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THE LYRIC THEATRE . BALTIMORE Thirty-first Season, 19H-J9J2 MAX FIEDLER, Conductor JJnigramm? of % Fifth and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE WEDNESDAY EVENING, MARCH 20 AT 8.15 COPYRIGHT, 1911, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER : : Vladimir De Pachmann The Greatest Pianist Of the 20th Century ON TOUR # IN THE UNITED STATES SEASON: 1911-1912 For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says " Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says " .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds. Sole Representatives W. F. KUNKEL & CO. 119 NORTH LIBERTY STREET, BALTIMORE, MD. Boston Symphony Orchestra PERSONNEL Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor Violins. Witek, A., Roth, O. Hoffmann, J. Theodorowicz, J. Concert-master. Kuntz, D. Krafft, F. W. Mahn, F. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Eichheim, H. Bak, A. Mullaly, J. Goldstein, H. Barleben, K. Akeroyd, J. Fiedler, B. Berger, H. Fiumara, P. Currier. F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kurth, R. Fabrizio, C. Goldstein. S. Werner, H. Griinberg, M. Violas. Ferir, E. Spoor, S. Pauer, O. H. Kolster, A. VanWynbergen, C. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W. Violoncellos. Schroeder, A. Keller, J. Barth, C. Belinski, M. Warnke, J. Warnke, H. Nagel, R. Nast, L. Hadley, A. Smalley, R. Basses. Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R. Flutes. Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoon. Mueller, F. Stumpf, K. Mosbach, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, O. Lorbeer, H. Gebhardt, W. Mann, J. Alloo, M. Hain, F. Hackebarth, A. Heim, G. Mausebach, A. Phair, J. Schumann, C. Merrill, C. Kenfield, L. Harp. Tympani. Percussion. Schuecker, H. Neumann, S. Rettberg, A. Senia, T. Kandler F. Zahn, F. Burkhardt, H. Organ. Librarian. Marshall, J. P. Sauerquell, J. <2sa-> €kx So^tfe MIGNONETTE GRAND In Fancy $700 Mahogany 5 feet 2 inches Where others have failed to build a Small and Perfect Grand Piano meeting with present-day requirements, the House of Knabe, after years of research and experiment, has succeeded in producing The World's Best Grand Piano as attested by many of the World's best musicians, grand opera artists, stars, composers, etc. The Knabe Mignonette Grand is indispensable where space is limited— desirable in the highest degree where an abundance of space exists. Win. KNABE & Co. Division—American Piano Co. Fayette Street arid Park Avenue - BALTIMORE, MD. Established 1837 " THE LYRIC THEATRE . BALTIMORE Mount Royal and Maryland Avenues Twenty-seventh Season in Baltimore Thirty-first Season, 1911-1912 MAX FIEDLER, Conductor FIFTH AND LAST CONCERT WEDNESDAY EVENING, MARCH 20 AT 8.15 MAX FIEDLER'S FAREWELL APPEARANCE PROGRAMME Beethoven Overture, "Leonora," No. 3, Op. 72 Brahms Symphony No. 1, in C minor, Op. 68 I. Un poco sostenuto; Allegro. II. Andante sostenuto. III. Un poco allegretto e grazioso. IV. Adagio; Allegro non troppo, ma con brio. Liszt "TheLoreley" Wagner Prelude to " Lohengrin Lia, Debussy . Recitative and Aria of from "L'Enfant Prodigue" Richard Strauss . Tone Poem, "Death and Transfiguration," Op. 24 SOLOIST Mme. LOUISE HOMER There will be an intermittian of ten minutes after the symphony 5 Overture to "Leonora" No. 3, Op. 72. Ludwig van Beethoven (Born at Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.) Beethoven's opera, "Fidelio, oder die eheliche Liebe," with text adapted freely by Joseph Sonnleithner from the French of Bouilly ("L£onore; ou, TAmour Conjugal," a "fait historique" in two acts and in prose, music by Gaveaux, Opera-Comique, Paris, February 19, 1798), was first performed at Vienna, November 20, 1805, with Anna Pauline Milder, * afterward Mrs. Hauptmann, as the heroine. The first performance in Boston was on April 1, 1857, with Mrs. Johannsen, Miss Berkiel, Beutler,f Neumann, Oehlin, and Weinlich as the chief singers. •Pauline Anna Milder was born at Constantinople, December 13, 1785. She died at Berlin, May 20, 1838. The daughter of an Austrian courier, or, as some say, a pastry cook to the Austrian embassador at Constantinople, and afterward interpreter to Prince Maurojeni, she had a most adventurous childhood. (The story is told at length in von Ledebur's "Tonkunstler-Lexicon Berlin's.") Back in Austria, she studied three years with Sigismund Neukomm. Schikaneder heard her and brought her out in Vienna in 1803, as Juno in Siismayer's "Der Spiegel von Arkadien."_ She soon became famous, and she was engaged at the court opera, where she created the part of Leonora in "Fidelio." In 1810 she married a jeweller, Hauptmann. She sang as guest at many opera-houses and was offered brilliant engagements, and in 1816 she became a member of the Berlin Royal Opera House at a yearly salary of four thousand thalers and a vacation of three months. She retired with, a pension in 1831, after having sung in three hundred and eighty operatic performances. She was also famous in Berlin as an oratorio singer. She appeared again in Berlin in 1834, but her voice was sadly worn, yet she sang as a guest in Copenhagen and St. Petersburg. Her funeral was conducted with pomp and ceremony, and it is said that the "Iphigenia in Tauris," "Alceste," and "Armide," her favorite operas, were put into her coffin,—a favor she asked shortly before her death. t Mr. Beutler sang that night for the last time. He had a cold, and the physician warned him against singing, but the audience filled the theatre, and he was persuaded. He^ became hoarse immediately after the performance, and, as his vocal chords were paralyzed, he never sang again. Mendelssohn, who had given him musical instruction, praised his voice, but urged him not to use it in opera, as it would not stand the wear and tear. Beutler them gave up the ambition of his life, but in the Revolution of 1848 he and other students at Heidelberg were obliged to leave the country. He came to the United States, and yielded to the temptation of a good offer from an opera manager. He became an understudy of Mario, then the misfortune befell him. I am indebted for these facts to Beutler's daughter, Mrs. Clara Tippett, of Boston. CAPITAL, $1,000,000 PROFITS and SURPLUS, $735,000 We Extend the Accommodations of a Strong and Well Equipped Bank TjHE RATIONAL T "^CHANGE HOPKINS PLAGE, GERMAN and LIBERTY STREETS The growing financial strength and careful management of this bank warrant your confidence and patronage. We solicit your business, small or large, and invite an interview. SAFE DEPOSIT BOXES in modern fire and burglar proof vaults at small annual rentals. OFFICERS WALDO NEWCOMER, President R. VINTON LANSDALE, Cashier SUMMERFIELD BALDWIN, Vice-President CLINTON G. MORGAN, Asst. Cashier 6 T "Leonore" No. 2 was the overture played^at the first performance in Vienna. The opera was withdrawn, revised, and produced 3 again on March 29, 1806, when "Leonore" No. 3, a remodelled form of No. 2, was played as the overture. The opera was performed twice, and then withdrawn. There was talk of a performance at Prague in 1807, and Beethoven wrote for it a new overture, in which he retained the theme drawn from Florestan's air, "In des Lebens Fruhlingstagen," but none of the other material used in Nos. 2 and 3. The opera was not performed, and the autograph of the overture disappeared. "Fi- delio" was revived at Vienna in 18 14, and for this performance Beet- hoven wrote the "Fidelio" overture. We know from his diary that he "rewrote and bettered" the opera by work from March to May 15 of that year. The dress rehearsal was on May 22, but the promised overture was not ready. On the 20th or 21st Beethoven was dining at a tavern with his friend Bartolini. After the meal was over, Beethoven took a bill-of-fare, drew lines on the back of it, and began to write. "Come, let us go," said Bartolini. "No, wait awhile: I have the scheme of my overture," answered Beethoven, and he sat until he had finished his sketches. Nor was he at the dress rehearsal. They waited for him a long time, then went to his lodgings. He was fast asleep in bed.
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  • Ma Chère Petite Aïno». the Role of a Paris

    Ma Chère Petite Aïno». the Role of a Paris

    УДК 78.03 «Ma chère petite Aïno». The Role of a Paris Conservatoire Singing Professor as Architect of an Opera Singer’s Career, as Seen through Letters of Edmond Duvernoy and Aïno Ackté Helena Tyrväinen (Helsinki) «Моя милая Айно». Роль профессора пения Парижской консерватории в создании карьеры оперной певицы (по материалам переписки Эдмона Дювернуа и Айно Акте) Хелена Тюрвяйнен (Хельсинки) Аннотация. Собрание рукописей оперной певицы Айны Акте-Яландер (Aino /Aïno Ackté-Jalander; 1876– 1944) в Национальной библиотеке Финляндии (Хель- синки) содержит одну из самых обширных и интерна- ционально ориентированных эпистолярных коллекций в архивах финских музыкантов- профессионалов. Кол- лекция не только проливает свет на солидную между- народную репутацию талантливой представитель- ницы Великого княжества Финляндского в поздний период истории Российской империи, но и свидетель- ствует о динамичном процессе интернационализации финской музыкальной жизни. В настоящей статье рассматриваются этапы про- фессионального становления певицы в связи с дина- мичным, постоянно менявшимся полем воздействия существовавших одновременно культурных столиц. Основу публикации составляют 117 писем, почтовых открыток, записок, которые преподаватель по классу пения Эдмон Дювернуа (1844–1927) писал Айно Акте в течение тридцати лет. Письма Дювернуа дают пред- ставление о карьерной стратегии оперной певицы прежде всего в Париже; раскрывают вопросы взаи- модействия Парижской оперы с другими оперными театрами того времени, в частности Метрополитен- 226 опера Нью-Йорка. Письма же самой Акте к Дювернуа неизвестны. Представленная переписка свидетельствует о ключе- вой роли преподавателя вокала в Париже как учителя пения, репетитора, опекуна и посредника между уча- щимся и оперным учреждением на протяжении всей профессиональной жизни певца. Учитель договари- вался с оперными режиссерами об ангажементах, ко- торые давали бывшему ученику роли, подходившие ему по типу.
  • Delphine Ugalde: Defying Gender Norms Both on and Off Thet S Age in 19Th Century Paris Michael T

    Delphine Ugalde: Defying Gender Norms Both on and Off Thet S Age in 19Th Century Paris Michael T

    University of South Carolina Scholar Commons Theses and Dissertations 2018 Delphine Ugalde: Defying Gender Norms Both On And Off Thet S age In 19th Century Paris Michael T. Brown University of South Carolina Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Brown, M. T.(2018). Delphine Ugalde: Defying Gender Norms Both On And Off eTh Stage In 19th Century Paris. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/4694 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. DELPHINE UGALDE: DEFYING GENDER NORMS BOTH ON AND OFF THE STAGE IN 19TH CENTURY PARIS by Michael T. Brown Bachelor of Music Gordon College, 2004 Master of Music Catholic University of America, 2012 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2018 Accepted by: Jacob Will, Major Professor Sarah Williams, Committee Member Tina Stallard, Committee Member Lynn Kompass, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Michael T. Brown, 2018 All Rights Reserved. ii ACKNOWLEDGEMENTS I am grateful for the support of my professors at the University of South Carolina, especially Sarah Williams and Jacob Will, who have continually encouraged me to pursue and refine my somewhat unique interests. Thanks are also due to Stefanie Brown, for her constant support as I navigated the various twists and turns of my doctoral work.