern and Ultra Modern Schools

Descriptive Catalogues FREE on application
520

Kneisel Quartet Concert, November 6 (Beethoven's pianoforte trio
in E-flat major, Op. 70, No. 2); Boston Symphony Quartet, February
25, 1907 (Faure's sonata for pianoforte and vioUn, A major, with Mr.
Willy Hess; Schumann's pianoforte trio in F major. Op. 80, with
Messrs. W. Hess and Warnke) ; recitals, November 17, 1906, January
7, February 20, 1907.

His first appearance with the Boston Symphony Orchestra in Boston
was on February 16, 1907 (Brahms's pianoforte concerto, B-flat major,
No. 2, Op. 83). He was engaged to play with the orchestra in Janu-
ary, 1903, but was prevented from fulfilling the engagement.

He has played these compositions of his own in Boston: Gavotte,
D minor (January 2, 1901); Caprice-Burlesque (March 9, 1901); Petite
Serenade (March 22, 1901); Caprice-Burlesque — by request — (April
22, 1903); Theme varie. Op. 4 (November 17, 1906).

Concerto for Pianoforte, No. i, in B-flat minor, Op. 23.

Peter Tschaikowsky

(Born at \'otkinsk, in the government of Viatka, Russia, May 7,* 1840;
died at St. Petersburg, November 6, 1893.)

The very first performance of this concerto in public was at Boston
in Music Hall, October 25, 1875, when Hans von Biilow was the pianist.

In 1874 Tschaikowsky was a teacher of theory at the Moscow Con-
serA'atory. (He began his duties at that institution in 1866 at a salary
of thirty dollars a month.) On December 13, 1874, he wrote to his
brother Anatol: "I am wholly absorbed in the composition of a piano-

* Mrs. Newmarch, in her translation into English of Modest Tschaikowsky's Life of his brother, gives
the date of Peter's birth April 28 (May 10). Juon gives the date April 25 (May 7). As there are typographical
and other errors in Mrs.' Newmarch's version, interesting and valuable as it is, I prefer the date given by
Juon, Hugo Riemann, Iwan Knorr, and Heinrich Stiimcke.

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forte concerto, and I am very anxious that Rubinstein (Nicholas)
should play it in his concert. I make slow progress with the work, and
without real success; but I stick fast to my principles, and cudgel
my brain to subtilize pianoforte 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 February 21, 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 sen-
sitive composer. He described it in a letter written to Nadeshda
Filaretowna von Meek, the rich widow who admired Tschaikowskv's
music so warmh^ that in 1877 she determined to give him a sum of six
thousand 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 frequently, and to her Tschaikowsky
unbared his perturbed soul. This letter is dated San Remo, February 2,
1878. It has at last been published 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-
nicalh' unplayable in the work, thankless, or ineffective. I need- 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 NicholasRubinstein
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.

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"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 manu-
script, 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 unstableness.

"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
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 Rubinstein said much. It said to me at once: 'Dear friend,
how can I talk about details when I dislike your composition as a

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525

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 hurhng thunderbolts. It
appeared that my concerto was utterly worthless, absolutely unplay-
able ; 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 ; so 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, igno-
rant, conceited note-scratcher, who was so impudent as to show his
scribble to a celebrated man.

"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 moral lecture that no
one should have delivered to a student without first examining care-
fully his work. And then Hubert began to annotate Rubinstein; that
is, he incorporated 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 wrong and ojffended. I needed friendly
advice 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

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526

excfted 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 Biilow, whom he
had not yet seen ; but Kllindworth had told him of von Billow's interest
in his works and his efforts to make them known in Germany. Von
Buiow acknowledged the compliment, and in a warm letter of thanks
praised the concerto, which he called the "fullest" work by Tschaikow-
sky 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 flot impair the clearness and the unity of the work. The form is so
mature, ripe, distinguished for style, for intention and labor are every-
where concealed. I should weary you if I were to enumerate all the
characteristics of your work, characteristics which compel me to
congratulate equally the composer as well as all those who shall enjoy
actively or passively (respectively) 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;

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527

''Serenade 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, as I have said, was at Boston,
Mass., in Music Hall, October 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 was as follows : —

PART I.

Overture, "Jessonda" Spohr

Orchestra.

Grand Concerto (Op. 23) in B-flat (sic) Tschaikowski

(Piano and Orchestra.)
Hans von Bulow.

PART II.

Sonata quasi Fantasia (Moonlight Sonata) Beethoven

Hans von Bui.ow.

Overture, "Prometheus" Beethoven

Orchestra.

Grand Fantaisie (Op. 1 5) 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

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528

PADERE WSKI

to the WEBER PIANO

COMPANY

New York, May the^th, 1908.
To the WEBER PIANO CO:

Gentlemen — It seems to me superfluous to give you in
writing my appreciation of your instruments. Practically
you do not need it, I have been playing the Weber for
seven months in this coimtry, and this fact alone proves
more than anything which could be said or written.
Whatever "disinterested" detractors may object to, had I
not found in your pianos a perfect medium for my art I
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But you insist upon having my opinion. So let me
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529

Russian maestro of the present day, completed last April and dedicated
by its author to Hans von Biiflow, has NEVER BEEN PERFORMED,
the composer himself never having enjoyed an audition of his master-
piece. To Boston is reserved the honor of its initial representation and
the opportunity 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. I^ang (1885),
Mme. Hopekirk (1891), Mr. Sieveking (1896), Mr. Joseffy (1898), Mr.
Slivinski (1901), Mr. Randolph (1902), Mr. Bauer (1903), Mme. Sam-
aroff (February 9, 1907).

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

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530

and Juliet," which was "conspicuous for originality and wealth of
melody." He hoped that Tschaikowsky's versatility would prevent
him from sharing 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 concerts 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, January 20, 1885).

Nor was ingratitude a characteristic of Tschaikowsky, 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 inval-
uable ser\ ice, and I considered myself forever in his debt."

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531

The first performance of the concerto in Russia was by Kross at a
concert of the Russian Musical Society, St. Petersburg, November i,
1875. The first performance in Moscow was November 21, 1875, when
Serg Taneieff,* the favorite pupil of Nicholas Rubinstein and Tschai-
jkowsky, was the pianist.

Modest Tschaikowsky says nothing about the first performance in
IBoston, but he quotes from a letter written by his brother to Rimsky-
Xorsakoff and dated Moscow, November 12, 1875, iii 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 con-
sequence 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 concerto ! Nothing like this happens in our
'Country!"

Modest tells us that the chief theme of the first allegro is a tune
that bis brother heard sung by a blind beggar at Kamenka,t 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,"
* 'whic"h brother Anatol and I in the early seventies used continually to
troll, and hum, and whistle in memory of a bewitching singer." This
last tune bears a grotesque resemblance in notation, rhythm, and gen-

* Tan^ieff's Symphony in C, No. i, and overture to "The Oresteia" have been played in Boston by the
Boston Symphony Orchestra.

t Tschaikowsky wrote from Brailow to Mrs. von Meek (May 21, 1879): "I have just been in the abbey
■church. A crowd had gathered in the church as well as in the courtyard. I heard the 'Ijre-song' of the
blind; it is so called on account of the accompanying instrument, the lyre, which, by the way, has nothing in
•common with the classic instrument. It is remarkable that in Little Russia all blind singers sing the same
tune with the same refrain. I used a portion of this refrain in the first movement of my pianoforte concerto."
Tschaikowsky gives the tune in notation. The lyre of Little Russia is an instrument of three strings, and is not
unlike the instrument known formerly in Italy as the lyra tedesca or lyra rustica."

532

eral character to that of "The Irish Christening at Tipperary," * by
Dan Maguinnis, once a favorite comedian 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
peculiar theme. After a short prelude in B-fiat minor by full orchestra
there is modulation to D-flat major. The stately theme is sung by
first violins and 'cellos in octaves ; wood-wind and horns furnish a back-
ground, 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 pro-
claimed 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-fiat 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 dialogue between solo instrument and orchestra is hurried

* The air is first heard with the words: —

'Twas down in that place Tipperary,
Where they're so airy and so contrary,
They cut up the devil's figary,
When they christened my beautiful boy.
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533

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 sen-
suous, caressing melody reappears near the end, and swells to fortis-
simo.

The second movement, Andantino semplice, D-flat major, 6-8, is a
combination of slow movement and scherzo. The first theme is a^ul-
laby, sung by the flute and repeated by the pianoforte. The second
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

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can singer, trained in America, a living proof that it is not always
necessary to take the voyage to Italy before treading the operatic
boards. In passing judgment upon the young debutante two points
must be kept in mind. She was hampered in some degree by the
inequality of the support which was sometimes overweighted in the
Gounod masterpiece. Secondly, it is not possible to attain one's very
best when the results of years of training are focussed into one single
occasion. We do not believe in triumphant operatic debuts — they
are impossible. A little allowance must always be made for the
abnormal situation. Miss Grosvenor certainly required only the
minimum of allowances on this occasion. She acted and sang with
almost veteran ease and "gewandheit." Her Waltz in the first act
(her opening number) was as delicate and as easily sung as possible.
There was not a trace of nervousness in her work and the action was
without any of the stiffness of the amateur. Her vocal work was
definitely in advance of her histrionic ability, but the latter can only
come with acquaintance with the stage. The audience was a very
brilliant one, evidently drawn by interest in the debutante. At the
end of the first act there was a long procession of flower-bearers carry-
ing public tribute to the new Juliette. These things, however, do not
make a true success. It is far more to the purpose that Miss Gros-
venor sang without a flaw of intonation and that there was a sym-
pathetic quality in her voice that was quite in keeping with the char-
acter of the Shakespearian heroine. The balcony scene was very
near to perfection. The heroine rose to the occasion, and there is no
doubt but that Mrs. Lichfi.eld (the teacher of Miss Grosvenor) has
here launched a sterling prima donna, and to her and to the new Juliette
all good wishes may be extended.

Louis C. Elson.

535

hy 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 two flutes, two oboes,
two clarinets, two bassoons, four horns, two trumpets, three trombones,
a set of three kettledrums, and strings.

ENTR'ACTE.

LIGHTER SIDE OF WAGNER.

(From the Daily Telegraph, London.)
Nowadays we all take our Wagner with uncommon and uninterrupted
seriousness. "And well we might," quoth one, which is perfectly true.
It is, of course, an uncommonly serious matter to have to arrive at
Covent Garden at four o'clock on a sunny afternoon in June and remain
there, on and oflf, till well on towards midnight, and in a milder form,
also, it gives one pause to remain in one's seat for some two and a half
hours without moving. But, though this belongs to the heavy side of
Wagner, the blame for its invention most certainly does not rest with
liim. I imagine that no human being would feel the physical discom-
fort of sitting through "Gotterdammerung" without the usual pauses
so exacting as a similar sitting through possibly either, and certainly
the second part, of Goethe's "Faust," as it used to be, and no doubt
still is, played in many German theatres at Easter time. But there
is a side of Wagner which is less serious than the rest. A good deal
of capital could be made out of Wagner's birds, beasts, and fishes,
the Rhine-maidens being included in the last category for the sake of

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536

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completeness. But that is not only cheap: it is also stale. For the
press ancestors of the present-day critics left no fur on the bear, no
feather on the various birds, no wool on the rams, no scales on the
dragon, serpent, and so on, not a hair in the mane or tail of Grane,
so scalding were their denunciations. Yet the birds and the beasts and
the fishes, otherwise the ravens, the bear, the rams, the horse, and
the Rhine maidens still perform their functions as in the heyday of
their greatest abuse.

They must have been a cheery crew, those early critics, as certainly
they were happy in their good fortune in having so great a bird to pluck,
or, as the popular phrase had it once upon a time, a bubble to prick.
Nowadays there are by comparison a few mere sparrows for the prey
of the critics. And no one will deny that the elder generation did that
they set out to do with a rare completeness, even if their efforts have
proved in course of time to have been unavailing. Not all were either
vindictive or venomous. Indeed, the fun was mildly furious at times.
Thus a foreigner once quoted (more or less) the rubric, "Briinnhilde
flings herself wildly on to the horse, and leaps with it 'cum Grane salis'
into the burning pyre." Quite a good joke that. Of course, no good
Wagnerite — and there are some — -need be reminded that Grane is the
name of Briinnhilde's steed. It is not very long ago that a picture
appeared in which a presumably typical German operatic director
was drawn as he inspected his troupe of leading" ladies." "None of
our singers weigh less than one hundred kilos; we can, therefore, only
produce Wagner operas," he is made to remark.

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538

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539

This particular form of wit was the common property of all countnes
for a time. It was, unhappily, reserved for England to heap the heav-
iest calumny on the wretched Wagner's head, and, perhaps, never had
critic previously driven his quill so furiously as when a lyOridoner wrote
an almost historical diatribe against Wagner at the Philharmonic in
1855. The overture to "The Flying Dutchman" was described as the
"most abominable and horrible of all his productions," and among
other fancy expletives were, "A mass of worthless rubbish," which was
applied to "Lohengrin," as "insufferably dull" was applied to "Tann-
hauser." But the poor man, Wagner, was himself even more roundly
abused than his music. One writer rather cruelly dubbed him in cold
print a politically-defamed traitor, who was "wanted" by the police.
Perhaps Wagner felt none of these pin-pricks, if, indeed, they came to
his knowledge. But one can imagine his "squirming" at being de-
scribed, tout court, as "no musician whatever." "Absolute chaos,"
' ' Wild, aimless cacophony," even ' ' What is music to him or he to music ?
His puny feeling for pure melody can only be compared with matri-
cide," and the thousand and one similar expressions may, or may not,
have amused Wagner. But "no musician whatever," — that is quite
another story.

Wagner, of course, was not all his days to be consciously or uncon-
sciously seriously worried by his critics. When he had "arrived"
in the public estimation, as well as in that of most who wrote about
him, he was a very great man indeed, as we all know. But, even
so, he was not permitted invariably to have matters entirely his own
way. For it is recorded, though I have not seen the tale in English
before, that, after the production of "The Nibelung's Ring," the Kaiser
sent his aide-de-camp to inform ' ' Wagner of his Majesty's wish to speak
with him." Wagner, however, had withdrawn to his room, whence

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541

he refused to move, even when the aide-de-camp had retired, returned,
and repeated the request. At last the composer was induced to visit
the Kaiser's box, when his Majesty said: "Dear Wagner, I am deHghted
that I do not play the flute as my great ancestor played it, for otherwise
you would finally have compelled me to play in your orchestra. This
is all I wish to say."

Of pictures dealing with the light side of Wq,gner there is no end.
Not the least amusing of them is that from a Berlin newspaper, which
depicts the arrival of Ivohengrin upon a "patent steam-swan," which
carries on its breast what appears (or deserves) to be the German equiv-
alent of the initials "L. C. C." In another, Briinnhilde is shown asleep,
awaiting Siegfried's arrival. On the rock at her side is seen a tablet
bearing the legend, "Wotan's Fire Insurance." The remainder is lost
beneath the rock's mossy covering.

For the looker-on there is an abudance of fun and laughter to be ob-
tained from the lighter side of Wagner. As I have said, all the world
nowadays regards with utmost complacency the man who half a cen-
tury ago was, according to the press, hardly less than an unmitigated
scoundrel in virtue of his ideas of musical art. So the world wags.
Very similar, if not so violent, things are being said of the would-be
"path-breakers" of to-day, and no doubt to-morrow they will be
repeated of yet others. Fortunately, time brings its revenges. With
one of these bygone attacks — a quotation from a technical jeu d' esprit,
written many years ago after a performance of "Siegfried" at Covent
Garden by a distinguished scientist — this article may come to a close:

"With our usual desire of keeping our readers informed of all that
goes on, we sent our metallurgist to represent us at a recent performance
of 'Siegfried.' He reports that the art of casting steel is quite old,
as it was known in pre-historic times. The only property left to Sieg-
fried was a broken sword. This Mime, obviously a registered plumber,
had failed to mend. So Siegfried, a non-union man, decided he would
repair the article. Mime told him to solder it, as far as could be made
out. As our readers are aware, 'Siegfried ' is the third volume of a four-
volume opera, and as, according to the genius of the German language,
the verbs all come at the end of the fourth volume, at whose perform-

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542

ance we have not been represented, we cannot give accurate details
as to the proposed method of soldering. Siegfried, however black
his character in other ways, was no plumber, and, as the sword was
not for the British Army, he refused to repair it with solder. He
clamped the pieces in a fifteen-shilling vise, being unacquainted with
the quick-gripping kinds, and filed it into 'shreds,' which shows the
curious molecular structure of early cast steel. The pre-historic fitter
holds a 14-inch rough-cut in one hand, and gives it a seesaw motion,
while he waves the other hand above his head, and sings lustily, but
with unjust intonation. Finally, the shreds were put in a Battersea
5-lb. crucible, which was perched on the top of a cool part of the fire.
After being sung at for a little time, the shreds succumbed and fused,
as they could not stand a tremolo, and they were poured into a mould
resembling one of the cases in which fish-slices for wedding presents
are sold. The whole mould was then quenched in water and the fin-
ished blade taken out. Siegfried poked the fire with it, laid it on the
anvil, and hammered the anvil, producing sparks that must have made
the lamps of the other consumers on the Metropolitan Electric Supply
Company's circuit jump badly. The blade was now finished. If
Siegfried had had any of the blood of the famous Ritter Kuno in his
veins, he might have utilized the dragon's blood for tempering the
sword, as Fafner's internals were at about 1,000 degrees C, and glowed
through cracks in his sides. The sword finally cut the anvil clean in
two, or would have done so if the anvil had not fallen in two before
the sword was even raised, the catch having been released prematurely."

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543

TRISTAN'S DEATH.

(Englished for this Programme Book from " ' Le Roman de Tristan at Iseut'; Traduit et restaure par Joseph

Bgdier.")

Tristan at Carhaix, to aid his dear companion Kaherdin, warred against a baron
named Bedalis, and fell into an ambuscade, prepared by the baron and his brothers.
He slew the seven brothers, but he himself was wounded by a poisoned lance. He
was borne back to his castle at Carhaix, and learned leeches did their utmost to cure
him, but he knew that he must die and he would fain see Iseut the Blonde. Calling
Kaherdin, he begged him to go to her, and Iseut of the White Hands, Tristan's wife,
eavesdropping, knew his wish and order. Kaherdin sailed to Mark's court at
Tintagel, found means to acquaint Iseut with Tristan's sad lot, and the two em-
barked.

Listen, lords, to a dolorous adventure, pitiful to all those that love.
Already was Iseut nearing Carhaix; already the cliff of Penmarch was
rising afar off, and the vessel was sailing the more joyously. A storm-
wind suddenly arose, struck against the sail and turned the vessel in
its course. The sailors ran to the loof, and against their wish found
the wind behind them. The wind raged, the depths of the sea were
stirred, the air grew thick with darkness, the ocean blackened, the
rain came in squalls. Stays and bowlines parted, the seamen lowered
sail and then tacked by aid of wind and wave; unfortunately, they
had forgotten to hoist on board the barge which was fastened to the
poop and followed the track of the vessel. A billow broke it and bore
it away.

Iseut cried out: "Alas, O puny one! God does not wish that 1
should live to see Tristan, my love, once more, only once more. He
wills that I should be drowned in this sea. Tristan, if I had spoken once
more with you, I should care little about dying afterward. If I do
not come to you, it is because God does not wish it, and this is my
hardest sorrow. My death is nothing to me: since God wishes it, I
accept it; but when you know about it, you will die, I know it well.
Our love is of such a kind that you cannot die without me, nor I die

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545

without you. I see your death before me at the same time as mine.
Alas, I have failed in my desire: this was to die in your arms, to be
buried in your cofifin; but we have failed in this. I am going to die
alone, and without you, disappear in the sea. Perhaps you will not
know of my death; you will live longer, waiting always for me to come.
If God wishes it, you will even get well — ah! perhaps after me you
will love another woman, you will love Iseut of the White Hands! I
do not know what will become of you ; as for me, if I knew that you
were dead, I should hardly live afterward. May God grant us that I
cure you, or that we die together in the same agony!"

Thus groaned the queen, as long as the storm lasted. But after fiA^e
days, the storm died away. Kaherdin hoisted joyously the white sail
to the top of the mast so that Tristan could recognize its color as far
as possible. And now Kaherdin saw Brittany. Alas, nearly at the
same moment calm followed the tempest, the sea became gentle and
smooth, the wind ceased swelling the sail, and the sailors tacked every
way in vain. They saw the coast in the distance, but the storm had
borne away their barge, so that they could not reach land. On the
third'night Iseut dreamed that she held in her lap the head of a great
boar who fouled her gown with blood, and she knew by this that she
would not see her lover alive.

Tristan was too weak to watch longer on the cliff of Penmarch, and
for long days, shut up far from the shore, he wept for Iseut who did
not come. Doleful and weary, he complained, sighed, and was restless.
The wonder is he did not die from his longing.

At last the wind freshened, and the white sail appeared; then Iseut
of the White Hands took her revenge.

She came to the bed of Tristan and said: "My love, Kaherdin is
here. I have seen his vessel on the sea. It comes slowly, but I have
recognized it; may it bring that which will cure you!"

Tristan trembled :

' ' Fair love, are you sure it is his ship ? Now tell me what sort of a
sail it has?"

"I have seen it clearly. They have spread it and hoisted it very
high, for they have little wind. The sail is all black."

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868 CARNEGIE HALL, NEW YORK

Has the honor to announce the following; eminent artists under

his management this season;

Mme, Johanna Qadski* Mr. Ossip Qabrilowitsch *

Mme. Marcella Sembrich * Miss Katharine Goodson ♦

Mr. David Bispham* Mr. Ernest Schelling*

Mme. Mary Hissem de Moss Mr. Theodore Spiering

Mr. George Hamlin* Miss Geraldine Morgan

Mr. Francis Rogers * Mr. Henry Bramsen

Miss Leila Livingston Morse Mr. Albert Rosenthal

Miss Cecelia Winter Mr. Edwin H. Lemare*

Miss Gertrude Lonsdale The Flonzaley Quartet*

* Ai^ists thus designated ^vill be heard here in recital this season. Specific announce-
ments in later issues.

546

Tristan turned towards the wall and said: "I cannot hold my life
any longer." He said three times: "Iseut, love!" At the fourth, he
gave up the ghost.

Then the knights, Tristan's companions, wept through the house.
They took him from his bed, stretched him on a rich carpet, and covered
his body with a shroud.

On the sea the wind had freshened, and it struck the sail full in the
middle. It pushed the ship to the shore. Iseut the Blond disem-
barked. She heard loud mourning in the streets, and the bells were
tolling in monasteries and chapels. She asked the townsfolk why
these funeral bells, why these tears.

An old man said unto her : "Lady, we have a great sorrow. Tristan,
the frank, the valiant, is dead. He was generous to those in need. He
helped the suffering. This is the worst disaster that has ever fallen on
this land."

Iseut heard him. She could not speak a word. She went up to the
palace. She followed the street, her wimple loose. The Bretons
wondered as they looked at her ; never had they seen a woman of such
beauty. Who is she? Whence comes she?

Near Tristan, Iseut of the White Hands, crazed by the evil she had
wrought, uttered loud cries over the corpse. The other Iseut came in,
and said to her:

"Lady, raise yourself and let me approach. I have more right to
bewail him than you, believe me this. I loved him more."

She turned toward the east and prayed to God. Then she uncovered
a little the body, stretched herself near him, the whole length of her
lover, kissed his mouth and face, and pressed him close to her: body
against body, mouth against mouth, she thus gave up her soul, she
died near him for sorrow for her lover.

When King Mark learned the death of the lovers, he crossed the sea,
and, arriving in Brittany, he opened two coffins, one of chalcedony for
Iseut, one of beryl for Tristan. He bore their lov^d bodies on his ship
to Tintagel. Near a chapel, to the left and to the right of the apse,
he buried them in two tombs. But, in the night, a green and leafy
briar, with strong branches and odorous flowers, burst forth from

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547

Tristan's tomb, and, making its way above the chapel, sank into the
tomb of Iseut. Thrice the people cut this briar; but in the morning
it started up as green, as flowery, as full of life. They told this marvel
to King Mark. The king forbade them to cut the briar again.

Prelude and "Love Death," i^rom "Tristan and Isolde."

Richard Wagner

(Born at Leipsic, May 22, 1813; died at Venice, February 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
Ziirich in the summer of 1857, and finished in September of that year;,
the composition of the first act was completed at Ziirich, December 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, December i,
i886;t the first performance in Boston was at the Boston Theatre,
April I, 1895. J

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 Billow, who con-

* The cast at Munich was as follows: Tristan, Ludwig Schnorr von Carolsfeld; Kurvenal, Mitterwurzer;
Melot, Heinrich; Marie, Zottmayer; Isolde, Mrs. Schnorr von Carolsfeld; Brangane, Miss Deinet. Hans
von Biilow conducted.

fThe cast at the first performance in New York was as foll6ws: Tristan, Albert Niemann; Kurvenal,
Adolph Robinson; Melot, Rudolph von Milde; Marke, Emil Fischer; Isolde, Lilli Lehmann; Brangane,
Marianne Brandt; Ein Hirt, Otto Kemlitz; Steuermann, Emil Sanger; Seemann, Max Alvary. Anton Seidl
conducted.

+ The cast at the first performance in Boston was: Tristan; Max Alvary; Kurvenal, Franz Schwarz; Melot,
Jas. F. Thomson; Marke, Emil Fischer; Seemann, Mr. Zdanow; Isolde, Rosa Sucher; Brangane, Marie
Brema. Walter Damrosch conducted.

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548

ducted, composed a close for concert purposes. It was stated on the
program that the Prelude was performed ' ' through the favor of the com-
poser." The Prelude was also played at Leipsic, June i, 1859. Yet,
when Johann Herbeck asked later in the year permission to perform
it in Vienna, Wagner 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 pro-
gram of his concert given in Paris, January 25, i860.

Wagner himself frequently conducted the Prelude and Love Death,
arranged by him for orchestra alone, in the concerts given by him in
1863.

The Prelude, Langsam und 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 three flutes (one interchangeable with
piccolo), two oboes, cor anglais, two clarinets, bass clarinet, three
bassoons, four horns, three trumpts, three trombones, tuba, kettle-
drums, strings.

Isolde's Love Death is the title given, as some say, by Liszt to the

Mrs. Mabel Mann Jordan,

Pupil of SiLVBSTRi, Naples, Italy.
TEACHER OF

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Krehbiers
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A vivid, human book on Opera in New York, by
the famous critic of the Tribwie, with repertoires and
detailed estimates of new and important operas,
great conductors, and singers. 70 illustrations
(ready Nov. 28, probable price postpaid, $3.20. Eight-
page circular on application).

Neumann's Personal
Recollections of Wagner

Illustrated. By mail, $2.66
Henry T. Finck's long laudatory review and
three sample pages on application. Vivid glimpses
of Wagner, especially as an actor ; of Anton Seidl,
Nikisch, Muck, etc.; of life and "politics" behind
the scenes of many opera houses, and an account of
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elling Theatre."

HENRY HOLT & CO., "N^'^foJ.'"-

549

music of Isolde dying over Tristan's body. The 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.
The text of "Isoldens Liebestod" isfas follows: —

ORIGINAL GERMAN
Mild und leise
wie er lachelt,
wie das Auge
hold er offnet:
seht ihr's, Freunde,
sah't ihr's nicht?
Immer lichter
wie er leuchtet,
Stem-umstrahlet
hoch sich hebt:
seht ihr's nicht?
Wie das Herz ihm
muthig schwillt,
voll und hehr
im Busen quillt,
wie den Lippen
wonnig mild
siisser Athem
sanft entweht: — •
Freunde, seht, —
fiihlt und seht ihr's nicht? —
Hore ich nur
diese Weise,

ENGLISH PROSE TRANSLATION.*

How gently he smiles and softly, how
he sweetly opens his eyes: see ye it,
friends, can ye not see it? How he
shines ever brighter, raises himself on high
amid the radiant stars : do ye not see it ?
How bravely his heart swells and
gushes full and sublime in his bosom,
how sweet breath is gently wafted from
his lips, ecstatically tender: — Friends,
look, — feel ye and see ye it not? —
Do I alone hear this lay which so won-
drously and softly, ecstatically com-
plaining, all-saying, gently reconciling,
sounds forth from him and pentrates me,
soars aloft, and sweetly ringing sounds
around me? As it sounds clearer,
billowing about me, is it waves of gentle
breezes? Is it clouds of ecstatic per-
fume? As they swell and roar around
me, shall I breathe? shall I hearken?
Shall I sip, dive under, sweetly exhale

* This prose translation is by Mr. W. F. Apthorp.

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die so wunder-
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in mich dringet,
auf sich schwinget,
hold erhallend
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Heller schallend,
mich umwallend,
Sind es Wellen
sanfter Liifte?
sind es Wolken
wonniger Diifte?
Wie sie Sch wellen,
mich Umrauschen
soil ich athmen,
soil ich lauschen ?
Soil ich schliirfen,
imtertauchen,
^ siiss in Diiften

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In dem wogenden Schwall,
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551

[Isolde sinkt, wie verklart, in
Brangane's Armen sanft auf Tristan's
Leiche. Grosse Riihrung und Entriikc-
heit^imter den Umstehenden.]

[Isolde sinks, as if transfigfured, in
Brangane's arms gently upon Tristan's
dead body. Great emotion in all
present.]

Mr. Richard Le Gallienne translated Wagner's text into verse :

Oh, how gently
He is smiling,
See his eyelids
Open softly ,^
See how brightly
He is shining!
See, you, friends—
Oh, see you not?

Mark you how he

Rises radiant,

Lifts himself,

AH clothed in starlight!

See, you, friends—

Oh, see you not?

How his mighty heart

Is swelling,

Calm and happy.

In his breast!

From his lips

How sweet an incense

Softly breathes!

Oh, hearken, friends-
Hear ye nothing,
Feel ye naught!
It is I alone
That listen
To this music
Strangely gentle.
Love-persuading,
Saying all things;
To this music
From him coming.
Through me hke
A trumpet thrilling,
Round me like
An ocean surging.
O'er me like
An ocean flowing!

Are these waves
About me breezes?
Are these odors
Fragrant billows?

Miss FRANCES L THOMAS

.. Corsetiete ..

BERKELEY BUILDING - BOSTON, MASS.

6S2

How they gleam

In the billows,

And sing about me!

In the music,

Shall I breathe,

In the world's

Oh, shall I listen?

Great whirlwind— lost ;

Shall I drink,

Sinking,

Oh, shall I dive

Drowning,

Deep beneath them —

Dreamless,

Breathe my last?

*
* *

Blest.

Wagner wrote, after telling the legend of Tristan and Isolde down
to the drinking of the philter: "The musician who chose this theme
for the prelude to his love drama, as he felt that he was now in the
boundless realm of the very element of music, could only have one
care: how he should set bounds to his fancy, for the exhaustion of

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Boxes are lined with Light
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3 Winter Street . Boston, Mass.

Room 32

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553

the theme was impossible. Thus he took, once for all, this insatiable
desire. In long-drawn accents it surges up from its first timid con-
fession, its softest attraction, through sobbing sighs, hope and pain,
laments and wishes, delight and torment, up to the mightiest onslaught
the most powerful endeavor to find the breach which shall open to the
heart the path to the ocean of the endless joy of love. In vain! Its
power spent, the heart sinks back to thirst with desire, with desire
unfulfilled, as each fruition only brings forth seeds of fresh desire, till,
at last, in the depths of its exhaustion, the starting eye sees the glim-
mering of the highest bliss of attainment. It is the ecstasy of dying,
of the surrender of being, of the final redemption into that wondrous
realm from which we wander farthest when we strive to take it by
force. Shall we call this Death? Is it not rather the wonder- world
of night, out of which, so says the story, the ivy and the vine sprang
forth in tight embrace o'er the tomb of Tristan and Isolde?"

*
* *

Wagner at first intended that Therese Tietjens (1831-77) should
create the part of Isolde; but, when he engaged Ludwig Schnorr von
Carolsfeld (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 KufiFer-
ath's "Tristan et Iseult" (Paris, 1894), pp. 61-63. Wagner compli-
mented her highly at the time of the performances. The fourth and

554

last was on July i, 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. Born at Copenhagen, December. 7, 1825,
she died at Carlsruhe, Fehruary 8, 1904.

* *

. The Pall Mall Gazette in November, 1906, published this note: —

"M. Ferdinand Brunetiere has produced a study of the legend of
Tristram and Isolt, which is, like everything that comes from his pen,
charming. He takes as his text some recent publications of the So-
ciete des Textes Frangaises, a body which corresponds pretty closely
to our own Early English Text Society, of which one is sorry not to
hear so much as one did twenty years ago. The antiquarian keenness
of scent of one of its members, M. Bedier, has led him to disinter for the
Societe all the facts that can really be verified about 'Tristram bold,'
who was, it seems, a real personage — at least, if he can be identified with
Drest or 'Drostan, son of Tallorch,' who flourished among Mr. Old-
buck's friends the Picts about the year 780. So also was Mark or
March, King of Cornwall, called in the chronicles also Quonomorius,
a name that we may be sure would have delighted Sir Arthur Wardour,
particularly when we learn that it is the supposed Pictish equivalent
of Mark. Poor Isolt also figures as Essylt, and Tristram is assigned to

El*Bra„ch State street Trust Co.

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555

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The Boston Symphony Orchestra
Programme

F. R. COMEE,
Symphony Hall, Boston.

Mrs. J. M. MORRISON

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566

her as lover by the legend, though why M. Bruneti^re — or is it M.
B^dier? — should go out of his way to suggest that Tristram's expedi-
tion against and slaying of Morolt is copied from the story of Theseus
and the Minotaur, is hard to see. One likes him better when he pro-
ceeds to analyze the love interest of the story, and gives some playful
digs to those pedants who would pretend that the story is plainly
Celtic because the love of Tristram for Isolt is 'contemplative and
sentimental' like that of a Breton swain at the present day. The story
of Tristram seems to have been first given to the world by Gottfried
of Strassburg, and, as M. Brunetiere points out, was long before its
adaptation for the stage by Wagner the most popular in Germany of
all the Round Table Legends. We may heartily agree with him also
when he says that its author was a great poet, who, like all great poets,
took his material where he could find it, and without troubling himself,
whether it was Pictish or Welsh, Breton, Anglo-Norman, French, or
German. Although the public do not seem to have been enthusiastic
about the last version of it put upon the London stage, it is pleasing
to find that interest in the simple tale of passion still survives. It would
seem to show that, book clubs and publishers' wars notwithstanding,
the proper telling of a story yet goes for something."

* *
The reference ' 'about the last version " is to Comyns Carr's * 'Tristram
and Iseult" produced at the Adelphi Theatre, London, September 4,
1906: Tristram, Matheson Lang; King Mark, Oscar Asche; Alfred
Brydone, Tristram's Squire; H. R. Hignett, Gormon; Iseult, Lily
Brayton; Brangwaine, Edith Wynne-Matthison ; Oren, Gertrude
Scott; Iseult of the White Hands, Agnes Brayton. The music to the
play was by Christopher Wilson.

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668

Second orchestral trip next week. There will be no public

rehearsal and concert on Friday afternoon and Saturday

evening, December fourth and fifth.

Eighth Rehearsal and G)ncert*

FRIDAY AFTERNOON, DECEMBER H, at 2.30 o'clock,

SATURDAY EVENING, DECEMBER i2, at 8 o'clock.

H. G. Noren

Aria

Debussy

Aria

PROGRAMME.

Kaleidoskop, Op. 30

First time.

Trois Nocturnes for Orchestra and Female Chorus

First time.

Weber

Overture, '* Die Freischutz "

SOLOIST,
Miss EMMY DESTINN.

559

a T :Ei X HT :Ei :jr, T hzjlxjXj
Mr. SYDNEY BECKLEY

THE ENGLISH ELOCUTIONIST

Now touring the United States, will, on MONDAY EVENING,
November 30, at 8.15 o'clock, read Tennyson's

"ENOCH ARDEN"

assisted by Mr. BENJAMIN LAMBORD, Mosenthal Fellow at Columbia
University, who will play Richard Strauss' illustrative music.

Reserved Seats, $1.00 and $1.50, tickets for which may now be obtained
at Herrick's or at the Hall.

SECOND SEASON - - - 1908-1909

THREE CHAMBER CONCERTS BY THE

CZERWONKY

String Quartet

RICHARD CZERWONKY, First Violin CARL SCHEURER, VioU

WILLY KRAFT, Second Violin RUDOLF NAGEL, Violoncello

Wednesday Evenings, December 9, February 10, and March 24

AT 8.15 O'CLOCK
PROGRAM for December Ninth'

1. QUARTET. C minor • Beethoren

2. QUARTETTINO. C major, op. 5 . PogojefE

(First time in Boston)

3. QUARTET, C minor . . H. Kaun

(First time in Boston)
Tickets for the course of three concerts, $2.00 and $3.00 (with reserved seat), may be obtained at the

hall (Telephone Oxford 1330).

First of. a Series of THREE SONATA RECITALS by

(Violin and Pianoforte)

Mr. and Mrs.
DAVID MANNES

FRIDAY EVENING, DECEMBER FOURTH, at 8.15

PROGRAM
BACH — 1685-1750 ...... Sonata in E Major

GRIEG — 1843-1907 ..... Sonata in G Major, Op. 13

NARDINI— 1722-1793 ..... Sonata in D Major

LEKEU — 1870-1894 ...... Sonata in G Major

STEINWAY PIANOFORTE USED

Tickets for Course of Three Recitals, $3.00, $2.00 Single tickets $ 1 .50, $ 1 .00

Tickets ate now on sale at the Hall
560

S T E I 3Sr B lEgy T BE A Xj Xi
SONG RECITAL by

Heinrich Meyn

THURSDAY EVENING, DECEMBER lo, AT 8.15

II.

III.

PROGRAM
Ganymed
Kinderwacht

Aus Meinen Grossen Schmerzen
Standchen
Feldeinsamkeit J
Von Ewiger Liebe J
Abendlied with violin obligate "l
Jetzt und Immer J

Im Zittemden Mondlicht
Drei Wandrer
Tryste Noel . . *

Ballad of the Bony Fiddler
Ces Deux Yeux )
Avec Un Bouquet )
Vielle Chanson
Las Deux Amours /

Un Grand Sommeil Noir j
Benvenuto

THE STEINWAY PIANO USED

Schubert

Schumann

Franz

Jensen

Brahms

Hugo Kaun

Eugen Haile

Hans Hermann

. Gerrit Smith

William G. Hammond

Sebastian B. Schlesinger

Nevin

Clayton Johns

Diaz

Mr. COENRAAD V. BOS, Accompanist

RESERVED SEATS, $1.50, $i.OO, $75
Tickets are now on sale at the Hall (Telephone, Oxford 1330)

JACOB SLEEPER HALL ^ ^^s boylston street

Y. ^ *^M-,.M^M^^ .^^^ A*.j.M.^j^ v^ NEXT TO PUBLIC LIBRARY

SECOND CONCERT by the

HoFfmann Quartet

J. HOFFMANN, First Violin K. RISSLAND, Viola

A. BAK, Second Violin C BARTH, Violonceflo

(Seventh Season, 1908-1909)

Monday Eveniny, DECEMBER 14, at 8.15

PROGRAMME
I. Quartet in F minor. Op. 95 .

2. Tema con variazioni, Op. 32

3. Piano Quintet, Op. 81

Beethoven
A. Foote
Dvorak

Assistiny Artist, Mr. RICHARD PLAIT

The Maton & Hamlin Pianoforte

Tickets ^^1.50, ;5!i.oo and 50 cents (balcony unreserved) on sale at
688 Boylston Street, Treasurer's Office

561

JORDAN HALL
Thursday Evening, December 10, at 8«30

PIANOFORTE RECITAL

CHARLES ANTHONY

PROGRAM

SONATA IN G MINOR . Schumann

TWO CHORALS . . . . » Bach

Arranged for piano by Max Reger

First time.

VARIATIONS ON A THEME BY BACH Max Reger

First time.

IMPROVISATION ^

> . . . . . . . . . MacDcwell

THE JOY OF AUTUMN )

SCHERZO, C SHARP MINOR Chopin

Mason & Hamlin Piano

Tickets, $1.50 and $1.00, on sale at Jordan Hall Box Office.

Management of Ralph L. Flanders.

CHICKERING HALL

SATURDAY AFTERNOON, NOVEMBER 28
at 3.30 o'clock

Beatrice Herford

IN HER

Original Monologues

TICKETS, $1.50, $1, and 75 cents

On sale at Chickering Hall and Herrick's

662

The Cecilia Society

WALLACE GOODRICH, Conductor

THIRTY-THIRD SEASON

Symphony Hall, Wednesday, December 9, 1908

"The Legend of Saint Christopher"

By Horatio Parker.
A dramatic work for Chorus, Solo Voices, Orchestra, and Organ

SOLOISTS

Mrs. Blanche H, Kilduff, Soprano

Miss Charlotte Williams, Soprano

Dr. Franklin D. Lawson, Tenor

Mr. Stephen Townsend, Baritone

Mr. Reinald Werrenrath, Bass

Box Office sale of single tickets at $2.00, $1.50, and $1.00, commences
MONDAY, NOVEMBER 30, J908.

MILTON EDUCATION SOCIETY
CONCERTS

FOURTH SEASON

In the Town Hall of Milton, at 8

December 7. RECITAL, M. CHARLES GILIBERT
Assisted by Mme. Gilibert
Accompanist, Mr. Alfred de Voto

February L PIANO RECITAL, OSSIP GABRILOWITSCH

April J2. ADAMOWSKI TRIO

A limited number of tickets for the series $1.50, single tickets, 75 cents.
Now on sale at Symphony Hall.

663

The Hess=Schroeder Quartet

PROF. WILLY HESS, First Violin

J. VON THEODOROWICZ, Second Violin

EMILE FERIR, Viola

ALWIN SCHROEDER, Violoncello

At CHICKERING HALL

Second Concert, December 22

Tickets, 1^1.50, $1.00, and 50 cents, on sale at Symphony Hall.

SVMPitomrlMll.

564

FIVE CONCERTS

TUESDAY EVENINGS

at 8.15 o'clock

November lo .

. 1908

December 8

1908

January 5 . . .

. 1909

February 16 .

1909

March 16

. 1909

ASSISTING ARTISTS:

Miss KATHARINE GOODSON Mr. OSSIP GABRILOWITSCH
Mr. ERNEST CONSOLO Mr. COURTLANDT PALMER

Mr. ARTHUR FOOTE|

PROGRAMME OF THE SECOND CONCERT

Schumann, R. ..... . Quartet in A major, Op. 41, No. 3

Arthur Foote ...... Trio (No. 2) in B-flat major. Op. 65

Eugene D' Albert . . . Scherzo from Quartet in E-flat major, Op. 11
Grieg, E Unfinished Quartet in F major, (Posth)

ASSISTING ARTIST

Mr. ARTHUR FOOTE

The Piano is a Chickering

Admission tickets, at $1.00, entitling to a seat, for sale at

THE BOSTON MUSIC CO. (Q. Schirmer)
26 and 28 WEST STREET

565

Mr. H. G. TUCKER ANNOUNCES A SERIES OF SIX

Sunday Chamber
Concerts

AT CHICKERING HALL

SUNDAY AFTERNOONS
January 10, 17, 24, 31, February 7, 14, 1909

AT 3.30 O'CLOCK

ORGANIZATIONS

THE ADAMOWSKI TRIO

THE HESS-SCHROEDER QUARTET

THE LONGY CLUB

THE CZERWONKY QUARTET

ARTISTS

Mr. T. ADAMOWSKI

Mr. J. ADAMOWSKI

Mr. C. W. ADAMS

Mr. A. BROOKE

Mr. RICHARD CZERWONKY

Mr. ARNOLD DOLMETSCH

Mrs. ARNOLD DOLMETSCH

Mr. EMILE FERIR

Mr. CECIL FANNING

Mr. G. GRISEZ

Mile. ERNESTINE GAUTHIER

Mr. F. HAIN

Mr. F. HELLEBERG

Prof. WILLY HESS

Mr. WILLIAM KRAFFT

Mr. G. LONGY

Mr. C LENOM

Mr. H. LORBEER

Mr. P. MIMART

Miss EMMA BUTTRICK NOYES

Mr. RUDOLF NAGEL

Mr. GEORGE PROCTOR

Mr. J. VON THEODOROWICZ

Mr. P. SADONY

Mr. ALWIN SCHROEDER

Mr. CARL SCHEURER

Mme. SZUMOWSKA

Mr. H. G. TUCKER

Mr. A. DE VOTO ,

Tickets ioi the course, $2.50 and $4.00

Subscription list now open at Chickering Hall, closing December 28

Public season ticket sale December 29

566

SUNDAY EVENING, DECEMBER 13

AT EIGHT

CONCERT

BY THE

BOSTON
SYMPHONY ORCHESTRA

MAX FIEDLER, Conductor

IN AID OF ITS

PENSION FUND

PROGRAMME AND FURTHER DETAILS LATER

Geo. Lincoln Parker
PIANOS

The Krakauer, "the Piano with a Human Voice."
The Sohmer-CeciHan 88 note Player, the acme of

Player construction.
"Connorized" guaranteed music for Player-Pianos.
Catalogs on postal card request.

GEO. LINCOLN PARKER

213 TREMONT STREET

Near Majestic Theatre

567

The Lekeu Club

MR. GEORGE COPELAND, Jr.. Piano MR. FREDERICK MAHN. 1st Violin

MR. HANDASYD CABOT, Violoncello MR. ALFRED GIETZEN, Viola

FRANK CURRIER, 2nd Violin

Will give Three Concerts on Sunday Afternoons at 4 o'clock

November 29th, December 20th, and January 17th

AT POTTER HALL

PROGRAM FOR FIRST CONCERT

■Quartet, Lekeu. Soli po& Piano. Solo for Violin, Strube. Quintet, Dvorak

Subscription tickets for the Series, ;?3.oo for two reserved seats ; single tickets 75 cents each, are on sale at
Symphony Hall and the Boston Music Co., 26 West Street.

THE MASON & HAMLIN PIANO

HUNTINGTON CHAMBERS HALL

FOR RECITALS

30 HUNTINGTON AVENUE

Jordan Hall, Monday Afternoon, November 30

At three •o'clock

?i-.tlri^ MR. ERNEST SCHELLING

Tickets, 50 cents, $1.00, and $1.50, on sale at Symphony Hall
Direction: LOUDON CHARLTON Local Management: L. H. MUDGETT

Chromatic Fantasy and Fugue
Ssrmphonic Etudes .
Two Intermezzi from Op. 117 .
Two Etudes, F major (Op. 25)
A-flat (Op. 10) .

Programme
Bach
Schumann
. Brahms

Chopin

Two Overtures, Op. 27

Valse, A-flat

Alborado del graciosa

Barcarolle in G minor

Rhapsodie Number 10

. Chopin

Chopin

Ravel

Rubenstein

Liszt

Steinway Piano Used

Jordan Hall, Monday Afternoon, December 7, at 3

DR. LUDWIG WiiLLNER

Song R.ecital
by

ACCOMPANrST, COENRAD V. BOS

Second Appearance in Boston. Tickets, $L50, $L00, and 50 cents, at Symphony Hall

MAIL ORDERS for the above concerts, accompanied by check or money order, and a(}dressed
to L. H. Mudgett, Symphony Hall, filled in order of receipt and as near the desired location as
possible prior to public sale.

568

Alfred Peats Wall Paper

EFFECTIVE
INTERIOR
DECORATION

BOSTON'S EXCLUSIVE WALL PAPER SHOP

116=120 SUnnER STREET

HOTEL RENNERT

BALTIMORE, MD.

Within one square of the shopping dis-
trict.

The standard hotel of the South.

The cuisine of this hotel has made
Maryland cooking famous.

The only hotel in the world where the
Chesapeake Bay products, Fish, Oysters,
Terrapin, and Canvas-back Duck, are
prepared in their perfection.

MODERN IN EVERY DEPARTMENT

EUROPEAN PLAN

Rooms, $1.50 per day and upwards Fire-proof building

569

Mr. ERNST PERABO begs to announce

Two Soirees Musicales

Tne first will take place at the

FENWAY COURT

On WEDNESDAY, DECEMBER 16, 1908, at 8.15 RM.

When h^ will be assisted by Professor Willy Hess, Violin, Mr. H. Warnkej
'Cello, and Mr. E. Blum, Tenor

the second at

CHICKERING HALL

On WEDNESDAY, JANUARY 20, 1909, at. 8,15 RM.

With the assistance of Mr. Alwin Schroeder, 'Cello, and Miss Virginia

LiSTEMANN, Soprano

Subscription Tickets for the two concerts, ^2.50 each.

Single Tickets, with reserved seats, ^1.50 and ^i.oo, at The Boston Music Company,
26 28 West Street (G. Schirmer) and at Chickering Hall.

Miss LAURA HAWKINS

NUMBER 6 NEWBURY STREET

Play by C A ¥ /^^t^yHT Mttsic by

Oscar Wilde J3.r%.L«l^ IV IIL Richard Strauss

This opera, arranged as a Reading, with music

HOTEL TUILERIES, BOSTON, MASS.

THURSDAY, DECEMBER 3rd, at 3.30 O'CLOCK

AMY GRANT, Reader JESSIE DAVIS, at the Piano

TICKETS, TWO DOLLARS AT HERRICK'S

570

MUSICAL INSTRUCTION.

VOCAL JNSTRUCTION and

30PRANO SOLOIST

Miss HARRIET S. WHITTIER, ^f""". ^^^ """tmgton Aven„e. "

Exponent of the method of the late Charles R. Adams.
Portsmoutb, New Hampshire, Mondays.

Mr. CHARLES B. STEVENS,

TEACHER or Si/\GING.

STUDFOS,
Suite 14, Steinert Hall, 162 Boylston St.

Telephone, 133 1 Oxford.

Miss Harriette C. Wepcott,

Accompanist and Assistant Teacher.

MissGAROLINEM. SOUTHARD,

TEACHER OF THE PIANOFORTE.

Classes in Sight Reading

(EIGHT HANDS).

Advanced pupils follow the Symphony programmes
as far as practicable.

165 Huntington Avenue - Boston

Miss GERTRUDE EDMANDS,

Concert and Oratorio.

Vocal Instruction.

The Copley, 18 Huntington Avenue.

Mrs. HALL MCALLISTER,

TEACHER or SI/NGING.

407 Pierce Building,
COPLEY SQUARE.

Musical Management.

Hiss ELEANOR BRI6HAM,

Pianist and TeacHer.

Trinity Court.

Mr. BERNHARD USTEMANN'S

Master School for Violinists.

Training to competent teachers prin-
cipal aim. Ensemble lessons.

OFFICE
703 PIERCE! BUILDING, COPLEY SQUARE.

Hours: Monday and Thursday, from i p.m.
Wednesdays and Saturdays, 9 to i and 3 to 4.

Miss JOSEPHINE COLLIER,

PIANIST and TEACHER.

LANG STUDIOS,

6 NEWBURY STREET.

Walter E. Loud — Violin.

Pupil of Ysaye.

32 Batavia Street.

571

Miss CLARA E. MUNGER,

TEACHER OF SINGING.

Century Building,
177 Huntington Avenue, Boston.

Iss Bertha Wesselhoeit Swilt,

Soprano Soloist,

TEACHER OF SINGING.
Studio, TRINITY COURT, Boston.

Miss Swift is ready to give her children's programs
before clubs, church societies, and in private houses

Hiss LUCY CLARK ALLEN,

Pianoforte Lessons.

Accompaniments.

LANG STUDIOS, 6 NEWBURY STREET.

Hr.SAMUELJ.HacWATTERS,

Professor of Voice Building in
Boston University.

VOICE PLACING,

Development of Tone and
Resonance.

72 MOUNT VERNON STREET.

His. LUCIA GALE BARBER,

Rhythm applied to Physical and Per-
sonal Development,
Music Interpretation,
Lectures and Instruction.

The Ludlow, Copley Sq., Boston.

KARL DOERING,

TENOR- BARITONE.

Pupil of Professor Jachman-Wagner, Berlin, and
Professor Galliera, Milan, Italy.

Training and Finishing of Voice.

School for Grand Opera and Oratorio.
STEINERT HALL, ROOM 27.

Open Monday, October 12. Send for new Prospectus

BERTHA CDSHIN6 CHILD,

38 BABCOCK ST., BROOKLINE.

TEACHING AT

LANG STUDIOS,

6 NEWBURY ST., BOSTON.

HARY B. SAWYER

5
Leschetizky Method.

PIANO AND HARMONY.

For four years Pupil and Authorized Assistant of

Frau VARETTE STEPANOFF,

BERLIN, GERMANY.

Studio, Steinert Hall, 162 Boylston St.

THEODORE SGHROEDER,

(BASSO-CANTANTE).

TEACHER OF SINGING.

(Garcia Method).
Studio, 326 Huntington Chambers, Boston

Mr Schroeder makes a specialty of VOICE BUILD-
ING and FREEDOM of Tone Emission.
Professionals COACHED in standard Operas
Oratorios, and German Lieder.

572

PIANISTEand TEACHER.

Mrs. CAROLYN KING HUNT, «— ^ =— "-.

BOSTON.

Hiss REN& I. BISBEE,

TEACHER or PIANO,

LANG STUDIOS,
6 NEWBURY STREET.

LOCY FRANCES GERRISH,

PIANOFORTE INSTRUCTION.

GERRISH STUDIO,
140 Boylston Street . . . Boston.

EDITH LYNWOOD .WINN

LECTURE-RECITALS

,,„,,„ , This season, Russian, Hungarian, iTtb

Normal and Teachers' Courses for a„d ^Sth century Music.
Viohn.

Chndren'B claBses at special rates TRINITY COURT . . BOSTON.

The Guckenberger School of
Mdsig.

HENRY T. WADE,

Teacher of

Pianolorte, Church Organ,

Theorg of Music.

Steinert Hall, Boston.
77 Newtonville Avenue, Newton.

PIANIST.

RICHARD PLATT, 23 steinert Hall . . Boston.

Mason & Hamlin Piano.

PIANO ORGAN

CHARLES S. JOHNSON, HARMONY.

LANG STUDIOSt 6 NEWBURY STREET.

HARRIST.

ISS HARRIET A. SHAW, ^^^ commonwealth avenue

Telephone.

Tenor Soloist and Teacher.

CLARENCE B. SHIRLEY, ,. !ir""*=^5*^^"'l<^'"??'""i.«-

' Studio, Huntington Chambers, Boston.

573

SAM L. STUDLEY.

Pierce Building, Copley Square, Room 313.

INSTRUCTION IN THE
ART OF SINGING.

OPERA, ORATORIO, AND SONG.

mss PRISCILLA WHITE.

TEACHER OF SINGING.

602 Pierce Buiidlng,
Copley Square, BOSTON.

Tuesdays and Fridays at Lasell Seminary.

EARL CARTWRIGHT,

BARITO/NE.

TEACHER OF SINGING.
Lang Studios, 6 Newbury Street.

Miss JESSIE DAVIS,

Pianist and Teacher.
289 Newbury Street, Boston.

Miss Rose Stewart,

Vocal Instruction.

246 Huntington Avenue.

Miss EDITH E. TORREY,

TEACHER OF SINQINQ.

164 Huntington Avenue, Boston.
Tuesdays and Fridays at Wellesley College.

Miss EDITH JEWELL,

VIOLINIST AND TEACHER,

37 BRIMMER STREET.

efers by permission to Mr.,C. M. Loeffler.

HELEN ALLE/N HUNT.

CONTRALTO SOLOIST.

Teacher of Singing.
No. 514 Pierce Building Boston.

BOSTON MUSICAL BUREAU.

Established 1899.
Supplies Schools, Colleges, and Conservatoriei

with Teachers of Music, etc.; also Churches wit£
Organists, Directors, and Singers.

Address HENRY C. LAHEE,

'Phone, 47S-I Oxford. 2iSTrbmont St., Boston.

Mrs. S. B. FIELD,

Teactier of the Piano and Accompanist.
HOTEL NOTTINGHAM.

Mrs. Field makes a specialty of Coaching, in both
vocal and instrumental music.

Artists engaged, programmes arranged, and all
•■esponsibility assumed for private musicales.

Miss MARIE L EVERETT,

Teacher of Singing.

Pupil of MADAME MARCHESI,

Paris.

THE COPLEY, BOSTON.

Miss MARY D. CHANDLER,

Concert Pianist and Teacher.

Pupil o/Philipp, Paris.

149A TREMONT ST., Monday and Thursday,

Residence, 5 Ashland Street, Dorchester.

Telephone, 1828-3 Dorchester.

Miss PAULA MUELLER,

Teacher of Piano
and German Language.

STUDIOS,
28 Central Avenue, Room .30, Steinert Hall

MEDFORD. BOSTON.

RECITALS.

Mrs.V.PERNAUX-SCHUMANN,

TEACHER OF FRENCH and GERMAN.
French and German Diction a Specialty.

33 BATAVIA STREET Suite 8. BOSTON.

Miss l/NEZ DAY,

PIANIST and TEACHER.

LANQ STUDIOS,
6 NEWBURY STREET.

574

MR. ROBT. N.
MRS. ROBT. N.

LISTER,

Teacher of Singing,
Soprano Soloist.

Symphony Chambers, opposite Symphony Hall,
BOSTON.

CHARLOTTE WHITE,

Violoncellist of the Carolyn Belcher String Quartet.

TEACHER AND SOLOIST.
608 Huntington Chambers, Boston, Mass*

THOMAS L. CUSHMAN,

VOCAL TEACHER.
218 TREMONT STREET.

L. B.

MERRILL

BASS SOLOIST

AND

TEACHER.

218 Tremont Street.

Mme. de BERG-LOFGREN,

TEACHER OF SINGING.

The " GARCIA " Method.
Studio, 12 Westland Avenue. BOSTON, MASS.

Mrs. H. CARLETON SLACK,

VOCAL INSTRUCTION.

Lyric Soprano. Concerts and Recitals.
Lessons at residence, 128 Hemenway Street.

Miss PEARL BRICE,

CONCERT VIOLINIST, TEACHER.
Lang Studios, 6 Newbury Street.

Mrs.LOUISELATHROP MELLOWS,

Pianist and Teacher.

STUDIO, Jefferson HaU,
Trinity Court, Dartmouth Street, Boston.

Miss M. B. HARTWELL,

PIANO AND HARMONY.
Studio, 9 St. James Avenue.

Miss Hartwell has but recently returned from

Vienna, where she studied the Leschetirky

Method for three years and a half.

VIOLET IRENE WELLINGTON,

Humorous and Dramatic Reader.

Also
Teacher of Voice, Elocution, Physical Cultnra.

59 Westland Avenue.
Telephgne, 3439-1 Back Bay.

TIPPEH

CLARA

PA II I I ^^'^^^^'^

STUDIOS

VOICE

Assistant, GRACE R. HORNE

312 PIERCE BUILDING
COPLEY SQUARE

LUISE LEIMER,

Contralto Soloist and Teacher of Singia{.

Studio, 23 Crawford Street

and 5teinert Building.

Miss RUTH LAIGHTON,

Violinist and Teacher

19 Chestnut Street - Boston

Miss JANET DUFF.

(7 years pupil of Francis Korbay)
Contralto, Concerts, Oratorios, and Song Recitals.
Ea jiTeacher of Voice Production and Singing.
Studio, 402 Huntington Chambers.

Monday, Wednesday, Thursday and Saturday morn-
ings
Management, W. S. Bigelow, Jr., Boston

Miss MARIE WARE LAUGHTON,

Lecturer and Reader of Shakspere.

Instructor of the VOICE IN SPEECH.

Courses of Study for Personal Culture and Pro*

fessional Training.

^18 PIERCE BUILDING, COPLEY SQUARE

ARTHUR M. CURRY,

Teacher of

Violin, Hafmony, Composition.
34 STEINERT HALL.

Ellen M. Yerrinton,

Vorbereiter to Teresa Carreno,

Uhland Str. 30, BERLIN, W., GERMANY

575

Allen H. Daugherty,

PIANOFORTE INSTRUCTION,
HARMONY.

Tel., Oxford 1629-1 . 2 1 8 Tremont Street .

Miss MARY A.STOWELL,

Teacher of Piano and Harmony.
The ILKLEY,

Huntington Avenue and Cumberland Street.

(Cumberland Street entrance.)

Miss KATHERINE LINCOLN,

Soprano Soloist.
Teacher of Singing.

514 Piarce Building, Copley Square, Boston.

BARITONE.

George W. Mull,

Teacher of Singing.

The Copley, 18 Huntington Avenue,Boston.

JOHN GROGAN MANNING,

CONCERT PIANIST and TEACHER.

Monday, Wednesday, and Thursday
afternoons

Symphony Chambers, 246 Huntington Ave.

Mr. WILLIS W. GGLDTHWAIT,

Teacher of Piano.

Thorough instruction in Harmony, class or private.

7 Park Square, Boston.

JOHN BEACH,

PIANIST.
10 Charles Street.

Miss MARGARET GORHAM,

PIANIST AND TEACHER.

Trinity Court. Boston.

Mrs. HIRAM HALL,

Pianist and Teacher.
118 Charles Street.

Mrs. Alice Wentworth MacGregor,

TEACHER OF SINQINQ.

Residence Studio, 780 Beacon Street.
Tuesdays and Fridays at Abbot Academy.

Mrs. NELLIE EVANS PACKARD.

Studio, 218 Tremont Street (Room 308), Boston.

VOCAL INSTRUCTION.

Mrs. Packard is commended by Walker, Randegger
(London), Marchesi, Bouhy, Trabadelo (Paris),
Leoni (Milan), Vannuccini (Florence), Cotogni,
Franceschetti (Rome).

Mr. P. nUMARA

Will furnish a Small Orchestra of mem-
bers of the Boston Symphony Orchestra
for Musicales, Dinners, Receptions, etc.

Address, Symphony Hall.

ARTHUR THAYER,

TEACHER OF SINGING.
200 Huntington Avenue

Mr. CHARLES DUMAS,

Graduate of the University of Paris.
Former Assistant at Harvard .

French (all grades), Lectures, Diction,

Elocution, etc.
286 Columbus Ave.jOpp. Back Bay Station,

CLAUDE HACKELTON,

PIANIST AND TEACHER.
218 Tremont Street, Room 515, Boston

•i

EVERETT E. TRUETTE,

CONCERT ORGANIST AND TEACHER.
218 Tremont Street, BOSTON.

EDWIN N. C. BARNES,

Basso Cantante and
Teacher of Singing.

Symphony Chambers . . . Boston.

Opposite Symphony Hall.

Concert.

L^^fe GOODBAR,

Oratorio
SOPRANO
SOLOIST.

TEACHER OF SINQINQ.

Thorough preparation for Concert and Church.

Studio . . Steinert Hall.

'Phone, Oxford 1330. Mondays and Thursday*.

576

Gabrilowitsch

Recognized throughout the world as one of the fore-
most pianists of the day, writes as
follows concerning the

iiasmi^f|amliit

PIANOS

MASON & HAMLIN CO.:

Dear Sirs: — I have never before been so completely
satisfied with any pinao at my public concerts or in my
private use as I have been with the Mason & Hamlin.
I believe the Mason & Hamlin pianos are remarkable
in all the essential qualities which go to make up an
artistic instrument of the very first quality; they are, in
my opinion, in advance of all others because of certain
important structural features (notably the Tension Resonator)
invented and developed by yourselves, which in my judgment
give the Mason & Hamlin piano an exceptional position
among the pianos of the world.

(Signed) OSSIP GABRILOWITSCH.

MASON & HAMLIN COMPANY

Opp. Institute of Technology 492-494 Boylston Street

" New York, December 19, 1905.

" Dear Mr. Steinway : On the eve of my departure, after having had
the honor of conducting the Philharmonic Orchestra, I cannot but
express my unbounded admiration for your great country and^institutions.
The reality far surpasses my fondest anticipations, and I hope that I
may soon again have the opportunity to visit the United States.

" What interested me most as a musician was the revelation your
wonderful pianos proved to my highest musical instincts. Thanks to
your courtesy, I had the opportunity of testing your various models, and
the absolute, unapproachable perfection I found in all of them, from the
smallest upright piano to the largest concert grand, impels me to request
you to add my name to the long list of musicians who have placed the
'Steinway' in a class by itself. Every trial of them discovered to me
new beauties of tone and depths of power and resonance, and this one art
product alone places the United States in the front rank of musical and
artistic achievement.

"Trusting to have the pleasure of receiving you in my home in
Hamburg, Germany, when you will visit that city next summer, and with
kindest greetings to all the members of your house, I am,

" Yours most sincerely,

"MAX FIEDLER,"

THE STEINWAY REPRESENTATIVES IN BOSTON ARE THE

M. STEINERT & SONS COMPANY
of 162 Boylston Street

PRoGRsnnE

•5?* o ^

TENSION RESONATOR

(PATENTED IN THE UNITED STATES AND IN EUROPE)

Used exclusfvcly in the

PIANOS

"The Three Epoch-making Discoveries

IN THE MANUFACTURE OF GRAND PIANOS ARE

First, The French Repeating Action, 182 1

Second, The Full Iron Frame and Over-strung Scale, 1859

Third, The Mason & Hamlin Tension Resonator, 1900, —

the most important of the three, as it pertains to tone
production

Qiialihv cS TrttlO i'l^.piano is dependent upon the crown, or arch,
Udlll ^ 01 I UllC of its sounding-board. Loss of tone-quaUty is
caused by the flattening of the sounding-board through the action of the
atmosphere and the great downward pressure of the strings.

TKe Mason & Tlamlin Tension Resonairor

Permanently preserves the crown, or arch, of the sounding-board, and gives to
the Mason & Hamlin piano a superior quality of tone and a tone which is inde-
structible.

A Technical Description in "The Scientific Amekican" of October 11,

1902, CONTAINS THE FOLLOWING:

A copy of the Scientific American article will be mailed upon application

MASON & HAMLIN COMPANY

0pp. Inst, of Technology 492-494 Boylston Street

SYMPHONY HALL, BOSTON

HUNTINGTON 6- MASSACHUSETTS AVENUES

™ , , ( Ticket Office, 1492 ) ^^ , ^

Telephones { Administratiin Offices, 3200 ( Back Bay

TWENTY-EIGHTH SEASON, 1908-1909

MAX FIEDLER, Conductor

f rngramm? of ti|P

Eighth

Rehearsal and Concert

WITH HISTORICAL AND DESCRIP-
TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, DECEMBER 11

AT 2.30 O'CLOCK

SATURDAY EVENING, DECEMBER 12
AT 8.00 O'CLOCK

577

Mme. CECILE CHAMINADE

•The World's Greatest Woman Composer

Mme. TERESA CARRENO

The World's Greatest Woman Pianist

Mme.* LILLIAN NORDICA

The "World's Greatest Woman Singer

USE

Piano.

THE JOHN CHURCH CO., 37 West 32d Street
Nev/ York City

REPRESENTED BY

G. L SGHIRMER & CO., 38 Huntington Avenue, Boston, Mass.

578

Boston Symphony Orchestra

PERSONNEL

Twenty -e

Ighth Season, 1908° 1909

MAX FIEDLER, Conductor

First Violins.

Hess, Willy Roth, O.

Concert-master. Kuntz, D.
Noack, S.

Hoffmann, J.
Fiedler, E.

Krafft, W.
Theodorowicz, J.

Mahn, F.
Strube, G,

Eichheim, H.
Rissland, K.

Bak, A.
Ribarsch, A.

Second Violins.

Mullaly, J.
Traupe, W.

Barleben, K.
Fiumara, P.

Akeroyd, J.
Currier, F.

Fiedler, B.
Werner, H.

Berger, H.
Eichler, J.

Tischer-Zeitz,
Goldstein, S.

H. Kuntz, A.
Kurth, R.

Marble, E.
Goldstein, H.

Violas.

Ferir, E.
Scheurer, K.

Heindl, H.
Hoyer, H.

Zahn, F. Kolster, A.
Kluge, M. Sauer, G.

Violoncellos.

Krauss, H.
Gietzen, A.

Warnke, H.
Keller, J.

Nagel, R.
Kautzenbach, A.

Barth, C. Loeffler, E.
Nast, L. Hadley, A.

Basses.

Warnke, J.
Smalley, R.

Keller, K.
Gerhardt, G.

Agnesy, K.
Kunze, M.

Seydel, T.
Huber, E.

Ludwig, O.
Schurig, R.

Flutes.

Oboes.

Clarinets.

Bassoons.

Maquarre, A.
Maquarre, D.
Brooke, A.
Fox, P.

Longy, G.
Lenom, C.
Sautet, A.

English Horn

Grisez, G. Sadony, P.
Mimart, P. Mueller, E.
Vannini, A. Regestein, E.

Bass Clarinet. Contra-Bassoon.

Mueller, F.

Stumpf, K.

Helleberg, J.

Horns.

Trumpets. Trombones. Tuba.

Hess, M.
Lorbeer, H.
Hain, F.
Phair, J.

Schmid, K.
Gebhardt, W.
Hackebarth, A.
Schumann, C.

Kloepfel, L. Hampe, C. Lorenr, 0.
Mann, J. Mausebach, A.
Heim, G. Kenfield, L.
Merrill, C.

Harp.

Tympani.

Percussion.

Schuecker, H.

Rettberg, A.

Dworak, J.

Senia, T.

Kandler, F.

Ludwig, C.
Librarian.

Burkhardt, H.

Sauerquell, J.

579

(Urtjttik^rtng

i^tano

Bears a name which has become known to purchasers
as representing the highest possible value produced
in the piano industry.

It has been associated with all that is highest and best
in piano making since 1823,

Its name is the hall mark of piano worth and is a
guarantee to the purchaser that in the instrument
bearing it, is incorporated the highest artistic value
possible.

CHICKERING & SONS

PIANOFORTE MJKERS

Established 1833

791 TREMONT STREET

Cor. NORTHAMPTON ST.

Near Mass. Ave.

BOSTON

580

TWENTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHT AND NINE

Eighth Rehearsal and G^ncert*

FRIDAY AFTERNOON, DECEMBER U, at 2.30 o'clock.

SATURDAY EVENING, DECEMBER J 2, at 8 o'clock.

PROGRAMME.

Noren

Wagner .

Debussy

*' Kaleidoscope " : Original Theme and Variations
for Orchestra, Op. 30. First time in Boston

Senta's Ballad from " The Flying Dutchman "

Three Nocturnes: "Clouds"; "Festivities"; "Sirens"
(Chorus of Sirens sung by the Choral Club of the
New England Conservatory of Music).

First time at these concerts

Songs with Pianoforte Accompaniment

Schubert .... -s ^. "Gretchen at the Spinning Wheel"

(a. "The Sign Post"
< b. "Gretchen -^- +1^"
( c. " Erlking "

Weber

Overture to the Opera " Der Freischutz "

SOLOIST,
Miss EMMY DESTINN.

Of the Metropolitan Opera House, New York.

The Pianoforte is a Stein^way.

There will be an intermission of ten minutes after the W^agner 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 an interval &e-
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 auinsenient.

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"Kaleidoscope," Original Theme and Variations for Orchestra,
Op. 30 Heinrich Gottlieb Noren

(Born at Grat-z, about 1863; now living at Loschwitz, near Dresden.)

Noren's father was a Moravian; his mother was a Slovak. Heinrich
was for a time director of the Music School, afterward the Conserva-
tory of Music at Crefeld (i 896-1 903). He lived for a time in Berlin,,
where he was a teacher at the Stern Conservatory. He resigned this
position in the fall of 1907 to devote himself to composition. Among
his compositions are a trio for pianoforte, violin, and violoncello. Op.
28; a suite for violin and piano, Op. 16; "Pastoral Sketches" for har-
monium, violin, and violoncello ; songs, etc. It is said that a symphony
is almost completed, and that he is also at work on an opera.

" Kaleidoskop : Originalthema und Variationen fiir Orchester,"
was begun about 1904, but it was not completed until the winter of
1906-07. The first performance was on July i, 1907, at a concert in the
course of the 43d Festival of the Allgemeiner Deutscher Musikverein,
held at Dresden. Publication of the work was delayed on account of
a singular lawsuit, to which reference is made later in this article.
Therefore, the performances announced for the season of 1907-08 in
Boston and Philadelphia did not occur. Nevertheless, "Kaleidoscope"
was performed at a concert of the Ro^^al Musical Orchestra, Dresden,
January 31, 1908.

The first performance in the United States was at Chicago by the
Theodore Thomas Orchestra, October 30, 1908, Frederick Stock, con-
ductor.

Mr. Felix Borowski in his programme notes for the concert in Chicago
says: "Mr. Noren states that in constructing his theme and variations
he endeavored to treat the latter, not in the conventional manner, but

GRAND OPERAS

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TIEFLAND, by E. D 'Albert, German and English text
LA HABANERA, by R. La Parra, French text .
LE VILLI, by G. Puccini, English text

The Same, Italian text

LA WALLY, by A. Catalani, Italian text .
FALSTAFF, by Giuseppe Verdi, Italian and English text

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to give each a characteristic stamp — to bring before the listener a
picture of some moment of existence or some mood."

Mr. Johannes Reichert says that the work is neither absolute music,
after the fashion of Max Reger's Variations on a Merry Theme of
J. A. Hiller, nor extreme programme music, as the variations "Don
Quixote" by Richard Strauss. "In some of Noren's variations the
programme of the contents is hinted at ; in others, it is not ; but each
variation has its own life and existence."

* *

The work is scored for three flutes (one interchangeable with piccolo)
two oboes, English horn, two clarinets, bass clarinet, two bassoons,
double bassoon, four horns, three trumpets, three trombones, bass tuba,
a set of three kettledrums, bass drum, snare-drum, tambourine, cym-
bals, triangle, xylophone, tamtam, Glockenspiel, two harps, strings.
It is dedicated to Ernst von Schuck, the distinguished court opera and
orchestral conductor at Dresden.

There is a short introduction, Langsam, fast Adagio (slow, almost
Adagio), E minor, 4-4. There is a rhythmic motive for snare-drum,
which begins m/ and grows softer. There is a hint of the theme given
to the wood-wind. The strings take up this fragment.

Theme : Sostenuto, E minor, 2-4. The theme opens with English
horn and bassoon, and it has the nature of an old church mode. D
takes the place of D-sharp as leading tone, somewhat after the fashion
of the hypodorian mode. The middle section is treated canonically.
A new motive leads back to the first section of the theme, which appears
as a whole in song-form and in a richer dress.

Variation I. "Praeambulum," Un poco piii mosso, E minor, 2-4.
This variation is in the nature of a gay improvisation, with the theme
easily recognized. There are two contrasting ideas: one is expressed

RUDOLF FRIML

NEW PIANOFORTE MUSIC

Op. 35. Suite Mignonne.

No. I. Solitude . . (2B) .30

No. 2. Morning Song . (3A) .30

No. 3. Valse romantique (3A) .30

No. 4. A little Story . (3A) .30

No. 5. Danse Bohemienne (3A) .30

No. 6. Contemplation . (2c) .40
Complete. (Edition Schmidt No.

129 75

Op. 36. Three Compositions.

No. I. At Dawn . . (3c) .40

No. 2. Twilight . . (3B) .40

No. 3. Melodie sentimentale (3A) .40

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JDy powerful and sweeping scale passages for strings and wood-wind
instruments ; the other by a staccato and alternating figure.

Variation II. "Elegischer Reigen." (At the first performance the
title ran "Melancholischer Reigen.") "Mournful Dance," Allegretto
(gemachliches Landler tempo), — in the time of an easy-going Landler, —
E minor, 3-4. The theme is transformed into a melody that has the
rhythm of the Landler or slow waltz. The melody is given to the
clarinets, and the bassoons have a drone bass. An expressive counter-
melody is soon given to the English horn. In the second part of the
period 'cellos, violas, and bassoons have the melody, while violins and
horns have a theme in opposition.

Variation III. "Canon," Moderato assai, C-sharp minor, 2-2. At
the first performance in Dresden, this variation was the Seventh.
The canon is in the octave. The subject is begun by the wood-wind,
and the imitation is in lower strings. Free voices are afterward added.

Variation IV. Scherzo ("Humor "), Vivace assai con spirito, E major,
6-8. This variation is described by Mr. Noren as "alight chuckling
(or snickering) and skipping presto, in which, after every period of four
measures, there is a melodic stroke of the theme." These strokes give
the intervals of the scale which are peculiar to the theme in its original
tonality. The middle section is more extended. The repetition is
fortissimo ^with percussion instruments. There is a motive of the
theme introduced suddenly fortissimo (strings and horns) with power-
ful cymbal -crashes. A German commentator, Johannes Reichert, is
moved to inquire whether a faun falls in with elves dancing who,
frightened, vanish as smoke, or whether in the gay and careless life of
man there is all at once a voice of bodement.

Variation V. "Im Dom" (In the Cathedral), Andante sostenuto,
C major, 4-4. The theme is given as a cantus firmtis to the first and
second horns, while slowly moving eighth notes for strings, the low C
in the third and fourth horns, and the sustained harmonies in the wood-
wind suggest organ-playing. At the expiration of the episode an organ
point prepares the return of the theme, which is now given to the
strings with slight rhythmic variations. Wood-wind instruments and

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horns now have the full-voiced passage in eighth notes. The close is
as the Amen with the old-fashioned ecclesiastical cadence.

Variation VI. "Pastorale," Allegretto, A minor, 6-8. A shepherd's
tune, somewhat monotonous and melancholy, 'is played by the English
horn, and is interrupted after every four measures by a light orchestral
interlude. Later bassoons and clarinets have the shepherd's tune, while
violins and flutes play in counterpoint against it.

Variation VII. "Trauermarsch: langsam und feierlich" (Funeral
March: slow and solemn), B minor, 4-4. This variation was not in
the score that was used at the first performance at Dresden. The
introductory measures have the rhythm of the snare-drum heard at
the beginning of this work. The theme of the march is given to violas
and bassoons. A new melody is sung by 'cellos with bassoons. There
is a long crescendo to a climax, and then the theme repeated by full
orchestra dies gradually until it ends as softly as it began.

Variation VIII. "Frisch" (A Slav Dance), Allegro molto, A major,
2-4. This dance of joyful, almost tempestuous character is from be-
ginning to end built on a sixteenth-note figure.

Variation IX. "From Far-off Days" ("Aus fernen Tagen"), Adagio,
E major, 4-4. This variation was not played at the first or at the
second performance in Dresden. The variation is in the nature of a
revery. There is elaborate part writing, and at times the -strings are
divided into sixteen parts. In the middle of the variation a trumpet
is heard — as from a distance — playing the theme on which the varia-
tions are constructed.

Variation X. Mazurka, D-flat major, 3-4. A fiery folk-dance.

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The theme is announced by 'cellos and clarinets, while there is a wild
accompaniment.

Variation XI. "To a celebrated Contemporary," Fantasia ("An
einen beriihmten Zeitgenossen : Fantasie") maestoso, un poco agitato,
B minor, 4-4. Here Noren has combined two motives taken from
Richard Strauss's tone-poem, "A Hero Life, " with material of his own.
While the upper voice varies Noren's theme, violoncellos and horns
announce the Straussian hero's theme, yet this theme is not exactly
the one fashioned by Strauss. There is also a free and invented theme
in opposition. After development of this material, another reminder
of Strauss is introduced, in the episode: the motive of "The Hero's
Antagonists," the "Norgler" (or "Nergler") motive. This is first
given to flute and oboe, and then used polyphonically with Noren's
themes. At last, after the Variation theme is sounded in the brass,
the "Antagonists" theme serves to usher in the Double Fugue (Allegro
molto moderato, E minor, 2-4. The first theme of this double fugue
is the "Antagonists" motive, and it is given to the bassoon. In the
second development, Noren's original theme, somewhat modified,
rhythmically enters as the second subject of the fugue (horns and
oboes, ff). Mr. Noren says in his short notes prepared -for the first
performance at Dresden that in the third development the first subject
now inverted loses its mocking character and is more humorous.
A fresh, original motive is added (strings), and the stretto of the fugue
begins which leads to augmentation of the two subjects. They come
against each other with full force, and there is a mighty crescendo over
an organ point. Noren's theme waxes stronger and stronger, har-

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monized variously while the "Antagonists" motive buzzes about it,
and arrives (trumpets and trombones) at the Choral, Moderate
maestoso, E major, ,4-4. . This Noren theme is the theme of the
Choral. The "Antagonists" motive is now an accompanying figure
in the harmonic scheme. After a climax at the end of the Choral,
gentle ascending harmonies in the rhythm of the original theme are
built on a descending bass. The ending is pianiossimo in the mood of
the opening measures of the composition.

* *

Soon after the first performance pf "Kaleidoscope" the publisher
of "A Hero Life" protested against the publication of Noren 's theme
and variations. The story is best told in an extract from an edi-
torial article in the Evening Post, New York: —

"What is a melody? This question had to be answered the other
day in a German law court. A composer named Noren wrote a sym-
phonic piece entitled the 'Kaleidoskop,' in which he embellished a
theme of his own with variations introducing two themes from Richard
Strauss's 'Heldenleben.' It was intended as a deliberate act of
homage, as was indicated by the words, 'To a famous Contemporary,'
printed in the score over the bars cited. Strauss himself had no ob-
jections; indeed, he actually congratulated Noren on his achievement.
The publisher of 'Heldenleben,' on the other hand, protested against
the printing and sale of the 'Kaleidoskop,' on the strength of section
13 of the copyright law of 1901, which says: 'In a musical composi-
tion it is not permissible to take a recognizable melody from it and in-
corporate it in a new work.' The jurists, in course of the trial, appealed
to the royal Saxon musical experts for a definition of melody, and got
one which at the same time sounds like a justification of those who
claim that there is no melody in Strauss's music.

"'From the standpoint of musical composition,' the royal expert
said, 'neither the leading theme [in the "Heldenleben"] nor the motive
of the opponents is a "melody." The science of music makes a strict

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distinction between motive, leading motive, theme, phrase, and melody.
While the motive represents the smallest independent oneness of a
musical thought, and the theme is a chain of motives that are repeated
or linked together, the word melody, in accordance with its origin —
melodia, allied to melos, limb, and Ode, song — signifies a group of tones
which embodies the musical thought in artistic, singable form, as an
articulated, rounded whole. In the motive as well as in the theme
the melodic element may find expression; but a melodious motive or
a well-sounding theme does not constitute a melody. One may in
particular call the main theme in the "Heldenleben" a melodic theme:
a melody it is not ; and as for the motive of the opponents, that is the
direct and conscious negation (Gegensatz) of melody,' In accordance
with this explanation, the Landgericht of Leipsic granted Noren per-
mission to publish his 'Kaleidoskop.'

"Perhaps Strauss is sorry now that he congratulated the man who
cited his music; for not only have the experts failed to find melody in
this music, but the court, in announcing its verdict, rubbed salt into
the wound by saying : 'Inasmuch as the "melody " still remains the truly
attractive and popular part of every musical composition, the new
German copyright law has provided for it thorough protection against
all unwarranted exploitation. The appropriation of motives and
themes in the compositions of others remains, on the other hand, per-
missible in accordance with Section 13, on the condition that these
motives and themes are subjected to a new artistic manipulation and
development. The difference thus established between the constitu-
ents of the music of another party is not to be wondered at, for a motive
or a theme is capable of the most diverse changes and artistic elabora-
tions, whereas a melody, in consequence of the finished form in which
it appears, does not permit inversions, shortenings, or other changes
without losing its individuality. By means of the new elaboration of
a theme or motive it is therefore possible to produce an entirely new
and individual composition, whereas the appropriation of a melody,
since it can only be taken as a whole, is usually an act of deliberate
plagiarism.'

"It is difficult to avoid expecting that this verdict will lead to many

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complications and a number of lawsuits. Strauss' s imitators — who
have again greatly distressed the critics at this summer's music festivals
in several German cities — ^will now be able to steal not only his orches-
tra thunder and his insulting dissonances, but his very motives and
themes. We may expect, too, that the legion of Wagner's imitators
will take fresh courage, appropriating the Nibelung motives of the
dwarfs, gods, and giants bodily and constructing new tetralogies there-
with. Who is to prevent them, as long as they avoid the complete
melodies into which these buds gradually develop in Wagner's scores?
The new German copyright law, as interpreted in Leipsic, will certainly
prove a boon to the minor composers who have no ideas of their own,
and encourage them in their petty pilferings. The borrowing of com-
plete melodies being forbidden, none of them will, however, be able to
compete with Handel, whose wholesale appropriations of complete
airs by contemporary and older masters earned for him the sobriquet,
bestowed on him by one of his most erudite and enthusiastic English
admirers, or 'the grand old thief.' "i W^lM^I^^^ U.^k

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Senta's Ballad from "The Flying Dutchman," Act II. No. 3.

Richard Wagner

(Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.)
Senta, leaning back in an arm-chair, is absorbed in dreamy contem-
plation of a portrait on the further wall of the room in which maidens
and Mary, Senta's nurse, are sitting and spinning. The portrait is of
a pale man with a dark beard, and in a black Spanish dress. The sing-
ing at last irritates Senta. She asks for some better song. The
maidens 'tell her to sing something.

Senta: "Much would I rather Dame Mary sang to us the ballad."
Mary: "I'd rather not attempt the thing! Let the Flying Dutch-
man alone!"

Senta finally says she will sing the tale of sorrow. The wretched
man's fate must surely affect her companions. The girls move their
seats nearer to the arm-chair, after they have put away their spinning-
wheels, and group themselves around Senta. Mary goes on spinning.
Allegro ma non troppo, G minor, 6-8.

Johohoe! Johohohoe! Johohoe! Johoe!
Traft ihr das Schiff im Meere an,
Blu troth die Segel, schwarz der Mast?
Auf hohem Bord der bleiche Mann
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Hui! Wie pfeipt's im Tau! Johohe!
Wie ein Pfeil fliegt er hin.

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Ohne Ziel, ohne Rast, ohne Ruh'!

Doch kann dem bleichen Manne

Brlosung einstens noch Werden,

Fand' er ein Weib, das bis in den Tod

Getreu ihm auf Erden.

Ach! Wann wirst du, bleicher Seemann, sie finden!

Betet zum Himmel, dass bald ein Weib treue ihm halt'!

i Bei bosem Wind und Sturmeswuth,

Umseglen wollt' er einst ein Cap;

Er flucht' und schwur mit toUem Muth:

"In Ewigkeit lass' ich nicht ab!"
i Hui! Und Satan hort's! Johohe! Johohe!

Hui! Nahm ihn bei'm Wort! Johohe! Johohe!

Hui! Und verdarnmt zieht er nun

Durch das Meer, ohne Rast, ohne Ruh'!

Doch, dass der arme Mann noch Erlosung fande auf Erden,

Zeigt' Gottes Engel an, wie sein Heil ihm einst konne werden :

Ach! Konntest du, bleicher Seemann, es finden!

Betet zum Himmel, dass bald ein Weib treue ihm halt' !

Vor Anker alle sieben Jahr',

Ein Weib zu frei'n, geht er an's Land;

Er freite alle sieben Jahr'

Noch nie ein treues Weib er fand.

Hui! "Die Segel auf!" Johohe! Johohe!

Hui! "Den Anker los!" Johohe! Johohe!

Hui ! " Falsche Lieb', falsche Treu' !

Auf in See, ohne Rast, ohne Ruh'!"

Chorus op Maidens

Ach! wo weilt sei, die dir Gottes Engel einst konne zeigen?
Wo triffst du sie, die bis in den Tod dein bleibe treueigen ?

Allegro con fuoco, B-flat major.

Senta

Ich sei's, die dich durch ihre Treu' erlose !
Mog' Gottes Engel mich dir zeigen!
Durch mich soUst du das Heil erreichen!

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SEnTa (in the arm-chair).

Yohohoe! Yohohoe! Yohohoel*

Saw ye the ship on the raging deep, —

Blood-red the canvas, black the mast?

On board unceasing watch does keep

The vessel's master, pale and ghast !

Hui! How roars the wind! Yohohoe!

Hui ! How bends the mast ! Yohohoe !

Hui ! Like an arrow she flies,

Without aim, without goal, without rest!

Yet can the weary man be released from the curse infernal,

Find he on earth a woman who'll pledge him her love eternal.

Ah ! where canst thou, weary seaman, but find her?

Oh, pray to Heaven that she

Unto death may faithful be!

(SENTa has turned toward the picture. The maidens listen absorbed, Mary has stopped

spinning.)

Once round the Cape he wished to sail

'Gainst 'trary winds and raging seas;

He swore" "Tho' hell itself prevail,

I'll sail on till eternity!"

Hui ! This Satan heard ! Yohohoe ! .

Hui! Took him at his word! Yohohoe!

Hui ! And accursed he now sails,

Through the sea, without aim, without rest!

But that the weary man be 'freed from the curse infernal.

Heaven shall send him an angel to win him glory eternal.

*This English version is for the most part by John P. Jackson (1847-97).

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Oh, couldst thou, weary seaman, but find her!
Oh, pray that Heaven may soon
In pity grant him this boon!

(SENTa, who at the second verse has risen from the chair, conies forward more agitated.)

At anchor every seventh year,
A wife to woo he wanders round ;
He wooed -ach seventh year, but ne'er
A faithful woman has he found !
Hui! "Unfurl the sails!" Yohohoe!
Hui! " The anchor weigh ! " Yohohoe!
Hui! "False the love, false the troth!
To the sea, without aim, without rest!"

(SEnTa, exhausted, sinks back in the chair. After a long pause, the maidens sing

softly. )

Ah! where is she to whose loving heart the angel may guide thee?
Where lingers she, thine own unto death whatever betide thee?

SEnTa {suddenly inspired and springing up from the chair).

Thou shalt be freed, yea, through my heart's devotion !
Oh that God's angel guidance gave him!
Here he shall find my love to save him!

*
* *

Wagner wrote in "A Communication to my Friends" that before
he began to work on the whole opera "The Flying Dutchman" he
drafted the words and the music of Senta's ballad. Mr. Ellis says
that he wrote this ballad while he was in the thick of the composition
of "Rienzi." The ballad is the thematic germ of the whole opera,
and it should be remembered that Wagner felt inclined to call the
opera itself a dramatic ballad.

"Der Fliegende Hollander," opera in three acts, was performed for
the first time at the Court Opera House, Dresden, January 2, 1843.
The cast was as follows: Senta, Mme. Schroeder-Devrient ; the Dutch-
man, Michael Wachter; Daland, Karl Risse; Erik, Reinhold; Mary,
Mrs. Wachter; the steersman, Bielezizky. Wagner conducted.

The first performances in America was in Italian, "II Vascello Fan-

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604

tasma," at Philadelphia November 8, 1876, by Mme. Pappenheim's
Company.

The first performance in Boston was in English at the Globe Theatre,
March 14, 1877: Senta, Clara Louise Kellogg; Eric, Joseph Maas;
Daland, George A. Conly; the steersman, C. H. Turner; Mary, Marie
Lancaster; Vanderdecken, the Dutchman, William Carleton.

*
* *

It was undoubtedly due to the dramatic genius of Mme. Wilhelmine
Schroder-Devrient (1804-60) that a poor performance was turned
the first night into an apparent triumph. She is said in the part of
Senta to have surpassed herself in originality ; but Wagner wrote to
Fischer in 1852 that this performance was a bad one. "When I recall
what an extremel}^ clumsy and wooden setting of 'The Flying Dutch-
man ' the imaginative Dresden machinist Hanel gave on his magnificent
stage, I am seized even now with an after-attack of rage. Messrs.
Wachter's and Risse's genial and energetic efforts are also faithfully
stored up in my memory."

Wagner wished Senta to be portrayed as "an altogether robust
(kerniges) Northern maid, thoroughly naiive in her apparent senti-
mentality." He wrote: "Only in the heart of an entirely naive girl
surrounded by the idiosyncrasies of Northern nature could impressions
such as those of the ballad of the 'Flying Dutchman' and the picture
of the pallid seaman call forth so wondrous strong a bent, as the im-
pulse to redeem the doomed: with her this takes the outward form of
an active monomania such, indeed, as can only be found in quite
naive natures. We have been told of Norwegian maids of such a
force of feeling that death has come upon them through a sudden rigor
of the heart. Much in this wise may it go, with the seeming 'morbid-
ness' of pallid Senta."

*
* *

Wagner's contract with Holtei, the manager of the Riga Theatre,
expired in the spring of 1839. He was without employment; he was
in debt. He determined to go to Paris, but on account of his debts
he could not get a passport. His wife went across the border dis-
guised as a lumberman's wife. Wagner himself was hid in an empty

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sentry-box till he could sneak through the pickets on the frontier line.
Composer, wife, and dog met at Pillau, where they embarked on a
sailing-vessel bound for London. The vo3'age was violently stormy,
and it lasted three and a half weeks. Once the captain was compelled
to put into a Norwegian haven. At Riga Wagner had become ac-
quainted with Heine's version of the Flying Dutchman legend. The
voyage, the wild Norwegian scenery, and the tale, as he heard it from
the sailors, exerted a still greater influence.

In Paris Wagner became acquainted with Heine, and they talked
together concerning an opera founded on the legend. The opera was
written at Meudon in the spring of 1841. All of it except the over-
ture was completed in seven months. Prager says that the work was
composed at the piano. "This incident is of importance, since for
several months he had not written a note, and knew not whether he
still possessed the power of composing."

How a French libretto was made for the production of the work at
the Paris Opera, how Wagner suspected treachery and sold the sce-
nario for 500 francs, how "Le Vaisseau Fantome, paroles de Paul
Foucher, musique de Diestch," was produced at the Opera, November
9, 1842, and failed, — there were eleven performances, — all this has been
told in programme-books of these concerts. Music was set by Ernst
Lebrecht Tschirch (1819-52) to Wagner's libretto about 1852. Cle-
ment and Larousse say that this work was performed at Stettin in 1852 ;
Riemann says it was not performed.

Nocturnes: No. I., "Clouds"; No. II., "Festivals"; No. III.,
"Sirens" Claude Debussy

(Bom at St. Germain (Seine and Oise), August 22, 1862; now living at Paris. "»

The Nocturnes by Debussy are three in number. The first two,
"Nuages" and "Fetes," were produced at a Lamoureux concert,
Paris, December 9, 1900, and they were played by the same orchestra
January 6, 1901. The third, "Sirenes," was first produced — in com-

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607

pany with the""other two — at a Lamoureux concert, October 27, 1901.
The third is for orchestra with chorus of female voices. At this last
concert the friends of Mr. Debussy were so exuberant in manifesta-
tions of delight that there was sharp hissing as a corrective.

The first performance of the three Nocturnes in the United States
was at a Chickering "Production" Concert in Boston, February 10,
1904, when Mr. Lang conducted. The Nocturnes were played twice at
this concert. Nocturnes Nos. i and 2 were played by the Boston
Symphony Orchestra, led by Mr. Vincent d'Indy as guest, at Phila-
delphia, December 4, 1905, Washington, D.C., December 5, 1905,
New York, December 9, 1905.

The composer furnished a programme for the suite: at least, this
programme is attributed to him. Some who are not wholly in sym-
pathy with what they loosely call "the modern movement" may
think that the programme itself needs elucidation. Debussy's peculiar
forms of expression in prose are not easily Englished, and it is well-
nigh impossible to reproduce certain shades of meaning.

"The title 'Nocturnes' is intended to have here a more general and,
above all, a more decorative meaning. We, then, are not concerned
with the form of the nocturne, but with everything that this word
includes m the way of diversified impression and special lights.

"'Clouds': the unchangeable appearance of the sky, with the slow

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609

and solemn march of clouds dissolving in a gray agony tinted with

white.

"'Festivals': movement, rhythm dancing in the atmosphere, with
bursts of brusque light. There is also the episode of a procession
(a dazzling and wholly idealistic vision) passing through the festival
and blended with it; but the main idea and substance obstinately
remain, — always the festival and its blended music, — aluminous dust
participating in the universal rhythm of all things.

"'Sirens': the sea and its innumerable rhythm; then amid the
billows silvered by the moon the mysterious song of the Sirens is heard ;
it laughs and passes."

The Nocturnes are scored as follows : —

I. Two flutes, two oboes, one English horn, two • clarinets, three
bassoons, four horns, kettledrums, harp, strings. The movement begins
Modere, 6-4.

II. Three flutes, two oboes, one English horn, two clarinets, three
bassoons, four horns, three trumpets, three trombones, one bass tuba,
two harps, a set of three kettledrums, cymbals, and snare-drum (in
the distance) , strings. Anime et tres rhy thme, 4-4.

III. Three flutes, one oboe, one English horn, two clarinets, three
bassoons, four horns, three trumpets, two harps, eight soprano voices,
eight mezzo-soprano voices, strings. Mod6rement anim6, 12-8.

The score is dedicated to Georges Hartmann, the late music pub-
lisher and librettist. Mr. Jean Marnold contributed an elaborate study
of these Nocturnes to Le Courrier Musical (Paris), March 1,15, May i,
December 15, 1902; January 10, February 15, 1903. Reanalyzed them
minutely, with the aid of many illustrations in musical notation, and
dissected the tonal and harmonic syntax of the composer. He arrived
at two conclusions:^

1. "The natural predisposition of the human organism to perceive
sonorous combinations according to the simplest relations would as a
consequence have only the introduction into our music of the interval
corresponding to the harmonics 7 and 11.

2. "After all the masterpieces which constitute the history of our
music as it is written by the greatest masters, the Nocturnes and the

School of Expression

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whole work of Claude Debussy are as a flat denial to every dogmatic
theory. But in the ten centuries of the evolution of our musical art
there is, perhaps, not one instance of such an important step as this in
advance."

* *

Mrs. Franz Liebich in her life of the composer (published by John
Lane, London and New York, 1908) says that Debussy's own programme
notes, outlining or sketching an impression of an impression, may
indicate the association of ideas in Debussy's mind, ' ' but each separate
listener is at liberty to develop the ideas and to discern for himself
all the imagery and symbolism issuing from the more obvious anal-
ogies. . . . These words, suggestive rather than expository, convey a
very precise idea of the proximity of Debussy's mind and soul to the
'time vesture of God ' which is Nature. The great interpretative
painter of rural life (F. Millet) expressed the wish to make others hear
'the songs, the silences, the rustlings of the air.' He longed to make
them see all that he saw. Through the medium of sound Debussy
has accomplished a little of what the French painter aspired to and in
a way achieved. He has made himself one with elemental things,
and from their secret lore he has woven this tone poem, in which he
also has essayed to disclose to others something of the mystery that
underlies the objective existence of all things."

These tone poems are based on an indefinite evolution of the cyclical
method, which was developed and perfected by Cesar Franck. This
method consists in using one or two generative themes. "The modi-
fications of these are the progenitors of numberless others which in
their turn have their development and ramifications while the parent
themes are maintained more or less integral through the work."

I. "Clouds" opens with a theme in B minor (clarinets and bassoons).
It is interrupted by the English horn, which has a short motive that
completes and ends the first theme. Later these two motives have
each a distinct individuality. The first is developed, but the English
horn motive in all these developments and metamorphoses is heard, and
its structure remains the same. Toward the end the curved first motive
is blended in a quiet melody|(flute^and harp) which forms the second

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611

theme of the movement. The English horn motive is again heard, and
there are hints at the first motive. The movement ends with muted
brass and strings pizzicati.

II. "Festivities." The opening theme is in triplets (English horn
and clarinets, later with flutes and bassoons). The theme is a modi-
fication of the first one in "Clouds." There is a sudden pianissimo, and
in 2-4 time there is the accompaniment of a processional march.
Muted trumpets introduce a theme that is derived from the English
horn motive in "Clouds." This theme is enlarged, and becomes more
and more sonorous and pompous. After the close of this march the
first mood with its lively theme returns'.

III. "Sirens." There is a "rhythmic undulation" of muted lower
strings while arpeggios are played by flutes and clarinets. The female
voices sing without words a fragmentary melody derived from the
generative theme of "Clouds." A new subject is given to the strings.
"Coming after the radiant 'F^tes, '" says Mrs. Liebich, "with its alle-
gorical dramatic procession of life, the third number ('Sirenes') seems
by contrast woven of neutral tints and half-lights. The rocking,
wave-like rhythm, the reminiscent themes recurring in broken
snatches like gleams on the more uniform structure of the surging
string accompaniment, the sad undertone of the siren voices, give a
pictorial effect to this movement which approximates it to one of
Whistler's silver and blue-toned nocturnes."

*
* *

Questioning the precise nature of the form that shapes these

Nocturnes, the reader may well ponder the saying of Plotinus in his

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Essay on the Beautiful: "But the simple beauty of color arises, when
light, which is something incorporeal, and reason and form, entering
the obscure involutions of matter, irradiates and forms its dark and
formless nature. It is on this account that fire surpasses other bodies
in beauty, because, compared with the other elements, it obtains the
order of form : for it is more eminent than the rest, and is the most
subtle of all, bordering as it were on an incorporeal nature."

"Th^ Sign Post," Op. 89, No. 20 ........ I^ranz Schubert

(Born January 31, 1797, at Lichtentha], near Vienna; died November 19, 1828, at

Vienna.)

"Der Wegweiser" is the twentieth song in the cycle "Winterreise"
poems by Wilhelm Miiller. Schubert set music to this song in October,
1827, at Vienna.

The original key is G minor ; ' ' massig " (in moderate time) ,2-4.

Der WEjWEiser. '

Was vermeid' ich denn die Wege,

Wo die andem Wandrer geh'n
I ■ Suche ihir versteckte Stege

? Durch verschneite Felsenhohn?

Habe ja doch nichts begangen,
Dass ich Mens^-hen soUte scheu'n,
Welch' ein thorichtes Verlangen
Treibt mich in die Wtiste nein ?

VANTINE'S

BOSTON
360-362 BOYLSTON STREET
THE ORIENTAL STORE (Mayflower Building)

OH! WON'T YOU COME TO TEA?

In response to many requests we have opened a Tea Koom on the Balcony Floor of
our new store, which, we trust, will appeal to our patrons and their friends.

We will he pleased to serve you every week day from 10.30 a.m. to 5.30 p.m.

ORIENTAL JEWELRY

We have materially enlarged our Jewelry Department. Precious stones mounted in
accordance with your suggestions. Chinese Jade Necklaces, Bracelets, Brooches, and
Pendants, Scarf Pms, Rings, etc

JEWELS FOR OCTOBER

Aquamarine Beryl . . Symbol of happiness

Opal Capricornus . . 10th sign of Zodiac

Carbuncle . . Symbol of love Topaz. . Jewel of St. James the Lesser

VANTINE'S ORIENTAL PERFUMES

ARTISTIC LAMPS AND SHADES

The freedom of Vantine's is always yours, and involves no obligation on your part to
purchase.

IN THE BASEMENT

A. A. Vantine & Company

ORIENTALISTS and
JEWELERS
BOSTON NEW YORK PHILAPE;.PHJA

614

Weisser stehen auf den Wegen,
Weisen auf die Stadte 7U,
Und ich wandie sender Massen
Ohne Ruh' und suche Ruh*.

Einen Weiser seh' ich stehen,
Unverriickt vor meinem Blick,
Eine Strasse muss ich gehen
Die noch keiner ging zuriick.

"The Sign Post."

Why forsake the beaten highway

Which the traveller invites?
Wherefore seek a rugged byway

'Midst the snowy mountain height?

Nothing have I once committed

That I should avoid mankind, j

Thought alone for idiots fitted

Through these wilds a path to find. ,

Guide Posts, village names displaying,

Stand to show which way is best,
While beyond all bounds I'm straying.

Restless, ever seeking rest.

There's a Guide Post frowning o'er me.

Cold, immovable, and stem ;
There's a road which lies before me.

Where no wanderers return.

(Anonymous Translation )

iLieberijeim ^cfjool of ^ocal iHuSit

Ten miles from Boston, AUBURNDALE, MASS. Five miles from Wellesley,

Mrs. MAY SLSKPER R.UGGI.ES. Principal

Contralto and Voice Teacher, Boston, Studio 602 Pierce Building, Copley Square

Studio Telephone, Back Bay 4I76«2. Liederheim Telephone, Newton West 372-4

Was Hood's Milk on your table this

morning ?

DAIRY LABORATORY, 70 HUNTINGTON AVE., BOSTON, MASS.

•Phone, Back Bay 4430

HOOD'S MODEL CREAMERY, 7 Beacon and 55 Tremont St,, Boston

'Phone, Haymarket 2580

BE SOMETHING ~"

MADAM I. JANE COLE has opened a Studio of Music and Arts in order that she may heJp
■''•• you to help yourself. She oelievesher countrymen and countrywomen, if only they
will say, I WILL, may form the great artistic future of the world.

A Good Time and Practice Cluh has heen formed, which all persons with talent worth
cultivating may join free of charge, after being examined. Voice, Piano, Violin, Elocution,
Languages, Etc., Dramatic Training, Dancing, Platform Deportment, Magnetism, Physical Culture.
Anything that will make you something worth while we will teach you. A stage is provided
in each Studio for pupils preparing for public work. Harmony lessons free. Terms range
from twenty-five cents (class) to four dollars per lesson (private). Won't you call and let me
help you to a future ?

I am sincere in my desire to make great the voices of our beloved America, that it may
not be truly said we are lacking in that art of arts — Music

STUDIOS, 185 HANCOCK STREET, CORNER BROADWAY, CAMBRIDGE.

Telephone, 1893-1 Cambridge. All Harvard Square cars pass Hancock Street.

615

Schubert began to set music to the "Winterreise"inl^ebruary, 1827,
at Vienna, and at Vienna he wrote the second part (Nos. 13-24) in
September and October of the same year. Half a dozen songs of the
first part were written in one morning, according to Franz Lachner, and
HasHnger, the pubHsher, gave Schubert about twenty cents a piece for
them. The poems of "Winterreise" were written by Wilhelm Miiller,
and were pubHshed in the second volume of Miiller's "Gedichte aus
den hinterlassenen Papieren eines reisenden Waldhomist" (Poems
found among the Papers of a Travelling French Horn Player) . The first
volume contained the "Schone Miillerin'^ poems. The second volume
was published at Dessau in 1824.

"On the 14th" (November, 1828), says Sir George Grove, "Schubert
took to his bed. He was able to sit up a little for a few days longer,
and thus to correct the proofs of the second part of the 'Winterreise,'
probably the last occupation of those inspired and busy fingers. He
appears to have had no pain, only increasing weakness, want of sleep
and great depression. Poor fellow! no wonder he was depressed!
everything was against him, his weakness, his poverty, the dreary
house, the long lonely hours, the cheerless future — all concentrated
and embodied in the hopeless images of Miiller's poems, and the sad
gloomy strains in which he has clothed them forever and ever — the
'IvCtzte Hoffnung,' the 'Krahe,' the 'Wegweiser,' the 'Wirthshaus,'
the 'Nebensonnen,' the 'Leiermann' — all breathing of solitude, broken
hopes, illusions, strange omens, poverty, death, the grave! As he
went through the pages, they must have seemed like pictures of his
own life; and such passages as the following, from the 'Wegweiser'
(or Signpost) can hardly have failed to strike the dying man as aimed
at himself:

Einen Weiser seh' ich stehen,

Unverriickt vor meinem Blick,

Eine strasse muss ich gehen,

Die noch keiner ging zuruck.

"Alas! he was indeed going the road which no