Twenty-Fourth Season, I904-J905

Home , Ghiselle, Giuseppe Campanari, William Foster Apthorp

Boston Symphony Orchestra^

SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES.

(Telephone, 1492 Back Bay.)

TWENTY-FOURTH SEASON, I904-J905.

WILHELM GERICKE, CONDUCTOR

IProgramme

OF THE TWENTY-FOURTH REHEARSAL and CONCERT

VITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE.

FRIDAY AFTERNOON, APRIL 28,

AT 2.30 O'CLOCK.

SATURDAY EVENING, APRIL 29,

AT 8.00 O'CLOCK.

Published by C. A. ELLIS, Manager.

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Twenty-fourth Rehearsal and Concert*

FRIDAY AFTERNOON, APRIL 28, at 2.30 o'clock.

SATURDAY EVENING, APRIL 29, at 8.00 o'clock.

PROGRAMME.

Schumann . Symphony No. 2, in C major, Op. 61

I. Sostenuto assai ; Allegro, ma non troppo.

II. Scherzo : Allegro vivace. Trio I. and Trio II. III. Adagio espressivo. IV. Allegro molto vivace.

Ropartz Fantasia in D major, for Orchestra First time

" " Richard Strauss . Tone-poem, Don Juan (after N. Lenau), Op. 20 By request

" Wagner Prelude to " The Mastersingers of Nuremberg

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

The doora of the hall will fee closed during the perforntance of each number on the programme. Those who wish to leave before the end of the concert are requested to do so in an intervai fee. tween the numbers.

City of Boston, Revised Regulation of August 5, 1808.— Chapter 3, relating to the covering' of the head in places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a coveriaf which obstructs the view of the exhibition or performance in such place of any person seated in any seat thcreia provided for spectators, it being understood that a low head covering without projection, which doei not obMruct such view, may be worn. Attest : J. M. CALVIN, City CWk. 1547 L. P. Hollander & Co. FUR STORAGE

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Symphony in C major, No. 2, Op. 61 . . . . Robert Schumann

(Born at Zwickau, June 8, 1810; died at Endenich, July 29, 1856.) In October, 1844, Schumann left Leipsic, where he had lived for about fourteen years. He had given up the editorship of the Neue Zeitschrift in July. He had been a professor of pianoforte playing and composition at the Leipsic Conservatory from April, 1843; but he was a singularly reserved man, hardly fitted for the duties of a teacher, and he was without disciples. He was in a highly nervous condition, so that his physician said he must not hear too much music. A change of scene might do him good. Schumann therefore moved to Dresden. "Here," he wrote in 1844, "one can get back the old lost longing for music; there is so little to hear. This suits my condition, for I still suffer very much from my nerves, and everything affects and exhausts me directly." He lived a secluded life. He saw few, and he talked little. In the early eighties they still showed in Dresden a restaurant frequented by him, where he would sit alone hours at a time, dreaming day-dreams. He tried sea-baths. In 1846 he was exceedingly sick, mentally and bodily, "He observed that he was unable to remember the melodies that occurred to him when composing, the effort of invention fatiguing his mind to such a degree as to impair his memory." When he did work, he applied himself to contrapuntal problems. The Symphony in C major, known as No. 2, but really the third, for the one in D minor, first written, was withdrawn after performance, remodelled, and finally published as No. 4,—was composed in the years 1845 and 1846. Other works of those years are four fugues for pianoforte, studies and sketches for pedal piano, six fugues on the name of Bach for organ, intermezzo, rondo, and finale to "Fantasie" (published as Concerto, Op. 54), five songs by Burns for mixed chorus, four songs for mixed chorus, Op. 59, and a canon from Op. 124. The symphony was first played at the Gewandhaus, Leipsic, under Mendels- sohn's direction, on November 5, 1846.* The first performance in

The first part of the programme included the overture, an aria, and the finale of Act II. of "Euryanthe" and the overture and finale of Act II. of "William Tell." The latter overture made such a sensation under Mendelssohn's direction that it was imperiously redemanded. The symphony, played from manuscript, pleased very few. Some went so far as to say that the demand for a second performance of Rossini's overture was a dehberate reflection on Schumann, whose symphony was yet to be heard.

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•Why Seek Ye?" By ADDISON A. ANDREWS . Price, ao cents •• If ye then be Risen with Christ." By C. VILLIERS STANFORD, Pries, as cents

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1660 Boston was at a concert of the Harvard Musical Association, March i, 1866." The Philharmonic Society of New York performed it as early as January 14, 1854. Schumann wrote from Dresden on April 2, 1849, to Otten,* a writer and conductor at Hamburg, who had brought about the performance of the symphony in that city: "I wrote the symphony in December, 1845, when I was still half-sick. It seems to me one must hear this in the music. In the Finale I first began to feel myself; and indeed I was much better after I had finished the work. Yet, as I have said, it recalls to me a dark period of my life. That, in spite of all, such tones of pain can awaken interest, shows me your sympathetic interest. Everything you say about the work also shows me how thoroughly you know music; and that my melancholy bassoon in the adagio, which I introduced in that spot with especial fondness, has not escaped your notice, gives me the greatest pleasure." In the same letter he expressed the opinion that Bach's Passion according to John was more powerful and poetic work than his Passion according to Matthew.

And yet when Jean J. H. Verhulst of the Hague (18 16-91) visited Schumann in 1845, and asked him what he had written that was new and beautiful, Schumann answered he had just finished a new symphony. Verhulst asked him if he thought he had fully succeeded. Schumann then said: "Yes, indeed, I think it's a regular Jupiter." * * * There is a dominating motive, or motto, which appears more or less prominently in three of the movements. This motto is proclaimed at the very beginning, Sostenuto assai, 6-4, by horns, trumpets, alto trombone, pianissimo, against flowing counterpoint in the strings. This motto is heard again in the finale of the following allegro, near the end of the scherzo, and in the concluding section of the finale. (It may also be said here that relationship of the several movements is further founded by a later use of other fragments of the introduction

Georg Dietrich Otten, bom at Hamburg in 1806, showed a marked talent for drawing, which he studied as well as the pianoforte and the organ; but he finally devoted himself to music, and became a pupil of Schneider at Dessau (1828-32). He taught at Hamburg, and led the concerts of the Hamburg Musik-Verein, which he founded, from 1855 to 1863. In 1883 he moved to Vevey, Switzerland.

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ARTHUR pTsCHMIDT, CHARLES W. HOMEYER & CO., 120 Boylston Street, Boston, Mass. 165 Tremont St., BOSTON, MASS. 1651 and by the appearance of the theme of the adagio in the finale.) This motto is not developed: its appearance is episodic. It is said by one of Schumann's biographers that the introduction was composed before the symphony was written, and that it was originally designed for another work. The string figure is soon given to the wood-wind instruments. There is a crescendo of emotion and an acceleration of the pace until a cadenza for the first violins brings in the allegro, ma non troppo, 3-4. The first theme of this allegro is exposed frankly and piano by full orchestra with the exception of trumpets and trombones. The rhythm is nervous, and accentuation gives the idea of constant syncopation. The second theme, if it may be called a theme, is not long in entering. The exposition of this movement, in fact, is uncom- monly short. Then follows a long and elaborate development. In the climax the motto is sounded by the trumpets. The scherzo, Allegro vivace, C major, has 2-4 two trios. The scherzo proper consists of first violin figures in sixteenth notes, rather simply accompanied. The first trio, in G major, 2-4, is in marked contrast. The first theme, in lively triplet rhythm, is given chiefly to wood-wind and horns; it alternates with a quieter, flowing phrase for strings. This trio is followed by a return of the scherzo. The second trio, in A minor, 2-4, is calm and melodious. The simple theme is sung at first in full harmony by strings (without double-basses) and then developed against a running contrapuntal figure. The scherzo is repeated, and, toward the close, trumpets and horns loudly sound the motto. Mr. William Foster Apthorp has contributed an interesting personal note concerning the scherzo. "The late Otto Dresel once told me a

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165? curious fact about this trio. When, as' a boy, lie was studying under Mendelssohn, in I^eipsic, he happened to be left alonfe one day in Men- delssohn's study. While mousing round there, with a boy's curiosity, he espied on a desk a MS. score that was not in Mendelssohn's hand- writing. It turned out to be the MS. of Schumann's C major symphony—then unknown, save to the composer and a friend or two; it had evidently been sent to Mendelssohn to look over. Dresel, much interested in his unexpected find, forthwith began to read the score, and had time to read it through and replace it where he had found it, before Mendelssohn returned. He told me that, curiously enough, the triplet theme of the first trio of the Scherzo was exposed and carried through by the strings alone. Yet when, some weeks later, he heard the symphony rehearsed at the Gewandhaus, this theme was played by the wood-wind and horns, just as it stands now in the published score. Dresel thought it pretty plain that Schumann transferred this theme from the strings to the wind on Mendelssohn's advice. It was not uncharacteristic of Schumann's greenness in orchestral matters at the time, that he should not have thought of giving the theme to the wind-rafter the carnival of the violins in the Scherzo proper—without being prompted thereto by his friend." The third movement. Adagio espressivo, 2-4, is the development of an extended cantilena that begins in C minor and ends in E-flat major. Violins first sing it; then the oboe takes it, and the song is more and more passionate in melancholy until it ends in the wood-wind against violin trills. This is followed by a contrapuntal episode, which to

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Op. 15, No. I. In thy Clear Eyes High Voice 40 No. 2 Love's Calendar High Voice 40 No. 3. To Mistress Rose High Voice 40

Op. 19, No. I. What the Flowers say High Voice 40 Do. Medium Voice 40 No. 2. The Garden Old (with Violin Obbligato) High Voice 50

Op. 20, No. I. You'll Love Me Yet High Voice 50 Do. Medium Voice 50 No. 2. Nevermore Alone High Voice 50 Do. Medium Voice 50 No. How do I Love Thee ? Medium Voice 60 No. Der Asra (The Asra) High Voice 40 Do. Medium Voice 40 High Voice 40 No. s. I plucked a Quill from Cupid's Wing Do. Medium Voice 40

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1»65 some is incongruous in this extremely romantic movement. The me- lodic development returns, and ends in C major. The finale, Allegro molto vivace, C major, 2-2, opens after two or three measures of prelude with the first theme of vigorous character (full orchestra except trombones). This is lustily developed until it reaches a transitional passage, in which the violins have prominent figures. All this is in rondo form. The second theme is scored for violas, 'cellos, clarinets, and bassoons, while violins accompany with the figures mentioned. This theme recalls the opening song of the adagio. A new theme, formed from development of the recollection, long hinted at, finally appears in the wood-wind, and is itself developed into a coda of extraordinary length. Figures from the first theme of the finale are occasionally heard, but the theme itself does not appear in the coda, although there is a reminiscence of a portion of the first theme of the first movement. The motto is sounded by the brass. There is a second exultant climax, in which the introductory motive is of great importance. This symphony, dedicated to Oscar I., King of Sweden and Norway, is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, three trombones, kettledrums, strings.

Fantasia in D major for Orchestra . . . . . J. Guy Ropartz

(Born at Guingamp, France, on June 15, 1864; now living at Nancy.) This "fantaisie" was composed in August-September, 1897. It was performed for the first time by Colonne's orchestra at the Chdtelet, Paris, March 6, 1898. The work, dedicated to Etienne Chauvy, is scored for one piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, and strings. It is built on two themes. Both of them are melodies of Brittany or in imitation of them. The first, a vigorous dance tune, is in 5-4 rhythm, and is announced immediately by 'cellos and double-basses, Assez vite. There is an interruption of a few measures, I^ent, 4-4,'*"and the theme is played

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1567 as before, but with the addition of violas. There is a second interruption, Lent, 4-4. The second theme, of a more tender nature, is divided into two sections, and the former assumes later a heroic character when played by the brass. The first section is sung at first by the clarinet, 3-4, 4-4. This phrase is developed by other instruments. The second section is at first a violin phrase, Un pen plus lent, 2-4. The rest of the work is a development of this thematic material. Although Ropartz intended at an early age to be a musician, he studied at Rennes at the college of St. Vincent, then at Vannes with the Jesuit fathers.* He was admitted to the bar at Rennes. Then he went to Paris to study music. He entered the Conservatory as a pupil of Dubois and Massenet, but he left to study with Cesar Franck. In 1894 he was appointed director of the Conservatory of Nancy. Ten conservatory concerts are given yearly under his direction, and the programmes of these concerts are distinguished by catholicity and fine taste. The list of his works includes incidental music for Loti and Tiercelin's play, "Pecheur d'lslande" (Paris, 1893), and from this two concert suites have been arranged; music to Tiercelin's "Keruzel" (1895), "Le Diable Couturier" (1894), and "Famille et PQtrie" (1891); two symphonies (the first was performed in 1895, the second lately); "Les Landes," a Breton landscape for orchestra; "Cinq pieces breves" for orchestra; "Dimanche Breton," an orchestral suite in four movements; "Carnaval," impromptu for orchestra; Quartet in G minor (1894); Serenade for strings; "Lamento," for oboe and orchestra; a 'cello sonata; Adagio for 'cello and orchestra; Festival March for orchestra; the One Hundred and Thirty-sixth Psalm for chorus, organ, and orchestra (1898), performed at Paris, in French provincial towns, and in cities of Germany; "Priere," for baritone and orchestra; "Quatre Poemes" (after Heine's Intermezzo), for baritone and orchestra (1899); "Les Fileuses de Bretagne," for female voices; music for. church; pianoforte pieces, among them a piece in B minor for two pianofortes'(i899) ; Andante and Allegro for trumpet and piano; organ pieces; a few songs. Ropartz is the author of a comedy in one act, "La Batte," played at the Th^Atre d' Application, Paris, in 1891. He has written volumes

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1659 of poems,—"Adagiettos," "Les Nuances," "Modes Mineurs." He has

' translated poems by Heine ; edited, in collaboration with Tiercelin, 'I

Pamasse Breton Contemporain " ; and written criticisms and impressions of travel entitled "Notations artistiques." Little is known of Ropartz's music in Boston. Three of his organ pieces are familiar to some organists, and Miss Lena Little sang his "Berceuse" at one of Miss Terry's concerts in Jordan Hall, March 20, 1905.

"Don Juan," a Tone;-poe;m (after Nicolaus Lenau), Op. 20. Richard Strauss (Born at Munich, June 11, 1864; now living at Charlottenburg—Berlin.)

"Don Juan" is known as the first of Strauss's symphonic or tone- poems, but "Macbeth," Op. 23, although published later, was composed before it. The first performance of "Don Juan" was at the second subscription concert of the Grand Ducal Court Orchestra of Weimar in the fall of 1889. The Signale, No. 67 (November, 1889), stated that the tone-poem was performed under the direction of the composer, "and was received with great applause." (Strauss was a court conductor at Weimar, 1889-94.) The first performance in Boston was at a Symphony Concert, led by Mr. Nikisch, October 31, 1891. The work is scored for three flutes (one interchangeable with piccolo), two oboes, cor anglais, two clarinets, two bassoons, double-bassoon, four horns, three trumpets, three tromlDones, tuba, a set of three kettledrums, triangle, cymbals, glockenspiel, harp, strings. The score is

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dedicated "To my dear friend, Ludwig Thuille" (born at Bozen in 1861), a composer and teacher, who was a fellow- student with Strauss at Munich. Extracts from Lenau's* dramatic poem, "Don Juan," are printed on a fly-leaf of the score. I have taken the liberty of defining the characters here addressed by the hero. The speeches to Don Diego are

in the first scene of the poem ; the speech to Marcello, in the last. These lines have been Englished by John P. Jacksont :

Don Juan {to Diego, his brother). magic realm, illimited, eternal, ' Of gloried woman,—loveliness supernal! Fain would I, in the storm of stressful bliss. Expire upon the last one's lingering kiss! Through every realm, O friend, would wing my flight, Wherever Beauty blooms, kneel down to each, And, if for one brief moment, win delight

Don Juan (to Diego). 1 flee from surfeit and from rapture's cloy. Keep fresh for Beauty service and employ, Grieving the One, that All I may enjoy. The fragrance from one lip to-day is breath of spring The dungeon's gloom perchance to-morrow's luck may bring. When with the new love won I sweetly wander. No bliss is ours upfurbish'd and regilded; A different love has This to That one yonder, Not up from ruins be my temples builded. Yea, Love life is, and ever must be new,

Cannot be changed or turned in new direction ; It cannot but there expire—here resurrection; And, if 'tis real, it nothing knows of rue! Each Beauty in the world is sole, unique So must the Love be that would Beauty seek! So long as Youth lives on with pulse afire. Out to the chase! To victories new aspire!

*Nicolaus Lenau, whose true name was Nicolaus Niembsch von Strehlenau, was bom at Cstatad, Hun- gary, August 13, 1802. He studied law and medicine at Vienna, but practised neither. In 1832 he visited the United States. In October, 1844, he went mad: his love'for'SopWe von Lbwenthal had much to do with the wretched mentaPcondition of -his later'i'years.'^He died''atf6berdobHng,''near Vienna, August 22, 1850. He himself called " Don Juan " his*strongest' work.^^S

tjohn P. Jackson, journalist, died at Paris, December i, 1897, at the age of fifty. He was for many years on the staff of the New York Herald. He espoused the cause of Wagner at a time when the music of that composer was not fashionable, andTie^Englished'some of' Wagner's hbrettos.fSPS

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

The first theme, E major, allegro molto con brio, 2-2, is a theme of passionate, glowing longing; and a second theme follows immediately, which some take to be significant of the object of this longing. The third theme, typical of the hero's gallant and brilliant appearance, proud and knight-like, is added; and this third theme is entitled by Mr. Mauke "the Individual Don Juan theme. No. i." These three themes are contrapuntally bound together, until there is, as it were, a signal given (horns and then wood-wind). The first of the fair apparitions appears,—the "Zerlinchen" of Mr. Mauke. The conquest is easy, and the theme of Longing is jubilant; but it is followed by the chromatic theme of "Disgust" (clarinets and bassoons), and this is heard in union with the second of the three themes in miniature (harp) The next period—" Disgust " and again "Longing"—is built on the significant themes, until at the conclusion (fortissimo) the theme "Longing" is heard from the deep-stringed —instruments (rapidamente) And now it is the Countess that appears, "the Countess , widow; she lives at a villa, an hour from Seville" (glockenspiel, harp, violin solo). Here follows an intimate, passionate love scene. The

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To these prominent features are due its great success as fashion's favorite. PRICES $3,22 and $3.52 PAIR melody of clarinet and horn is repeated, re-enforced by violin and 'cellos. There is canonical imitation in the second violins, and after- ward viola, violin, and oboes. At last passion ends with the crash of a powerful chord in E minor. There is a faint echo of the Countess theme; the 'cellos play (senza espressione) the theme of "Longing." Soon enters a "molto vivace," and the Cavalier theme is heard slightly changed. Don Juan finds another victim. Here comes the episode of longest duration. Mr. Mauke promptly identifies the woman. She is "Anna." This musical episode is supposed to interpret the hero's monologue. Dr. Reimann thinks it would be better to entitle it "Princess Isabella and Don Juan," a scene that in Lenau's poem answers to the Donna Anna scene in the Da Ponte-Mozart opera.* Here the hero deplores his past life. Would that he were worthy to woo her! Anna knows his evil fame, but struggles vainly against his fascination. The episode begins in G minor (violas and 'cellos). "The silence of night, anxious expectancy, sighs of longing"; then with the entrance of G major (oboe solo) "love's bliss and happiness without end." The love song of the oboe is twice repeated, and it is accompanied in the 'cellos by the theme in the preceding passage in minor. The clarinet sings the song, but Don Juan is already restless. The theme of "Disgust" is heard, and he rushes from Anna. The "Individual Don Juan theme. No. 2," is heard from the four horns,—"Away! away to ever new victories." Till the end the mood grows wilder and wilder. There is no longer

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

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time for regret, and soon there will be no time for longing. It is the Carnival, and Don Juan drinks^ deep of wine and love. His two themes and the themes of "Disgust" and the "Carnival" are in wild chromatic progressions. The glockenspiel parodies his second "Individual Theme," which was only a moment ago so energetically proclaimed by the horns. Surrounded by women, overcome by wine, he rages in passion, and at last falls unconscious. Organ-point. Gradually he comes to his senses. The themes of the apparitions, rhythmically disguised as in fantastic dress, pass like sleep-cha§ings through his brain, and then there is the motive of "Disgust." Some find in the next episode the thought of the cemetery with Don Juan's reflections and his invitation to the Statue. Here the jaded man finds solace in bitter reflection. At the feast, surrounded by gay company, there is a faint awak- ening of longing, but he exclaims: "The fire of my blood has now burned out." Then comes the duel with the death-scene. The theme of "Disgust" now dominates. There is a tremendous orchestral crash ; there is long and eloquent silence. A pianissimo chord in A minor is cut into by a piercingly dissonant trumpet F, and then there is a last sigh, a mourn- ing dissonance and resolution (trombones) to E minor. " Exhausted is the fuel, And on the hearth the cold is fiercely cruel."

Overture to "The Mastersingers of Nuremberg." Richard Wagner

(Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) The overture 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 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 1861. He worked at Biebrich in 1862 on the music. Weissheimer gave a concert at Leipsic, Novem- ber I, 1862. Wagner conducted the overtures to "The Mastersingers" and "Tann- hauser." 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, October 12, 1862: "Good: 'Tann- hauser' overture, then! That'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."

PH'JrA'f,^ Cocoa Wagner had proposed to add the prelude and finale of "Tristan" to

the prelude to "Die Meistersinger " ; 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. * * I give in condensed and paraphrased form Maurice Kufferath's anal-

ysis 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 E major, of frankly lyrical c^iaracter, 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 Klgar's theme of "Lon- don 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

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1571 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 Heinrich Mtigling.* This pompous theme may be called the fanfare of the corporation, the theme of the guild, or the theme of the banner, the em- blem 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 trumpets 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 accompaniment to his trial song in the first act. The tonality of the first period is C major, that of the love music is Allegretto. in staccato notes, , E major. And now there is an The oboe, 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 when 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

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ro^ctS^VrrrJ* J 79 Tremont street, Boston 1572 with the love theme, and with the fanfare of the corporation pla3^ed 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 corporation. The fanfare leads to a last and sonorous affirmation of the Mastersinger theme, which serves at last as a song of apotheosis.

WORKS PERFORMED AT THE SYMPHONY CONCERTS DUR- ING THE SEASON OF 1904-1905.

^\'orks marked with a double asterisk were performed for the first time in Boston. Works marked with an asterisk were performed for the first time at these concerts. Works marked with a dagger were performed for the first time anywhere. Artists marked with an asterisk appeared at these concerts for the first time. Artists marked with a double asterisk appeared for the first time in Boston. .\rtists marked with a dagger are members of the Boston Symphony Orchestra. page; Albert, Eugen d': Pianoforte Concerto, No. 2, in E major,

Op. 12.** (Eugen d' Albert.) February 4, 1905 . 900 Bach; Three Movements arranged for Orchestra by Wilhelm Gericke. October 29, 1904 151 Prelude, Adagio, and Gavotte, in Rondo Form (arranged for

strings by Sigismund Bachrich) . March 4, 1905 . . . 1126 Concerto in E major, No. 2, for Violin, with Accompaniment for Orchestra and Organ.* (EugENE YsayE.) Decem- ber 3, 1904 436 Bachrich. See Bach. Beethoven: Symphony No. 3, in E-flat major, "Eroica."

Op. 55. (Centenary performance) April 8, 1905 . . . 1392 Symphony No. 4, in B-flat major, Op. 60. October 22, 1904 69 Symphony No. 5, in C minor. Op. 67. December 31, 1904 652

Overture to "Leonore" No. 3, Op. 72. March 11, 1905 . . 1200 Overture to "Leonore" No. 3, Op. 72. April 8, 1905. Played at this last concert to pay greater tribute to Beethoven (centenary performance of his "Eroica").

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1573 Smetana's Overture to "The Kiss" was played at the

pubHc rehearsal, April 7, 1905. BbrIvIOz: Fantastic Symphony, No. i, in C major, Op. i6a. January 28, 1905 843

Overture to "King Lear," Op. 4. December 3, 1904 . . 413 See Weber. Brahms: Symphony No. i, in C minor, Op. 68. February 25, 1905 1066

vSymphony No. 3, in F major. Op. 90. Nov. 19, 1904 . . 269 "Tragic" Overture, Op. 81. April i, 1905 1297 Variations on a Theme of Josef Haydn, Op. 5 6a. April 15, 1905 1449 Waltzes, Op. 39 (scored by Wilhelm Gericke). January 7, 1905 / 715 Concerto in B flat major, No. 2, for Pianoforte, Op. 83. (Rafael JosEFFy.) December 31, 1904 628 Concerto in D major, for VioHn, Op. 77. (Fritz KreislER.) March 11, 1905 1194 Bruch: Concerto in G minor, for Violin and Orchestra, Op. 26. (Willy HESS.f) November 12, 1904 § Concerto No. 2, in D minor. Op. 44. (Kuge;ne; Ysaye.) December 3, 1904 444 Serenade for Violin and Orchestra, Op. 75.** (Marie Nich- ols.*) February 11, 1905 972 Penelope's Lament from "Odysseus," Op. 41. (Muriel Foster.) January 7, 1905 713 Caetani: Symphonic Prelude in A minor, No. 5, Op. 11.** Jan-

uary 28, 1905 _ . . 843 Chopin: Concerto No. 2, in F minor, Op. 21, for the Piano- forte and Orchestra. (Vladimir de Pachmann) Octo-

ber 29, 1904. (Ignaz PaderEwski) April 22, 1905 . 156, 1500 Converse: Two Poems, "Night" and "Day," for Pianoforte and Orchestra, Op. 11. f (Pianoforte, Heinrich Gebhard.) January 21, 1905 778

§No note was prepared for this concerto, for Mr. Hess played it at short notice in consequence of the sudden indisposition of Mr. Schmedes, who was announced to play Vieuxtemps's Concerto No. 4, in D ininor.

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1574 Cornelius: Overture to the Opera, "The Barber of Bagdad." January 28, 1905 825 Debussy: Prelude to Mallarme's Eclogue, "The Afternoon of a Faun."* December 31, 1904 632 DuKAS: Scherzo, "The Sorcerer's Apprentice."** October 22, 1904 84 Dvorak: Symphony No. 5, in E minor, "From the New World," Op. 95. October 15, 1904 33 Suite in D major. Op. 39. October 15, 1904 28 Overture, "Othello," Op. 93. October 15, 1904 .... 12 Overture, "Carnival," Op. 92. January 7, 1905 .... 725 Alto Solo, "Inflammatus et Accensus,"* from the "Stabat Mater," Op. 58. (Mrs. LouisE Homer.) October 15, 1904 25 Quartet, "Ouisest Homo,"* from the "Stabat Mater," Op. 58. (Mrs. Grace B. Williams,* Mrs. Louise Homer,* Mr. Theodore van Yorx,* Mr. L. B. MeSrrill.*) October 15, 1904 33 Elgar: "Sea Pictures," Nos. 2,** 4,** 5,** Op. 37, for Contralto

and Orchestra. (Muriel Foster.) January 7, 1905 . 720 Erlanger, Frederic d': "Morte," Song with Pianoforte.** (Charles Gilibert.) December 23, 1904 .... 588 Faure: "Pelleas and Melisande," Suite from Stage Music to 80.* Maeterlinck's Tragedy, Op. December 17, 1904 . 498 Franck, Cesar: Symphony in D minor. February 11, 1905; April 29, 1905 (by request) 998, 1524

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GerickS. See Bach and Brahms. GIvUCk: Recitative, "The Gods have foreshewn me," and Aria, "Foreboding Fears of 111,"* from "Iphigenia in Tauris." (Giuseppe Campanari.) March 4, 1905 1121

Goldmark: Overture, "Sappho." November 26, 1904 . . . 372 Overture, "In Italy," Op. 49.**' February 4, 1905 ... 893 for Pianoforte and Orchestra, Op. Grieg : Concerto in A minor,

16. (Cornelius Ruebner.*) March 25, 1905 . . 1242 HadIvEy: Symphony No. 2, F minor, "The Four Seasons," Op. 30.** April 15, 1905 1425

Handel: Concerto Grosso, No. 12, in B minor. April 8, 1905 . 1376 Haydn: Symphony in E-flat major (B. & H., No. i). November 12, 1904 197

Symphony in G major, "Oxford." January 21, 1905 . . 757 Aria, "With Eagerness the Husbandman,"* from "The Seasons." (Charles Gilibert.) December 23, 1904 560 HensELT: Concerto in F minor, for Pianoforte and Orchestra, Op. 16. (Fanny Bloomfield-ZeislER.) November 26, 1904 354 HubER: Symphony No. 2, K minor, "Bocklin," Op. 115. April I, 1905 1324 57.** Indy, Vincent d' : Symphony in B-fiat major. No. 2, Op. January 7, 1905 689 Violin Orchestra, 1 1 Joachim : Hungarian Concerto for and Op. (Mr. Willy HESs.*t) October 22, 1904 78

' ' ' ' ' Pianoforte. IvALO : Aubade from Le Roi d Ys, with (CharlES Gilibert.) December 23, 1904 589 LiSZT: Symphonic Poem No. 7, "Fest-Klange." April 15, 1904 1461 Symphonic Poem No. 11, "The Battle of the Huns." No- vember 26, 1904 364

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1577 Legend, "The Sermon of Saint Francis of Assisi to the

Birds," orchestrated by Felix Mottl.** December 3, 1904 440 See ScHUBBRT. Massenet: Alain's Air, "Open, ye Gates of Paradise,"* from the Opera "Griselda." (Ellison Van Hoose.) April 15, 1905 1438 Mendelssohn: Overture to "Camacho's Wedding," Op. 10. December 23, 1904 553 Overture, "Sea-calm and Prosperous Voyage." April 22, •1905 1485 Mottl. See Diszt.

Mozart : Symphony in C major, No. 34 (K. 338). December 17, 1904 485 Symphony in D major (K. 504). March 25, 1905 .... 1233 Overture to the Opera, "The Marriage of Figaro." Feb- ruary II, 1905 965 Recitative, "How Susanna^delays, " and Aria., 'Flown For- ever,"* from "The Marriage of Figaro." Johanna Gadski.) November 19, 1904 282 "Turn your Glance on him,"* from "Cosi fan Tutte."

(Giuseppe Campanari.) March 4, 1905 . . . . . 1128

Rachmaninoff : Concerto for Pianoforte and Orchestra, in F- sharp minor. Op. i.** (Carlo Buonamici.) Decem- ber 17, 1904 494

Rimsky-Korsakoff : Symphonic Suite, "Scheherazade" (after "The Thousand Nights and a Night"), Op. 35. Feb- ruary 4, 1905 911

"Sadko," a Musical Picture, Op. 5.** March 25, 1905 . . 1251 RoparTz: Fantasia in D major.** April 29, 1905 1556 Saint-Saejns: Symphony No. i, in K-flat major, Op. 2.** No- vember 26, 1904 341 "The Youth of Hercules," Symphonic Poem No. 4, Op. 50.

April 8, 1905 , 1384

Schubert: Symphony in C major. No. 7. March 4, 1905 . . 1136

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The first volume contains pieces by Byrde, Bull, Gibbons, Blow and Purcell, Fres- cobaldi, Kossi, Pasquini and Alessandro Scarlatti, Froberger, Kerll, Buxtehude, f'achel- bel and Kuhnau, Dumont, d'Anglebert, Chambonnieres, Louis Couperin, Lully and Loeillet. The second, Couperin and Rameau, Mnrschhauser, Mattheson and Muffat, and Domenico Scarlatti. 1578 f 1

Funeral March, orchestrated by Liszt (in memory of Theo- dore Thomas). January 7, 1905 687 Schumann: Symphony No. 2, in C major, Op. 61. April 29,

1905 • • 1549 Symphony in E-flat major, No. 3, "Rhenish," Op. 97. De- cember 3, 1904 450

Overture to "Genoveva," Op. 81. December 31, 1904 . . 621 Concerto in A minor, for Pianoforte, Op. 54. (Ernest ScHELLiNG.**) February 25, 1905 1042 Sinding: Episodes Chevaleresques, Suite in F major, for Or- chestra, Op. 35 (Nos. I., II., IV.).** February 25, 1905 1033 SmETana: Overture to the Opera, "The Kiss"** (played only

at the public rehearsal, April 7, 1905; Beethoven's ' " ' Leonore No. 3 was substituted at the concert, April 8) 1 36 Strauss, Richard: Introduction to Act I. of "Guntram." No- vember 12, 1904 222

Introduction to Act II. of "Guntram." March 25, 1905 . . 1269 "Don Juan," Tone-poem (after Lenau), Op. 20. February

II, 1905; April 29, 1 905. (by request) .... 976, 1560 StrubE: Symphonic Poem, "Longing," for Viola and Orchestra. (Viola, Emile FERiR.f) April 22, 190^ 1490

SuK: Symphony in E major, Op. 14.** October 29, 1904 . . 164

TscHAiKOWSKY : "Manfred" vSymphony, Op. 58 (after Byron's Dramatic Poem). March 11, 1905 11 69 Symphony No. 6, "Pathetic," in B minor, Op. 74. Decem- ber 23, 1904 564 Italian Caprice, Op. 45. November 12, 1904 227 Concerto in D major, for Violin and Orchestra, Op. 35. (Karl Barleben.*!) April i, 1905 1300 Van der Stucken: Symphonic Festival Prologue, "Pax Tri- umphans," Op. 26.** December 23, 1904 .... 594

Volkmann : Concerto in A minor, for Violoncello and Orghestra,

Op. 33.- (Rudolf Krasselt.!) January 28, 1905 . 838 Wagner: Overture to "Tannhaaser." October 22, 1904 ... 93

Overture to "The Flying Dutchman." December 17, 1904 . 514

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1579 A "Faust" Overture. March 4, 1905 ...... Hot

Prelude to "The Mastersingers." April 29, 1905 . . . . 1569 Centennial March. January 21, 1905 783 Finale of "The Dusk of the Gods." (Johanna Gadski.) November 19, 1904 306 Lohengrin's Narrative from "Lohengrin." (EiyLiSON Van Hoose;.) April 15, 1905 1452 WKBER: Overture to "Oberon." October 29, 1904 133 "Invitation to the Dance" (orchestrated by Berlioz). Feb- ruary 4, 1905 904 WiENiAWSKi: Concerto No. 2, in D minor, for Violin and Orches- tra, Op. 22. (Timoth^e; ADAMOWSKi.t) January 21, 1905 777 WoivP, Hugo: Symphonic Poem, " Penthesilea " (after Kleist's Tragedy).** November 19, 1904 287

Italian Serenade for Small Orchestra.** April i, 1905 . . 1320.

WORKS PERFORMED FOR THE FIRST TIME IN BOSTON. Symphonies.

HadlKy: Symphony No.' 2, F minor, "The Four Seasons," Op. 30. April 15, 1905. DTndy: Symphony in B-flat major. No. 2, Op. 57. January

7, 1905- SainT-Saens: Symphony No. i, in E-flat major. Op. 2. No- vember 26, 1904. SuK: Symphony in E major. Op. 14. October 29, 1904 ... 4

Symphonic Poems, etc. Converse: Two Poems, "Night" and "Day," for Pianoforte (Heinrich Gebhard) and Orchestra, Op. 11. t Janu- ary 21, 1905. I m Carried forward 5

Mrs. riabel flann Jordan, Hiss n. Q. CLIFFORD, Pupil of SiLVESTRi, Naples, Italy. MILLINERY. MANDOLIN, GUITAR, and BANJO inPORTER. DESIGNER. INSTRUCTION. 739 Boylston Street, Room 225. At 7 Irvington Street, Boston, Suite i, Mondays and Thursdays. Imported Models shown, and copied at Address, Randolph, Mass. moderate prices. HAVE YOU A PHILADELPHIA ICE-CREAM CO.'S REPAIRING J.iMaNHI^'* ICE-CREAMS ECOVERING Umbrella MFC* A SPccvAiry-'-^ loviH ASrowti,'^ 38 WEST ST., near Trcmont St., 22. Winter St Bo^ro^ Telephone, Oxford 582. BOSTON

1580 S>6e Educational Value of Uhe PIANOLA

The invention of the Pianola has made it possible for every one to obtain in the home an intelligent familiarity with the world's masterpieces of music, without which no education can be considered well-rounded or complete. During the past year the educational world has been deeply stirred by a realization of the importance of the Pianola in inculcating an appreciation of music, as distinguished from the old-fashioned idea that a musical education consisted in trying to learn to perform upon the piano — and not succeeding. Progressive colleges and schools which aim to have the latest and best appliances for the use of pupils have added or are now about to add a Pianola to the Department of

Music. The following is but a partial list of such institutions in which either a Pianola or an .^olian is at present being used : —

Harrard Uniyersity. Crane Normal Institute of Music Colanibia University. (Potsdam, N.T.). Uiii?ersity of Michigan. Wadleigh High School, N.Y. Amherst College. New York Training School for Vassar College. Teachers. Kadcliffe College. American Institute of Applied Tufts College. Music. Teachers' College. Hill School (Pottstown, Pa.). Oberlin College. Briarcliff Manor School. Beloit College. Morton Street Public School Brooklyn Institute of Arts and (Newark, N.J.). Sciences. > Miss May Winsor's School (Boston). Framingham (Mass.) ^Normal School. St. Mary's Academy (Burlington, Yt.) Columbia Conserratory of Music (Chicago).

It is interesting to learn that so many of our foremost educational institutions have introduced a piano-player into the Department of Music. But it is significant that in every instance the choice has been the Pianola. Under the auspices of the recently inaugurated " Music Lovers' Library," clubs are being formed in all parts of the country to carry on the study of music in private homes. Most instructive and fascinating courses in musical appreciation are now available to all Pianola-owners. A very interesting descriptive handbook of the New Musical Education will be sent to any address upon application to the .ffiolian Company, 362 Fifth Avenue, New York. ^hQ Metrostyle is now^ incorporated in all Pianolas. Prices, $250 and $300

The Pianola has in the Metrostyle an improvement of the utmost importance, which is not even approximated in any other piano-player.

The M. STEINERT & SONS CO 162 Boylston Street, Boston Brought forward

RiMSKY-KoRSAKOFP : "Sadko," a Musical Picture, Op. 5. March 25, 1905. RoPARTz: Fantasia in D major. April 29, 1905. StrubE: Symphonic Poem, "Longing, for Viola (EmilE FERiRf) and Orchestra. f April 22, 1905. WoivF: "Penthesilea" (after Kleist's Tragedy). November 19, 1904

Overtures and Preludes.

Caetani : Symphonic Prelude in A minor, No. 5, Op. 1 1 . Jan- uary 28, 1905. GoivDMARK: Overture, "In Italy," Op. 49. February 4, 1905. .Smetana: Overture to the Opera, "The Kiss." Public rehearsal

only, April 7, 1905. Van der Stucken: Symphonic Festival Prologue, "Pax Tri- umphans," Op. 26. December 23, 1904

Suites, Variations, etc.

DuKAS: Scherzo, "The Sorcerer's Apprentice." October 22, 1904. Liszt-Mottl: Legend, "The Sermon of Saint Francis of Assisi

to the Birds." December 3, 1904. SiNDiNG: "Episodes Chevaleresques," Suite in F major, Op. 35 (Nos.T., II., IV). February 25, 1905. WoivE: Italian Serenade. April i, 1905

/ Concertos.

D'AivBERT: Pianoforte Concerto No. 2, in E major, Op. 12.

, (EugEn d'AlbERT.) February 4, 1905.

Bruch : Serenade in A minor for Violin (Marie Nichols*) and Orchestra, Op. 75. February 11, 1905.

Carried jor ward 19

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1.^82 THE ANGELUS

^ Of all piano players, the Angelus alone was an original inven-

tion : all others were copied from it. The Angelus alone has

been improved constantly by its inventors. That is why it is as

infinitely above all imitators as a painting is above the lithograph which copies the masterpiece. Month after month the Angelus has been improved,— here a new touch, there a new idea,— giving powers of human expression possessed by no other piano player that exists.

^ Just a few weeks ago a jury of musical critics tried to distin- guish between hand playing and Angelus playing, and failed absolutely to detect the change from one to the other. No other piano player ever won such a victory. No other piano player gives the performer such powers.

^ And it is exactly this power which marks the line between the mechanical players and the Angelus. To the real musician this

difference is as broad as the world of art.

^ The inventive genius of the makers of the Angelus

is best shown in the marvellous powers demonstrated by the newest model of the Angelus, now being shown.

^ We should be glad to demonstrate the Angelus for you at any time, whether

you wish to purchase it, or are simply curious to know

what its possibilities really are. FOR SALE BY

C. C. HARVEY COMPANY, 144 Boylston Street, Boston

1583 Brought forward ...... 19 Rachmaninoff: Concerto in F-sharp minor for Pianoforte and Orchestra, Op. i. (Carlo Buonamici.) December 17, 1904 I 20

SUMMARY.

D'Albert .1 D'Indy I Bach Joachim i 3 , Beethoven 5 IvALO I Beruoz 2 Liszt 3 Brahms 7 Massenet i Bruch 4 Mendelssohn 2 Caetani I Mozart 5 Chopin 2 Rachmaninoff ..... i Converse i RiMSKY-KORSAKOFF .... 2 Cornelius i Ropartz I Debussy i Saint-SaEns 2 DUKAS I Schubert ...... 2 Dvorak 6 Schumann, R. 4 ElvGAR ...... I SiNDING I D'Erlanger I Smetana I Faure; .1 Strauss, R 4 Franck 2 Strube I Gluck I SUK I GOLDMARK 2 tschaikowsky 4 i Grieg i Van der Stucken . . . . Hadley I volkmann i

i Handel . Wagner 7 Haydn 3 Weber 2

' I Henselt I WiENIAWSKI ...... I HUBER Wolf, Hugo ...... 2 103

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I. Symphonies.

Beethoven: Symphony No. 3, in E-flat major, "Eroica," Op. 55. Symphony No. 4, in B-flat major, Op. 60. Symphony No. 5, in C minor, Op. 67

Berlioz: Fantastic S}Tnphony, in C major, No. i. Op. i6a . . Brahms: Symphony No. i, in C minor. Op. 68. Symphony No. 3, in F major. Op. 90 Dvorak: Symphony No. 5, in E minor, "From the New World," Op- 95 ••.•••.•• -. Franck: Symphony in D minor (twice) Hadley: Symphony No. 2, F minor, "The Four Seasons," Op.

o*J Haydn: Symphony in E-flat major (B. & H., No. i). Symphony in G major, "Oxford"

Huber: Symphony No. 2, E minor, "Bocklin," Op. 115 . . .

D'Indy: S}Tnphon5'^ No. 2, in B-flat major. Op. 57** . . . .

Mozart : Symphon}^ in C major (K. 338).

Symphony in D major (K. 504) ...... ^ .

Saint-SaSns: Symphony No. i, in E-flat major, Op. 2** . . . Schubert: Symphony in C major, No. 7 Schumann: Symphony No. 2, in C major, Op. 61.

Symphony No. 3, in E-flat major, "Rhenish," Op. 97 . . SuK: Symphony in E major, Op. 14**

TscHAiKOWSKY : "Manfred" Symphony, Op. 58.

Symphony No. 6, "Pathetic," in B minor, Op. 74 ... . 2 23

II. Suites.

Bach : Three movements, orchestrated by Wilhelm Gericke .

Carried forward

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Brought forward i

Prelude, Adagio, and Gavotte, orchestrated by Bachrich . i Dvorak: Suite in D major, Op. 39 i Faure;: "Pelleas and Melisande," Suite from Stage Music to Maeterlinck's Tragedy, Op. 80* i Handel: Concerto Grosso, No. 12, in B minor 1 i Rimsky-Korsakoff : "Scheherazade," Op. 35 Sinding: "E)pisodes Chevaleresques," Suite in F major. Op. 35 (Nos. I., II., IV.)** I

III. Symphonic Poems.

Converse: "Night" and "Day," for Pianoforte (H. Gebhard) and Orchestra, Op. iif i ' IviszT : "The Battle of the Huns. " Fest-Klange " 2

i Rimsky-Korsakoff : "Sadko," Op. 5** Saint-Saens: "The Youth of Hercules," Op. 50 ..... i Strauss, R.: "Don Juan," Op. 20 (twice) 2 i StrubE: "Longing," for Viola (E. FERiRf) and Orchestral . . Wolf, H.: "Penthesilea" (after Kleist's Tragedy)** .... i

254 BOYLSTON STREET .-. .-. BOSTON WE ARE PREPARED TO SHOW ALL THE NEWEST EFFECTS for the HEAD, including )Mo8t exclusive IModels from Parie BESIDES SOME EXCEEDINGLY GOOD ONES OF OUR OWN DESIGN. WE ARE ALSO SHOWING SOME VERY 8inart Shirt ^aiets and Parasols AN EARLY ORDER FOR THE HYNDS CORSET WILL BE APPRECIATED HAVE YOU TASTED IT? 0i.CHOCOl4/r/^^ 0-

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1687 ' "

IV. OVKRTURBS AND PrBLUDES,

Beethoven: Overture to "Leonore" No. 3, Op. 72 (twice) . , Berlioz: To "King Lear," Op. 4

Brahms: "Tragic," Op. 81 ,

CaETani : Symphonic Prelude in A minor, No. 5, Op. 11**. . , Cornelius: To "The Barber of Bagdad" Debussy: Prelude to Mallarme's "The Afternoon of a Faun"* Dvorak: "Othello," Op. 93.

"Carnival," Op. 92 ^ . . . . -. Goldmark: "Sappho," Op. 44. "In Italy," ** Op. 49 Mendelssohn: To "Camacho's Wedding," Op. 10.

"Sea-calm and Prosperous Voyage" . .

Mozart : To "The Marriage of Figaro" . . . Schumann: To "Genoveva," Op. 81 Smetana: To "The Kiss"**

Strauss, R. : Introduction to Act I. of "Guntram. Introduction to Act II. of "Guntram" Van der Stucken: Symphonic Festival Prologue, "Pax Tri-

umphans,"** Op. 26 . . .

' ' Wagner : To ' Tannhauser.

To "The Flying Dutchman" .

Carried forward 21

Melville Clark Apollo Piano

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U89 Brought forward 21 A "Faust" Overture. To "The Mastersingers " 2

Weber: To "Oberon" i

V. Miscellaneous.

Brahms: Waltzes, Op. 39, orchestrated by W. Gericke. Variations on a Theme of Haydn, Op. 56A ...*... 2 DuKAS: Scherzo, "The Sorcerer's Apprentice"** ..... i

Liszt : Legend, "The Sermon of Saint Francis of Assisi to the Birds," orchestrated by Felix Mottl**

RoPARTz: Fantasia in D major** .

Schubert : Funeral March, orchestrated by Liszt . . . .\ .

TscHAiKOWSKY : Italian Caprice, Op. 45 Wagner: Centennial March

Weber: "Invitation to the Dance," scored by Berlioz . . .

WoLE, H. : Italian Serenade**

\ 10

VLADJMIR PACHMANNDE A Piano of the Highest Type

Plus the Means to play it

FOR YEARS piano development has been one sided. It was all in the direction of making the piano a better piece of mechanism, — of improving its tone, its action, its musical qualities. But nothing practical was accomplished in making the piano easier to play upon, nothing until the invention of the Pianola six years ago.

When the success of this marvellous instrument became apparent, and it was finally accepted by the musical world as a thoroughly artistic aid in playing the piano, the next step was to bring piano and Pianola into complete unison. Instead of the two in separate cases, could they not be brought into a single compact instrument ?

Upon this problem were centred the efforts of a force of musical and mechanical experts such as had never been brought together before. After several years of con- tinual experiment, success was finally achieved in the P.anola Piano, of which the highe.->t point of development to-day has been attained in the Weber Pianola Piano

It is a piano of the highest grade, leaving nothing to be desired from every stand- point from which pianos have heretofore been judged. The fact that it is the Weber piano which has been used — an instrument which has never occupied other than one position, that in the front rank — is a guarantee of the new piano's excellence. No iota of the distinctive " Weber Tone" has been lost in making the combination.

To this world-famous piano, with over fifty years of prestige, is now added the Pianola, " the standard piano-player of the world." The two instruments hsve been so ingeniously built into each other that practically no more floor space is required for the combination than for a regular upright. The exterior appearance of the Pianola Piano i» the same as that of any high-grade upright. A sliding panel and disappearing pedals completely conceal the Pianola feature when hand- playing alone is desired.

Never before has a piano been produced, the advantages of which were so plain and unmistakable as in the Pianola Piano. One does not have to be a piano expert to appreciate that here is a most remarkable creation, which is bound to revolutionize the entire piano industry.

Sold on moderate monthly payments. Pianos of other makes taken in exchange at fair valuation.

Messrs. 5TEINERT (SL SONS COMPANY 162 Boylston Street, Boston

The AEOLIAN COMPANY, Aeolian Hall 362 FiftH Avenue, Near 34tK Street, New YorK

u»l Miss M. R FISK

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SOLD ONLY BY THIS FIRM

Foreign Boolcs Popular Dance Music. Foreign Periodicals

Westport Harbor Waltzes Tauchnitz's British AHtiiors F. C. Rodman $0.60 Sybil Waltzes. Myrtle Chase .60 CO. The Red, Red Rose Waltzes TheSCHOENHOF BOOK Successor to CUPPLES & SCHOENHOF S. E. Shove .... 60 128 Tremont St., 2d door north af Winter Street, Violet Waltzes. G. H. Cox . .50 over Wood's Jewelry Store. (Tel., Oxford 10992.) ApoUinaris Waltzes

C. Lawrence Smith, Jr. . .60 Union Harvard March. G. H. Cox .50 SPRUNG MILLINERY Veritas March. J. H. Densmore . •50 Castine Two-step. W. Parker .50 New models constantly arriving. Prices Marimonte Polka. W T Sumner .60 reasonable.

Mile. CAROLINE C. W. THOMPSON & CO. 486 Boylston Street, . . Boston. 13 West Street, BOSTON, flass. In block of Brunswick Hotel.

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1692 VI. Concertos and Instrumental Solos with Orchestra.

D'AlberT: Concerto in E major, No. 2, for Pianoforte, Op. 12.**

(Eugen d'Albert) I Bach: Concerto for Violin in E major. No. 2.* (Euge;ne

Ysaye) I Brahms: Concerto in D major, for Violin, Op. 77. (Fritz KreislEr.) Concerto in B-flat major, No. 2, for Pianoforte, Op. 83. (Rafael Joseffy) 2 Bruch: Concerto in G minor, for Violin, Op. 26. (Willy HESS.f) Concerto No. 2, in D minor, Op. 44. (Euge;ne Ysaye.) Serenade in A minor. Op. 75, for Violin.** (Marie Nichols*) 3 Chopin: Concerto No. 2, in F minor, for the Pianoforte, Op. 21. (Vladimir de Pachmann, Ignaz Paderewski) ... 2 Grieg: Concertoin A minor, for Pianoforte, Op. 16. (Cornelius

RUEBNER**) I HensELT: Concertoin F minor, for Pianoforte, Op. 16. (Fanny

Bloomfield-Zeisler) I Joachim: Hungarian Concerto for Violin, Op. 11. (Willy

HEss*t) I Rachmaninoff: Concerto in F -sharp minor, No. i. Op. i, for

Pianoforte.** (Carlo Buonamici) i

Carried forward 13

CHARLES E. EXHIBITION AND SALE OF ORIGINAL DRAWINGS V/\/AJl^CORR BY LEADING AMERICAN ILLUSTRATORS ^},,pp,pl 346 BOYtSTON STREET «ALLEKICj (Opposite ArliQgtoD Street Church)

THE FOUNDATION OP THE PIANO '^s a solid iron frame to support the twenty tons of strain from the strings, where other pianos have wood, which is affected by STICK weather. That foundation gives, and preserves, its wonderful tone. It makes it stay in tune. It makes the superior workmanship and materials worth while. It makes permanent the benefits of our forty-seven years of experience. It makes it materially better than any other piano, and has won its title, "THE OLD RELIABLE" A catalogue for the asking. GEORGE STECK & CO., 136 FIFTH AVENUE, NEW YORK. PIANOS 1S93 Brought forward 13

Schumann : Concerto in A minor, for Pianoforte, Op. 54. (Er- nest SCHELUNG**) I

TscHAiKOWSKY : Concerto in D major for Violin, Op. 35. (Karl BARLEBEN*t) J Volkmann: Concerto in a minor, Op. 33, for Violoncello. (Ru- dolf KRASSELTt) I WiENiAWSKi: Concerto in D minor. No. 2, for Violin, Op. 22. (TiMOTHE;E ADAMOWSKlf) I

VII. Vocal Music : Scenes, Arias, etc.\ Bruch: Penelope's Lament from Bruch's "Odysseus," Op. 26.

(Muriel Foster) . . . . Dvorak: "Inflammatus,"* from "Stabat Mater," Op. 58. (Louise Homer.*) Quartet, "Quis est Homo,"* from "Stabat Mater." (Grace B. Williams,* Louise Homer,* Theodore van Yorx,* L. B. MERRILL*) Elgar: "Sea Pictures, "Nos. 2,*4,*5,*Op. 37. (MuRiEL Foster)

D'Erlanger: "Morte."** (Charles Gilibert) . . . . . Gluck: Recitative and Aria, "Foreboding Fears of 111,"* from

"Iphigenia in Tauris." (Giuseppe Campanari) . . Haydn: "With Eagerness the Husbandman,"* from "The Sea- sons. " (Charles Gilibert)

Lalo: Aubade* from "Le Roid'Ys." (Charles Gilibert) . . Massenet: Alain's Air, "Open, ye Gates of Paradise,"* from

"Griselda. " (Ellison Van HoosE) ......

! Mozart : Recitative, " How Susanna delays " and Aria, "Flown Forever," from "The Marriage of Figaro." (Johanna Gadski.) "Turn your Glance on him,"* from "Cosi fan Tutte." (Giuseppe Campanari) Wagner: Finale of "The Dusk of the Gods." (Johanna Gadski.) Lohengrin's Narrative from the Opera "Lohengrin." (El- lison Van Hoose)

CHANGES IN PROGRAMME.

Vieuxtemps's Violin Concerto in D minor. No. 4, Op. 31, announced to be played on November 12, 1904, by Mr. Schmedes,f was not played; for notes see page 208. Mr. Hessf played in its stead Bruch's G minor Concerto, Op. 26. Instead of Bruch's Fantasia on Scottish Airs for Violin, announced for Decembre 3, 1904, Bruch's Concerto No. 2, in D minor. Op. 44, was played by Mr. Ysaye. Beethoven's overture, "Leonore" No. 3, was substituted April 8, 1905, for Smetana's overture to "The Kiss," played on April 7, 1905. Schubert's Funeral March, orchestrated by Liszt, was played at the beginning of the concert of January 7, 1905, as a tribute to the memory of Theodore Thomas. 1B91 THE FOLLOWING ARTISTS HAVE APPEARED THIS SEASON. PAGE Mr. TiMOTH^E Adamowski,! violinist. January 21, 1905.

Wieniawski's Concerto in D minor, No. 2, Op. 22 . . 755 Mr. EuGEN D'Albert, pianist. February 4, 1905. D'Albert's Pianoforte Concerto No. 2, in E major, Op. 12.** (Sketch) 895 Mr. Karl Barleben,*! violinist. April i, 1905. Tschaikow- sky's Concerto in D major, Op. 35. (Sketch) .... 1299 Mme. Fanny BloomfiELD-ZeislER, pianist. November 26, 1904.

Henselt's Concerto in F minor, Op. 16. (Sketch) . . 352 Mr. Carlo Buonamici, pianist. December 17, 1904. Rachmani-

noflf's Concerto in F-sharp minor, Op. I.** (Sketch) . 492 Mr. Giuseppe Campanari, baritone. March 4, 1905. Recita- tive and Aria, "Foreboding Fears of 111,"* from Gluck's "Iphigenia in Tauris"; "Turn your Glance on him," from "Cosi fan Tutte."* (Sketch) 1121

Miss Muriel Foster, contralto. January 7, 1905. Penelope's Lament, from "Odysseus," Op. 41; Elgar's "Sea Pict- ures," Nos. 2,* 4,* 5,* Op. 37. (Sketch) 712 Mme. Johanna Gadski, soprano. November 19, 1904. Reci- tative and Aria from Mozart's "Marriage of Figaro"

and Finale from "The Dusk of the Gods." (Sketch) . 276 Mr. Charles Gilibert, baritone. December 23, 1904. Aria, "With Eagerness the Husbandman,"* from Haydn's "Seasons"; with Pianoforte, d'Erlanger's "Morte"**

and the Aubade from Lalo's"Roid'Ys."* (Sketch) . 556 Mr. Willy Hess,*! violinist. October 22, 1904, Joachim's Hungarian Concerto, Op. 11. (Sketch.) November 12, 1904, Bruch's Concerto No. i, in G minor. Op. 26 76 Mrs, Louise Homer,* contralto. October 15, 1904. Solo, "In- flammatus,"* from Dvorak's "Stabat Mater." Quar- tet, "Ouis est Homo,"* from the same work .... 3 Mr. Rafael JosEPFY, pianist. December 31, 1904. Brahms's

Concerto in B-flat major. No. 2, Op. 83. (Sketch) . . 626 Mr. Rudolf Krasselt,! 'cellist. January 28, 1905. Volk-

mann's Concerto in A minor, for Violoncello, Op. 33 . 823 Mr. Fritz KreislER, violinist. March 11, 1905. Brahms's Concerto ;n D major, Op. 77. (Sketch) 1193 Mr. L. B. Merrill,* bass. October 15, 1905. Quartet, "Quis

est Homo,"* from Dvorak's "Stabat Mater" . ... 3

Miss Marie Nichols,* violinist. February 11, 1905. • Bruch's Serenade in A minor. Op. 75.** (Sketch) .... 972 Mr, Vladimir de Pachmann, pianist. October 29, 1904.

Chopin's Concerto in F minor. Op. 21. (Sketch) . . 154 Mr. Ignaz Paderewski, pianist. April 22, 1905. Chopin's Concerto in F minor, Op. 21. (Sketch) 1496 Mr. Cornelius Ruebner,** pianist. March 25, 1905. Grieg's Concerto in A minor. Op. 16. (Sketch) 1240 Mr. Ernest SchElling,** pianist. February 25, 1905. Schu-

mann's Concerto in A minor. Op. 54. (Sketch) . . 1042 Mr. Ellison Van Hoose, tenor. April 15, 1905. Air of Alain, "Open, ye Gates of Paradise,"* from "Griselda"; Lohen^n's Narrative from "Lohengrin." (Sketch) 1436 Mr, Theodore VAN YoRX,* tenor. October 15, 1904. Quartet,

"Quis est Homo,"* from Dvorak's "Stabat Mater" . . 3 Mrs. Grace B. Williams,* soprano. October 15, 1904. 'Quar- tet, "Quis est Homo,"* from Dvorak's "Stabat Mater" 3 Mr. Euge;nE Ysaye, violinist. December 3, 1904. Bach's Concerto in K major, No. 2,* and Bruch's Concerto No. 2, in D minor, Op. 44. (Sketch) 433 * * * Sopranos: Mme. Gadski, Mrs. WiUiams* 2 Contraltos: Miss Foster, Mrs. Homer* 2 Tenors: Mr. Van Hoose, Mr. van Yorx* 2 Baritones: Mr. Campanari, Mr. Gilibert 2 Bass: Mr. Merrill* i Pianists: Mme. BloomfieldrZeisler, Messrs. d 'Albert, Buona- mici, Joseffy, de Pachmann, Paderewski, Ruebner,* Schelling* 8 Violinists: Miss Nichols,* Messrs. Adamowski,t Barleben,*t Hess*t (twice), Kreisler, Ysaye 7

'Cellist: Mr. Krasselt - i

Accompanist: Mr. Zachf for Mr. Gilibert. * * *

Incidental Solos: Mr. E. Ferir, f viola : Strube's "Longing." Mr. Gebhard, pianist: Converse's "Day" and "Night." * * * Organist: Mr. Wallace Goodrich.

ENTR'ACTES. PAGE Baughan, E. a. "'Maeterlinck and Music " 509 Blackburn, Vernon: "The Absolute and Dramatic in Music," 716 "CosifanTutte" 1132

"Historical Recitals" , . . . . 361 " Mozart and Beethoven " 1196 " North and South" . .1322

Brinton, Christian : "Bocklin" 1336 Ford, Richard: "Certain Spanish Dances" 1051 Hale, Philip: "Concerning Foreign Visitors" 1509 "Debussy" 641 "DvoMk"' 5 "Dvorak's Music in Boston" 42

"Handel at Oxford" , . . . 766 "Hercules and Music" 1386 "King Lear and Music" 43^ "Othello and Music" 20 "Rimsky-Korsakoff" 923 " Tschaikowsky in Rome " 236

"Russian Opera" • . 1258

"Wagner and America" . ., 790 1596 "Walt Whitman, Music Suggested by" 782, 869 "Wolf, Hugo," 292, 300 Marnold, Jean: "Cesar Franck" looi Newman, Ernest: "Concerning Programme Music" .... 989

RuNCiMAN, J. F. : "Booms in Musicians" 1060

INDEX TO SUNDRY REFERENCES AND FOOTNOTES.

Biographical: Albinoni, 437 ; Auer, 1310; Mrs. Austin, 146, 151; Balakireff, 924; Bertin, Beck (tenor), 1 456- 1 458; Bellamy, 757 ; Benucci, 1132; Berber, 439; 418; Bilse, 229; Blanchard, 343; H. Blume, 553; Bonno, 485; Bouilly, 1208; Bousquet, 210; C. Brandt-Weber, 904; L. Breval, 298; Brodsky, 1312; Brunforte, 440; C.

Butt, 720; A. Campi, 654; Claudian Mamertus, 371 ; B. Cornelius, 828; Da Ponte, 965; G. David, 757; Debroux, 972; von Dinglestedt, 370; Ducis, 424; Duparc, 1384; J. Eder, 218; J. H. Eisner, 159; P. Erdniannsdorfer-Fichtner, 902; M. Erdmannsdorfer, 1171; I. Fassett, 25; Gaveaux, 1210; Gentili, 437; Glad- kowska, 157; Gorner, 159; Gregori, 437; Guiraud, 92; W. Heine, 793; J. P- Jackson, 980; Jacobus de Benedictis, 26; Jurgenson, 229; Dr. Kauffmann, 292; von Kaulbach, 366; Kilitzky, 654; Kotek^ 228, 1300; Kowalski, 1514; W. Kruger, 210; Kurpinski, 159; Laschi, 284; Legrenzi, 437; Lekeu, 648; Lenau, 978; Letoumeur, 420; E. Lie-Nissen, 1242; Maleden, 350; Mandyczewski, 1434; de Manzia, 437; Marechal (tenor), 1440; Marxsen, 628; Mercy-Argenteau, 928; R. von Milde, 830; Anna Milder, 654; Marie Moke (Mme. Pleyel), 4x6; G. M. Monn, 485; Otten, 1551; Palschau, 1127; Polchau, 1127; Delphine Potocka, 162; Marie Reccio, 860; M. Reger, 1320; J. P. Salomon, 202; Princess de Sayn- Wittgenstein, 364, 1464; H. Schmedes, 206; Schroder- Devrient, 100; Seghers,

; Sivori, ; Taglietti, Titchatschek, 341 366 ; Stamaty, 348 Anna Storace, 757 ; 437 ; 98; Torelli, 437, 1382; Venantius Fortunatus, 371; Vieuxtemps in America, 217; Vivaldi, 437; Johanna Wagner, loi, 1103; W.J. Winch, 43; the Woods (Joseph and Mary Anne Paton), 136; Zelter, 439. Dances: Bohemian minuet, 30; Comparsas, 1056; Furiant, 32; Minuet, 1238; Ole, 1058; Polka, 29; Rowbotham on dances before Nero, 96; Siciliana, 153; Sou- sedska, 30; Tarantella, 233. Instruments: Cymbals (antique), 639; Drum (Winwood Reade and Rowbotham on it), 583; Gusli, 1253; Harp harmonics, ii82;Pifaro, 1321.

Musical Forms, etc. Aubade, 592 ; Basso continue, 439 ; Complainte, 621 ; Concerto, 437. 1381; Ripieno, 1382; Rondeau, 153; Sonatas by Frenchmen, 92; Sym- phony, the Italian theatre, 487. Songs and Hymns: "Auld Robin Morris," 449; "Pange Lingua," 371; "Scots wha hae," 449; "Stabat Mater," 26; "Yankee Doodle," 450. Theatre AND Opera House: " Aglavaine and Selysette, " 509; "Astarte" (Leroux), - 1388; "Fervaal" (d'Indy), 1274; "Fljdng Dutchman" (Fitzball), 524; "La Folle Journee" (Beaumarchais), 967; "Genesius "(Weingartner), 227; "Ghiselle" (Franck), 1009; "Hulda" (Franck), 1009; "King Lear" in France, 422; "Man- fred" in playhouse and in music, 1190; " Penthesilea " (Kleist), 289; "Die Puppenfee" (Bayer), 838; "Les Travaux d'Hercule" (Terrasse), 1390; "Vaii- derdecken" (Fitzgerald and Wills), 526; "Zampa" (Herold), 272. Legends: Amazons, 298; Flying Dutchman, 521; St. Francis of Assisi, 440; Gri- selda, 1446; Hercules, 1386; Magnetic mountains, 922; Penthesilea, 295; Sadko, 1254; Sappho, 372; Sindbad, 916; Tannhauser (Gaston Paris), 106. Critical and Literary: Antoine on "King Lear," 424; Baudelaire on "Tann- hauser," 95; Berlioz on Vieuxtemps, 210; Books on Bohemian music, 32; Bruneau on Debussy, 642; Burton on Amazons, 299; Chorley on certain Ger- man singers, 98-102; Francke (Kuno) on Kleist's "Penthesilea," 289; Gosse on Mallarme, 634; Heine and the Flying Dutchman, 516; Legouve on Beriioz, 856; Lucian's "Lie-fancier" (origin of story of the Sorcerer's Apprentice), 89; Lumley on Johanna Wagner, 104; Marnold on Rimsky-Korsakoff, 929, on Cesar Franck, IOOI-; Pudor on Rimsky-Korsakoff, 929; Tschaikowsky on Rimsky-Korsakoff, 932; White (Richard Grant) on Mr. and Mrs. Joseph Wood, 142. Miscellaneous: Bagdad, 919; Carnival, 725; The Cross in Latin poetry, 371; Ears that wag, 1390; Kalandars, 917; Music degrees at EngUsh universities, 762, Music illustrative' of pictures, 1333; Silk of Cos, 1386; Trees that weep, 645; Wagner's three early overtures, 1104; White (R. G.) on "retiring" for "going to bed," 14. Errata: 109, 869. 1697 JUST TELEPHONE Branch Exchange 555 Oxford Connects All Offices Branch Exchange 72 Newton Connects All Offices for «<5uburban Subscribers"

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1602 F A E L T E N PIANOFORTE

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1604 "

SYMPHONY HALL

Sunday Evening, April 30, J 905 PADEREWSKI and the BOSTON SYMPHONY ORCHESTRA

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PROQRAnnE

Berlioz Overture, " Carnaval Remain "

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

Bach . . . . . Adagio and Gavotte in Rondo Form Arranged for Strings by Sigismund Bachrich. SOLI FOR PIANOFORTE.

la. Ballade in A-flat major

Chopin ''''• Mazourka in B minor jc.jc. Etude in G-flat major u1^. Polonaise in A-flat major Mr. Paderewski.

Wagner Overture, " Tannhauser

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