INFANTRY HALL PROVIDENCE
^(Sf i ^ympeci
Thirty-third Season, 1913-1914
Dr. KARL MUCK, Conductor
WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE
TUESDAY EVENING, OCTOBER 21
AT 8.15
COPYRIGHT, 1913, BY C. A. ELLIS
PUBLISHED BY C. A. ELLIS, MANAGER
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THE BOOK OF THE BALDWIN free upon request. Q)^ peonj uicm Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor
Violins.
Witek, A. Roth, 0. Hoffmann, J. Mahn, F. Concert-master. Kuntz, D. Tak, E. Theodorowicz, J Noack, S. Koessler, M. Bak, A. Traupe, W. Goldstein, H. Rissland, K. Ribarsch, A. Baraniecki, A. Slilzen, H.
Habenicht, W. Fiedler, B. Berger, H. Tischer-Zeitz, H. Fiumara, P. Spoor, S. Hayne, E. Goldstein, S.
Griinberg, M. Kurth, R. Gerardi, A. Ringwall, R. Pinneld, C E. Gewirtz, J.
Violas. Ferir, E. Werner, H. Wittmann, F. Pauer, 0. H. Van Wynbergen, C Gietzen, A. Schwerley, P. Berliner, W. Forster, E. Blumenau, W.
Violoncellos. Keller, Wanike, H. J. Barth, C. Belinski, M. Wanike, J. Urack, 0. Nagel, R. Nast, L. Folgmann, E. Steinke, B.
Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R.
Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Fosse, P. Vannini, A. Fuhrmann, M. Chevrot, A.
" English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J.
Horns. Horns. Trumpets. Trombones. Tuba. Wendler, G. Jaenicke, B. Kloepfel, L. Hampe, C. Mattersteig, P. Lorbeer, H. Miersch, E. Mann, J. Alloo, M. Hain, F. • Hess, M. Heim, G. Mausebach, A. Resch, A. Hiibner, E. MerriU, C. Kenfield, L.
Harp. Tympani. Percussion.
Holy, A. ' Neumann, S Zahn, F. Senia, T. Kandler, F. Burkhardt, H.
Organ. Librarian. Assistant Librarian.
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276 WESTMINSTER STREET INFANTRY HALL PROVIDENCE
One Hundred and Thirtieth Concert in Providence
Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor
FIRST CONCERT
TUESDAY EVENING, OCTOBER 21
AT 8.15
PROGRAMME
Beethoven . . Symphony in A major, No. 7, Op. 92
I. Poco Sostenuto; Vivace. II. Allegretto. III. Presto: Presto meno assai. IV. Allegro con brio.
Weber Scene and Aria, "Ocean! thou Mighty Monster," from "Oberon" (Act III., No. 13)
Franck . Symphonic Poem, "Les Eolides" ("The Aeolidae")
a. Im Treibhaus
Wagner . hree Poems ( b. Traume
c. Schmerzen
Grieg Overture, "Im Herbst" ("In Autumn"), Op. 11
SOLOIST Madame JOHANNA GADSKI
There will be an intermission of ten minutes after the Symphony
5
Wiij uaii THE MUSICAL EVENT OF THE SEASON
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These Concerts will also be given in Worcester, Springfield, and Portland, Me.
FIRST CONCERT — Oct. 28th SECOND CONCERT—Nov. 11th MADAME MAUD POWELL MADAME INEZ BARBOUR Soprano. Violinist. MME. NEVADA VAN DER VEER MADAME YOLANDA MERO (Mrs. Reed Miller), Contralto. The Celebrated Hungarian Pianist. MR. EVAN WILLIAMS Tenor. MR. LAMBERT MURPHY MR. REINALD WERRENRATH Tenor from the Metropolitan Baritone. Opera Company. This Quartette Will Give a Miscellaneous Concert and a Performance of the Celebrated "Persian Garden," by Liza Lehmann. THIRD CONCERT -Nov. 25th FOURTH CONCERT— Dec. 9th MADAME JOHANNA GADSKI MADAME MARIE RAPPOLD The Greatest Living Dramatic Wagnerian Dramatic Soprano from the Metropolitan Soprano, from the Metropolitan Opera Opera Company. Company, and Leading Opera MR. HERBERT WITHERSPOON Houses of the World. Leading Basso from the Metropolitan Opera Company. MR. GEORGE HARRIS, Jr. MISS ALICE ELDRIDGE Tenor. Solo Pianist. Miss Eldridge has been playing with great MISS MARIE CASLOVA success, and was Solo Pianist at the Violinist. Worcester Festival this year.
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Steinway and Hume Pianos used exclusively at these Concerts. Symphony in A major, No. 7, Op. 92 . . Ludwig van Beethoven
(Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.)
The first sketches of this symphony were made by Beethoven prob-
ably before 181 1 or even 18 10. Several of them in the sketch-book that belonged to Petter of Vienna, and was analyzed by Nottebohm, were for the first movement. Two sketches for the famous allegretto
are mingled with phrases of the Quartet in C major, Op. 59, No. 3, dedicated in 18 18 to Count Rasoumoffsky. One of the two bears the
title: "Anfang Variations." There is a sketch for the Scherzo, first in F major, then in C major, with the indication: "Second part." Another sketch for the Scherzo bears a general resemblance to the beginning of the " Dance of Peasants" in the Pastoral Symphony, for which reason it was rejected. In one of the sketches for the Finale Beethoven wrote: "Goes at first in F-sharp minor, then in C-sharp minor." He preserved this modulation, but he did not use the theme to which the indication was attached. Another motive in the Finale as sketched was the Irish air, "Nora Creina," for which he wrote an accompaniment at the request of George Thomson, the collector of Scottish, Welsh, and Irish melodies. Thayer states that Beethoven began the composition of the Seventh Symphony in the spring of 18 12. Prod'homme believes that the work was begun in the winter of 1811-12. The autograph manuscript that belongs to the Mendelssohn family of Berlin bears the inscription: "Sinfonie. L. v. Bthvn 18 12 i3ten M." A clumsy binder cut the paper so that only the first line of the M is to be seen. There was therefore a dispute as to whether the month were May, June, or July. Beethoven wrote to Varena on May 8, 18 12: "I promise you imme- diately a wholly new symphony for the next Academy, and, as I now have opportunity, the copying will not cost you a heller." He wrote
me: TEACHER OF MUSIC—PIANO
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..mil on July 19: "A new symphony is now ready. As the Archduke Ru- dolph will have it copied, you will be at no expense in the matter." It is generally believed that the symphony was completed May 13, in the hope that it would be performed at a concert of Whitsuntide. The first performance of the symphony was at Vienna, in the large hall of the university, on December 8, 18 13. Malzel, the famous maker of automata, exhibited in Vienna during the winter of 18 12-13 ms automatic trumpeter and panharmonicon. The former played a French cavalry march with calls and tunes; the latter was composed of the instruments used in the ordinary military band of the period,—trumpets, drums, flutes, clarinets, oboes, cymbals, triangle, etc. The keys were moved by a cylinder, and overtures by Handel and Cherubini and Haydn's Military Symphony were played with ease and precision. Beethoven planned his "Wellington's Sieg," or " Battle of Vittoria," for this machine. Malzel made arrangements for a concert,—a concert "for the benefit of Austrian and Bavarian soldiers disabled at the battle of Hanau." The arrangements for this charity concert were made in haste, for several musicians of reputation were then, as birds of passage, in Vienna, and they wished to take parts. Among the distinguished executants were Salieri and Hummel, two of the first chapel-masters of Vienna, who looked after the cannon in "Wellington's Sieg"; the young Meyerbeer, who beat the bass drum and of whom Beethoven said to Tomaschek: "Ha! ha! ha! I was not at all satisfied with him; he never struck on the beat; he was always too late, and I was obliged to speak to him rudely. Ha! ha! ha! I could do nothing with him; he did not have the courage to strike on the beat!" Spohr and Mayseder uer
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ANNE GILBRETH CROSS, Director
Piano, Violin, Violoncello, Mandolin, Harp, Harmony, Composition,
Instrumentation, Normal Training, Public Performance, String Ensemble
GUSTAV STRUBE, Conductor
1913- SECOND SEASON 1914
Programme of First Concert includes an Octette by Svendson, Peer Gynt
Suite by Grieg, and D-major Quartet by Haydn.
£)CiO© ittl
This work, begun in 1911, had last season 187 pupils, 23 experienced teachers and the use of rooms in 5 social centers, where lessons were given, for a nominal sum, to young people earning their own living, and to children of people of limited means.
ANNE GILBRETH CROSS, Director.
HELEN SOMES HEATH, Secretary. were seated at the second and third violin desks, and Schuppanzigh was the concert-master; the celebrated Dragonetti was among the double-basses. Beethoven conducted. The programme was as follows: "A brand-new symphony," the Seventh, in A major, by Beethoven; two marches, one by Dussek, the other by Pleyel, played by Malzel's automatic trumpeter with full orchestral accompaniment; "Wellington's Sieg, oder die Schlacht bei Vittoria." "Wellington's Sieg" was completed in October of 1813 to celebrate the victory of Wellington over the French troops in Spain on June 21 of that year. Malzel had persuaded Beethoven to compose the piece for his panharmonicon, and furnished material for it, and had even given him the idea of using "God save the King" as the subject of a lively fugue. Malzel's idea was to produce the work at concerts, so as to raise money enough for him and Beethoven to go to London. He was a shrewd fellow, and saw that, if the "Battle Symphony" were scored for orchestra and played in Vienna with success, an arrange- ment for his panharmonicon would then be of more value. Beethoven dedicated the work to the Prince Regent, afterward George IV., and forwarded a copy to him, but the "First Gentleman in Europe " never acknowledged the compliment. "Wellington's Sieg" was not per- formed in London until February 10, 18 15, when it had a great run. The news of this success pleased Beethoven very much. He made a memorandum of it in the note-book which he carried with him to taverns. This benefit concert was brilliantly successful, and there was a repetition of it December 1 2 with the same prices of admission, ten and five florins. The net profit of the two performances was four thousand
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11 six gulden. Spohr tells us that the new pieces gave "extraordinary pleasure, especially the symphony; the wondrous second movement was repeated at each concert; it made a deep, enduring impression on me. The performance was a masterly one, in spite of the uncertain and often ridiculous conducting by Beethoven." Gloggl was present at a rehearsal when the violinists refused to play a passage in the symphony, and declared that it could not be played. " Beethoven told them to take their parts home and practise them; then the passage would surely go." It was at these rehearsals that Spohr saw the deaf composer crouch lower and lower to indicate a long diminuendo, and rise again and spring into the air when he demanded a climax. And he tells of a pathetic yet ludicrous blunder of Beethoven, who could not hear his own soft passages. The Chevalier Ignaz von Seyfried told his pupil Krenn that at a rehearsal of the symphony, hearing discordant kettledrums in a passage of the Finale and thinking that the copyist had made a blunder, he said circumspectly to the composer: "My dear friend, it seems to me there is a mistake: the drums are not in tune." Beethoven answered: "I did not intend them to be." But the truth of this tale has been disputed. Beethoven was delighted with his success, so much so that he wrote a public letter of thanks to all that took part in the two performances. "It is Malzel especially who merits all our thanks. He was the first to conceive the idea of the concert, and it was he that busied himself actively with the organization and the ensemble in all the details. I owe him special thanks for having given me the opportunity of offering my compositions to the public use and thus fulfilling the ardent vow made by me long ago of putting the fruits of my labor on the altar of the country." The symphony was repeated in Vienna on February 27, 18 14. On November 29 of that year it was performed with a new cantata, "Der glorreiche Augenblick," composed in honor of the Congress at Vienna and "Wellington's Sieg." The empress of Austria, the Tsarina of Russia, the Queen of Prussia, were in the great audience. The concert was repeated for Beethoven's benefit on December 2, but the hall was half empty. The first performance in Boston was at a concert of the Boston Academy, November 25, 1843. *
Beethoven gave a name, "Pastoral," to his Sixth Symphony. He went so far as to sketch a simple programme, but he added this caution for the benefit of those who are eager to find in music anything or
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everything except the music itself: "Rather the expression of the received impression than painting." Now the Seventh Symphony is a return to absolute music, the most elevated, the most abstract. Yet see what commentators have found in this Seventh Symphony. One finds a new pastoral symphony; another, a new "Eroica." Alberti is sure that it is a description of the joy of Germany delivered from the French yoke. Nohl shakes his head and swears it is a knightly festival. Marx is inclined to think that the music describes a Southern race, brave and warlike, such as the ancient Moors of Spain. An old
edition of the symphony gave this programme : "Arrival of the Villagers Nuptial Benediction; The Bride's Procession; The Wedding Feast." Did not Schumann discover in the second movement the marriage cere- mony of a village couple? D'Ortigue found that the andante pictured
a procession in an old cathedral or in the catacombs ; while Diirenberg, a more cheerful person, prefers to call it the love-dream of a sumptuous odalisque. The Finale has many meanings: a battle of giants or war-
riors of the North returning to their country after the fight ; a feast of Bacchus or an orgy of villagers after a wedding. Oulibicheff goes so far as to say that Beethoven portrayed in this Finale a drunken revel to express the disgust excited in him by such popular creations. Even Wagner writes hysterically about this symphony as "the apotheosis of the dance," and he reminds a friend of the "Stromkarl" of Sweden, who knows eleven variations, and mortals should dance to only ten of them: the eleventh belongs to the Night spirit and his crew, and, if any one plays it, tables and benches, cans and cups, the grandmother, [n^^|^£^^^£^=
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the blind and lame, yea, the children in the cradle, fall to dancing. "The last movement of the Seventh Symphony," says Wagner, "is this eleventh variation." In these days the first question asked about absolute music is, "What does it mean?" The symphonic poem is free and unbridled in choice of subject and purpose. The composer may attempt to reproduce in tones the impression made on him by scenery, picture, book, man, statue. He is "playing the plate," like the aesthete-pianist in Punch. But why should anything be read into the music of this Seventh Sym- phony? It may be that the Abbe Stadler was right in saying that the theme of the trio in the third movement is an old pilgrim hymn of Lower Austria, but the statement is of only antiquarian interest. To them that wish to read the noblest and most poetic appreciation of the symphony, the essay of Berlioz will bring unfailing delight. The Seventh Symphony needs no analysis; it escapes the commentator. As the landscape is in the eye of the beholder, so the symphony is in the ear of the hearer. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings. *
Richard Wagner, in "The Art Work of the Future": "To give his tone-shapes that same compactness, that directly cognisable and physically sure stability, which he had witnessed with such blessed solace in Nature's own phenomena—this was the soul of the joyous impulse which created for us that glorious work, the Symphony in A major. All tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which snatches us away with bac- chanalian might and bears us through the roomy space of Nature, through all the streams and seas of Life, shouting in glad self-con- sciousness as we tread throughout the Universe the daring measures of this human sphere-dance. This symphony is the Apotheosis of Dance herself: it is Dance in her highest aspect, as it were the loftiest Deed of bodily motion incorporated in an ideal mould of tone. Melody and Harmony unite around the sturdy bones of Rhythm to firm and fleshy human shapes, which now with giant limbs' agility, and now with soft, elastic pliance, almost before our very eyes, close up the supple, teeming ranks; the while now gently, now with daring, now serious,* now wanton, now pensive, and again exulting, the deathless strain sounds forth and forth; until, in the last whirl of delight, a kiss of triumph seals the last embrace" ! Englished by William S. Ellis.
*Amid the solemn-striding rhythm of the second section, a secondary theme uplifts its wailing, yearning song; to that rhythm, which shows its firm-set tread throughout the entire piece, without a pause, this long- ing melody clings like the ivy to the oak, which without its clasping of the mighty bole would trail its crumpled, straggling wreaths upon the soil, in forlorn rankness; but now, while weaving a rich trapping for the rough oak-rind, it gains for itself a sure and undishevelled outline from the stalwart figure of the tree. How brainlessly has this deeply significant device of Beethoven been exploited by our modern instrumental- composers with their eternal "subsidiary themes"!—R. Wagner.
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14 _ — —
Scene and Air," Ocean! thou Mighty Monster!" from "Oberon." Carl Maria von Weber
(Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826.)
" Oberon, or the Elf-king's Oath," a romantic opera in three acts, book by James Robinson Planche, music by Carl Maria von Weber, was first performed at Covent Garden, London, April 12, 1826. The cast was as follows: Rezia, Mary Ann Paton; Mermaid, Mary Anne Goward; Fatima, Mme. Vestris; Puck, Harriet Cawse; Huon, John Braham; Oberon, Mr. Gownell; Sherasmin, acted by Mr. Fawcett, "but a bass singer, named Isaacs, was lugged in head and shoulders to eke out the charming quatuor, 'Over the Dark Blue Waters.'" Oberon and Titania have vowed never to be reconciled until they find lovers faithful to each other in adversity. Puck resolves to serve Oberon, his master, by bringing together Huon and Rezia. Huon has been ordered by Charlemagne to go to Baghdad, to kill the favorite, and to wed the Caliph's daughter, Rezia. The lovers are brought to- gether, and swear to Oberon that they will be true in spite of all temp- tation. Huon has killed the favorite, and made his escape by the aid of the magic horn, a gift of Oberon. The lovers are homeward bound. A mighty tempest rises, and Rezia is thrown upon a rock. It is then that she makes hef famous apostrophe :
Ocean! thou mighty monster, that liest curl'd Like a great green serpent round about the world To musing eye thou art an awful sight, When calmly sleeping in the morning light; But when thou risest in thy wrath, as now, And fling 'st thy folds around some fated prow, Crushing the strong-ribb'd bark as 'twere a reed, Then, Ocean, art thou terrible indeed.
Still I see thy billows flashing, Through the gloom their white foam flinging, And the breakers, sullen dashing; In mine ear hope's knell is ringing.
But lo ! methinks a light is breaking Slowly o'er the distant deep,
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mull III !
Like a second morn, awaking Pale and feeble from its sleep. Brighter now, behold 'tis beaming On the storm whose misty train Like some shatter 'd flag is streaming, Or a wild steed's flying mane. And now the sun bursts forth, the wind is lulling fast. And the broad wave but pants from fury past.
Cloudless o'er the blushing water Now the setting sun is burning, Like a victor, red with slaughter, To his tent in triumph turning. Ah! perchance these eyes may never Look upon its light again, Fare thee well, bright orb, forever, Thou for me wilt rise in vain
But what gleams so white and fair, Heaving with the heaving billow? 'Tis a sea-bird, wheeling there, O'er some wretch's wat'ry pillow. No, it is no bird, I mark, Joy, it is a boat! a sail! And yonder rides a gallant bark Unimpaired by the gale!
O transport! My Huon! haste down to the shore. Quick, quick, for a signal this scarf shall be wav'd; They see me! they answer! they ply the strong oar; My husband! my love! we are sav'd, we are sav'd.
E-flat major, Largo assai, 4-4. C minor, allegro moderato, 4-4. C major, Maestoso assai, 4-4. Andante, maestoso ma con moto, 4-4. Allegro, allegro moderato. E-flat major, Presto con fuoco, 12-8. The accompaniment is scored for two flutes, two oboes, two clari- nets, two bassoons, four horns, three trombones, kettledrums, and strings.
"Les fiouDKs" ("The Aeolidae")> Symphonic Poem . Cesar Franck
(Born at Liege, December 10, 1822; died at Paris, November 8, 1890.)
This symphonic poem, composed in 1876, was performed for the first time at a concert of the Societe Nationale, Paris, May 13, 1877. Lamoureux brought it out at one of his concerts, February 26, 1882, but it was not favorably received; some in the audience hissed. This embittered Lamoureux against "Pere Franck," as he was nicknamed
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affectionately by his pupils, and he neglected the composer until Franck was dead and his worth recognized. "Les fiolides" was again played at a Lamoureux concert, February 18, 1894. The first performance in the United States was at Chicago at a concert of the Chicago Orches- tra, Theodore Thomas conductor, in 1895. The first performance in Boston was by the Boston Symphony Orchestra, February 17, 1900, Mr. Gericke conductor. There was a second performance here by the same orchestra, December 20, 1902, and Mr. Gericke again conducted. "Les fiolides" is in one movement, Allegretto vivo, A major, 3-8. The pace slackens for a while toward the end. The piece is free in form. The chief theme is a short chromatic phrase, from which other melodic phrases of a similar character are derived. The development suggests the constant variation of the chief thought, which is itself as a mere breath; and this development is rich in harmonic nuances. The piece is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, kettle-drums, one cymbal (struck with a kettle- drum stick), harp, and strings.
' Georges Servieres says in his sketch of Cesar Franck : ' Desirous of trying himself in all kinds of music, the artist, who up to that time had not written orchestral compositions, allowed himself to be tempted by the seductive but dangerous form of the symphonic poem. He therefore wrote a descriptive piece entitled 'Les fiolides,' to which he gave as a programme the exquisite tides of Leconte de Lisle." There is no allusion in Franck' s score to this inspiration.
les Bolides.
O brises flottantes des cieux, Du beau printemps douces haleines, Qui de baisers capricieux Caresses les monts et les plaines
Vierges, filles dKole, amantes de la paix. La nature eternelle a vos chansons s'eveille; Et la Dryade assise aux feuillages epais Verse aux mousses les pleurs de l'aurore vermeille.
Effleurant le cristal des eaux Comme un vif essairn d'hirondelles, De l'Eurotas aux verts roseaux Revenez-vous, Vierges fideles?
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17 mull . Quand les cygnes sacres y nageaient beaux et blancs, Et qu'un Dieu palpitait sur les fleurs de la rive, Vous gonfliez d' amour la neige de ses flancs, Sous le regard charme de l'Epouse pensive.
L'air ou murmure votre essor S'emplit d'arome et d'harmonie: Revenez-vous de l'lonie, Ou du vert Hymette au miel d'or?
Bolides, salut! O fraiches messageres, C'est bien vous qui chantiez sur le berceau des Dieux; Et le clair Ilyssos, d 'un flot melodieux, A baigne le duvet de vos ailes legeres
Quand Theugenis au col de lait Dansait le soir aupres de l'onde, Vous avez sur sa tete blonde Seme les roses de Milet.
Nymphes aux pieds ailes, loin du fleuve d'Homere, Plus tard, prenant la route ou l'Alphee aux flots bleus Suit Arethuse au sein de l'etendue amere, Dans l'lle nourriciere aux epis onduleux;
Sous le platane ou l'on s'abrite Des fieches vermeilles du jour, Vous avez soupirej'amour Sur les levres de Theocrite.,
Zephyros, Iapyx, Euros au vol si frais, Rires des Immortels dont s'embellit la terre, C'est vous qui fites don au pasteur solitaire Des loisirs souhaites a l'ombre des forets.
Au temps ou l'abeille murmure Et vole a la coupe des lys, Le Mantouan, sous la ramure, Vous a parle d'Amaryllis.
Vous avez ecoute, dans les feuilles blotties, Les beaux adolescents de myites couronnes, Enchainant avec art les molles reparties, Ouvrir en rougissant les combats alternes;
Tandis que drape dans la toge, Debout a l'ombre du hallier, Les vieillards, decernaient l'eloge, La coupe ornee ou le belier.
Vous agitiez le saule ou. sourit Galatee; Et des Nymphes baisant les yeux charges de pleurs, Vous bercates Daphnis, en leur grotte ecartee, Sur le linceul agreste, etincelant de fleurs.
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18
"'Utn ! ! .
Quand les vierges au corps d'albatre Qu'aimaient les Dieux et les humains, Portaient des colombes aux mains, Et d'amour sentaient leurs coeurs battre;
Vous leur chantiez tout bas en un songe charmant Les hymnes de Venus, la volupte divine, Et tendiez leur oreille aux plaintes de l'amant Qui pleure au seuil nocturne et que le coeur devine.
Oh ! combien vous avez baise De bras, d'epaules adorees, Au bord des fontaines sacrees, Sur la colline au flanc boise
Dans les yallons d 'Hellas, dans les champs Italiques, Dans les lies d'azur que baigne un not vermeil, Ouvrez-vous toujours l'aile, Bolides antiques? Souriez-vous toujours au pays du Soleil?
O vous que le thym et 1 'egile Ont parfumes, secrets liens, Des douces flutes de Virgile Et des roseaux Siciliens;
Vous qui flottiez jadis aux levres du genie, B rises des mois divins, visitez-nous encor; Versez-nous en passant, avec vos urnes d'or, Le repos et 1'amour, la grace et 1'harmonie THE MOLIDM.
(translation by w. p. apthorp.)
O floating breezes of the skies, sweet breaths of the fair spring, that caress the hills and plains with freakish kisses; Virgins, daughters of ^Eolus, lovers of peace, eternal nature awakens to your songs; and the Dryad seated amid the thick foha^e sheds the tears of the scarlet dawn upon the mosses. Skimming over the crystal of the waters like a quick flock of swallows, do ye return from the green-reeded Eurotas, ye faithful Virgins? When the sacred swans swam white and beauteous therein, and a God throbbed on the flowers of the bank, ye swelled with love the snow of his sides beneath the enchanted gaze of the pensive Spouse. The air where your flight murmurs is filled with perfume and with harmony; do ye return from Ionia, or from green, golden-honeyed Hymettus? iEolidae, hail! O cool messengers, 'tis truly ye who sang o'er the cradle of the
Gods ; and the clear Ilyssos bathed the down of your light wings in a melodious wave When milky-necked Theugenis danced in the evening by the wave, ye strewed the roses of Miletus upon her fair head. Nymphs of the winged feet, far from Homer's river, later, taking the path where
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19 ; —
blue-waved Alpheus' follows Arethusa through the bosom of the bitter plain to the nursing Isle of waving ears of corn; Under the plane-tree where there is shelter from the scarlet darts of day, ye sighed of love upon the lips of Theocritus. Zephryos, Iapyx. cool-flighted Euros, smiles of the Immortals with which the earth beautifies herself, 'tis ye who bestowed the gift of craved leisure in the shade of forests upon the lonely shepherd. At the time when the bee murmurs and flies to the lilies' cup, the Mantuan, beneath the branches, spoke to you of Amaryllis. Ye listened, hidden amid the leaves, to the fair youths crowned with myrtle, linking together with art the soft rejoinders, entering blushing into the alternate combats While, draped in the toga, standing erect in the shade of the thicket, the old men awarded their praise, the adorned cup or the ram. Ye shook the willow where Galatea smiles; and, kissing the tear-laden eyes of the Nymphs, ye rocked Daphnis's cradle in their sequestered grotto, on the rustic threshold, sparkling with flowers. When the virgins of the alabaster body, beloved by Gods and mortals, brought doves in their hands, and felt their hearts beat with love; Ye sang in an undertone in an enchanting dream the hymns of Venus, divine joy of the senses, and lent your ear to the plaint of the lover who weeps on the thresh- old of night, and is divined by the heart.
Oh ! how many arms and beloved shoulders ye have kissed, by the sacred springs on the hill with wooded sides! In the vales of Hellas, in the Italic fields, in the Isles of azure bathed by a scarlet wave, do ye still spread your wing, antique iEolidae? Do ye still smile in the land of the Sun? O ye who have been perfumed with thyme and goat's-eye,* sacred bonds of Virgil's sweet flutes and the Sicilian reeds; Ye who once floated to the lips of genius, breezes of the divine months, come, visit us again ; from your golden urns pour out to us, as ye pass by, repose and love, grace and harmony!
Three Poems, "Im Treibhaus," "Traume," and "Schmerzen." Richard Wagner
(Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.)
These songs are Nos. 3, 5, 4, of a set entitled "Fiinf Gedichte fur eine Frauenstimme in Musik gesetz von Richard Wagner." The set in- cludes "Der Engel," "Stehe still," "Im Treibhaus," "Schmerzen,"
"Traume." The words are by Mathilde Wesendonck (1 828-1 902). When she met Wagner in 1852, she was, in her own words, a blank page.
' The story of her connection with him is best told in ' Richard Wagner
* I make a desperate guess at this translation. I can find the word egile in no French dictionary, neither can I find any Greek or Latin word from which it could be derived. I conclude from the context that it may be a poetic form coined by Leconte de Lisle for aegilops. The aegilops, or goat's-eye, is a large grass which grows in Sicily, the grain of which is edible. The peasants burn the sheaves, after the harvest, so as partially to roast the grain. The smoke from this burning may well perfume the breeze.—W. F. A. But the word aigilos is in the Greek dictionary of Liddell and Scott, as Mr. Nathan Haskell Dole pointed out to Mr. Apthorp at the time his translation was first published in a programme-book. Aigilos is defined as "an herb of which goats are fond." The word occurs in the fifth Idyll of Theocritus, line 128. The goat- herd Comatas, singing in alternate strains with Lacon, the shepherd, says: "My goats indeed eat hadder and aegilus, and tread on mastich-twigs, and lie among arbute trees." The Rev. J. Banks, the translator, risked no other word for aigilos. J. M. Chapman translates the passage: On goat's rue feed, my goats, and cytisus; On lentisk tread, and lie on arbutus.
Compare this with the more poetic version of C S. Calverley: My goats are fed on clover and goat's-delight: they tread On lentisk leaves; or lie them down, ripe strawberries o'er their head.—P. H.
20
an ! " ! !
to Mathilde Wesendonck, translated, with preface, etc , by W. A. Ellis (New York, 1905).
IM TREIBHAUS. IN THE GREENHOUvSE.
Hoch gewolbte Blatterkronen, Mighty domes and leafy bowers, Baldachine von Smaragd, Em 'raid arches grand and high, Kinder ihr aus fernen Zonen, Ye were born 'neath tropic showers. Saget mir warum ihr klagt? Sad ye seem, —ah, tell me why! Schweigend neiget ihr die Zweige, Slow and still your arms are weaving Malet Zeichen in die Luft, Mystic figures in the air, Und der Leiden stummer Zeuge, And a perfume, anguish breathing, Steiget aufwarts siisser Duft, Sorrow sweet arises there. Weit in sehnenden Verlangen, How ye show desire and longing Breitet ihr die Arme aus, In your mighty arm's embrace, Und umschlinget, nah'nfangen Grasping, while vain hopes are thronging, Ode Leere nicht'gen graus. Only air and empty space Wohl ich weiss es arme Pflanze, I, too, know it, prison'd palm-trees! Ein Geschicke theilen wir, One our lot, one pain we bear. Ob umstrahlt von Licht und Glanze, Tho' we're bathed in radiant sunbeams, Unsere Heimat ist nicht hier! Yet our homeland is not here! Und wie froh die Sonne scheidet And so oft the sun at evening Von des Tages leerem Schein, Parts in twilight from the day. Hiillet der, der wahrhaft, leidet Each of us, in silent grieving, vSich in Schweigens Dunkel ein. Bides the morrow as he may. Stille wird's, ein sauselnd weben Now 'tis still, and yet a signing Fullet bang den dunklen Raum, Thro' the palm house goes and grieves. Schwere Tropfen sen' ich schweben Heavy tear-drops now are lying An der Blatter griinem Saum. On the margins of the leaves. {Translated by F. F. Bullard.)* TRAUME. DREAMS.
Sag', welch wunderbare Traume Say, oh, say, what wondrous dreamings Halten meinem Sinn umfangen, Keep my inmost soul revolving, Dass sie nicht wie leere Schaume That they not like empty gleanings Sind in odes Nichts vergangen? Into nothing are dissolving?
Traume, die in jeder Stunde, Dreamings that with every hour, Jedem Tage schoner bluh'n, Every day, in brightness grow, Und mit ihrer Himmelskunde And with their celestial power Selig durch's Gemuthe ziehn? Sweetly through the bosom flow?
Traume, die wie hehre Strahlen Dreamings that like rays of splendor In die Seele sich versenken, Fill the bosom, never waning, Dort ein ewig Bild zu malen: Lasting image there to render: Allvergessen, Eingedenken All forgetting, one retaining
* By courtesy of Oliver Ditson Co.
CONCERT PIANIST
Soloist, Mmes. Sembrich, Lypkowska; Messrs. Constantino, Schrceder
Assisting Artist, Kneisel Quartette
BOSTON, MASS. PROVIDENCE, R.I. Trinity Court 123 Benevolent St.
21 I ff II
22 8
INFANTRY HALL PROVIDENCE
BY THE
Dr. KARL MUCK, Conductor
Tuesday Evening, November 1
AT 8.15
SOLOIST Miss RUTH DEYO, Pianist
23
mini linn ! ; !:
Traume, wie wenn Friihlingssonne Dreamings like the sun that kisses Aus dem Schnee die Bliithen kiisst, From the snow the buds new born, Dass zu nie geahnter Wonne That to strange and unknown blisses Sie der neue Tag begriisst, They are greeted by the morn,
Das sie wachsen, dass sie bliihen, That expand they may and blossom, Traumend spenden ihre Duft, Dreaming spend their odors suave,
Sanft an deiner Brust vergluhen, Gently die upon thy bosom, . Und dann sinken in die Gruft. And then vanish in the grave.
( Translated by Francis Hueffer.)
SCHMERZEN. GRIEFS. Sonne, weinest jeden Abend Sun, thou weepest every even Dir die schonen Augen roth, Thy resplendent glances red, Wenn im Meeresspiegel badend When into the sea from heaven Dich erreicht der fruhe Tod All too soon thou sinkest dead; Doch ersteh'st in alter Pracht, But new splendors thee adorn, Glorie der diist'ren Welt, Glory of the darkened earth, Du am Morgen neu erwacht, When thou wakest in the morn, Wie ein stolzer Siegesheld Hero-like of proudest worth
Ach, wie sollte ich da klagen, Why should I in vain regretting Wie, mein Herz, so schwer dich seh'n, Load with heaviness my heart, Muss die Sonne selbst verzagen, If the sun must find a setting, Muss die Sonne untergeh'n? If the sun e'en must depart? Und gebieret Tod nur Leben, And engenders death but living, Geben Schmerzen Wonnen nur: If but grief can lead to bliss
O wie dank' ich, dass gegeben Oh ! I thank thee then for giving, Solche Schmerzen mir, Natur! Nature, me such pain as this. (Translated by Francis Hueffer.)
Before their publication "Traume" and "Im Treibhaus" were called by Wagner "Studien zu 'Tristan und Isolde.'" "Traume" (the final version) and "Schmerzen" were composed in 1857. "Im Treib- haus" was composed early in 1858.
Concert Overture, "In Autumn,' for Full Orchestra, Op. ii. Edvard Grieg*
(Born at Bergen, Norway, June 15, 1843; died there September 4, 1907.)
A note on the title-page of the score of the concert overture, "Im Herbst," states that the first performance was at the Birmingham (England) Musical Festival on August 29, 1888. Grieg conducted, and, according to the reporter of the Musical Times, "with marked
* Mr. Finck says: "In cyclopaedias we generally find his name given as Edvard Hagerup Grieg, but he does not sanction the middle name, and never uses it in his correspondence. 'It is true,' he writes to me, 'that my baptismal name includes the Hagerup. My artist name, however, is simply E. G. The Hagerup which is to be found in most of the encyclopaedias is derived in all probability from the archives of the Leipsic Conservatory'" (Finck's "Grieg," p. 2.) After the battle of Culloden (1745) a merchant, Alexander Greig of Aberdeen, emigrated to Norway, made Bergen his dwelling-place, and changed his name to Grieg, that it might be pronounced correctly in Norwegian. He made every year a trip to Scotland to partake of the communion of the Scotch Reformed Church. He married Margretha Elisabeth Heitman. Their son John Grieg, a merchant, served as British Consul at Bergen, and married Maren Regine Haslund. Alexander Grieg was born to them. He also served as British Consul at Bergen, and wedded Gesine Judith Hagerup, and from her Edvard inherited "not only his Norwegianism , but his artistic taste and his musical gifts."
24 Tuesday Afternoon, October 28, 1913 at 2.30
SONG RECITAL
Programme
1. Wonnevoller Mai Gluck Partenza La . 1 _ ; Beethoven Mit emem gemalten Band ) Oh! had I Jubal's Lyre Handel Alleluja Mozart
2. Nont' accostar aU' Urna ) Schubert Heidenroslein )
Ach! wenn ich doch ein Immchen war' ) Der Schmetterling > Franz Gute Nacht )
Der Edelfalk ) Loewe Walpurgisnacht S
3. Sternlein Moussorgsky
Rubi-te- ^dStnd] • • " • • • • • •
Er liebte mich . . . Tschaikowsky Sylvelin Sinding Zueignung R. Strauss
4. Paix du Soir ...... Grechaninov
des . Grieg Le Train Amours T
Ouvre tes yeux bleus (request) . Massenet
I'm not as other lassies Hugo Wolf The Maiden and the Butterfly Chadwick The Bluebell ...... MacDowell Mr. Arthur Rosenstein, Accompanist
The Piano used is a Steinway
Tickets, $2.50, $2.00, $1.50. Now on sale at Box Office. C. A. ELLIS, Manager.
Mail orders with checks payable to L. H. Mudgett, Symphony Hall, Boston, filled as received.
25
llllll llllli — ! !
success as well as to the unconcealed amusement of an audience accustomed to Dr. Richter's undemonstrative style." The first performance of the overture in America was at a Brooklyn (N.Y.) Philharmonic concert, November 24, 1888, led by Theodore Thomas. The first performance in Boston was at a concert of the Boston Symphony Orchestra, April 20, 1907, Dr. Muck conductor. The overture was composed in the winter of 1865 at Rome, when Grieg was visiting that city for the first time. The Rev. W. A. Gray published a story told him by Grieg about the overture, and this story is quoted by Mr. Finck in his interesting life of Grieg: "Gade wasn't always so good-humored. When, for example, I brought him some time afterwards the score of my overture, 'In Autumn,' he shook his head: 'No, Grieg, that won't do. You must go home and write something better.' I was quite disheartened by this verdict. Soon after, however, I obtained an unexpected revenge. I arranged the overture as a duet for the pianoforte and sent it to Stockholm, where, just then, the Academy of Music had announced a prize for the best overture. I was awarded the prize by the judges, of whom Gade was one. He must either have forgotten the piece in the intervening time, or have been in a very bad temper on the day when I showed it him." The overture was the first of Grieg's work for orchestra alone. The statement that it was rewritten twenty years afterward has been denied by the composer. Only the orchestration was changed.
The overture is based on Grieg's song, "Autumn Storm" ("Efter- arsstormon," in Op. 18), which was composed earlier in 1865 in Denmark, and on a Norwegian harvest song. C. Richard's poem, to which Grieg set music, is as follows:*
In summer the woods are so green With twitter of singing birds between. Then sings the storm king his mighty song Till leaflets and birds are a trembling throng. Again, in fury he sounds a blast, And fading and pale they drop at last! Another blast and now they fly Afar in rain and sleet to die!
All are plundered by autumn gale; Winter will now the earth assail. All is so cold, so waste, so bare, Dying and death are ev'rywhere. Where art thou now, thou sun of gold?
Ah ! thou art taken by storm king bold Pallor the cheeks of the roses cover, Summer is over, summer is over.
The poor folk love the autumn gale, They gather the faggots from hill and vale, Which winter, who seems so hard and cruel, Scatters abroad for winter's fuel.
* The translation into English is the one used in G. Schirmer's edition of the song.
26 His mantle then, white and soft, is laid Over the wounds the storm has made. And, howe'er so strong the wind may blow, The summer is coming again, we know.
From each little seed, oh, hear the cry: "Who cares to live, to live must die!" From each little plant, oh, hear the shout: "The sunshine is coming, spring out, spring out!" For, howe'er so strongly the wind may blow, The summer is coming again, we know! Oh, joy to see the first flower blow, The first spring flower in latest snow!
It should be remembered, however, that there is no motto on the title-page of the overture, nor does here Grieg allude to the fact that
the overture is based on the song.
The overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, a set of three kettledrums, bass drum, cymbals, triangle, and strings. There is an introduction, Andante, D major, 3-4. A little figure introduced by wood-wind instruments after vigorous chords of strings and wind instruments becomes of much importance. The main body of the overture begins Allegro agitato, D minor, 6-8. After four measures of preluding the pianissimo introduction of the song appears fortissimo (wind instruments). The opening
phrase of the song is played by the first violins. The section begin-
ning, "Then sings the storm king," is given to wood-wind instruments, to which horns and trumpets are added. Some transitional measures with short solo for oboe bring the second chief theme of the overture, a motive derived from the music in the song to "The poor folk love the autumn gale!" (F major, horns, wood-wind instruments, then
violins). This thematic material is developed at length and treated in overture form. The concluding section, Allegro marcato e maestoso,
D major, 3-4, is based on a Norwegian harvest song. This statement is made in the score. The song enters over a drone-bass.
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VOICE BUILDING and SINGING (Trinity Court, Boston) Providence Studio, 44 STEINERT BUILDING Tuesdays, Wednesdays, and Saturdays Mr. Lister is particularly successful in restoring voices that have suffered from incorrect methods. Coaching, Execution, Diction; Italian, German, and French Songs and Arias; Oratorio and Opera.
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ffffflflTnTm 1 . PROVIDENCE MUSIC TEACHERS' DIRECTORY
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- "U^ PROVIDENCE MUSIC TEACHERS' DIRECTORY
After coaching another season in London and Paris, resumes teaching VOICE ELOCUTION and PIANO studios Mf<§ FUAMK VOCAL INSTRUCTOR OPERATIC TENOR Late of Covent Garden Theatre, London, Eng. 49 STEINERT BUILDING, PROVIDENCE PIANIST Residence, 19 Fairview Sfreet, Edgewood Studio, 50 STEINERT BUILDING 505 Westminster Street Telephone, Broad 1957 PIANIST Pupil of Mme. Charbonnel 44 STEINERT BUILDING Residence, 368 Blackstone Street Telephone VOICE Grundmann Studios, Boston RECITALS COACHING CRITICISM 41 CONRAD BUILDING, Providence 36 Potter Avenue, Providence CONTRALTO SOPRANO Studio, 612 JACKSON BUILDING SOLOIST INSTRUCTOR Wednesday and Saturday Studio, 58 Steinert Building Residence Telephone, 38-R-4, East Providence Residence Telephone PIANIST and TEACHER VOICE CULTURE Pupil of Arthur Foote Residence, 14 Highland St., Meshanticut Park 17 THAYER STREET - Telephone, West 1951-R Telephone, Angel 1319-R SINGING STUDIO Diction and Interpretation in Italian. English, German VIOLIN and French Song Especially adapted Studies for young voices 164 BROADWAY The Cluny Studio, 543 Boylston Street Telephone Connection In Worcester. Wednesdays, 317 Day Building Residence, Hotel Brunswick Resumes lessons October 27 31 ffffflflTTTTIII MUSICAL INSTRUCTION ACCOMPANIMENTS and LECTURE RECITALS 580 COMMONWEALTH AVE., BOSTON TEACHER OF SINGING NEW YORK, 33 West 67th Street BOSTON, 514 Pierce Building Saturdays and Mondays Copley Square Representing Miss CLARA E. MUNGER TEACHER OF SINGING 602 Pierce Building Copley Square, BOSTON 20 PINCKNEY STREET TEACHING AT LANG STUDIOS 6 NEWBURY STREET, BOSTON RECITALS a SPECIALTY Instruction in Organ, Harmony and Piano CONCERT ORGANIST Address, 1 40 Boylston Street, Boston, or 92 Corey Road, Brookline (Fellow of The American Guild of Organists) Telephone, 2717-M Brookline Soloist, Mmes. Sembrich, Lypkowska CONCERT PIANIST Messrs. Constantino, Schroeder Boston, Mass. Providence, R.I. Assisting Artist, Kneisel Quartette Trinity Court 1 23 Benevolent St. PIANIST VIOLINIST (Boston, Friday and Saturday, 516 Huntington Chambers) For concert engagements, address HULTMAN-McQUAID SCHOOL OF MUSIC DAY BUILDING WORCESTER. MASS. 32