Twenty-Third Rehearsal and Concert

SYMPHONY HALL, BOSTON HUNTINGTON 6-MASSACHUSETTS AVENUES

Ticket Office, 1492 TelephonesT,„,.„. „„.„ i \ Back^^. Bayp,_ j Administration Offices. 3200 } THIRTIETH SEASON, 1910 AND 1911

MAX FIEDLER, Conductor

J^rogramm^ of % Twenty-third Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, APRIL 21 AT 2.30 O'CLOCK

SATURDAY EVENING, APRIL 22 AT 8.00 O'CLOCK

PUBLISHED BY C. A.ELLIS, MANAGER

1681 WM. L. WHITNEY International School for Vocalists

BOSTON NEW YORK SYMPHONY CHAMBERS 134 CARNEGIE HALL 246 HUNTINGTON AVE. CORNER OF 57th AND 7th AVE. PORTLAND HARTFORD Y. M. C. A. BUILDING HARTFORD SCHOOL OF MUSIC CONGRESS SQUARE 8 SPRING STREET Boston Symphony Orchestra PERSONNEL

Thirtieth Season, 1910-1911

MAX FIEDLER, Conductor

Violins.

Witek, A., Roth, O. Hofifmann, J. Theodorowicz, J. Concert-master. Kuntz, D. Krafft, F. W. Mahn, F. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, V/. Eichheim, H, Bak, A. Mullaly, J. Goldstein, H.

Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J.

Tischer-Zeitz, H. Werner, H. Fabrizio, C. Goldstein, S. Kurth, R. Grunberg, M.

Violas. Ferir, E. Heindl, H. Kolster, A. VanWynbergen, C. Gietzen, A. Hoyer, H, Kluge, M. Forster, E. Kautzenbach, W,

Violoncellos.

Schroeder, A. Keller, J. Barth, C. Belinski, M. Warnke, J. Warnke. H. Nagel, R, Nast, L. Hadley, A. Smalley, R.

Basses. Kimze, M. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R.

Flutes. Oboes. ClJVRINETS. Bassoons. Maquarre, A Longy, G. Grisez, G. Sadony, P, Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A Vannini, A. Regestein, E. Fox, P. Engush Horn. Bass Clarinet. Contra-Bassoons.

Mueller, F. Stumpf, K. Helleberg, J, Mosbach, J. Horns Horns, Truacpets. Trombones. Tdba, Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, O. Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C.

Hakp. Tysipani. Percussion. Schuecker, H. Neumann, S. Rettberg, A. Senia, T. Kandler, F. Zahn, F. Burkhardt, H,

Organ. Librarian.

Marshall, J. P. Sauerquell, J

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THIRTIETH SEASON, NINETEEN HUNDRED TEN AND ELEVEN

©mmtg-tlftrb S^If^araal anb (Unntttt

FRIDAY AFTERNOON, APRIL 2J, at 2.30 o'clock

SATURDAY EVENING, APRIL 22, at 8 o'clock

PROGRAMME

Curry ...... "Atala," Symphonic Poem (after Chateaubriand), MSS. (Conducted by the composer) First performance

Beethoven .... Scene and Aria, "Ah! Perfido," Op. 65

Debussy. .... Iberia: "Images" pour orchestre No. 2 First time in Boston

I. Par les rues et par les chemins. s II. parfums de la nuit. I Les III. \ Le matin d'un jour de fete.

Weber . . Recitative, "Wie nahte mir der Schlummer," and Aria, "Leise, leise," from "Der Freischiitz"

" Mendelssohn . . . Overture, Sea-calm and Prosperous Voyage

SOLOIST Mme. CORINNE RIDER-KELSEY

There will be an intermission of ten minutes after the Beethoven selection

The doors of the hall will be closed during the performance of each number on the programme* Those wJio wish to leave before the end of the concert are requested to do so in an interval 6e- tween the numbers.

City of Boston, Revised Regulation of August 5, 1898.— Chapter 3, relatlnii to the covering of tlie liead In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear uf>on the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. ' .*.. ^ t iv^r /-AT^rrxr n-^ n\ i Attest: J. M. GALVIN, City Clerk. L. P. HOLLANDER & CO. BOSTON NEW YORK

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1686 —

Atala," Symphonic Poem (after Chateaubriand) (MSS.)- Arthur Mansfield Curry

(Bom at Chelsea, Mass., January 27, 1866; now living in Newton Highlands.)

Mr. Curry wrote this symphonic poem three years ago. It is dedi- cated to Franz Kneisel, and scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, saxophone, two bassoons, double-bassoon, four horns, four trumpets, three trombones, bass tuba, kettledrums, bass drum, side drum, cymbals, Glockenspiel, tamtam, organ, and the usual strings. The composer gives the following argument drawn from the famous romance of Chateaubriand, published at Paris in 1801: "Chactas, an Indian who had been captured by the Spaniards and brought up by Lopez, longs for his Indian home and leaves his bene- factor to find his tribe.

"On his journey he is met and recognized by another tribe as one of their enemies, is captured and condemned to death, but Atala, the daughter of the chief, falls in love with him, and, in spite of a Chris- tian vow of celibacy which she had made to her mother, aids in his escape. Together they fly to the wilderness, where they wander in a vain search for friends. "While resting in the forest, they discover that the mother of Atala was at one time the wife of Lopez, and on this discovery their mutual love is about to overcome the scruples of Atala, when, in the midst of'a terrible storm, a thunderbolt shatters the tree under which they are resting. Atala believes that this is a miracle to save her. "As the storm clears, a priest from a nearby settlement appears, searching after any of his flock who may have been lost. He takes Chactas and Atala home with him, where he promises to instruct Chactas in Christianity, but Atala, struggling between her vow and love

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First performance in any country, early in December, by the Metropolitan Opera Co., New York Followed by performances in Boston, by the Boston Opera Co.; in Chicago, by the Chicago Opera Co. Vocal Score and separate numbers, vocal and instrumental, in preparation

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1688 — —

for Chactas, takes poison and dies just as the priest is telling her that the Church would not be so intolerant as to hold her to her vow."

Mr. Curry says of his composition :

" I hoped at first to write an opera on the subject of Atala, but found it practically impossible to find a librettist in this country, and decided finally that Chateaubriand's story was of doubtful stage value. I had sket

pressing the buoyancy of the free Indian. The next main theme is Indian (The Old Man's Love-song), and is used to express the love of Chactas and Atala. There is a closing theme of heroic nature and in

addition several motives, the principal one of which is heard in the introduction and several times later, typifying the vow of Atala. "The development is at first of short contrasting sections, followed

by more and more stormy ones; the love theme is heard in different NEW PUBLICATIONS THE DIVAN SONGS BY Song Cycle for Soprano, CLAYTON THOMAS Alto, Tenor and Baritone SONO OF THE EQVPTIAN PRINCESS

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TWO PART-SONGS FOR WOMEN'S VOICES with accompaniment lof Pianoforte and Two Violins No. I. AN EASTERN SONO No. 2. THE VOICE OF MY BELOVED ARTHUR P. SCHMIDT 120 BOYLSTON STREET (take elevator) AND FOR SALE BY ALL MUSIC DEALERS 1689 . — accents during the struggle between the Pagan Chactas and Christian Atala until the climax of the storm, when it takes its original form.

After the storm comes a pastoral, when the priest's bell is heard and the blessing of the church is suggested by organ tones. "The piece ends as it began with the lovely theme of Chactas. "The persistent recurrence of the buoyant dance-like theme sug- gests the rondo form with several sub-themes." * * * Mr. Curry studied the pianoforte and the violin at an early age, but he finally gave most of his time to the latter instrument under the instruction of Franz Kneisel. He studied harmony, but was chiefly self-taught until Edward MacDowell came to Boston. MacDowell was his teacher in composition and orchestration. Mr. Curry has been active as a choral and orchestral conductor, and at present is teaching the violin and composition in Boston.

Among his compositions are the following works : Orchestra. "Blomidon," overture for grand orchestra (MSS.), first performed at the Worcester (Mass.) Music Festival, October 2, 1902, under Mr. Kneisel's direction, and later at the World's Fair, St. Louis, Mo., under the direction of Alfred Ernst. El^gie in the form of an overture (MSS.) BEING SURE

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416 WASHINGTON STREET, NEAR SUMMER SUPERFINE ICES, DRINKS AND BONBONS "Atala," symphonic poem for grand orchestra (MSS.)- "The Winning of Amarac," a Keltic legend for a reader, chorus of women's voices, and orchestra (MSS.)- The list also includes a Barcarolle for pianoforte, a number of part songs for male, female, and mixed chorus, and eleven songs, among them "Before Night" and "The Fiddler of Dooney." All of these works are published. * * *

"Atala" is the title of operas by ThoU^ (Paris, 1802) ; Pacini, (Padua, 1818); Sebastiani (Rome, 1850); Butera (1851); Fumi (Buenos Ayres, 1862); Gallignani (Milan, 1876); Meneses (Guadalajara, 1880); Schauer (Budapest, 188 1); Guglielmi (Milan, 1884); Countess de Grandval (Paris, 1888); Juliette Folville (UHe, 1892).

Mme. CoRiNNE Rid^r-KeIvSEy, soprano, was born a few miles from Le Roy, New York, on February 24, 1880. She lived in Illinois and Ohio; studied at Oberlin, Ohio, and afterward with Mr. L. A. Torrens, of Chicago. Her first appearance in public was with the St. I/Ouis (Mo.) Choral Symphony Society, December 26, 1904. Mme. Rider-Kelsey, coming to New York, which she made her home, studied singing with Mr. and Mrs. Theodore J. Toedt. She soon became known as a choir and concert singer. On July- 2, 1908, she made her appearance at Covent Garden as Micaela in "Carmen." The operatic life was not congenial to her, and she determined to devote herself to the concert stage. Although this is Mme. Rider-Kelsey's first appearance with the Boston Symphony Orchestra in Boston, she has sung with the orchestra many times in other cities during the last two seasons; she has sung with all the leading orchestras in this country and at all the important music festivals.

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1691 She has sung in Boston with the CeciHa Society on December 12, 1905 (Bruckner's "Te Deum," Debussy's "Blessed Damozel," Cole- ridge-Taylor's "Departure of Hiawatha "); with the Handel and Haydn Society on December 25, 1907 ("The Messiah"); at one of Mrs. Hall McAllister's Musical Mornings at the Hotel Somerset, January 10, 19 10 (songs by Handel, Haydn, Bononcini, Carey, Brahms, Strauss, Wolf, Grieg, Henschel, Woodman, MacDowell); and at the performance of Piern^'s "Children's Crusade" by the Cecilia Society and Boston

Symphony Orchestra, February 16, 191 1.

ScENA AND Aria, "Ah! Perfido," Opus 65. Ludwig van Beethoven

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

Recitative.

Ah! perfido, spergiuro, barbaro traditor, tu parti? e son questi gl' ultimi tuoi con- gedi? Ove s' intese tirannia piii crudel? Va, scelerato! va, pur fuggi da me, I'ira de' numi non fuggirai.

Se v' e giustizia in ciel, se v' e pieta, congiureranno a gara tutti a punirti ! Ombra seguace! presente, ovunque vai, vedro le mie vendette; io gia lo godo ammiginando; i fulmini ti veggo gii balenar d' intorno.

Ah no ! ah no ! fermate, vindici Dei ! risparmiate quel cor, ferite il mio ! S' ei non e piu qual era, son' io qual fui; per lui vivea, voglio morir per lui! , BIGELO^W;

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Aria. Per pieta, non dirmi addio, Di te priva che faro? Tu lo sai, beir idol mio! lo d' affanno moriro.

Ah crudel! tu vuoi che.mora! ; Tu non hai pieta di me? Perche rendi a chi t' adora Cosi barbara merce?

Dite voi, se in tanto affanno Non son degna di pieta.

This has been EngHshed as follows:

Recitative.

Ah! deceiver, perjurer, barbarous traitor, thou leavest me? and is this thy last farewell? When was more cruel tyranny ever heard of? Go, wretch! Go, fly from me as thou please, thou wilt not escape the wrath of the gods. If there is justice in heaven, if there is pity, all will vie with one another in con- spiring to punish thee ! A shade that follows thee, ever present where'er thou goest, I shall see my vengeance; I already rejoice in imagining it; I already see the Ught- nings flash arotmd thee.

Ah no ! ah no ! stop, ye avenging gods ! spare that heart, strike mine own ! If he is not what he once was, I am what I have been; for him I've lived; for him I'll die!

Aria. For the love of mercy, bid me not farewell; what shall I do without thee? Thou

knowest, fair idol mine, that I shall die of grief. Ah cruel one ! thou wishest me to die! Why dost thou so barbarously reward her that adores thee? Say, ye gods, if, in such grief, I am not worthy of compassion.

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1695 This text may have been taken from some old Hbretto. Beethoven wrote the music at Prague in 1796 for^Mrs. Josepha Duschek. Aloys Fuchs wrote Schindler: "I own a manuscript score of this aria. The title is written wholly in Beethoven's hand: Une grande Schne mise en musigue par L. van Beethoven a Prague, 1796. Dedicata alia Signora

Contessa di Clari." Beethoven's handwriting is recognized often in the score. On the title-page stands in his own hand: "Op. 46." On the programme of a concert given by Mrs. Duschek at Leipsic, November 21, 1796, is: "An Italian Scena composed for Mrs. Duschek by Beethoven." The "Contessa di Clari" was an amateur singer of good reputation. Josepha Duschek (born Hambacher) was bom in 1756 at Prague, where she died at an old age. She was a fine pianist, a composer of no mean talent, but she was chiefly famous as a singer. Her voice was full and round, her delivery of recitative was impressive; she was a mistress of colorature "as well as beautiful portamento, and she knew how to combine power and fire with sentiment and sweetness: in a word, she ranked with the first of Italian singers." Mozart admired her beyond measure, and she was his warm friend. His father, Leopold, was not so well pleased with her. He wrote to his daughter in 1786 concerning Josepha: "Mad. Duschek sang, how? I can't help it, she shrieks in an astounding fashion an aria by Naumann with exaggerated expressions—strength—and worse than that. Great heavens! and she has so many other faults that I am very sorry she cannot make better use of her powerful voice. And whose fault is it? That of her husband,* who knows no better: he taught her and still teaches her, and makes her believe that she alone has true taste." Nor did he find her beautiful. "She looks, indeed, her age; she is broad-faced,

* Franz Duschek (1/36-99), reckoned one of the best pianists of his period.

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The accompaniment is scored for flute, two clarinets, two bassoons, two horns, and strings. The Aria is Adagio, E-flat major, 3-4, with contrasting sections. Allegro assai, 4-4. The scene begins Allegro con brio, C major, 4-4. There are changes in tempo and tonality. The recitative and aria have been sung in Boston at concerts of the Boston Symphony Orchestra by Miss Katherine van Arnheim, Jan- uary 20, 1883; Mme. Fursch-Madi, December 13, 1884; March 13, 1886; Mme. Nordica, October 10, 1891; Mme. Devere-Sapio, October 26, 1895; Mme. Nordica, March 15, 1902; Miss Tilly Koenen, January i, 1910.

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Stores in all Principal Cities of New England "Ibhria": "Images" pour Orchestre, No. 2. Claude Achille Debussy *

(Born at St. Gennain (Seine et Oise), France, August 22, 1862 ; now living in Paris.)

"Iberia" is the second in a series of three orchestral compositions by Debussy entitled "Images." The three were composed in 1909. The first, "Gigue triste," has neither been performed nor published. The third, "Ronde des Printemps," was performed for the first time on March 2, 1910, at the third of the four "Concerts de Musique fran- gaise," organized in Paris by the publishing house of Durand, and the first performance in America was at a concert of the Philharmonic Society of New York, conducted by Gustav Mahler, November 15, 19 10. The first performance of the "Ronde" in Boston was at a concert of the Boston Symphony Orchestra, November 26, 19 10. There was another performance by this orchestra, December 17, 1910. "Iberia" was played for the first time at a Colonne concert in Paris, February 20, 1910. It contains three movements,—"Par les rues et par les chemins"; "Les parfums de la nuit"; "Le matin d'un jour de fete." Mr. Boutarel wrote after the first performance that the hearers are supposed to be in Spain. The bells of horses and mules

•He entered the Paris Conservatory as Achille Claude Debussy, and the title-page of the first edition of " Ariettes" composed in 1888 reads thus: " Ariettes: Paroles de P. Verlaine, Musique de Ach. Debussy."

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1701 are heard, and the joyous sounds of wayfarers. The night falls; nature sleeps and is at rest until bells and atibades announce the dawn and the world awakens to Ufe. "Debuss} appears in this work to have

exaggerated his tendency to treat music with . means of expression analogous to those of the impressionistic painters. Nevertheless, the rhythm remains well defined and frank in 'Iberia.' Do not look for any melodic design, nor any carefully woven harmonic web. The composer of 'Images' attaches importance only to tonal color. He puts his timbres side by side, adopting a process like that of the 'Ta- chistes' or the Stipplers in distributing coloring." The Debussyites and Peleastres wished "Iberia" repeated, but, while the majority of the audience was willing to applaud, it did not long for a repetition. Repeated the next Sunday, "Iberia" aroused "frenetic applause and vehement protestations." The first performance in the United States was by the Philharmonic

Society of New York, conducted by Gustav Mahler, on January 3, 1911.

"Iberia is stiored for these instruments: piccolo, three flutes (one interchangeable with a second piccolo), two oboes, English horn, three clarinets, three bassoons, double-bassoon, four horns, three trombones, bass tuba, kettledrums, side drum, tambourine, castanets, xylophone, celesta, cymbals, three bells (F, G, A), two harps, and the usual strings.

I. " Par les rues et par les chemins" (" In the streets and wayside"), Assez anim^ (dans une rhythme alerte mais precis). II. "Les parfums de la nuit" ("The odors of the night"). Lent et r^veur. This movement is connected with III. "Le matin d'un jour de fete" ("The morning of a f^te day"). Dans un rhythme de marche lointaine, alerte et joyeuse.

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WORKS TELEPHONE 303*311 MEDFORD STREET CH4RLESTOWN RICHMOND 600 Designs sent on application 1708 * * * "The river'^Hebre, yeelding such riches of trafficke and commerce by reason that it is nauigable: which beginneth in the Cantabrians countrey, not far from the towne InUobrica, and holdeth on his course 430 miles; and for 260 of them, euen from the town Varia, carrieth vessels of merchandise : in regard of which riuer, the Greekes named all Spaine Iberia." Pliny's "Natural History," translated into English by Philemon Holland (1634). The " Hebre," now the river Ebro, was the Iberus, Hiberus of the an- cients, a name in which, according to Richard Ford, "Spaniards, who like to trace their pedigree to Noah, read that of their founder Heber. Bochart considers the word to signify 'the boundary.' Ibra, just as it is used in the sense of the 'other side' in Genesis xiv. 13; and this river was, in fact, long the boundary; first between the Celts and Iberians, and then between Romans and Carthaginians. Others contend that this river gave the name to the district, Iberia: Iber, Aber, Hebro, Havre, —signifying in Celtic 'water.' Thus the Celt-Iber would be the Celt of the River. Humboldt, however, whose critical etymology is generally correct, considers all this to be fanciful, and is of opinion that the Iberians gave their name to the river. It formed, in the early and uncertain Roman geography, the divisional line of Spain, which was parted by it into Citerior and Ulterior; when the Carthaginians were finally subdued, this apportionment was changed." Ford's "Hand- book for Travellers in Spain," second edition (London, 1847).

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Bureau of University Travel 33 TRINITY PLACE • BOSTON 1704 ''^ Tone, Technique and Temperame^it—all threefor me/** —MiSCHA El,MAN. To play great music beautifully flawless tone is as necessary as are pure colors to the painting of a Carnegie prize-winner. Between the tone-resources of the "commercial" and the "artistic" piano there is a world of space — wide, often, as between the mouth- organ improvisations of a pickaninny on a rail fence and any musical performance of an artist. People who love music and respect piano-culture take no chances, restricting very wisely their choice to the little group of great instruments dominated by the Baldwin Piano. The tone-beauty of this instrimient — famous in recital and symphony concert— exerts a new charm in the closely-drawn circle of the home. Warm, imaginative, full of color —like a Sembrich folk-song it seems in its power to touch the feeling.

Not the slightest of this artistic piano's claim upon musical interest is the powerful organization behind its construction. The Baldwin Company presents a permanent assurance that the instrument bearing its name must maintain its beauty of tone and action unalterable with tim.e. A request to nearest agent will bring you the catalogue. We wotild be pleased to have you see and hear the Baldwin Piano at our store. Sole Representatives CHAS. H. DITSON & COMPANY 8 EAST 34TH STREET NEV YORK

1706 !

ReClTATlVK, "How TRANQUILITY I SIvUMBKR'd," AND AriA, "SoFlXY SIGHING," FROM THE OPERA, " DER FrEISCHUTZ." Carl 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 mir der Schlummer, bevor ich ihn geseh'n! Ja lyiebe pflegt mit Kummer stets Hand in Hand zu geh'n. Ob mend auf seinem Pfad wohl lacht? Welch' schone Nacht!

Leise, leise, fromme Weise Schwing' dich auf zum Sternen-kreise Lied erschalle! Feiernd walle Mein Gebet zur Himmelshalle.

O wie hell die goldnen Sterne, mit wie reineni Glanz' sie gliih'n! Nur dort, iu der Berge Feme, scheint ein Wetter aufzuziehn. Dort am Wald auch schwebt ein Heer dtist'rer Wolken dumpf und schwer. WALL PAPER

Progressiveness, combined with enormous outlet, has enabled us to surpass all our previous eflforts in the selection of our 191 1 line, now being exhibited. We have thoroughly studied the popular demand and have brought out hundreds of original designs for the discriminating buyer, while the quota- tions are lower than the experienced wall-paper men would beheve possible. Our entire building, four floors and basement — approximately 20,000 square feet of floor space — is crowded with 191 1 wall papers. All the newest ideas of the best designers and manufacturers of this country and Europe are widely represented, from the simplest and least expensive to the most elaborate. If you are in doubt about just the right coloring and design for your wall decoration, bring your problem to us. We have a way of showing wall paper in harmonious relation to its use which enables any one to select quickly and easily from a wide range of beautiful effects. ALFRED PEATS CO. LEADERS OF WALL-PAPER FASHIONS 118 SUMMER STREET BOSTON 1706 CHINESE GRASS FURNITURE FROM HONG KONG

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1707 : !

2u^dir wende ichlViie Hande,

Herr ohn' Anfang und ohn' Ende ! Vor Gefahren uns zu wahren Sende deine Engelschaaren

AUes pflegt 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 Flustert durch die hehre Stille; Nur die Nachtigall und Grille Scheint der Nachtluft sicji zu freu'n.

Doch wie! tauscht 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 Hebe 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 Gliick fiir morgen an! O siisse Hoffnung! Neubelebter Muth!

Air meine Pulse schlagen Und das Herz wallt ungestiim, Siiss entziickt entgegen ihm! Konnt' ich das zu hoffen wagen? Ja! es wandte sich das Gliick Zu dem theuren Freund zuriick; Will sich morgen treu bewahren!

Ist's nicht Tauschung, ist's nicht Wahn? Himmel, nimm des Dankes Zahren Fiir dies Pfand der Hoffnung an! Air meine Pulse schlagen Und das Herz wallt ungestiim, Siiss entziickt entgegen ihm!

* 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.)

* The translation into English is by Natalia Macfarren.

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1708 Softly sighing, day is dying. 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 mountains is a cloud, foreboding storm, and along yon pinewood's side veils of darkness slowly glide.

Lord, watch o'er me, I implore thee; Hvunbly 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,* dost thou rove?

Scarce the breeze among the boughs wakes a murmur thro' the silence; save the nightingale lamenting, not a sound disturbs 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 flying, 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?

Bounteous 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.

* Here the translator follows an old English version, in which Rodolph was substituted for Max.

G. SCHIRMER (IIIC.),3 East43d Street, NEW YORK

JUST PUBLISHED DER ROSENKAVALIER By richard strauss A GUIDE TO THE OPERA With Musical Examples from the Score. By Alfred Schattmann PRICE, 50 CENTS NET THIS booklet offers the average lover of music, no less than the professional musician, a Guide that presents in clear and readable fashion the essential structural tonal development and dramatic action of a score on which the attention of the entire musical world is centered at the present time. Thi; themes, named with the concurrence of the composer, are illustrated musically when they occur for the first time, and the more important of them have been numbered and listed, for conv( nicnt reference, on a separate sheet at the end of the volume. In order to make it easy to follow the course of this extended musical comedy, analytical details of lesser moment have been printed in small type. This permits of a rapid survey of the whole work, while leaving that which is only relatively important to be studied later, if desired. Con- venience of thematic arrangement, a direct handling of the subject, and the composer of DER ROSENKAVALIER himself, unite in approval of the making this little book indispensable to all who want to get intimately in touch with the spirit of that opera.

1709 Sunday with the Jingelus There can be no greater delight than a Sunday spent with the Angelas. The wealth of sacred music with which the Angelus catalogue is filled — "The Lost Chord," "Lead, Kindly Light," "Beethoven's Processional" and hundreds of other selections — makes an Angelus Sunday a day of happiness. THE 88 NOTE KNABE-ANGELUS

The union of the Angelus with the Knabe piano, which critics and musicians alike have chosen as the "world's best piano" and the highest type of the artistic instrument, brings the whole world of music within the confines of the home and enables the untrained lover of music to render the masterpieces of the great composers, the folk songs of the past, or the ballads of the hour, with all the personal expression and feeUng of the most highly trained pianist. It is in its unlimited pos- sibilities for expression that the Angelus is — ^ Century Jihead THE PHRASING LEVER — alone gives it a THE DIAPHRAGM PNEUMATICS- -repro- command of tempo surpassing any other method duce the touch of the human hand. of piano playing. THE SUSTAINING PEDAL DEVICE— THE GRADUATING MELODANT (pat- gives the ringing tones of the open strings as ented)—the newest of all devices.affords the abil- made possible by the loud pedal. ity to emphasize the melody and subdue the ac- THE ARTISTYLE MUSIC ROLLS — teach companiment in any desired and varying degree. the artistic meaning of every composition by THE MELODY BUTTONS — allow every indicating in a single hne the variations of ex- gradation of tone volume to be produced. pression indicated by the composer. Learn of our exchange and easy payment plan OOHarveywhich makes owning an Jtngelus possible to ®alt. 14<4t BOYI^STON ST BOSTON

1710 The accompaniment is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, strings.

Weber began work on Agathe's scene August 25, 181 7; he completed

this work December 9, 18 19. Caroline Seidler, who created the part, was the daughter of the concert-master, Anton Wranitzki. She was born at Vienna about 1790. Her father trained her for the stage. In 1812 she married the violinist Seidler, of Berlin (i 778-1 840), and in 1816 she went to Berlin and appeared in various parts at the Royal Opera. She was engaged there, and she made her first appearance as a member of the

company at Potsdam, June 3, 18 17. Versatile, she sang in a great variety of parts. She left the stage May 26, 1838. lycdebur thus de- scribes her: "Her voice was pure, clear, and uncommonly agreeable. The compass was of two full octaves, and very agile. Her personal appearance was charming, and if her dramatic art was not suited to performances of great intensity, it was excellently adapted to graceful and joyous parts, as Henriette in Auber's 'Magon,' Zerlina, Rosina, etc." Max von Weber said of her voice that it was "the sweetest one that could be imagined; it was of great compass, and went straight to the heart. She was then thirty-one years old, and she was in the full bloom of beauty. Her Agathe, it is true, was no humble German maiden, but a bewitching woman. She sang superbly." It was her performance of Agathe's scene that determined the fate of Weber's opera at the first performance. The audience had been cool. Agathe's recitative and aria were sung at a Symphony Concert in Boston by Miss Marie Jahn, April 18, 1891; Mme. Johanna Gadski,

October 31, 1903; Mme. Olive Fremstad, November 3, 1906; Mme. Marie Rappold, November 14, 1908.

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is regularly in demand in all HEINRICH, MAX. Correct Princi- the New England cities and in ples of Classical Singing . 1.50 many small towns. Tell us your needs if you wish us to cater KREHBIEL, H. E. The Pianoforte for a luncheon, a dinner, an afternoon or evening party, a and its Music . . .1.25 wedding breakfast or a reception and we'll submit sample menus with full particulars as to cost. Or get our price list of single GHAS. W. HOIVIEYER & GO. articles. Visit our restaurant at 156 Tremont St., near West St. MUSIC CO., 332 Boylston Street - - Boston McDONALD-WEBER BOSTON 1711 There are valuable studies of this aria, studies of pedagogic and aesthetic value, by Stephen de La Madeleine (Etudes Pratiques de Style Vocal, Paris, 1868, vol. i. pp. 63-141) and by Heinrich Dorn ("Streifziige im Gebiete der Tonkunst," Berlin, 1879, pp. 94-106). The one by Dorn, translated into English, was published in the Music Review (Chicago, January, 1893, pp. 182-186). * * * "Der Freischiitz," a romantic opera in three acts, book by Friedrich Kind, music by Weber, was first performed at Berlin, June 18, 1821. The cast was as follows: Agathe, Caroline Seidler; Aennchen, Johanna Eunike; Brautjungfer, Henriette Reinwald; Max, Heinrich Stumer; Ottaker, Gottlieb Rebenstein; Kuno, Carl Wauer; Caspar, Heinrich Blume; Eremit, Georg Gern; Kilian, August Wiedemann; Samiel, Hillebrand. It was the first opera performed in the new theatre, Schauspielhaus, erected by Schinkel in 18 19-21, to replace the original building, which was burned down in 18 17. Weber wrote in his diary that the opera was received with "incredible enthusiasm; Overture and Folk-song were encored; fourteen out of seventeen music-pieces were stormily applauded. Everything went exceedingly well, and was sung con amore. I was called before the curtain and took Mad. [sic] Seidler and Mile, [sic] Eunike with me, as I could not get hold of the others. Verses and wreaths came flying. 'Soli Deo Gloria."' Some of these verses were malicious, and reflected on Spontini, much to Weber's distress.

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1718 Mr. Apthorp wrote in his notes to a Programme Book (January 7, 1899): "I believe there is no other word in any other language that corresponds accurately to the German Freischutz. The literal English

' translation Free Marksman ' does not in the least convey its meaning. The same may be said of the Italian 'Franco arciero'—under which misleading title the opera was given at Covent Garden—and the French 'Franc archer.' Grove has it that the opera was given under this last title at the production under Berlioz in Paris; but Berlioz himself says nothing of this in the account of the production in question he gives in his Memoires, and Wagner reports distinctly that it was then * given as 'Le Freischutz.' "The word Freischutz (literally 'free marksman') means a Schiitz or marksman, who uses Freiktigeln—that is 'free bullets,' or charmed bullets which fly to the mark of themselves without depending upon the marksman's aim, and are therefore aptly termed 'free.'" * * *

The first performance of "Der Freischutz" in the United States was an English version produced at the Park Theatre, New York, March 2,t 1825. The chief singers were Miss Kelly, Mrs de Luce, WoodhuU, and Clarke. Miss Lydia Kelly was a niece of Michael Kelly, singer and the author of the amusing Memoirs. She is described as "rather masculine in appearance." Her costumes were distinguished for "richness and elegance." She had "never-failing animal spirits, good humor, and vivacity." She married a French baron, who left her as soon as she failed to be a profitable investment. The opera was announced as in rehearsal by a company of which Charles E. Horn and Mrs. Edward Knight were the chief singers in the Boston newspapers of December 17, 1827, but the opera, or rather an English adaptation of it, was performed here for the first time at the

* This production, with music for the recitatives by Berlioz, was at the Theatre de I'Opera, Paris, June 7, 1841, and the opera was then entitled "Le Freyschutz" (see De Lajarte's "BibliothequeMusicale du Theatre de rOpera," vol. ii. p. 166, Paris, 1878). The absurd version of Castil-Blaze was first performed in Paris at the Odeon, December 7, 1824, and the opera was then entitled "Robin des Bois." The error in Grove's Dic- tionary, to which Mr. Apthorp refers, is retained, with many other errors, in the revised anfl enlarged edition edited by Mr. Fuller-Maitland.—Ed. in his "History of the York Stage" t T. AUston Brown gives March 12, 1825, New (1903).

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1714 Boston Theatre, February 19, 1828, when Mr. Finn was announced as Caspar, and Mrs. Bernard as Linda. Especial attention was called to the Wolf's Glen and the fireworks prepared by Mr. Broad, and for some time the scene of the Wolf's Glen w^as a favorite feature of a miscellaneous theatrical entertainment. The overture was played as early as February 7, 1828, and it was at first advertised as by "Carlo" von Weber. The first performance in Boston in German was on May 6, 1864, when the chief singers were Mmes. Frederici and Canissa and Messrs. Habel- mann and Graft'.

ENTR'ACTE. NEW CHOPIN LETTERS.

(From the New York Sun, December 5, 1910.)

Fr6d6ric Chopin had neither the literary aptitude nor the general culture of Felix Mendelssohn-Bartholdy, and his letters, first given to the world by Moritz Karazowski in 1877, do not make such Capital reading as do those of the German composer. The graceful sentences that are like swallow flights across the pages of Felix, his wit and wisdom, are not to be found in the Chopin correspondence. Nevertheless, a

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1715 shy charm exhales from the often awkward communications sent by the great Pole to his family and friends at Warsaw. In 1828 the young pianist went to Berlin in company with Professor Jarocki, and there attended the naturalists' congress, where he met the mighty Alexander von Humboldt. His letter telling of the Berlin of that time was addressed to his school friend in Warsaw, Titus Woyciechowsky, and is reproduced in the Karazowski volume, as are his Viennese letters. So it is with more than passing interest that we read several new letters unearthed a few months ago in Warsaw and translated into German.

It is related that Chopin would walk half-way across Paris rather than write a letter. The bulk of his correspondence is not large, although many letters, addressed to his family were destroyed during the pillage of Warsaw by the Russians. The length of the newly discovered mis- sives must be set down to the effervescence of his youth. In them

Chopin is foreshadowed, caressing, sarcastic, sprightly, flattering, slightly peevish, jealous, and full of love for his parents and his native land.

July I, 1829, Chopin entered the Austrian capital. Vienna at that time prided itself on being the capital of the musical world. It made much pother over the dead Beethoven, after flouting him during his unhappy life, and there were already some amateurs to be found who mentioned the songs of a certain Franz Schubert by name; but music was caviare to the general. Chopin had some letters of introduction,

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FROM THE MUSICAL COURIER THAT miracle of man, Strauss, who crushes mountains, rolls back the sea, and scatters star dust from the Milky Way, in his orchestral wrath, comes home from his diabolical triumphs with his hands full of wild flowers and sweet-scented lilies of the valley. For such is the nature of his songs. We see the name Strauss on the cover and we expect — well, not the tender, melodious, graceful, fanciful lyrics we discover when we open the book. And herein we recognize the master. He knows exactly the kind of music to write for the means of expression he employs. He knows what the voice with a piano accompaniment can do best, and he gives the right kind of music for that desired end. OLIVER DITSON COMPANY, BOSTON 150 TREMONT STREET

1716 1

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1717 among others to the Kapellmeister Wiirfel, who had lived in Warsaw and was a friend of Chopin's preceptors, Zwyng and Joseph Eisner, not to speak of the composer's father. In a lengthy letter to his bosom friend Titus, Chopin relates how he played at Count Gallenberg's, and thus was enabled to play in public at the Imperial Opera House

(August 1,1829, was the precise date) . Haslinger, the musical publisher, unbent, and no less thati three piano manufacturers appeared on the scene, offering the use of their instruments to the virtuoso in embryo, the report of whose abilities had quickly spread. But Frederic had only a small room on the Kohlmarkt, and was forced to decline. Time brings changes, but the psychology of the piano-maker does not alter. He did not practise for his debut, feeling sure of his fmgers. At the rehearsal, he tells Titus, everything was at sixes and sevens with the orchestra. Disliking their leader Wiirfel, suspicious of the unknown Pole, the men mixed things up badly in the accompaniment to Chopin's "Rondo Krakowiak"—so badly indeed that Count Gallenberg, the impresario, advised Chopin to cut out the "Rondo," and instead improvise. Thereat, adds Chopin, the orchestra members made "big eyes." They had heard Beethoven and Hummel improvise. This slim youngster of twenty must be somebody to attempt such a feat before the carping Vienna public. Chopin knew what he was about. He began with his Variations, Op. 2, on a theme from "Don Juan" ("La ci darem la mano," over which Schumann later waxed enthusiastic, crying, " Hats off, gentlemen! A genius!") accompanied by the band, which, after all, must not be blamed for failing to read at first sight Chopin's crabbed handwriting. A Fraulein Veltheim (1821-40), famous for her bravura singing, followed; then Chopin, facing a now sympathetic audience, improvised. Oddly enough, he does not in this letter to Titus mention the themes he selected for improvisation. But history can supply the omission. "La Dame Blanche," by the French composer Boieldieu, whose statue may be found at Rouen (why, the gods alone know), was the first theme, and a PoUsh melody, "Chmiel," the second. ("Chmiel" is a song in the mazurka measure, sung by the Poles at marriage ceremonies at the

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1718 moment when the bride's sister places the tap on her head.) After this the pianist modestly reports that his hearers seemed pleased, and that he had to return to bow his thanks. As matter of fact, he received a Paderewski-Sembrich ovation, and tired himself acknowledging the stormy applause. The orchestra, contrary to its custom, had remained for the improvisation, and was more enthusiastic than the public. The puzzling mixture of honey and absinthe in the new music could not dis- guise the extraordinary musicianship of the young composer. Vienna literally saw the rising of a new star among the musical constellations. Fashionable folk sought him, Prince Lichnowsky, Beethoven's pro- tector, among the rest. Chopin took all the flattery and attendance as a matter of course. He had enjoyed such things when he was a wonder- child in Poland. He writes Titus with the unpronounceable name in a natural manner of the success of the second concert. Hum- mel, Herz, Moscheles, and others were Viennese favorites. For the moment Chopin overshadowed them. He met and admired Fraulein Blahetka (1811-87), a Vienna-born pianist, a daughter of the editor of the Wiener Zeitung, and for a while the situation looked serious. Was Chopin in danger of forgetting his beloved Constantia Gladowska? Apparently not. He left Vienna for Warsaw more than satisfied with his triumphs. The second sojourn at Vienna, from November, 1830, to July, 1831, was not so satisfactory. Poland was in the throes of a revolution. The Viennese did not like the Poles, and Chopin writes that one night, sitting in an Italian restaurant, he heard some one loudly proclaim that "the good God made a mistake when he created the Poles." Another wit followed this sally with, "In Polen ist nichts zu holen" (Chopin

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1719 . employs the original German phrase in his letter to Jan Matuszynski) No wonder he quitted his table and cried: "Dogs!" Thoughts of the revolution fired his blood. He congratulated Jan on going into the fight, and wished that at least he could play the drums! Wiirfel, conductor at the Karntnerthortheater, was amiable, and Dr. Malfatti, a music friend and physician at the court, showered attentions upon him. But he was moody, troubled by thoughts of home, and in addition suffered from profound ennui, the penalty he paid for his exquisitely strung, neurasthenic temperament. He described to Jan Matus- zynski his daily life. His apartment is high up, yet Hummel and other pianists visit him, also Joseph Czerny (not a relative of Karl Czerny, Liszt's early teacher). He rises late, takes his coffee, or lets it grow cold, as he plays (he has now a Graf concert grand piano, beloved in those days). A friend enters. More music. Then dinner and a promenade. The bored Chopin dresses for the evening and further bores himself until midnight at soirees or balls, where he meets Prince Dietrichstein, the Abbe Stadler, Karl Maria Van Bocklet (friend of Beethoven and Schubert), the Schwarzenbergs, the Wrbnas, and other aristocrats; home to dream, to weep, to play out upon the keyboard the world-weariness and longing which torment him, or to thrum with slender fingers on the window-panes,-—with those magical fingers which, Balzac said, had only to drum on a table to make music. Chopin at twenty was more Byronic than Byron. Constantia Gladowska is on his mind. He eagerly questions Jan about her doings; whether she is meeting with success at her concerts, whether—and now the jealousy of Frederic shows—the usual crowd of Russian officers is hanging around "her; Gresser, Besobrasow, Pisar- zewski—he knows their names. You again overhear his passionate cry, "Dogs!" In Chopin the patriot kept pace with the poet. Listen to his polonaises or to the overwhelming Study in C minor, composed during the revolution in Warsaw. These letters are very interesting, especially the one addressed to Jan, dated Christmas, 1830. In the monumental work on Chopin by the Pole Ferdinand Hoesick (now being translated by Jaraslow de Zielinski) we hope to see included these new letters, with proper editorial emendations.

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1720 THE CHILD MUSIC OF THE GREAT COMPOSERS.

(From the London Times, January 7, 191 1.)

Few recent pianoforte compositions, even by professedly popular composers, can have attained the success of Debussy's "Coin des En- fants" Suite. Published only some two years ago, it has been the medium, throughout the whole musical world, of introducing Debussy to persons to whom the name was either altogether unknown or merely represented . the unintelligibly vague in modern art. And yet it is .highly probable that no hearers of the two finest numbers, "La Neige Danse" and "Le petit Berger" (issolated from those with specifically humorous titles), would realize that this exquisitely woven art was categorically intended first and above all for children: they would feel surprised (and, if seriously-minded, annoyed) at the discovery of the title-page, with its dedication to "ma chere petite Charchou avec les tendres excuses de son pere pour ce qui va suivre," and its fascinating toy elephant of the purest Parisian breed. The children's corner in music has indeed been far too much left to the worthy second or third rate type of composer, who can turn out, with never-ceasing industry, work of which the best to be said is that it does not hamper the development of the appreciative faculty. Artistically, such influence is mainly negative, and we are thankful for slender mercies. Only a very few of the composers whose names stand for great achievements in art have consciously set themselves to form youthful ideals; and even they have not always been successful. Bach, Mendelssohn, Schumann, Tschaikowsky, Debussy: we can hardly add to these five any other name of similar eminence. Beet- hoven did indeed toss off a trifle or two for the amusement of children of friends; and the dusty corners of musical literature contain

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1721 a small handful of similar totally forgettable and forgotten by-products from other august pens. Mozart and others of the older classics no doubt wrote a good deal merely for pupils; but they never seem to have had children specially in mind, —all that they cared about was comparative technical easiness. The five named composers, however, produced, of set purpose, definite children's music; and it is perhaps not uninteresting to examine how they conceived the problem and with what success it was met. The " Clavierbiichlein " written by Bach for his eldest son Friedemann, contains, among its very numerous short pieces, many that were afterwards incorporated into " Das wohltemperirte Clavier " and other familiar collections; and probably only a few of their players and hearers know that they were originally written exclusively for the benefit of a boy of nine. There is the Prelude in C major, —far too often known now merely in bastard shape, all its delicate purity tarnished by the addition of Gounod's vulgar tune; there again is the great Song-prelude in E-flat minor, presumably for the cultivation of Friedemann's caniabile tone, as other preludes from the first book of the " Forty-eight" (such as those in C minor, D major, or D minor) cultivated neatness of fingerwork. Exactness of part-playing, expressiveness in various styles, rhythmical vivacity, —all are represented by pieces familiar enough to us now simply as pure artistic inspirations ; and yet, when once we are led to reflect on the matter, we can see how unerringly Bach achieved his special object. Many of his greatest organ works—the G minor Fantasia, the F major Toccata, and, indeed, most of those we know best—were written earlier, as were some of his most deeply felt cantatas, such as "Gottes Zeit ist die allerbeste Zeit" ; but of all this complexity and searching of soul there is not a trace. He succeeded indeed in doing, and doing perfectly, three very different things at once: the music is masterly in the mere pedagogic aspect, it can fascinate children (as teachers still know well enough) and can be played by them with real understanding, and yet it can still appeal, with no reservations whatever, to the mature brain and heart of the artistic veteran. This little "Clavierbiichlein" shows, perhaps better than any other of his works, how Bach was able to see his art steadily and see it whole: technique, emotion, intelligence, —all are there; and

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to him the child is literally the father of the man, not a separate individ- ual to be nourished on musical food that the grown performer will despise. Mendelssohn's six " Kinderstiicke " (known in England by the apparently unauthorized title of " Christmas Pieces ") were the last works given

by their composer to the world ; but, with all his experience as a lover of children and as a teacher, he failed to meet the problem as Bach had done. It is plain that he wishes to afford useful practice in particular problems, especially in the staccato touch in which he personally so much excelled but there is little or nothing that makes any appeal to children now, and to the older of us the pieces, indistinguishable from the inferior specimens of the "Lieder ohne Worte," only suggest that Mendelssohn's genius was taking a holiday. We might confidently have hoped for some fine children's fairy or water music from the hand of the composer of the "Mid- summer Night's Dream" and the three great overtures inspired by

river and sea : all that we get is, so to speak, stale chocolate. Schumann, again, failed in a different way. He wrote a large mass of compositions definitely for children's use, almost all with descriptive titles (often, however, concocted after the completion of the music)

' there are the forty-three pieces in the "Album fiir die Jugend, ' the thir- teen " Kinderscenen, " three complete sonatas, and several sets of duets of considerable dimensions. No one, as the perennially valuable aphorisms prefixed to the Album show, could have been more anxious about the deeper aspects of musical education : but his lack of experience and adapt- ability leads to strange results. He had an almost ludicrous ignorance

of what a child finds technically easy or difficult : even the section of the Album specially marked "fiir Kleinere" contains not a few passages that cannot sound approximately right except under the full-sized hands of a player with plenty of command over all the niceties of quickly varied touch and subtle pedalling. With a few familiar exceptions, not more than a dozen or so altogether, Schumann's children's music is forced and dull when really playable by children (as well as often when it is not) when it is in any degree characteristic of his genius, it is meant (whatever the title-page may say) exclusively f-or grown-up men and women who remember their own childhood with sympathy, but possess adult fingers and brains and hearts. What child has ever lived who could make any- MISS GAFFNEY Hygienic Treatment of Head, Face and Neck Removing and preventing wrinkles and improving ENGLAND the complexion by restoring muscular tone and tissue building without the use of cosmetics or We send competent servants steaminii. Head treated for congestion, falling hair and baldness. to all parts of New England The only method which grows new permanent hair when our patrons desire them in six treatments. for weddings, receptions, Manicuring and Shampooing parties and similar occasions. Call us on the phone or write Address for terms, sample menus, price list of ices, confections, 486 Boylston Street Room 4 pastries, etc. Dine and Testimonials from distinguished lunch at men and women of Boston OUR RESTAURANT Telephone, Back Bay 3878-1 STRICTLY PRIVATE TREATMENT McDONALD-WEBER CO. 13 YEARS EXPERIENCE 156TREMONT STREET • - BOSTON 1723 ' ' thing but an emotional caricature of the ' Abendlied ' ? We all acknowl- edge that the " Kinderscenen " are among the most fascinating short pianoforte pieces in existence, but in every way they insistently demand grown-up performance: and even "Am Springbrunnen, " where there are no difficulties of psychological expression, demands, from both fingers and feet, a skill far beyond that of any but the most exceptional children. The twenty-four pieces of Tschaikowsky's " Jugendalbum " also have descriptive titles; but he again approached the problem differently. He never writes over the heads of children, either technically or emotionally; and some of the little pieces, such as " Pferdchen Spielen, " " Die kranke Puppe, " " Wintermorgen, " are at one and the same time excellent practice and (so far as they go) daintily attractive music. But they certainly do not go very far, and no grown artist would deem them worthy of a second look. At their worst, they are feebly sentimental and useless from

any point of view : at their best, they are written very plainly with their composer's left hand. As with so many of his works on smaller canvas, his heart was not in his task. Debussy, on the other hand, while writing only for technically advanced children, takes practically the same attitude as Bach, showing thus once again his distinct kinship with a far-off ancestry. The" Coin des Enfants" Suite no doubt requires adult performance to secure complete effect; but it can be played by children and still sound perfectly natural and right. There is nothing emotionally out of a child's range: the pages are full of childlike naive humor, childlike wistful imagination. And the six

' pieces, one and all, still appeal in fullest measure to older folk : the delicate parody of Clementi in " Doctor Gradus ad Parnassum, " the quaint slum- berous noises of the " Berceuse des elephants, " the gay irrelevance of the "S^r^nade k la poupee, " the "grande Amotion" and dainty burlesques of the "Golliwoggs' cake-walk" (a title apparently untranslatable into French), all these are true children's music, but at the same time full to the brim with subtle details that afford perpetual delight to others. " Le petit Berger" and "La Neige Danse" are indeed, for picturesque pol- ished charm, unsurpassed in all modern pianoforte music: the latter, as

a mere tone-picture (quite apart from its haunting melody) , is an amaz-

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1725 " ing tour de force. Except that there is no clear insistence on technical considerations, Debussy, alone of all later composers, is here a follower of Bach: he writes his music so that children can understand and interpret, but, unless we consent to be ossified by age, we need never out- grow it. Why should he be the only follower among the great instrumental composers? We can perhaps hardly expect that any one with all the elaborate technique of twentieth-century composition at his call should be able to divert his ideas into channels of the extreme technical simplic- ity possible two hundred years ago : for our very easiest fine child-music we may have to keep to Bach alone. The "great morning of the world is gone : our ideas seem bare and thin when reduced to the naked mini- mum that amply sufficed for Bach. But still, even in these latter days, Debussy has shown that it is possible to write music far easier technically than his normal products, and intellectually and emotionally quite inter- pretable by children, without losing the least essential quality of style. What would the literature of child-art not have been, had all great composers been similarly gifted? There is no department of music that more earnestly, and now more than ever, demands enlargement.

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1727 zig could lay claim to the title. But a second thought reminded me that, though the Gewandhaus Concert institution still exists and flourishes, its ancient habitat has been removed. A third thought brought to mind the recollection of the Music House in Norwich, which in the sixteenth century was "a house of resort for those musicians that were called the city waits." They were founded by Queen Elizabeth, who gave to each musician—there were officially five of them—his instrument and a house in King Street. The Music House undoubtedly was used for many a year, not only as a kind of hostelry for musicians, but also as a place in which they could exercise their skill. But long ago it ceased to represent music in any shape or form, and now, if my memory serves, it is an object of interest in the ancient city of Norwich which is made much of in guide-books for the benefit of travellers. Dr. Mee clearly means to imply by the title of his book a concert- room which was erected for the purposes of music and was maintained therefor. And there is not much doubt that he is correct in his impli- cation. Anyhow, he has undoubtedly succeeded in making out a very good case. In any event, his well-written, well-printed, and immensely interesting volume, the result evidently of prodigious care in research, is a valuable contribution to the literature of English music. The Oxford Music Room was opened in 1748. "Hickford's Great Room" in Brewer Street was built, it is true, about ten years earlier, and there Mozart and his sister played in 1765. "But there is no trace," says Dr. Mee, "of any permanent staff of regular performers being attached to it." Unfortunately, the earliest history of the Oxford Music Room is veiled in mystery. But enough remains to testify to the musical interests of the period. Dr. William Hayes, formerly professor of music at Oxford, rendered an account of the buildings as

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1729 his contribution to Sir J. Peshall's edition of Wood's "Antient and Present State of the City of Oxford" in 1773; but the account must be read in the book itself: it is too long to quote here. In fact, it is not an easy matter to give a clear idea of the interest and value of Dr. Mee's book in the space of a column. The book is as full of amusing extracts from old records as it is of historic fact, and it has the supreme merit of preserving its vitality, as it were, to its 205th page. Before the foundation of the Music Room a good deal of music was to be heard in Oxford. Dr. Mee talks of a performance of Handel's "Esther," which, by the by, began at six o'clock in the morning, for some reason hard to understand, and quotes several caustic ref- erences to "the Chevalier Handel" from a pamphlet entitled "The Oxford Act"; and in reference to a performance two days later of "Sieur" Handel's "Athalia" the author says: "The company in the evening were entertained with a spick-and-span new Oratorio, called 'Athalia.' One of the Royal and Ample {? members of Christ Church) had been saying that truly 'twas his opinion that the theatre was erected for other-guise purposes than to be prostituted to a company of squeeking, bawling, out-landish Singsters, let the Agreement be what it wou'd." Both the "Benefit Concert" and the "Prodigy" seem to have been as well known in the early days of the Oxford Music Room as they were in the wider musical world a century and more later. Of the latter the most exalted, I think, was the (later) famous Dr. William Crotch, who subsequently became professor of music in the University. An advertisement in the Oxford Journal of July 3, 1779, sets forth the fact that "Mrs. Crotch, from Norwich, begs leave to acquaint the ladies and gentlemen of this University and City that her Child, who is not yet four years of age, will, by permission of the Vice Chancellor and

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1730 the Stewards of the Musical Society, play upon the organ at the Musick Room this day, at twelve o'clock." Four years later this genuine prodigy, "Master Crotch, the Musical Child," once more played in Oxford, this time upon the organ, harpsichord, and violin, and a month after this appearance he was allowed a benefit. In 1788 Hummel, then a stripling of nine years of age, produced a quartet with horn obbligato and played a sonata for harpsichord; while a short time previously Miss Poole, afterwards Mrs. Dickens and one of the historic singers of her time, "not yet eleven years of age, performed two songs, composed by Dr. Arne, at our Musick Room; also played the Twelfth Sonata of Paradies, which, making but a small allowance for her tender years, has never been exceeded, if equalled, in this century."

This is of interest, since Crotch became, as I have said, professor at Oxford and first Principal of the Royal Academy of Music; while contemporary critics in Vienna deemed Hummel as great a musician

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as Beethoven,—a verdict that Dr. Mee rightly says posterity has not verified, though it still performs some of his compositions. As to the distinction of the players and singers who appeared at the Oxford Music Room Concerts it is quite unquestionable. Rosalbina Caradori, subsequently Madame Caradori-Allan, and "Kitty" Stevens, later Countess of Essex,—two of the greatest singers in the early part of the last century,—Dr. Mee says were among those oftenest in Ox- ford ; and even the great Catalani revisited the scene of many an early triumph in 1824. Again and again the names recur of Sapio; of " Master Thalberg," yet another prodigy; of the great Lindley, facile princeps

at the time among English violoncellists ; of Cramer, the incomparable orchestral leader; of Mrs. Knyvett; of Malibran, the immortal, and her brother Garcia, and of De Beriot, pre-eminent violinist, and husband of Malibran; of Grisi, whose children, according to the tale, she preferred to call Grisettes after herself, and not Marionettes after her illustrious husband; of Clara Novello, later Countess Giugliucci, who died but a short time ago, though she had sung at Oxford as long ago as in 1836; of Pasta, of whom it was written a little unsympathetically, as I think, "unrivalled now Catalani is absent and second only to her," what would your modern contemporary prima donna do to-day to the unlucky wight who dared to describe her in such language, to-day when the genus objects to her name being printed in type the same size as that used for her sisters of lesser importance? Sontag "THE LAMB" Dh and Bb By JOHN H. DENSMORE This song,— a setting of one of the loveliest poems,— has met with exceptional success. Teachers and soloists recognize in this a song of real musical excellence and melodic beauty. The sacred sentiment of the poem makes it of value to church soloists. G. SCHIRMER, NEW YORK

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made her first appearance in England, "out of London," at Oxford in 1828, and John Braham frequently appeared there. Then, too, Charles Kemble gave readings from Shakespeare in the "Room," and, if I may say so, some of the old musical glamour faded from that room when such mundane affairs as lectures by the Oxford Architectural Society were permitted within its sacred precincts, and more, when that society was allowed to furnish it as a museum! As if it were not already sufficient of a museum, with its perpetual ghosts of so many illustrious dead walking around and around within its portals Before dismissing this charming and valuable storehouse of informing and amusing knowledge, I cannot refrain from quoting two delicious verses. The first consists of the words of an "Air sung by Tweedledum in the New Interlude,'! a piece to be foundrin manuscript in the Bodleian Library : Shall a thrummer, a scraper, a man of brown paper Dare thus to our teeth to belye us? Shall the organ submit to the Bagpipe and Kit? Swear louder, swear louder, Tobias!

The air is of the type known as Handelian. The other verse is extracted from an ode, written in the "Room," to Catalani, by an enthusiastic, "poetastic" admirer. It runs as follows :

Still didst thou smile, and warble still, E'en as the lark, so sweet, so shrill That sings unheeding any; Like hers, thy notes to Heav'n arise Thou art a native of the skies, Angelic Catalani.

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Overture, "Sea-cai.m and Prosperous Voyage," Op. 27. Fewx Mendelssohn-Bartholdy

(Born at Hamburg on February 3, 1809; died at Leipsic on November 4, 1847.)

Two little poems by Goethe, "Meeres Stille" and "Gliickliche Fahrt," first published in Schiller's Musenalmanach for 1796, suggested music

to Beethoven, Mendelssohn, and Schubert. The poems are as follows :

MEERES STILLE.

Tiefe Stille herrscht im Wasser, Ohne Regung ruht das Meer, Und bekiimmert sieht der Schiffer Glatte Flache rings umher.

Keine Luft von keiner Seite! Todesstille fiirchterlich In der ungeheuern Weite Reget keine Welle sich

A profound stillness rules in the water; the ocean rests motionless; and the anxious mariner looks on a smooth sea round about him. No breeze in any quarter I Fear- ful quiet of death ! Over the monstrous waste no billow stirs. GLUCKLICHE FAHRT. Die Nebel zerreissen, Der Himmel ist helle, Und .lEolus loset Das angstliche Band. ' Es sauseln die Winde,

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1735 Es riihrt sich der Schiffer. Geschwinde! Ge?chwinde! Es theilt sich die Welle, Es naht sich die Feme; Schon seh' ich das Land!

The fog has lifted, the sky is clear, and the Wind-god looses the hesitant band. The winds sough, the mariner looks alive. Haste! Haste! The billows divide, the far-off grows near; already I see the land!

Beethoven's " Meeresstille und gliickliche Fahrt," for four-part chorus and orchestra, Op. 112, was composed in 1815, performed at

Vienna on December 25, 18 15, and pubHshed in 1822. Schubert's song, "Meeresstille," was composed on June 21, 18 15. The translation, "Calm Sea and Happy Voyage," does not convey exactly the meaning of the original German. As Mr. I^ouis C. Elson says in his "History of German Song": "One of the strangest mis- nomers in all music has occurred with Mendelssohn's overture on the above subject. The English have translated it, 'A Calm Sea and Pros- perous Voyage,' which leaves each auditor under the impression that

a thoroughly joyous pictiu-e is being presented, while the words, 'Be- calmed at Sea and Prosperous Voyage,' would present the tremendous contrast as the poet intended it." Mendelssohn composed the music of the overture at Berlin in the SUBSCRIPTIONS For all ENGLISH. FRENCH, and GERMAN JOURNALS Fast direct mall service from Loadon« Paris« and Berlin

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Between Clarendon and Dartmouth Streets 169 Tremont St., near new Herald Building — W — summer of 1828. His sister Fanny, in a letter to Klingemann, dated Jmie 18 of that year, wrote: "Felix is writing a great instrumental piece, 'Meeres Stille und gliickliche Fahrt' after Goethe. It will be very worthy of him. He did not wish to make an overture with introduction, and has kept the whole in two contrasting pictures." Mendelssohn first saw the ocean in 1824 at Doberan on the Baltic. He wrote to his sister: "Sometimes it lies as smooth as a mirror, without waves, breakers, or noise; sometimes it is so wild and furious that I dare not go in." When he went to London the next year, the voyage was long and stormy. He wrote home: "I passed from one swoon to another, merely out of vexation at myself and everything on board the steamer, bitterly hating England and especially my 'Calm Sea' overture."*

•Thackeray described in "A Night's Pleasure" a singer whom he heard at the Cave of Harmony: "Mr. Hoff, a gentleman whom I remember to have seen exceedingly unwell on board a Gravesend steamer, began the following terrific ballad : "THE RED FLAG." " Where the quivering lightning flings His arrows from out the clouds, And the howling tempest sings, And whistles among the shrouds, 'Tis pleasant, 'tis pleasant to ride Along the foaming brine Wilt be the Rover's bride? Wilt follow him, lady mine?

Hurrah I For the bonny, bonny brme!" etc.

®CARLHSeiffiit# Jacob Thoma& Son

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The first performance of the overture was a private one at BerHn,

September 7, 1828, in the family dwelHng-house. Mendelssohn conducted from manuscript. The overture was performed on December i 1832, at the Singakademie, Berlin, at a concert for the benefit of the Orchestra-Widows' Fund, and Mendelssohn again conducted from manuscript. In 1834, from February to April, the composer rewrote the overture. He told Devrient by letter that he was about to change the whole allegro, and in May he wrote to Klingemann that the piece was then a wholly different one. The first performance of the revised version was at a subscription concert at the Gewandhaus, Leipsic, October 4, 1835, when Mendelssohn conducted. The score was published in April, 1835, and the orchestral parts in July of the same year. The overture is scored for one piccolo, two flutes, two oboes, two clarinets, two bassoons, one double-bassoon, two horns, three trumpets, one serpent (replaced as a rule by a bass tuba), kettledrums, and strings. The introduction. Adagio, D major, 4-4, based mainly on a theme which appears later in the main body of the work, is a tone painting of a dead calm at sea. It ends with flute-calls, which have been vari- ously interpreted by painstaking commentators. Reissmann calls the passage "the boatswain's whistle metamorphosed." "Are these calls JOINT RECITALS

FRANCES DUNTON BROWN, Soprano PAUL MARCH BROWN, 'Cellist Address PAUL M. BROWN, 213 Huntington Avenue Telephone, Back Bay 2527-L

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ELIAS HOWE CO., 88 Court Street Boston 1738 'whistling for the wind,' the cry of some solitary sea-bird, or merely an eloquent expression of dead silence and solitude?" The other tone picture is the voyage in a fair breeze, Molto allegro vivace, D major, 2-2, with a short coda, Allegro maestoso, D major 4-4, representing the coming into port, dropping anchor, and the salutes from ship and shore. A breeze springs up. Lively passage-work leads up to a climax, after which the first theme is given piano to wind instruments accompanied by strings, piz. The opening figure of the introduction is recognizable in the second portion of this theme. More passage-work leads to a repetition of the theme by the full orchestra fortissimo. A subsidiary theme, A major, is treated in imitation by the first violins and the basses. A series of trills leads to the entrance of the second theme, A major, in the violoncellos, later in the wood- wind, and this theme is a modification of the initial figure of the introduction. There are loud calls^of horns and trumpets with drum-beats. The subsidiary and the second theme are much used in the free fantasia. The third section is abbreviated, and the second theme-is dropped overboard. The coda is given over to the salutes, and the last three measures are supposed to depict the vessel coming up to the wharf.

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Addendum. Programme Book No. 17, page 1250. Add to list of compositions by Richard Mandl, performed in Paris: Pianoforte quintet. March 9, 1895 (Mme. Helen, Hopekirk, pianist), Messrs. HoufHack, Sandre, Paulus, Lanchy; April 28, 1896, Messrs. Foerster, Viardot, Recht, Berkovits, De Bruyn. Chanson Provengale from "Griselidis," with orchestra, March 9, 1895. Mme. Boidin-Puisais, singer. Songs: "Oubli vient," "Chanson des Courlis," "Chanson de la devote Marquise," from "L^gendes d'Amour," April 29, 1896. Mme. Boidin-Puisais, singer. The composer accompanied. Romance for violin, March 18, 1897. Played by M. Recht-Sandor and accompanied by the composer. Intermezzi (sous forme de Laendler) pour piano, violon, et violoncelle (MSS.). First performance, March 25, 1898, Messrs. Mandl, Her- wegh, and Gurt. Performance repeated April 19, 1898, by the same players; April 26, 1898, by Messrs. Mandl, Bild, Gurt; May 19, 1899. Marche Solennelle for two pianofortes, April 26, 1898, Messrs. Mandl and Reitlinger.

Errata. Programme Book No. 2, page 84. "He [Rachmaninoff] played in Boston at a concert of the Boston Symphony Orchestra, December 18, 19 10." For 19 10 read 1909. The same correction should be made in Programme Book No. 5, page 307, line 20. Programme Book No. 13, page 989. In first footnote, for "Phur, Deemas," read "Phur, Delmas." Programme Book No. 18, title-page. Sinigaglia's overture to Gol- doni's comedy "Le Baruffe Chiozzotte" was performed in Boston for the first time .at a " Pop" Concert led by Mr. Strube in Symphony Hall, May 3, 1909.

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1742 Twenty-fourth Rehearsal and Concert

FRIDAY AFTERNOON, APRIL 28, at 2.30 c/clocfc

SATURDAY EVENING, APRIL 29, at 8 o'clock

PROGRAMME

Beethoven Overture, "Coriolanus"

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

Wagner "Good Friday Spell" from "Parsifal"

Wagner ..... Funeral Music from "Dusk of the Gods''

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

1743 STEIISTEK/T KCj^LIj VIOLIN RECITAL BY- FLORENCE CONNOR Licentiate College of Violinists, London Wednesday Afternoon, April 26, at 3 PROGRAM SONATE for Violin alone .... Bach PRELUDIO GRAND CONCERTO in F-sharp minor (with cadenza) Wieniavrski (a) SPANISH DANCE .... Sarasate Schubert- Wilhelmj (6) AVE MARIA ..... (c) ROMANCE, "Albumblatt" Wagner

ANDANTE e RONDO CAPRICCIOSO . Saint-Saens THE STEINWAY PIANO Mr. CARL LAMSON, Accompanist

Reserved seats, 50 cents, $1.00 Tickets are now on sale at the Hall JOINT RECITAL BY ALICE SOVEREIGN COMTRJ^LTO AND FRANK LA FORGE PIANIST Monday Afternoon, April 24, at 3 PROGRAM (a) Lungi dal caro bene - - - Secchi 4. Polonaise, Op. 53 - Chopin (b) When the Roses bloom - - - Reichardt FRANK LA FORGE (c) Fruehlingsglaube - - - - Schubert (d) Fruehlingsnacht - - - Schumann - (e) Sapphische Ode - . - Brahms S. (a) Irish Folk-song Arthur Foote (0 Botschaft Brahms ALICE SOVEREIGN (b) Roses in Winter (written for Miss Sovereign) - - Arthur Foote (a) Nocturne in F-sharp major - - Chopin (6) Three preludes . - . - Chopin (c) Expectancy - - - Frank La Forge FRANK LA FORGE {d) Vor einem Crucifix (written for Wiegenlied - - - - R. Strauss . (a) Miss Sovereign) - - Frank La Forge (6) Heimliche Aufforderung - - R. Strauss (e) Take, take, those Ups away, Frank La Forge (c) But lately in Dance - - - Arensky O id) Lilacs - - - - - Rachmaninoff (/) The Year's at the Spring, Mrs. H. H. A. Beach ie) Floods of Spring - - - Rachmaninoff ALICE SOVEREIGN ALICE SOVEREIGN BALDWIN PIANO USED

sale at the Hall Reserved seats, $1.50 and $1.00 Special Students' tickets Tickets for 1744