Rehearsal and Concert

Home , Charles Incledon, John Braham (tenor)

SYMPHONY HALL, BOSTON

HUNTINGTON

_, , Ticket Office, 1492 ) , Telephones, i ^^^^„ ^^^„ J Administration Offices, 3200 [ TWENTY-SEVENTH SEASON, 1907-1908

DR. KARL MUCK, Conductor

programme nf tijp Twenty-third Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, APRIL 24 AT 2.30 O'CLOCK

SATURDAY EVENING, APRIL 25 AT 8.00 O'CLOCK

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\i Boston Symphony Orchestra PERSONNEL

Twenty -seventh Season, 1907-1908

Dr. KARL MUCK, Conductor Ji First Violins.

Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Coruert-masUr. Kuntz, D. Fiedler, E. Theodorowicz, J. Czerwonky, R.

Mahn. F. Eichbeim, H. Bak, A. Mullaly, J. Stnibe. G. Rissland, K. Ribarscb, A. Traupe, W.

Second Violins.

Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiamara, P. Currier, F. Rennert, B. Eichler, J. Tischer-Zeitz, H. Kuntz, A. Swomsbourne, W. Goldstein, S. Kurth, R. Goldstein, H.

Violas.

Firir, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos.

Wamke, H. Nagel, R. Barth, C. Loeffler, E. Heberlein, H. Keller, J. Kautzenbach, A. Nast, L. Hadley, A. Smalley, R.

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Keller, K. Agnesy, K. Seydel, T. Elkind, S. Gerbardt, G. Kunze, M. Huber, E. Schurig, R.

Flutes. Oboes. Clarinets. Bassoons.

Maquarre, A. Longy, G. Grisez, G. Sadony, P. Maquarre, D. Lenom, C. Mimart, P. Litke, H. Brooke, A. Sautet, A. Vannini, A. Regestein, £. Fox, P. English Horn. Bass Clarinet. Contra-bassoon.

Mueller, F. Stumpf, K. Helleberg, J.

HOKNS. Horns. Trumpets. Trombones. Tuba. Hmi, M. Schmid, K. Kloepfel, L. Hampe, C. Loreiu, O.

Lorbeer, H. Gebhardt, W. Mann, J. Maasebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L.

Phair, J. Schumann, C. Merrill, C.

Hakp. Tympani. Percussion.

Schuecker, H. Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. ^urkhardt, H.

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1708 TWENTY-SEVENTH SEASON, NINETEEN HUNDRED SEVEN and EIGHT

Twenty-third Rehearsal and Concerts

FRIDAY AFTERNOON, APRIL 24, at 2,30.

SATURDAY EVENING, APRIL 25, at 8 o'clock.

PROGRAMME.

Mendelssohn Overture, " Sea-calm and Prosperous Voyage," Op. 27

Schubert Symphony in B-flat major, No. 5 I. Allegro. II. Andante con moto. III. Menuetto: Allegro molto; Trio. IV. Allegro vivace.

D'Indy "Summer Day on the Mountain," Op. 61

I. Daybreak. First time in Boston II. Day (Afternoon under the Pines). III. Evening.

The Mason & Hamlin Pianoforte.

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

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

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Every Hceosee shall not, in his place of amusement, allow any person to wear upon the head a coverinf 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. Attest: J. M. GALVIN, City Clerk. 1709 L. P. Hollander & Co. FUR STORAGE

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

to Beethoven, Mendelssohn, and Schubert. The poems are as follows : MEERES STILLE. Tiefe Stille herrscht im Wasser, Ohne Regung ruht da§ 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! Fear-

ful quiet of death ! Over the monstrous waste no billow stirs. GLUCKLICHE FAHRT. Die Nebel zerreissen, Der Himmel ist helle, Und ^olus loset Das angstliche Band. Es sauseln die Winde, Es riihrt sich der Schiffer.

Geschwinde ! Geschwinde Es theilt sich die Welle, Es naht sich die Feme; Schon seh' ich das Land

The fog has hfted, 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, 1815, and published in 1822. Schubert's song,- "Meeresstille," was composed on June 21, 1815. NEW SONG CYCLES

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1712 — ! —

The translation, "Calm Sea and Happy Voyage," does not convey exactly the meaning of the original German. As Mr. Louis 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 picture is being presented, while the words, 'Becalmed at Sea and Prosperous Voyage,' would present the tremen- dous contrast as the poet intended it." Mendelssohn wrote the overture in 1828. His sister Fanny, in a letter to Kllingemann dated June 28 of that year, gave an account of the origin: "Felix is writing a great instrumental piece, after Goethe. He is going to bring together in it two pictures standing in contrast with each other." 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 slirouds, 'Tis pleasant, 'tis pleasant to ride' £ Along the foaming brine Wilt be the Rover's bride ? ~i V Wilt follow him, lady mine? Hurrah For the bonny, bonny^brine ! " etc.

SUCCESSFUL SONGS BY puc c I N rs JOHN W. METCALF OPERAS (COMPOSER OF "ABSENT") PIANO SCORES WHETE NIGHTS IN THE LAND WHERE DREAMS Madame Butterfly COME TRUE La Boheme AT NIGHTFALL Manon Lescaut UNTIL YOU CAME WITHOUT YOU Price, each, $2.00 RECOMPENSE Two keys, each 50 cents All the music performed at these concerts constantly on hand

Arthur P. Schmidt CHARLES W. HOMEYER & CO. 332 BOYLSTON STREET 120 BOYLSTON STREET (Opposite Arlington St.) (Walker Building) BOSTON BOSTON 1713 Lampadius thought the overture was probably played for the first time in 1830 at one of the winter concerts of the Philharmonic Society in London; but according to George Hogarth's "Philharmonic Society" the overture was not played at one of these concerts before 1836. Grove's Dictionary gives the date of the first performance as December

I, 1832, and the place as Berlin. The accuracy of many dates given in this Dictionary is questionable. We know that Mendelssohn rewrote the overture at Diisseldorf in the winter of 1833-34, and said: "I believe it is about thirty times better than it was before." The score was published in 1835. The overture is scored for one piccolo, two flutes, two oboes, two clarinets, two bassoons, one double-bassoon, two horns, two 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 '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,

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1715 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 Orches- tra 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.

Symphony in B-flat major (B. & H., No. 5) . . Franz Schubert

(Bom at Lichtenthal, near Vienna, January 31, 1797; died at Vienna, November 19, 1828.)

This symphony was composed at Vienna in 1 816. It was begun in

September of that year and completed October 3. It was probably " composed for a little orchestra, a private music society "im Gundelhof that grew out of the concerts, at first chiefly of quartet music, which were given first in the house of Schubert's father, later at the house of the merchant Frischling and toward the end of 1815 at Otto Hat- wig's * (Schottenhof and later Gundelhof). For this orchestra Schu-

* Hatwig was an orchestral violinist.

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1717 :

bert, it is said, wrote the Symphony in D major, No. 3; the "tragic," No. 4; the Symphony in B-flat major, No. 5; the Symphony in C major. No. 6; and the Overture "in the Italian Style." These symphonies were often played with other pieces between the movements. The statement is often made that Schubert never heard his symphonies. He certainly heard the first six performed. The five pre-

ceding this one in B-flat major are: No. i, in D major (1813); No. 2,

in B-flat major (1814-15); No. 3, in D major (1815); No. 4, "Tragic," C minor (1816). The first symphony was composed while Schubert was a pupil at the Convict School, and the orchestra of this school, composed exclusively of pupils, was thus made up: six first violins, six second violins, two violoncellos, two double-basses, two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, and kettledrums.

The score of the Symphony in B-flat major. No. 5, sometimes called the symphony "without trumpets and drums," was for some time supposed to be lost. When Sir George Grove made his journey to Vienna in 1867 in company with Sir Arthur Sullivan, he saw the parts, which were in Johann Herbeck's possession, but the score was not to be found, not even in Dr. Schneider's celebrated closet. In 1872 an edition of the symphony for four hands, made from the autograph score, was published by Peters. The score itself was published in

1882. The autograph, according to Edmondstoune Duncan, is in the Royal Library, Berlin. There was a performance of this symphony at the Crystal Palace,

February i, 1873, led by August Mann. A contemporary critic wrote "The audience listened with very few signs of lively interest and applauded very slightly." The first performance in Boston was from manuscript at a concert

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250 BOYLSTON STREET, BOSTON ""Tuiw.^'n'fr?::.'*'' 1718 of the Boston Symphony Orchestra, led by Mr. Henschel, February lo, 1883. The symphony is scored for one flute, two oboes, two bassoons, two

horns, and strings. The movements are as follows: I. Allegro, B-flat major, 2-2; II. Andante con moto, E-flat major, 6-8; III. Menuetto: Allegro molto, G minor, 3-4; Trio, G major; IV. Allegro vivace, B-flat major, 2-4. It has been said of the music that the first movement and the Andante con moto are Mozartian, while the Menu- etto and Finale are Haj^dnesque. "Schubert himself is not so promi- nent, and if we have Haydn's gaiety we more than once catch a glimpse of Haydn's perruque." What Sir George Grove said of Schubert's first six symphonies may well be quoted here: "These are all much tinctured by what he was hearing and reading—Haydn, Mozart, Rossini, Beethoven (the last but slightly, for reasons just hinted at).* Now and then—-as in the second subjects of the first and last Allegros of Symphony i, the first subject of the opening Allegro of Symphony 2, and the Andante of

Symphony 5, the themes are virtually reproduced—no doubt uncon- sciously. The treatment is more his own, especially in regard to the use of the wind instruments, and to the 'working-out' of the move-

*"Iii 1814 Beethoven was probably still tabooed in the Convict; and beyond the 'Prometheus music and the first two symphonies, a pupil there would not be likely to encounter anything of his."

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1719 ments. where his want of education drives him to the repetition of the subject in various keys, and similar artifices, in place of contrapuntal treatment. In the slow movement and Finale of the 'Tragic' Sym- phony, No. 4, we have exceedingly happy examples, in which, without absolutely breaking away from the old world, Schubert has revealed an amount of original feeling and an extraordinary beauty of treatment which already stamp him as a great orchestral composer. But whether always original or not in their subjects, no one can listen to these first six symphonies without being impressed with their individuality. Single phrases may remind us of other composers, but there is a fluency and continuity, a happy cheerfulness, an earnestness and want of triviality, and an absence of labor, which proclaim a new composer. The writer is evidently writing because what he has to say must come out, even though he may occasionally couch it in phrases of his predecessors. Beauty and profusion of melody reign throughout. The tone is often plaintive but never obscure, and there is always the irrepressible gaiety of youth and of Schubert's own V^iennese nature, ready and willing to burst forth. His treatment of particular instruments, especially the wind, is already quite his own—-a happy conversational way which at a later period becomes highly characteristic. At length in the B minor Symphony (October 30, 1822) we meet with something which never existed before in orchestral music—a new class of thoughts and a new mode of expression which distinguish him entirely from his predecessors, characteristics which are fully maintained in the 'Rosamunde' music (Christ mas, 1823) and culminate in the great C major Symphonv (March, 1828)."

Schubert was a clumsy man, short, round-shouldered, tallow-faced, with a great shock of black hair, with penetrating though spectacled eyes, strong-jawed, stubby-fingered. He shuffled in his walk, and he- expressed himself in speech with difficulty. He described himself as unhappy, miserable; but his practical jokes delighted tavern com- panions, and he was proud of his performance of "The Erlking" on a

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1721 —

comb. He kept a diary and jotted down platitudes. He had little taste for literature, painting, sculpture, travels; he was not interested in politics or in questions of sociology. He went with his own kind. Unlike Beethoven, he could not impose on the aristocracy of Vienna. He loved the freedom of the tavern, the dance in the open air or late at night, when he would play pretty tunes for the dancers. "Mr. George Frideric Handel," to quote Mr. Runciman, "is by far the most superb personage one meets in the history of music. He alone of all the musicians lived his li/e straight through in the grand manner." Gluck was a distinguished person at the court of Marie Antoinette; Sard pleased the mighty Catherine of Russia; Rossini, the son of a strolling horn-player, was at ease with royalty and worshipped by women. There is little in the plain life of Schubert to fire the zeal of the anecdotical or romantic biographer. No Grimm, no Diderot, relished his conversation. There is no gossip of noble and perfumed dames looking on him favorably. There is a legend that he was passionately in love with Caroline of the House of Ester- hazy; but this passion followed a spell of interest in a pretty house- maid. He sang of love in immortal strains; but women were not drawn toward him as they were toward Haydn, IMozart, Beethoven the list is a long one. He was not a spectacularly heroic figure. His morbidness has not the inviting charm of Schumann's torturing intro- spection. We sympathize more deeply with the sufferings of Mozart, and yet the last years of Schubert were perhaps as cruel. Ditters- dorf is close to us by his autobiography. Smug Blangini amuses by his vanity and by his indiscreet defence of Pauline Bonaparte, his pupil. No one can imagine Schubert speculating in books after the fashion of Wagner, Gounod, Saint-Saens. It would have been easier for him to write a dozen symphonies than a feuilleton in the manner of Hector Berlioz. Schubert was a simple, kindly, loving, honest man, whose trade, whose life, was music. Schubert thought in song even when he wrote for the pianoforte, string quartet, or orchestra. The songs which he wrote in too great number were composed under all sorjts of conditions, almost always hurriedly, in the fields, in the tavern, in bed. There were German

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1723 songs before Schubert,-—folk-songs, songs of the church, set songs for home and concert; but vSchubert created a new lyric,—the emotional song. Plod your weary way through the ballads of Zumsteeg, the songs of J. A. Hiller, Reichardt, Zelter, and the others: how cold, formal, precise, they are ! they are like unto the cameo brooches that adorn the simpering women in old Tokens or Keepsakes ; they are as remote and out of fashion as the hair jewelry of the early sixties. Take away ' 'The Violet," and what interest is there in Mozart's book of songs? There is Haydn's famous Canzonet; there is perhaps Beethoven's "Adelaide," there are "In questa tomba" and a few of the songs addressed to the Feme Geliebte; but Beethoven knew the voice best as an orchestral instrument. The modern song was invented by Franz Schubert. In Schubert's songs the lyrical quality is seldom if ever lost, and then only for an intensely dramatic effect yet his most intense effects ; are gained by the frankness of his lyricism. To the writers that pre- ceded Schubert the voice was the thing: the pianoforte served merely, to sustain it, to remind the singer of tonality. Many who have followed Schubert have subordinated the voice ; and it is the fashion with some to regard the accompaniment as of greater importance than the song; they insist at least that the song should be a musical piece, a mood -picture in which two instruments are of equal importance. Schubert dignified and beautified the accompaniment, but he did not forget the fact that the voice is the most sympathetic, moving, thrilling, spell-weaving of all instruments; that the singer as well as the experienced and romantic play-actor can color tones. A song by Schubert is seldom a slavish following of the text, as a ballet composer follows step by step the scenario of pantomime. Elaboration of detail forbids any general irresistible effect. When every little point is emphasized, there can be no one overwhelming attack on the heart, and the mood of even the receptive listener is disturbed, irritated, by these constant elbow-joggings. The few chords that introduce and close "Am Meere" at once suggest a mood; they speak of the sea at nightfall; yet how simple the main accompaniment, how simple the structure of the song itself! In "Death and the Maiden," "On the Water," "The Trout," and in many others, the accompaniments are

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highly imaginative, but, again, how simple they are! They embelUsh the song as a tasteful frame enhances the effect of the glowing canvas. The costliest of Schubert's songs are those in which the mood is at once suggested by a few measures of the accompaniment; then the voice encourages, enlarges, the mood until the song comes, as it were, directly

from the hearer's heart, and the hearer says : "I am the man ; I suffered I was there." The striking characteristics of Schubert's songs, spontaneity, haunt- ing melody, a birthright mastery over modulation, a singular good fortune in finding the one inevitable phrase for the prevailing sentiment of the poem and in finding the fitting descriptive figure for salient detail, are also found in the best of his instrumental works. He recognized the genius of Rossini, who then ruled the musical world, and he wrote a few pieces "in the Italian style," but there is little or no trace of the melodic Rossini in his own melody. He spoke of Beethoven with a reverence that was akin to awe, but the influence of Beethoven is not seen in Schubert's works. His voice, his vocabu- lary, his forms of expression, his faults, and his surpassing merits were individual to him. He persisted in his own fashion. Like de Musset, he drank out of his own glass. There is the spontaneous simplicity, the simplicity praised by Walt Whitman: "The art of art, the glory of expression is simplicity. To speak with the perfect rectitude and insouciance of the movements of animals and the unimpeachableness of the sentiment of trees in the woods and grass by the roadside is the flawless triumph of art. The greatest poet swears to his art, I will not be meddlesome, I will not have in m}^ writing any elegance or effect or originality to hang in the way between me and the rest like curtains. What I tell, I tell for precisely what it is. Let who may exalt or startle or fascinate or soothe, I will have purposes as health or heat or snow has, and be as regard- less of observation. What I experience or portray shall go from my composition without a shred of my composition. You shall stand by my side and look in the mirror with me."

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Then there is the ineflfable melancholy that is the dominating note. There is gayety such as was piped naively by William Blake in his "Songs of Innocence"; there is the innocence that even Mozart hardly reached in his frank gayety; yet in the gayety and innocence is a melancholy,—despairing, as in certain songs of "Die Winterreise," when Schubert smelled the mold and knew the earth was impatiently looking for him,-— a melancholy that is not the titanic despair of Beethoven, not the hopeless pessimism of the ultra-modem German school : it is a melancholy of an autumnal sunset, of the ironical depres- sion due to a burgeoning noon in spring, of the melancholy that comes between the lips of lovers.

The sunniest things throw sternest shade. And there is even a happiness That makes the heart afraid

There is no music in the life That sounds with idiot laughter solely There's not a string, attuned to mirth, But has its chord in melancholy.

No one has treated in music the passion love more purely. Love with the modem French composer is too often merely a disagreeable phase of eroticism, or it is purely, or impurely, cerebral.* With Wagner it is as a rule heroically sensuous if not sensual. Is there one page of Schubert's music that is characterized first of all by sensuousness ? A few measures are played or sung; the music may be unknown to the hearer, but he says to himself "Schubert," and not merely because he recognizes restless changes from major to minor and from minor to major, tremulous tonalities, surprising ease in modulation, naive, direct melody. The sedulous ape may sweat in vain; there is no thought of Schubert, whose mannerisms are his whole individuality. This individuality defies analysis. It has been finely said that music is "what awakens from you when ^''ou are reminded by the instruments"; and the hearer's thoughts are sweeter and purer, his soul is cheered or soothed, he is taken away from this life that is too " * W. E. Henley, in his essay on Alexandre Dumas, the elder, alludes to "what in France is called 'I'amour.'

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daily—to use the phrase of Jules Laforgue—when he is reminded by the music of vSchubert. Pompous eulogies have been paid this homely, human, inspired man, who knew poverty and distress, who was ignored by the mob while he lived his short life, who never heard some of his most important works, whose works were scattered. "Schubert, turning round, clutched at the wall with his poor, tired hands, and said in a slow, earnest voice: 'Here, here is my end.' At three in the afternoon of Wednesday, November 19, 1828, he breathed his last, and his simple, earnest soul took its flight from the world. There never has been one like him, and there will never be another." When you read these plain words of Sir George Grove, something chokes you; for the few words outweigh the purple phrases and dexterously juggled sentences of the rhetorician. Many tributes have been offered the great melodist, and no one of them is perhaps more spontaneous, sincere, and appre- ciative than the poem of W. J. Henderson:

The theatre's gilded, shallow glare, The hum' of jewel'd vacancy, The tinsel pageant's fret and blare, The buskin'd stride, the tragic stare, Are not, O happy heart, for thee.

But thine the hearth and thine the fire, And thine the comrade, pipe, and bowl The child, the wife, the heart's desire, The strings of God's great human lyre Are thine, thou singer of the soul. *

Sir C. Hubert H. Parry ends his c^say on Schubert ("Studies of Great Composers") with these words: "The position which Schubert's larger instrumental works have won in the end is rather a significant one; for, judged by comparison with the great works of such masters a'S Haydn, Mozart, and Beethoven, they certainly have artistic defects. The nicety of adjustment of details of form, after the manner of such masters, is defective, and self-restraint, concentration, conciseness, and judgment are too often absent; and yet the works have taken their

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1732 place among things which are most delighted in, through the beauty of their ideas, and their color, character, and spontaneity. It is this state of things which makes his instrumental works specially interest- ing, as pointing to the position occupied by the intrinsic qualities of music in this century compared with the prominence of formal qualities in the last century. The success of Haydn's and Mozart's work depended to a great extent upon beauty of form, and not very much upon strong individuality. Beethoven alone balanced form and idea upon equal terms, and made strong character one of the essentials, and after him instrumental music began to move into more erratic forms and to depend much more upon ideas and character; and Schu- bert was one of the first composers of mark who gave point to this tendency. There only exists one symphony and a half of his which represent him thoroughly, and yet that is enough to outweigh a whole dozen of symphonies by composers whose works were looked upon with complacency by his contemporaries at a time when his were ignored. "Schubert is another example, like Beethoven, of that supreme devotion to art which makes all convenience and comfort of daily life of secondary importance. His, too, was that singular and untarnished honor of persistently writing what he felt to be best and most beautiful, without ever thinking of what he might get by accommodating his music to his hearers. Popular sophisms could have no hold upon him, because there was no weak place in the armor of his belief. He believed in what was good and not in what was convenient, and it was quite impossible for him to act against his feelings." *

It is a singular fact that, in all the six large volumes of Wagner's literary articles as Englished laboriously by Mr. W. A. Ellis, there is only one remark—and that a shabby one—by Wagner about Schubert, if the voluminous indexes are trustworthy. This remark occurs toward the end of the essay "About Conductors," written in 1869: "They tell me Herr Joachim, whose friend J. Brahms is anticipating all sorts of good things from a return to the ballad-melody of Schubert, is personally awaiting a new Messiah for music at large."

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Mr, John F. Runciman cannot understand this attitude of Wagner, though he is by no means a blind worshipper of Schubert. That entertaining and stimulating book, "Old Scores and New Readings," by Mr. Runciman, contains an excellent essay on Schubert, from which we now quote; for the volume, published in London, is unfortunately not so well known in this country as it should be. "Who that is familiar with Schubert's music can easily believe that it is a hundred years since the composer was bom and seventy since he died*?* It is as startling to find him, as one might say, one of the ancients as it is to remember that Spohr lived until compara- tively recent times; for whereas Spohr's music is already older than Beethoven's, older than Mozart's, in many respects quite as old as Haydn's, much of Schubert's is as modem as Wagner's, and more modem than a great deal that was written yesterday. This modernity will, I fancy, be readily admitted by every one; and it is the only one quality of Schubert's music which any two competent people will agree to admit. Liszt had the highest admiration for everything

he wrote ; Wagner admired the songs, but wondered at Liszt's accept- ance of the chamber and orchestral music. Sir George Grove outdoes

Liszt in his Schubert worship ; and an astonishing genius lately rushed in, as his kind always does, where Sir George would fear to tread, boldly, blatantly asserting that Schubert is 'the greatest musical genius that the Western world has yet produced.' On the other hand, Mr. G. Bernard Shaw out-Wagners Wagner in denunciation, and declares the C major Symphony childish, inept, mere Rossini badly done. Now I can understand Sir George Grove's enthusiasm; for Sir George to a large extent discovered Schubert; and disinterested art- lovers always become unduly excited about any art they have discovered : for example, see how excited Wagner became about his own music, how rapt Mr. Dolmetsch is in much of the old music. But I can understand Wagner's attitude no better than I can the attitude of Mr. Shaw. I should like to have met Wagner and have said to him, 'My dear Richard, this disparaging tone is not good enough ; where did you

* Mr. Runciman's essays were written in 1897-98. Ed.

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>735 — get the introduction to "The Valkyrie"? didn't that long tremolo D

' " and the figure in the bass both come out of 'The Krlking ? has your Spear theme nothing in common with the last line but one of "The Wanderer"? or—if it is only the instrumental music you object to did you learn nothing for the third act of "The Valkyrie" from the working-out of the Unfinished Symphony ? did you know that Schubert had used your Mime theme in a quartet before you? do you know that I could mention a hundred things you borrowed from Schubert? Go to, Richard; be fair.' Having extinguished Richard thus and made his utter discomfiture doubly certain by handing him a list of the hundred instances, I should turn to Mr. Shaw and say, 'My good G. B. S., you understand a good deal about politics and political economy, Socialism, and Fabians, painting and actors [and so on, with untrue and ill-natured remarks ad lib.], but evidently you understand very little about Schubert. That "Rossini crescendo" is as tragic a piece of music as ever was written.' Yet, after dismissing the twain in this- friendly manner, I should have an uneasy feeling that there was some good reason for their lack of enthusiasm for Schu- bert. The very fact of there being such wide disagreement about the value of music that is now so familiar to us all, points to some weakness in it which some of us feel less than others ; and I, poor unhappy mortal, who in my unexcited moments neither place Schubert among the highest gods, like Liszt and Sir George Grove, nor damn him cordially, like Wagner and Mr. Shaw, cannot help perceiving that along with much that is magnificently strong, distinguished, and beautiful in his music, there is much that is pitiably weak, and worse than common- place. The music is like the man—the oddest combination of greatness and smallness that the world has seen. . . . "Despite its incessant plaintive accent, his music is saved by the endless flow of melody, often lovely, generally characteristic, though sometimes common, in which Schubert continually expressed anew his one mood ; and he was placed among the great ones by the mirac- ulous facility he possessed of extemporizing frequent passages of extraordinary power and bigness. . . . There is none of the logic in his work that'we find'^in the works of the tiptop men, none of the perfect

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1736 finish; but, on the contrary, a very considerable degree of looseness, if not of actual incoherence, and many marks of the tool and a good deal of the scaffolding. But, in spite of it all, the greatness of many of his movements seems to me indisputable. In a notice of 'The Valkyrie,' Mr. Hichens once very happily spoke of the 'earth-bigness' of some of the music, and this is the bigness I find in Schubert at his best and strongest. When he depicts the workings of nature—the wind roar- ing through the woods, the storm above the convent roof, the flash of the lightning, the thunderbolt—^he does not accomplish it with the wonderful point and accuracy of Weber, nor with the ethereal deli- cacy of Purcell, but with a breadth, a sympathy with the passion of nature, that no other composer save Wagner has ever attained to. He views natural phenomena through a human temperament, and so infuses human emotion into natural phenomena, as Wagner does in 'The Valkyrie' and 'Siegfried.' The rapidly repeated note, now rising to a roar and now falling to a subdued murmur, in 'The Erlking,' was an entirely new thing in music; and in 'The Wanderer' piano fantasia, the working-out of the Unfinished Symphony, and even in some of the chamber-music, he invented things as fresh and as astound- ing. And when he is simply expressing himself, as at the beginning of the Unfinished and in the first and last movements of the big C Symphony, he often does it on the same large scale. The second subject of the C Symphony finale, with its four thumps, seems to me to become in its development, and especially in the coda, all but

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1737 as stupendous an expression of terror as the music in the last scene of 'Don Giovanni/ where Leporello describes the statue knocking at the door. In short, when I remember Schubert's grandest passages and the unspeakable tenderness of so many of his melodies, it is hard to resist the temptation to cancel all the criticism I have written and to follow Sir George Grove in placing Schubert close to Beethoven."

ENTR'ACTE

.VILIvIAM HAZLITT AS A MUSIC CRITIC. BY PHIUP HALE. William Hazlitt's dramatic criticisms are read to-day with pleasure, for although many of the plays which he described are as dead as the men and women that strutted, laughed, or wept in them, he wrote shrewdly, often eloquently, and always with amazing gusto. How many are acquainted with his newspaper articles about operas, oratorios, singing men and singing women? Readers of essays may be familiar with his fierce attack on the opera as a meretricious form of art and with his denunciation of an opera audience's taste. Hazlitt did not like the opera, which to his mind "proceeds upon a false esti- mate of taste and morals; it supposes that the capacity for enjoy- ment may be multiplied with the objects calculated to afford it."

And he described it bitterly in another essay; he judged it, from its powerful appeals to the senses "by imagery, by sound, and motion," as well contrived "to amuse or stimulate the intellectual languor of those classes of society on whose support it immediately depends.

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Address THE REGISTDAP, 301 Pierce Building, Office hour, 3-4, daily. COPLEY SQUADE, BOSTON 1738 is not a beautiful virgin, who can hope to charm by simplicity and sensibility, but a tawdry courtesan, who when her paint and patches, her rings and jewels are stripped ofif, can excite only disgust and ridicule." So, too, the superb tribute to Mme. Pasta may be familiar to some, for it was published in the "Plain Speaker" with other inimitable essays.

Others may remember his melancholy if not bitter words in the "Conversations of James Northcote": "I said, an o/>era * reputation was, after all, but a kind of Private Theatricals, and confined to a small circle compared with that of the regular stage, which all the world were judges of and took an interest in. It was but the echo of a sound, or like the blaze of phosphorus that did not communicate to the surrounding objects. It belonged to a fashionable coterie, rather than to the public, and might easily die away at the end of the season. I then observed I was more affected by the fate of players than by that of any other class of people. They seemed to me more to be pitied than anybody—the contrast was so great between the glare, the noise and intoxication of their first success, and the mortifications and neglect of their declining years. They were made drunk with popular applause; and when this stimulus was withdrawn, must feel the insignificance of ordinary life particularly vapid and distressing.

There were no sots like the sots of vanity. There were no traces left of what they had been, any more than of a forgotten dream; and they had no consolation but in their own conceit, which, when it was without other vouchers, was a very uneasy comforter." Hazlitt's best work, however, as a music critic, was done after the performance, in the red pepper hours, for London newspapers, —the

* The italics in these quotations are Hazlitt's.—P. H. ANCOCKV

The Standard of Style and Excellence 420 WASHINGTON ST. 1739 Morning Chronicle, the Champion, the Examiner, the Times; and I doubt whether these newspaper articles are known to the curious in matters of musical criticism. He made no apology for his profession. What he wrote in the preface to his "View of the English Stage" might well be pondered by any music critic to-day: "What I have said of any actor has never arisen from private pique of any sort. Indeed, the only person on the stage, with whom I have ever had any personal intercourse is Mr. Liston, and of him I have not spoken 'with the malice of a friend.' ...

There is one observation which has been made, and which is true, that public censure hurts actors in a pecuniary point of view; but it has been forgotten that public praise assists them in the same manner. Again, I never understood that the applauded actor thought himself personally obliged to the newspaper critic ; the latter was merely supposed to do his duty. Why then should the critic be held responsible by the actor whom he damns by virtue of his office? Besides, as the mimic caricatures absurdity off the stage, why should not the critic sometimes caricature it on the stage ? The children of Momus should not hold themselves sacred from ridicule. Though the colors may be a little heightened, the outline may be correct; and truth may be con- veyed, and the public taste improved by an alliteration or a quibble that wounds the self love of an individual. Authors must live as well as actors; and the insipid must at all events be avoided as that which the public abhors most." And, again: "I say what I think: I think what I feel. I cannot help receiving certain impressions from things: and I have sufficient courage to declare (somewhat abruptly) what they are. This is the only singularity I am conscious of. I do not shut my eyes to extraordinary merit because I hate it, and refuse to open them till the clamors of others make me, and then affect to

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1741 wonder extravagantly at what I have before affected' hypocritically to despise. I do not make it a common practice to think nothing of an actor or an author because all the world have not pronounced in his favor, and after they have, to persist in condemning him, as a proof not of imbecility and ill-nature, but of independence of taste and spirit. Nor do I endeavor to communicate the infection of my own dulness, cowardice and spleen to others, by chilling the coldness of their constitu- tions by the poisonous slime of vanity or interest, and setting up my own conscious inability or unwillingness to form an opinion on any one subject, as the height of candor and judgment." Hazlitt seldom spoke of music as an art. When he did, he was a rhapsodist: witness the opening paragraph of an article on performances of oratorio (1816): "The oratorios are over, and we are not sorry for it. Not that we are not fond of music: on the contrary,

there is nothing that affects us so much ; but the note it sounds is of too high a sphere. It lifts the soul to heaven, but in so doing it exhausts the faculties, draws off the etherial»and refined parts of them, and we fall back to the earth more dull and lumpish than ever. Music is the breath of thought, the audible movement of the heart. It is for the most part a pure effusion of sentiment, the language of pleasure extracted from its exciting causes. But the human mind is so formed that it cannot easily bear, for any length of time, an uninterrupted appeal to the sense of pleasure alone; we require the relief of objects and ideas; it may be said that the activity of the soul, of the voluptuous part of our nature, cannot keep pace with that of the understanding, which onl}^ discerns the outward difference of things. All passion

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JOHN M. GRAHAM, President. FREDERICK AVER, Vice-President. JOHN HOQQ, Vice-President. HENRY L. JEWETT, Secretary B. FARNHAM SMITH, Assistant S«:retary. 1742 exhausts the mind, and that kind of passion most which presents no distinct object to the imagination. . . . Music is color without form; a soul without a body; a mistress whose face is veiled; an invisible goddess." The most courageous man might well hesitate to write a life of any living and favorite actor, singer, pianist. However sonorous his fanfare of praise, he would not satisfy the public, still less the eulogized. Hazlitt, writing about the theatres and Passion week, wondered how this week sat upon the actors. "One would think it would be welcome to them as a break in the routine of business, as a pause in the wear and tear of life; but there is no saying. For they are so 'stretched upon the rack of ecstasy that almost any respite from it may be scarcely endurable. The public eye, the public voice, becomes a part of a man's self, which he can hardly do without, even for an instant. The player out of his part is like the dram-drinker without his dram, the snuflf-taker without his box. What organ is so sensitive as that of vanity ? What thirst so insatiable, so incessant, as that of praise ? . . . Many of the most fortunate seem uneasy, listless and dissatisfied when off the stage, because the}^ do not see a thousand faces beaming with delight, because they do not hear at every step the shouts of gods and men. Why do they not resort to Bartholomew-fair, where they may act every half-hour during the day, and not get a wink of sleep at night for the noise of cymbals and rattles? This is as if a man could never be easy unless he saw his person reflected in a thousand mirrors, or heard every word he utters repeated by a hundred echoes. Contempt, poverty, pain, want, and 'all the natural ills that flesh is heir to,' are preferable to this attainment of all that can be desired, and the craving after more." In his articles are admirable or amusing portraits of singing men and women. Kitty Stephens, * afterward Countess of Essex, appears as Maridane in Ame's forgotten "Artaxerxes," and her notes "fall from her lips like the liquid drops from the bending flower," or as Polly in "The Beggar's Opera," and charms in song and action.

* Catherine Stephens (i 791-1882), a Londoner by birth, appeared in Italian opera in 1812 and in "Arta- xerxes " in 1813. She left the stage in 1835, and married the Earl of Essex in 1838.

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1743 Josephina Grassini (i 773-1 850), loved by both Napoleon and the Iron Duke, the woman that enraptured De Quincey when, full of laudanum, he listened to Italian opera, acted Dido "in an undress manner. . . . Even after the desertion of ^Eneas and when the flames of her capital were surrounding her, the terror and agitation she displayed did not amount to the anxiety of a common assignation scene; her trills and quavers very artfully mimicked the uncertain progress of the tremulous flames, and she at last left the stage, not as if rushing in an agony of despair to her fate, but with the hurry and alarm of a person who is afraid of being detected in a clandestine correspondence." Tramezzani's* heroes have "the fierceness of bullies; his frowns and smiles seem alike fated to kill." He "is really too prodigal of his physical accomplishments. We see no reason why ^neas, because Dido takes him by the hand, should ogle the sweet heavens with such tender glances, nor why his lips should feed on the imagination of a kiss, as if he had tasted marmalade. Signor Tramezzani's amorous raptures put us in mind of the pious ardors of a female saint who sighs out her soul at some divine man in a conventicle." Thomas Phillips rf "This gentleman has one qualification, which

* Diomiro Tramezzani made his first appearance in London, June 21, 1809, in Guglielmi's "Sidagero." W. T. Parke, a discriminative judge, said his singing was of the first order, and that he displayed great histrionic powers. Mount-Edgcumbe thought highly of him: "He had a very handsome person, and was full of anima- tion and feeling. His voice was of the sweetest quality, of that rich, touching, cremona tone peculiar to the Italians, and his singing, if not of the first order, or very scientific, was always pleasing, and full of expression." Tramezzani was bom at Milan about 1776. He left London in 1814 to sing again in Italy. t Thomas Phillips, tenor singer, lecturer, composer, known as "Gentleman Tom," bom at London in 1774, made his d6but in "The Castle of Andalusia" in 1796. He was killed by a railway train in 1841. He sang here in Boston in 1818; made his d^but in "The Devil's Bridge"; pleased the public; and received for eleven nights about twenty-five hundred dollars.

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1744 has been said to be the great secret of pleasing others, that he is evidently pleased with himself. But he does not produce a corresponding efifect upon us ; we have not one particle of sympathy with his wonderful self-complacency. We should wish never to hear him sing again; or if he must sing, at least we should hope never to see him act : let him not top his part—why should he sigh, and ogle, and languish, !" and display all his accomplishments—^he should spare the side boxes Mr. Vestris made an "able bodied representative of Zephyr in the ballet." Naldi* as Leporello: "His humor is coarse and boisterous, and is more that of a buffoon than a comic actor. He treats the audience with'the same easy cavalier airs that an impudent waiter at a French table' d'hdte does the guests as theyarrive. The gross familiarity ^bf his behavior to Donna Elvira in the song where he makes out the list of his master's mistresses was certainly not in character, nor is there anything in the words or the music to justify it. The tone and air which he should assume are those of pretended sympathy mixed with involuntary laughter, not of wanton undisguised insult." Drouet,t the flute-player: "He belongs we apprehend to that class

Giuseppe Naldi, a buffo baritone, bom in the kingdom of Naples in 1765, sang with great success in Italy, and went to London, where he made his first appearance, April is, 1806, in Guglielmi's "Le due Nozze ed un Marito." In 1819 he went to the Theatre Italien, Paris. He died singularly in 1820. Garcia innted him to see a new marmite, called an autoclave, for cooking meat. The autoclave exploded and killed Naldi. <*• t Louis Drouet was bom at Amsterdam in 1792, the son of a French barber. Louis studied at the Paris Conservatory, was first flute to Louis XVIII., went to London in 1815, established a flute factory, but he failed, and in 1819 wandered as a virtuoso. In 1840 he was appointed chapel-master at the court of Saxe-Coburg. In 1854 he went to New York. Retuming to Europe, he lived at Frankfort-on-the-Main and later at Beme, where he died in 1873. He composed much music for the flute, and claimed the authorship of the air, "Partant pour la Syne," attributed to Queen Hortense.

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1746 of musicians whose ears are at their fingers' ends ; but he is perhaps at the head." There are occasional touches of the "splendid savagery" that characterizes Hazlitt's letter to William Gifford: witness the description of the opening of the New EngHsh Opera House: "Mr. Short and Mr. Isaacs are singers and we fear not good ones. Mr. Short has white teeth and Mr. Isaacs black eyes. We do not like the name of Mr. Huckel. There is also a Mrs. Henley who plays the fat landlady in 'The Beehive,'* of the size of life." ^And again: "Mr. Incledonf sang the usual songs with his well-known power and sweetness of voice. He is a true old English singer, and there is nobody who goes through a drinking song, a hunting song, or a sailor's song like him. He makes a very loud and agreeable noise without any meaning. At present (1816) he both speaks and sings as if he had a lozenge or a slice of marmalade in his mouth. If he could go to America and leave his voice behind him it would be a great benefit—to the parent country" Incledon visited the United States in 18 17.

* This was a music farce by John Gideon Millingen, produced in 1811. t Charles Incledon, teno/, who was baptized Benjamin, was bom at St. Keverne, in Cornwall, in 1763. The son of a physician, he became a chorister at Exeter Cathedral. From 1779 to 1783 he served as a sailor in the British navj'. In 1784 he joined a dramatic company. His debut at Covent Garden was in "The Poor Soldier" in 1790. He left that theatre in 1815. After his return from America he lived at Brighton, and died at Worcester in 1826, but he is buried at Hampstead, London. It will be remembered that, when Colonel Newcome sang "Wapping Old Stairs" in the Cave of Harmony, he sang it "with flourishes and roulades in the old Incledon manner which has pretty nearly passed away." Great Hoskins, placed on high, amidst the tuneful choir, drank the Colonel's health and was kind enough to say: "I have not heard that song better performed since Mr. Incledon sung it. He was a great singer, sir, and I may say, in the words of our immortal Shakespeare, that, take him for all in all, we shall not look upon his like again." Then the Colonel told Clive that he learnt the song from Incledon: "I used to slip out from Grey Friars to hear him. Heaven bless me, forty years ago; and I used to be flogged afterwards, and served me right, too." Incledon drew well in Boston in 181 7. Parke said of him that he never sang out of tune, and knew nothing of music.

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* Braham, whose real name is said to have been Abraham, was bom of Jewish parents in London about 1774. He sold lead-pencils in the street, became a pupil of Leoni, and sang in public in 1787. When his voice changed, Abraham Goldsmid befriended him, and Braham taught the pianoforte. In 1794 his voice " was again ready for concert work. In 1 796 he made his ddbut at Dnu-y Lane in Mahmoud." Nancy Storace, the singer, shared his fortunes for a time, and the two gave concerts in Paris and in 1 798 went to Italy. Braham made his first appearance at Florence, then sang for two years at Milan and in other Italian cities. He went back to London in 1801 and was the rage for many years. He composed the music of his own part in several operas. For years he was without a rival. His compass was about nineteen notes, and he was distinguished for his remarkable falsetto. When Weber's "Oberon" was produced in ^ London (1826), Braham was the Huon. Fortune turned against him. He purchased the Colosseum with one Yates for forty thousand pounds, and erected the St. James Theatre at a cost of twenty-six thousand pounds. Thus he lost his large fortune. His voice became lower, so that he took the part of William Tell in 1S3S and of Don Giovanni the next year. His last public appearance was in 1852, and he died February 17, 1856. He was a man of information and of wit, and was welcomed in society.' His "Death of Nelson" is still much sung in England. ANNOUNCEMENT. THE LMENDORF LECTURES Mr. Elmendorf is now delivering his annual course of lectures in Ne-w YorK, Boston, and BrooKlyn. Early in January he will begin a series of ten weeks at the TKomas Orctiestra Hall, Chicago. During this course he will also lecture in St, Louis, Mil- waukee, Indianapolis, Evanston, and Oak Park.

Immediately at the close of these engagements he \vill leave for an extended foreign tour, in order to secure material for an entirely new series of " Travel Lectures," to be delivered at the Tremont Temple, Boston, early in the fall of 1908. 1747 ;

this affected and selfish monotony. Instead of acquiring new and varied resources, by lending his imagination to the infinite combinations of which music is susceptible, and by fairly entering into his subject, all his ideas of excellence a^p taken from, and confined to the sound of his own voice." With what gusto did Hazlitt praise Braham singing in oratorio! "There is a rich mellifluous tone in his cadences, which is like that of bees swarming; his chest is dilated ; he heaves the loud torrent of sound, like a load, from his heart; his voice rises in thunder, and his whole !" frame is inspired with the god '^One more quotation with reference to Braham in "Artaxerxes" (1820): "Instead of one continued stream of plaintive sound, laboring from the heart with fond emotion, and still murmuring as it flows, it was one incessant exhibition of frothy affectation and sparkling pre- tence ; as if the only ambition of the singer, and the only advantage he could derive from the power and flexibility of his voice was to run away at every opportunity from the music and the sentiment. Does Mr. Braham suppose that the finest pieces of composition were only invented, and modulated into their faultless perfection, for him to play tricks with, to make ad libitum experiments of his powers of execution upon them, and to use the score of the musician only as the rope-dancer does his rope, to vault up and down on—to show off his pirouettes and his summersaults, and to perform feats of impossibility? This celebrated person's favorite style of singing is like bad opera-dancing, of

which not grace, but trick is the constant character. . . . He mistakes the object of the public. We do not go to the theatre to admire him, to hear him tune his voice like an instrument for sale. We go to be delighted with certain 'concords of sweet sounds,' which strike certain

springs in unison in the human breast. . . . Why will he pour forth, for instance, as in this very song which he murdered, a volume of sound in one note, like the deep thunder, or the loud waterfall, and in the next, without any change of circumstance, try to thrill the ear by an excess of the softest and most voluptuous effeminacy ? There is no reason why he should—but that he can, and is allowed to do so." In the same article, published in the London Magazine, is a tribute

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1749 to Miss Tree: * "What is it that gives such a superiority to her singing? Nothing but its truth, its seriousness, its sincerity. She has no capricios, plays no fantastic tricks; but seems as much in the power, at the mercy of the composer, as a musical instrument: her lips trans- mit the notes she has by heart, as the ^olian harp is stirred by the murmuring wind; and her voice seems to brood over, and become enamoured of the sentiment." Hazlitt had a lively admiration for Mozart's music, "Cosi fan tutte," "Don Giovanni." It is true that on one occasion he coupled him with Dr. Arne, yet in all the four bulky volumes of Otto Jahn's "Mo- zart" (I refer to the first German edition) there is not one phrase as illuminative as this: "Mozart's music should seem to come from the air and return to it." Feeling this, Hazlitt demanded much from singers in Mozart's operas. "Mme. Fodor'st voice does not harmonize with the music of this composer. It is hard, metallic, and jars Hke the reverberation of a tight string." Naldi, who impersonated the cynical philosopher in "Cosi fan tutte," is "more like an impudent

Anna Maria Tree, mezzo-soprano, was bom in London in 1802, and died there, February 17, 1862. She was a sister of Ellen Tree, later Mrs. Charles Kean (1805-80). Anna first appeared at Bath as Polly 'in "The Beggar's Opera" in 1818. She began (1819) at Covent Garden as Rosina, and was a favorite until 1825, when she married James Bradshaw, a tea merchant and member of Parliament. She was the first to sing "Home, Sweet Home," in Payne and Bishop's "Clari, the Maid of Milan" (May, 1823). t Josephine MainvieUe, a celebrated singer, was bom Fodor at Paris in 1793. She learned the harp and piano so that she played at her father's concerts in St. Petersburg, where she made her ddbut as a singer at the Imperial Opera House in 1810 in Fioravanti's "Cantatrici viUane." She married MainvieUe, a French play-actor, in 1812. After singing at Stockholm and Copenhagen, she made her first appearance on August 9, 1814, at the Opera-Comique, Paris. She afterward joined the Th^atre-Italien company, sang in Italy, went back to Paris. After brilliant years her voice began to fail her, and in 1828 at the Sail Carlo, Naples, her peculiar charm was gone. Her last appearance was at Bordeaux in i8jf3. Her singing was distinguished by uncommon purity of intonation and perfection in detail, rather than by nobility of style or by passion.

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valet or major domo of an hotel. We never saw any one so much at home; who seems so little conscious of the existence of any onevbut himself, and who throws his voice, his arms and legs about with such

a total disregard of hienseance. . . . Mr. Braham, we are told, sings Mozart with a peculiar greatness of gusto. But this greatness of gusto does not appear to us the real excellence of Mozart." The article on "Don Giovanni," as produced at the King's Theatre

in 1 817, is one of Hazlitt's best. He first notes the fact that the play- house was crowded on Saturday, but thinly attended on Tuesday: "Why was this? Was it because the first representation did not

answer the expectation of the public ? No ; but because Saturday is the fashionable day for going to the opera, and Tuesday is not. On

Saturday, therefore, the English are a musical public ; and on Tuesday they are not a musical public; on Saturday they are all rapture and enthusiasm; and on Tuesday they are all coldness and indifference impose a periodical penance on themselves for the plenary indulgence of their last week's ecstasies, and have their ears hermetically sealed

to the charms of modulated sounds. . . . The only convincing proof that the public, either in this country or on the Continent, are becom- ing more alive to 'the refined and intellectual music' of 'Don Gio- vanni' than they were thirty years ago is —that the author is dead." Hazlitt combats those who speak of "the sublimity and Shake- sperian character" of the opera. He finds no opportunity, save in the statue scene, for any "general character of grand or strongly con- trasted expression." "Except the few words put into the mouth of the great Commander (Don Pedro) either as the horseman ghost, or the spectre-guest of Don Juan, which break upon the ear with a sort of awful murmur, like the sound of the last trumpet ringing in the hollow chambers of the dead, but which yet are so managed that 'airs from heaven' seem mingled with 'blasts from hell,' the rest of the opera is scarcely anything but gaiety, tenderness, and sweetness, from the first line to the last. To be sure, the part of the great Com- mander is a striking and lofty catastrophe to the piece; he does in some sort assume a voice of stern authority, which puts an end to the mirth, the dancing, the love and feasting, and drowns the sounds of the

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paniment soothes as much as it startles the ear. . . . All the other songs are of one uniform, but exquisite character, a profusion of delicate airs and graces. Except, then, where the author reluctantly gives place to the Ghost-statue, or rather compromises matters with him, this opera is Mozart all over; it is no more like Shakespeare than Claude Lorraine is like Rubens or Michael Angelo. It is idle to make the comparison. The personal character of the composer's mind, a light, airy, voluptuous spirit, is infused into every line of it; the intoxication of pleasure, the sunshine of hope, the dancing of the animal spirits, the bustle of action, the sinkings of tenderness and pity, are there, but nothing else. It is a kind of scented music; the ear imbibes an aromatic flavor from the sounds." Henley said of Hazlitt: "He worshipped women, but was awkward and afraid with them." Hazlitt's view of Don Giovanni, the rakehelly hero, is therefore peculiarly personal : "Signor Ambrogetti* gave considerable life and spirit to the part of Don Giovanni; but we neither saw the dignified manners of»the Spanish nobleman, nor the insinuating address of the voluptuary. • He makes too free and violent a use of his legs and arms. He sung the air, 'Fin ch' han dal vino,' in which he antici- pates an addition to his list of mistresses from the success of his entertainment with a sort of jovial, turbulent vivacity, but without the least 'sense of amorous delight.' His only object seemed to be, to sing the words as loud and as fast as possible. Nor do we think he gave to Don Juan's serenade, 'Deh vieni alia finestra,' anything like the spirit of fluttering apprehension and tenderness which characterizes the original music. Signor Ambrogetti's manner of acting in this

* Giuseppe Ambrogetti, basso cantante, was at the height of his fame from 1807 to 1815. In the latter year he went to Paris and appeared there as Don Giovanni. In 181 7 he went to England and appeared as the Count in "Le Nozze di Figaro" with great success. There was a rumor about 1830 that he had joined the Trappists in France, but in 183S he was in Ireland. The Earl of Mount Edgcumbe said he was deservedly liked, "for he was an excellent actor, with a natural vein of humor peculiarly his own; but he was sometimes put into characters unsuited to his turn, to his want of voice, and deficiency as a singer. Yet he acted extremely well, and in a manner too horribly true to nature, the part of the mad father in Paer's beautiful opera of 'Agnese.'" CHINESE RUCS

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1753 scene was that of the successful and significant intriguer, but not of an intriguer—in love. Sensibility should be the ground-work of the expression : the cunning and address are only accessories." * * * As a rule, the reader of criticism written nearly a century ago concerning the work of singers or other stage-folk soon yawns and throws the book aside. Few critics have been able to be both indepen- dent and creative. A character that served as the mouthpiece of Oscar Wilde's opinion exclaimed: "I am always amused by the silly vanity of those writers and artists of our day who seem to imagine that the primary function of the critic is to chatter about their second-rate work." No, the critic's aim should be, first of all. to chronicle his own impressions. To him art is impressive, not expressive. From the work or person who passes before him he gains material for a new work of his own. A mediocre or even wretched performance may inspire a superb and memorable article. Mr. Anatole France boldly stated the casef "The good critic' is he that recounts the adventures of his soul among masterpieces." The soul may also find adventures among works that are not great. And, before France, the acute Sainte-Beuve declared that criticism, as he understooa it, and would fain practise it, is an inven- tion and a perpetual creation. The stage men and women of whom Hazlitt wrote are now only names in huge and necessarily incomplete biographical dictionaries. What Hazlitt wrote about them is forcible, suggestive, pertinent to-day, and we should be thankful that they sang and mimed for him.

Stevenson declared : "We are mighty fine fellows, but we cannot write like William Hazlitt," and Henley, alluding to this saying in his own preface to the complete edition of Hazlitt's works, added: "Whether or not we are mighty fine fellows is a Great Perhaps ; but that none of us, from Stevenson down, can as writers come near to Hazlitt—this to me is merely indubitable. In the criticism of politics, the criticism of letters, the criticism of acting, the criticism and expression of life, there is none like him."

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"Summer Day on the Mountain," Op. 6i Vincent d'Indy

(Bom at Paris, March 27, 1852;* now living in Paris.)

WTien Vincent d'Indy xnsited the United States, in November and December, 1905, to conduct certain concerts of the Boston Symphony Orchestra in Boston and other cities, he brought with him the manuscript score of "Jour d'et6 k la montagne," which he had nearly completed to his satisfaction. He then characterized the three movements, "Aurore," "Jour," "Soir," as "Symphonic Pictures." The work was begun in 1905. The work was performed for the first time at a Chatelet concert in Paris, ^^douard Colonne conductor, February 18, 1906, and the score, dedicated to Henry Kunkelmann, was published in 1906. ("Souvenirs," an orchestral poem in memory of the composer's wife, who died early in 1906, was first performed at a concert of the National Society in Paris, April 20, 1907, and the composer conducted. D'Indy's pianoforte sonata was played for the first time in public at Paris, January 25, 1908, by Miss Blanche Selva.) The first performances of "Summer Day on the Mountain" in the United States were in Chicago at concerts given by Theodore Thomas Orchestra, Frederick Stock conductor, October 18, 19, 1907. The work was performed in New York by the New York Symphony Orchestra,

Walter Damrosch conductor, January 18, 19, 1908. The score contains the prose poem from Roger de Pampelonne's "Les Heures de la Montagne: (Poemes en prose)" that suggested the music. The following translation into English will be the best

: - - -. the . , commentary on music : f^-^l

* This year is given by the composer. The catalogue of the Paris Conservatory gives 1851, and 1851 is also given by Mr. Adolphe Jullien, who says Jie verified the date by the register of d'Indy's birth.

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SUMMER DAY ON THE MOUNTAIN.

I. DAYBREAK. Awake, gloomy phantoms, smile majestically to the sky, for a ray in the Infinite arises and strikes your brow. One by one they unroll the folds of your great mantle, and the first gleams, caressing your lofty wrinkles, spread on them a moment of sweetness and serenity. Awake, ye mountains, the King of space appears. Awake, thou valley, which hidest the happy nests and sleeping cottages, awake with song. And if, in thy song, some sighs reach me, may the light wind of the morning hours gather them and bear them to God. Awake, ye cities, where the pure rays penetrate only to regret. Learning, bustle, human ignominy, awake ye. Arise, artificial worlds

The shadows gradually vanish before the invading light. Laugh or weep, ye creatures who people this world. Awake ye, harmonies; God listens!

II. DAY.

Afternoon, under the Pines,

How sweet it is to lie on the side of the huge steps of the sky How sweet it is to dream, far from the tumult of man, in the smiling majesty of the heights!

Let us lift ourselves toward the summits; man forsakes them, and, there where man is no more, the mighty voice of God is heard; let us look from far, that we may be able to serve and love his ephemeral creatures. Here every earthly noise mounts harmoniously toward my resting heart; here all things are turned to hymn and prayer; Life and Death

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hold hands to cry out toward heaven: Providence and Goodness. I no longer see that which perishes, but that which is bom again on the ruins; the great Guide seems here to reign alone.

Everything is silent. Crossing the country bathed in sunlight, a gentle and artless song comes to me, borne by the wind that steals through the depth of the forest. Oh, enwrap me completely in your sublime accents, wind whose wild breath gives life to the organ of Creation! Gather the songs of birds on the dark pines; bear to me rustic tinklings, joyous laughter of virgins of the vale, murmur of waves, and breath of plants. Efface in your great sob all sobs of earth; let only the purest harmonies, works of divine Goodness, come to me

III. EVENING.

Night invades the protecting sky, and the light, fading, throws a fresh quick breath over the wearied hemisphere. The flowers stir; their heads seek a resting-place where they may sleep. A last ray caresses the heights, while, happy after the rough work of the day, the mountaineer regains his rustic dwelling, from which smoke rises in a recess of the valley.

The sound of bells, a sign of life, grows fainter and fainter; the lambs rush into the fold, and before the crackling fire the peasant woman puts to sleep her little child, whose timid soul dreams of mists, the wolf,* and the dark border of the forest.

* Mr. de Pampelonne has written "le loup precoce." "Precoce" means either "early," as in "early fruit," "precocious," as we use it speaking of a precocious child, or "premature." Remembering the fate of the school-boy who translated Virgil's "Triste lupus stabulis" "The sorrowful wolf," I prefer to omit the qualifying adjective. Mr. Hubbard William Harris, of Chicago, in his translation of Mr. de Pampelonne's prose poem, introduces the participial adjective "lurking."

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Soon everything sleeps beneath the darkness, everything is phan- tasmal in the valley; yet everything is still alive.

night ! eternal Harmony lives beneath thy veil joy and O ; sorrow are only sleeping. O night! devouring Life stirs beneath devouring day; it creates itself under the beaded mantle of thy extended arms.

"Summer Day on the Mountain" is scored for three flutes (one interchangeable with piccolo), two oboes, English horn, two clarinets, bass clarinet, three bassoons, four homs, three trumpets, three trombones, double-bass trombone, kettledrums, snare-drum, bass drum, cymbals, two harps, pianoforte, strings. The movements are as follows: I. "Aurore": Tres modere. II. "Jour (Apres-midi, sous les Pins)": Tres modere, E major, 6-4. III. "Soir": Tres anime et joyeux. At the end there is a return to the tonality and the mood of the opening section of the first movement. * * * The following biographical sketch of Mr. d'lndy was prepared from information given by the composer himself and from H. Imbert's article in "Profils de Musiciens" (Paris, s. d.) — His family wished him to be a lawyer, and so against his wish he studied for that object, but at the same time he studied music. He took pianoforte lessons of Diemer and harmon}^ lessons of Lavignac (1862-65). During the Franco-Prussian War he served as a volunteer in the One Hundred and Fifth Regiment, and took an active part in the defence of Paris, notably in the battle of Montretout. After the war he gave up definitely any idea of the law, to be, against the wishes of his family, a professional musician. (It should here be said that his father, a man of large income, was fond of music, and played the violin not too disagreeably. Vincent's

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Tdephoae, Oxford 582. BOSTON In block of Bnwiwick Hotel 1769 mother died soon after his birth, and, as his father took to himself a second wife, the boy was brought up by his grandmother, Mme. Theo- dore d'Indy, who, an excellent musician, taught him the rudiments of the art. Thanks to her, he lived for many years apart from the madding world and vexing social diversions. It was she that led him in his early years to the study of the great masters. Vincent had an uncle, Saint-Ange Wilfred d'Indy, who, as an amateur composer, was popular in Parisian parlors and halls, in which his romances, chamber music, and operas de salon were performed. It was he that first showed his nephew the treatise of Berlioz on instrumentation.) DTndy entered the orchestra of the Association Artistique des Concerts du Chatelet, conducted by Colonne, as kettledrummer, then as chorus-master, and he thus served for five years. In 1872 he was introduced by his friend, Henri Duparc, to Cesar Franck, who was professor of the organ at the Conservatory. DTndy entered his class, and in 1875 took a first accessit, but he left the Conser\^atory, for he saw, to use his own words, that the musical instruction there, so far as composition was concerned, was not given in a serious manner. He then became a private pupil of Franck, with whom he studied thoroughly counterpoint, fugue, and composition. In 1873 he travelled in Germany, and spent several months at Weimar with Liszt, who treated him with great affability. In 1875 his first work for orchestra was performed several times at the Concerts Pop- ulaires, Paris, conducted by Pasdeloup,—the overture, "The Picco- lomini" (after Schiller), which became the second part of his "Wallen- stein" trilogy. In 1882 his one-act opera-comique, "Attendez-moi sous rOrme" (based on a comedy by Regnard), was performed at the Opera-Comique. In 1885 he won in competition the prize offered by the city of Paris for a musical composition. This prize was established in 1878 and offered to French composers every two years. His successful work was "The Song of the Bell" (after Schiller)^ for solo voices, double chorus, and orchestra. In 1887 he became chorus-master of Lamoureux's concerts, and the rehearsals of the chorus for the first performance of "Lohengrin" in Paris (Eden Theatre, May 3, 1887) were intrusted to him. AQUAMARINES We are showing a wonderful collection of these exquisite sea-blue precious stones in imique Brooches, Pendants, etc., of our own make. EDWARD H. CLARKSON BOYLSTON STREET Opposite Arlington Street Churcti

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Conser^^atory ; he declined the offer, for he wished to be wholly free. But in 1896 he founded with Charles Bordes and Alexandre Guilmant a music school, the Schola Cantorum, of which he is a director, and professor of cohiposition. It may here be added that in 1873 d'Indy became acquainted with the German Requiem of Brahms, and his admiration for it was so great that he determined to go a pilgrimage, in the hope of seeing the composer and of obtaining advice from him. After his sojourn in Weimar he went to Vienna and found that Brahms had gone to Bavaria. He followed him, and finally found him at Tutzing, but whether Brahms was not in the mood to receive strangers, or whether he was absorbed by works that demanded concentration of mind, the interview was short and unsatisfactory, although the young Frenchman bore letters from Saint-Saens and Franck. D'Indy was always a lover of nature. His family came originally from Verdieux, in Ardeche, a department formerly a portion of the province Languedoc. The mountains of the Cevennes are often naked, Imrren, forbidding. D'Indy has long been in the habit of spending his vacations in this picturesque country. He has also delighted in the Tyrol, the Engadine, the Black Forest. He has listened intently to what Millet called "the cry of the earth." In a letter written from Vernoux in 1887 he said: "At this moment I see the snowy summits of the Alps, the nearer mountains, the plain of the Rhone, the pine

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II Summer Street, Boston, Mass. woods that I know so well, and the green, rich harvest which has not yet been gathered. It is a true pleasure to be here after the labors and the vexations of the winter. What they call at Paris 'the artistic world' seems afar off and a trifling thing. Here is true repose, here one feels at the true source of all art." His love of nature is seen in "Mountain Poems," suite for pianoforte (1881); "The Enchanted Forest," symphonic ballad (1878); the Symphony for orchestra and pianoforte on a Mountain Air (1886); the symphonic pictures, "A Summer Day on the Mountain"; Fantasia for oboe and orchestra on some folk-tunes (1888); "Tableaux de Voyage," pieces for pianoforte

(1889) ; and chamber music by him suggests the austerity of mountain scenery. In his childhood d'lndy loved folk-tales and fantastic stories. Then he read eagerly the works of Uhland, Hoffmann, Poe. There came the worship of Dante, and then he came under the influence of Shake- speare, Moliere, Schiller, Goethe. Flaubert, especially by his "Temp- tation of Saint Anthony," made a profound impression on him. In painting he prefers the masters of the fourteenth and fifteenth cen- turies, and he confesses frankly that he experiences a greater and more artistic stimulus in the presence of the Assyrian art long before Christ than in the presence of the art known to Pericles. Imbert says that d'lndy will remain for hours in contemplation before the pictures of certain primitive German or Flemish painters, while the mar^-ellous compositions of the Italian painters of the Renaissance leave him cold. "So that one may well trace in his preference for the colossal and rude works of earlier times, and in his disdain for the charming creations of the Renaissance, the determination to keep from his music all that seems to him to have the least affectation, or that which is merely

graceful or tender." \ * * * In 1905 Mr. d'lndy was invited to conduct a series of concerts given by the Boston Symphony Orchestra in Boston and other cities. The concert in Boston, the seventh of the regular series, took place on December 2, 190.5, and the programme was as follows: d'lndy. Sym-

phony in B-flat major, No. 2, Op. 57 ; Faure. Suite from Stage Music to Maeterlinck's "Pelleas and Melisande"; d'lndy, "Istar," Symphonic Variations; Franck, "Psyche and Eros" (first time in Boston); Dukas, "The vSorcerer's Apprentice." The programme of the concert in Philadelphia, December 4, 1905, included Chausson's Symphony in B-flat, Franck's "Psyche and Eros," Debussy's "Clouds" and "Festivals" from the "Nocturnes," Magnard's "Dirge," and d'Indy's "Istar."

The programme of the concert in Washington, D.C., December 5, was the same as that of the Philadelphia concert.

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The programme of the concert in Baltimore, December 6, was as follows: d'Indy's Symphony in B-flat. No. 2; Faur^'s vSuite, "Pelleas and Melisande"; d'Indy's Legend, "Saugefleurie"; Dukas's "Sor- cerer's Apprentice." The programme of the first concert in New York, the evening of December 7, was that of the Baltimore concert. The programme of the second concert, Saturday afternoon, December 9, was as follows: Chausson's Symphony in B-flat, Franck's "Psyche and Eros," the two movements already mentioned of Debussy's "Nocturnes," Magnard's "Dirge," and d'Indy's "Istar." Mr. d'Indy gave a chamber concert in Potter Hall, Boston, December II, mth the assistance of the Longy Club and Mr. J. Keller, 'cellist. The programme, made up of compositions by Mr. d'Indy, was as follows "Chanson et Danses" (Longy Club, led by the composer); "Fantasia on French Folk-tunes" (Messrs. Longy, oboist; d'Indy, pianist); Trio for pianoforte, clarinet, and 'cello (Messrs. d'Indy, Grisez, and Keller). *

These works by d'Indy have been played in Boston : Orchestra: Variations, "Istar" (Symphony Concerts, February 18, 1899, April 13, 1901; December 2, 1905, led by the composer). Suite, "Medee" (Symphony Concert, February 10, 1900). Symphony for orchestra and pianoforte on a Mountain Air (Symphony Concert, April 5, 1902). Introduction to Act I., "Ferv^aal" (Orchestral Club, January 7, 1902). "The Enchanted Forest" (Symphony Concert, October 31, 1903). Entr'acte from "The Stranger" (Symphony Concert, March 5, 1904). Choral Variations for saxophone and orchestra (first performance, Boston Orchestral Club, Mrs. R. J. Hall, saxophone, Jan- uary 5, 1904; Mrs. R. J. Hall's Concert, January 21, ^908). Sym- phony in B-flat major. No. 2 (January 7, 1905; December 2, 1905, led by the composer; Boston Symphony Orchestra Concert). "Wallen- stein" Trilogy, Op. 12, October 19, 1907. Chamber Music: Pianoforte Quartet, Op. 7 (Lachaume, Ysaye, Mar- teau, Gerardy, April 16, 189S, Kneisel Concert, November 18, 1901,

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1764 Eaton-Hadley Concert, January 23, 1905, Hoffmann Quartet Concert, November 28, 1905). String Quartet. Op. 45 (Kneisel Concerts, De- cember 3, 1900, December 5, 1905). "Chanson et Danses," for flute, oboe, two clarinets, horn, two bassoons (Longy Club, January 9, 1901, March 28, 1904, the composer with the Longy Club, December 11, 1905). Trio for clarinet, 'cello, and pianoforte, Op. 29 (Longy Club, March 31, 1902; the composer and Messrs. Grisez, clarinet, and Keller, 'cellist, December 11, 1905). Suite in D major for trumpet, two flutes, string quartet. Op. 27 (Kneisel Quartet,' November 17, 1902). Fantasia for oboe and pianoforte—the accompaniment was originally for orchestra—(Longy Club, January 5, 1903, ]\Iessrs. Longy and Gebhard; the composer and Mr. Longy, December 11, 1905). Sonata for pianoforte and violin (Miss Laura Hawkins and Mr. Wendling), December 18, 1907. L^Ttrc Works: "vSte. Marie Magdeline," cantata for solo voice (Miss Rose O'Brien) and female chorus (Cecilia Society, February 6, 1906); Boston Singing Club, December 18, 1907 (Miss Nellie Wright, soprano). "Sur la Mer," chorus for female voices (Choral Art Society, March 24, 1905). "Ride of the Cid," baritone, chorus, and orchestra (Choral Art Society, December 18, 1903). "Lied Maritime" was sung here as early as 1902 (Mme. Alexander-Marius, January 22). Madrigal, Mme. Alexander-Marius, January 22, 1902; Miss Lilla Or- mond, November 6. 1907. "Clair de Lune," "La-bas dans le Prairie," "Ma Lisette" (Mme. Alexander-Marius, March 9, 1904). Pianoforte: Excerpts from "Tableaux de Voyage" (Mme. Hope- kirk, December 13, 1902, January 17, 1903). "Poeme des Montagnes," suite (Miss Hawkins, February 26, 1904). "Plein Air," from "Poeme des iMontagnes" (Mme. Hopekirk, November 13, 1905). Helvetia Valse No. 3 (Mr. Pugno, November 18, 1905).

Addendum : Cymbals should be added to the list of instruments for which Hadley's symphony is scored (Programme Book No. 21, page 1615).

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1766 "

Twenty-fourth Rehearsal and Concert*

FRIDAY AFTERNOON, MAY I, at 2.30 o'clock.

SATURDAY EVENING, MAY 2, at 8 o'clock.

PROGRAMME.

Beethoven Symphony No. 5, in C minor, Op. 67

I. Allegro con brio. II. Andante con moto. III. Allegro; Trio. IV. Allegro.

Wagner A "Faust" Overture

Wagner "A Siegfried Idyl

Wagner Prelude to "The Mastersingers of Nuremberg"

1767 1

PIANOLA RECITAL TO BE GIVEN BY THE M. STEINERT & SONS COMPANY

Saturday Afternoon, April 25 (To-morrow)

at three o'clock

SOLOISTS Miss Mary Louise Crowley, Soprano Mr. C. Alfred Wagner at Themodist Pianola

PROGRAM

MENDELSSOHN Capriccio Brillante, Op. 22 Pianola

MOSZKOWSKI Intermezzo, Op. 56, No. 4

'CHAMINADE . Dance Creole Pianola

^'^- "^^^® ^P"' NEVIN . ... . ] 6. The Merry, Merry Lark Miss Crowley (with Pianola Accompaniment) CHAMINADE Serenade BENDEL ... By Moonlight

MOSZKOWSKI Polonaise, Op. 1 Pianola

F. P. TOSTI Mattinata Miss Crowley (with Pianola Accompaniment)

HERBERT La Coquette

MOSZKOWSKI Liebeswalzer, Op. 57, No. 5 Pianola

LISZT Polonaise, No. 2, E major Pianola

D'HARDELOT I hid my Love MRS. H. H. BEACH The Year's at the Spring Miss Crowley (with Pianola Accompaniment)

STEINWAY PIANO USED

Complimentary tickets, with reserved seats, may be obtained at the hall 1768 social':and scenic centre of the white mountains

iWaplcU'ootr iiotcl antr Cottages

OPEN JULY TO OCTOBER

Excellent Cuisine and Service. Milk and Vegetables from Maplewood Farm

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18-HOLE GOLF COURSE, having a ran^e of 5,300 yards Unsurpassed by any in the State FINE TENNIS COURTS AND BASEBALL riAPLEWOOD CASINO. Reading-room, Writing-room, Ladies' and Gentlemen's Billiard and Pool Rooms, Fine Bowling Alleys, Souvenir Store, Beautiful Ballroom and

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illuitrated Booklets forwarded on re^nest 1769 SYMPHONY HALL TWENTY -THIRD SEASON ^he POPS

GRAND ORCHESTRA of FIFTY-FIVE Conductor, Mr, GUSTAV STRUBE

Every Night except Sunday Opening Night, TUESDAY, May Fifth

Admission and Second Balcony, 25 cents. First Balcony, reserved, 50 cents. Table seats, reserved, 75 cents. Telephone, J 492 Back Bay ON SALE MONDAY, APRIL 27 TABLEAUX

For the benefit of the R.oxb\iry Nei^HborHood Hou.se

will be given at

COPLEY HALL on MONDAY, APRIL 27, 8.30 p.m.

Tickets on sale at Herrick's

1770 ^he WADE COR^SETiS

By their artistic grace and healthfulness appeal to women of refinement and taste everywhere. Invalu- able to singers and those interested in deep breathing.

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Situated in the Fashionable Cen- tre of the City, on the Highest Point in Baltimore. Convenient to All Theatres. Direct Car Lines to All Railway Stations and Steamship Lines. Absolutely Fireproof. Mod- ern and Complete in Every Ap- pointment. Ample Elevator Ser- vice is provided by Three Plunger Elevators, fully Protected by the most Efficient Safeguards. 400 Rooms, All Outside, with Private Bath, Single and En Suite. Special Carriage and Automobile Service.

1771 " SYMPHONY HALL Monday Evening, April 27, at 8.15 CONCERT IN AID OF THE CHELSEA RELIEF FUND Boston Symphony Orchestra Dr. KARL MUCK, Conductor

Mr. HAROLD BAUER, Soloist

THE ENTIRE RECEIPTS WILL BE GIVEN TO THE FUND

PROGRAMME

Beethoven ...... Overture, "Leonora" No. 3

Beethoven .... Concerto in E-flat, No. 5, for Orchestra and Pianoforte, "The Emperor"

Chabrier " Espana," Rhapsody for Orchestra

Wagner Overture to " Tannhauser

TICKETS, $1.50 and $1.00 Now ON SALE AT BoX OFFICE, SYMPHONY HaLL THE MASON & HAMLIN PIANOFORTE 1772 ' lllllllllltlllllll Ill ^oloh=^itiis& Cd. INVITE ATTENTION TO THEIR COLLECTION OF

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THE ART OF SI/NGING AND THE CULTIVATION OF THE SPEAKING VOICE.

3J2 Pierce Building, Copley Square - - Boston

CLARA TIPPETT. WM. ALDEN PAULL. AMistant, GRACE R. HORNE.

Mrs. Tippett teaches in Portland, Me., en Wednesdays, Baxter Building.

Mrs. NELLIE EVANS PACKARD, STUDIO, 218 TREflONT STREET (Room 309), BOSTON. VOCAL INSTRUCTION.

Mrs. Packard is cammended by Walker^ Randegger (London), Marcbesi, Bouhy, Trabadelo' (Pati.x), Lmw (Milan), Vannucciai (Florence), Cotogni, Franceschetti (Rome).

1773 MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and SOPRANO SOLOIST. Studio, 246 Huntington Avenue. Miss HARRIET S. WHITTIER, Exponent of the method of the late Charles R. Adams. PorUmoutb, New HaapsUr*. Moateya.

TEACHER OF SI/NGING.

Studio: Suit* 14, Steinert Hall. i«3 •ylalaa Mr. CHARLES B. STEVENS, Street, Boaton, JHaaa. Telephone, 133 1 Oxford. Brocktou. Maae., Weilawdaya.

Barytone Soloist and STEPHEN TOWNSEND, Teacher of 5inging. 6 NEWBURY STREET, BOSTON.

PIANIST. Miss LAURA HAWKINS, No. 6 NEWBURY STREET.

Classes in Sight Reading MissGAROLINEM. SOUTHARD, (EIGHT HANDS). Advanced pupils follow the Symphony prograaunes TEACHER OF THE PIANOFORTE. as far as practicable. 22 Huntington Avenue - Boston

Concert and Oratorio. USS GERTRUDE EDMANDS, Vocal Instruction.

The Copley, 18 Huntington Avenne.

TEACHER or SI/NGING. 407 Pierce Building, Mrs. HALL HcALLISTER, COPLEY SQUARE. Musical Management.

Vooal Instraetion by the Laaipeitl i kod to a Um- tted ntunber of pnpUt. Oratorio* tanekt la aoeordanea wltb tradiaonal rendertnsB niMtar tiir MIcbaal Coata, MEc. AVIGLIANA Ifaefarren, etc. Hifihest refereeeaa. Teraa «« appll- oaUon at

Beautifully situated in the " Berkshires " of New Jersey, midway between Montclair and Caldwell. Extensive grounds. Thor- BANCROFT HEALTH RESORT. oughly equipped for the modem treatment of all forms of nervous and heart diseases, For particulars call or address also vmequal led as a place for rest and recu- 'Phone, 1460 Montclair. Bancroft, Verona, N.J. peration. Mrs. Lucia Gale Barber's work in Rhythm Breathing, etc.

WALTER LOUD FREDERICK BLAIR, Violinist, Violoncellift, of the SCHUBERT STRING QUARTET. n^M BATAVIA STREET. Telephoae. Back Bay 3888-4. VOICE ©ULrTURE. SBRIQLIA METHOD. STUDIOS: EFFIE PALMER, Room 408, Pierc* Building, Bo«ton, Mbm. Room 45, Chalifouz Building, Lowell, Mas*., Mcndayi. Room 509, Butler Kxchange, Providence, ILL, Widrusdays.

Pianist and TeacKer. Miss ELEANOR BRI6HAM, Trinitx Court.

TEACHER of SINGING. Organist and Conductor. B. COTTER, Jr., STUDIO, 6 NEWBURY SIREET. Booklet, "Of Intekbst to those who Dbsirb to Sino," mailed on request.

PIANIST and TEACHER. Miss JOSEPHINE COLLIER, 6 NEWBURY STREET.

THOMAS E. JOHNSON. JAMES C. BARTLETT. GEORGE H. REMELE, Maaagtr. D. MARKS BABCOCK, ALBION QUARTETTE. Music for all occasions. Spednl arrangemMit of Hymn5, Anthems, etc.

160 Boylston St. Tel., Oxford 1936-2. CONCERTS AND THE BRICE TRIO, PEARL BRICE, VioUn. PRIVATE MUSICALES. KATHERINE HALLIDAY, ViolonceUo. For Program address MARGARET QORHAM. Piano. GARRISON HALL ... Boston

1776 TENOR- BARITONE. Pupil of Profestor Jachman-Wapier, Berlin, and Professor Galliera, Milan, Italy. KARL DOERING, Training and Finishing of Voice. School (or Qrand Op«ra and Oratorio. STEINERT HALL. ROOM 37. Opea Tneaday, October 8. Send for new Proapectiu. BARITONE SOLOIST and TEACHER of SINQINQ. WILLIAM W. WALKER, (Sololat Boston Symphony Orcbwtra, IS90-1 900.) 149 a Tr«moat Street, Boctea.

Pupils of Mr. Lister who had the foundation for their success laid under his method: Wrs. Vion (Camp- ROBERT N. LISTER, Teacher of Singing bell) Waterhousi:, .Soprano, Church of the rilgrlma, Brooklyn, N.Y.: Miss Isabel C. Melville, Con- tralto. Kogers Memorial t;liurch, Fairhaven, JIass.; m. ROBERT N. LISTER, Soprano Soloist Mrs. Robert N. Lister, Soprano, Piedmont Chiu-eh, Worcester, Mass.; E. M. Waterhouse, Tenor, All Angels' Church, Sew York; Howard E. \Vhitih6, studio 35, Symphony Chambers, 246 Huntington Baritone, St. James's Ch'irch, Cambridge, Mass.; Henry Chequer, ]5ass, All ^ouls' Church, Roxbury, Avenue (corner Massachusetts Avenue), Boston. Mass.; L. Phillips Shawe, ('ongregatlonai ChurcB. Pa^vtucket, R.I. ; and many others. Miss Rose Stewart, CLAUDE MAITLAND GRirFETH, PIANO and HARMONY INSTRUCTION Vocal Instruction. 133 Carnegie Hall, New York City. 246 Huntington Avenue. Fourteenth Season opened October i.

BOSTON MUSICAL BUREAU. HENRY T. WADE, EataUbhad 1899. Supplies School*, ColiagM, and CooMnratorifM PIANOFORTE. with Teacher* of Music, etc.; also CharchM with Orgaobts. DIroctors, and Singtrs. at Steinert Hall, Boeton. Address HENRY C. LAHEE. 25 Wesley Street, Newton. 'Phone, 475-1 Oxford. ai8 Tremont St., Boston.

Practical F. ADDISON PORTER, EDWIN LOCKHART, Finger BASSO. Exercises, Pianoforte Instmctor. Manager, R. E. JOHNSTON, Op. 17, Address, Steinert Hall or 1 Broadway, New York. for sale by 133 all music New England Conservatory of Music, ORATORIO and CONCERT. dealers. Boston, Mass. Vocal Studio, Carnegie Hall, New York. MiM IZETTA B. HOLWAY, Contralto Soloist and Clarence B. Shirley, Teacher of Voice. Tenor Soloist and Teacher. studio, Staiaert Hall. 163 Boybton St, BM«on. RaaUanca, 19 Rnthvan Streat, Roxbury. CONCERT AND ORATORIO. Tuesday and Friday AftemooBS. Studio, Huntintton Chambers, Bestea. Telephone, 1685-3 Roxbury.

Mrs. HALL, SINQINQ. HARMONY. HIRAM Specialty : Restoration of voices injured by incorrect methods and care of children's voices. PUuiiit aad Teacher. lastructloa in Public School Music. Director of Qlaa Clubs aad Siaglag Sodatias. HARMONY BY MAlL 118 Charles Street. 447 Day Bailding, Worcester, Mass. 5 Vose Building, 160 Boylston Street, BostMi.

Miss ANNA MILLER WOOD, MABEL ADAMS BENNETT, nEZZO-CONTRALTO SOLOIST COACH And c4CC0MPAmST, and TEACHER. Opara and Rspartoira. For past four years Coach and Accompanist for Studio, Pierce Building, Copley Square. pupils of M. Alfred Giraodet, of the National Boston. Conservatory and Grand Opera of Paris. Telephone. Back Bey 2736-1 TRINITY COURT. DARTMOUTH STRBBT. 1776