ACADEMY OF MUSIC, PHILADELPHIA

Twenty-third Season in Philadelpnia

DR. KARL MUCK, Conductor

•Programme of %

Fifth and Last Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

MONDAY EVENING, MARCH 16,

AT 8.15 PRECISELY

PUBLISHED BY C. A. ELLIS, MANAGER :

Piano.

Used and indorsed by Reisenauer, Neitzel, Burmeister, Gabrilowitsch, Nordica, Campanari, Bispham, and many other noted artists, will be used by

TERESA CARRENO during her tour of the United States this season. The Everett piano has been played recently under the baton of the following famous conductors Theodore Thomas Franz Kneisel Dr. Karl Muck Fritz Scheel Walter Damrosch Frank Damrosch Frederick Stock F. Van Der Stucken Wassily Safonoff Emil Oberhoffer Wilhelm Gericke Emil Paur Felix Weingartner

REPRESENTED BY

THE MUSICAL ECHO CO., 1217 Chestnut Street, Philadelphia, Pa. Boston Symphony Orchestra PERSONNEL

TWENTY-SEVENTH SEASON, 1907-1908

Dr. KARL MUCK, Conductor

First Violins.

~Wendling, Carl, Roth, O. Hoffmann, J. Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Ozerwonky, R.

Mahn, F. Eichheim, H Bak, A. Mullaly, J. Stnibe, G. Rissland, K. Ribarsch, A. Traupe, W.

Second Violins.

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

Violas.

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

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

Basses.

Keller, K. Agnesy, K. Seydel, T. Elkind, S. •Gerhardt, 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, E. Fox, P. English Horn Bass Clarinet. Contra-bassoon.

Mueller, F. Stumpf, K. Helleberg, J. Horns. Horns. Trumpets. Trombones. Tuba. Hess, M. Schmid, K. Kloepfel, L. Hampe, C. Lorenz, O Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L.

Phair, J. Schumann, C. Merrill, C. Harp. Tympany Percussion.

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

Librarian.

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Represented in Philadelphia by JOHN WANAMAKER, City Hall Square 4 BOStOn ACADEMY OF MUSIC, ™*»*™. Symphony § Twenty-seventh Season, 1907-1908. Orchestra Twenty-third Season in Philadelphia*

Dr. KARL MUCK, Conductor.

FIFTH AND LAST CONCERT,

MONDAY EVENING, MARCH 16,

AT 8. J 5 PRECISELY.

PROGRAMME.

" Beethoven . . Symphony in F major, No. 6, Pastoral," Op. 68

I. Awakening of serene impressions on arriving in the country: Allegro, ma non troppo.

II. Scene by the brook-side : Andante molto moto. III. Jolly gathering of country folk: Allegro. In tempo d' allegro. Thunder-storm; Tempest: Allegro. IV. Shepherds' song; Gladsome and thankful feelings after the storm: Allegretto.

MacDowell . Orchestral Suite in E minor, No. 2, "Indian," Op. 48

I. Legend: Not fast; with much dignity and character.

Twice as fast ; with decision. II. Love Song: Not fast; tenderly. III. In War Time: With rough vigor, almost savagely.

IV. Dirge : Dirge-like, mournfully.

V. Village Festival : Swift and light.

Rimbky- Korsakoff . . . Caprice on Spanish Themes, Op. 34

rst me ' n Philadelphia I. Alborada. ^ ^ II. Variations. III. Alborada. IV. Scene and Gypsy Song. V. Fandango of the Asturias.

There will be an intermission of ten minutes after the symphony. 5 There are 5,000 different parts in a single piano ; 10 different materials used, —

It is evident that only the most expert knowledge and long experience are capable of combining these multi- tudinous elements so as to produce a truly artistic piano.

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Improves Established with use 184.2

^^^__ Symphony No. 6, in F major, "Pastoral/' Op. 68. Ludwig van Beethoven (Born at Bonn,— December 16, 1770; died at Vienna, March 26, 1827.) This symphony "Sinfonia pastorale"—was composed in the country round about Heiligenstadt in the summer of 1808. It was first per- formed at the Theater an der Wien, Vienna, December 22, 1808. The symphony was described on the programme as "A symphony entitled

'Recollections of Life in the Country/ in F major, No. 5" (sic). All the pieces performed were by Beethoven: an Aria, "Ah, perfido," sung by Josephine Kilitzky; Hymn with Latin text written in church style, with chorus and solos; Pianoforte Concerto in G major, played by Beethoven; Grand Symphony in C minor, No. 6 (sic); Sanctus, with Latin text written in church style, with chorus and solos; Fantasie for pianoforte solo ; Fantasie for pianoforte, "into which the full orchestra enters little by little, and at the end the chorus joins in the Finale." The concert began at half-past six. We know nothing about the pecuniary result. * * * There was trouble about the choice of a soprano. Anna Pauline Milder,* the singer for whom Beethoven wrote the part of Fidelio, was chosen. Beethoven happened to meet Hauptmann, a jeweller, who was courting her, and in a strife of words called him "stupid ass!"

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, 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 Susmayer*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, HauDtmann. 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. NEW SONG CYCLES

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1

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If you were about to buy a piano and could get such well-known authorities on tone and acoustics as these to aid you in your selection, would you not feel assured of an artistic piano ?

HUGH A. CLARKE, Musical Doctor, professor of music at the University of Pennsylvania.

W. "W. GILCHRIST, Musical Doctor, teacher of voice and composition, conductor of the Mendelssohn Club and Harrisburg Choral.

HENRY GORDON THUNDER, orchestral conductor and pianist, conductor of Phila- delphia Choral Society, organist of the Pan-American Exposition, Buffalo, 1901.

WILLIAM STOLL, Jr., teacher piano and violin, conductor of the Germania Orchestra and the Beethoven String Quartette. SAMUEL L. HERRMANN, teacher piano and harmony, music director the Treble Clef, the Maennerchor, and the Manheim Clubs.

The verdict of this distinguished jury is not embodied in a general opinion, but each individual piano is actually tested, and those found worthy receive a certificate which is sealed to the back of the piano and varnished over, so that neither figures nor facts can be changed. ," We make the "Heppe," " Marcellus," and " Edouard Jules the only pianos in the world with Three Sounding-boards.

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Hauptmann, who was apparently a sensitive person, forbade Pauline to sing, and she obeyed him. (She married Hauptmann in 1810, blazed as a star at Berlin from 181 5 to 1829, sang in Russia and Sweden, and died at Berlin in 1838.) Antonia Campi, born Miklasiewicz (1773), was then asked, but her husband was angry because Miss Milder had been invited first, and he gave a rude refusal. Campi, who died in 1822 at Munich, was not only a remarkable singer: she bore seventeen children, among them four pairs of twins and one trio of triplets, yet was the beauty of her voice in no wise affected. Finally Josephine Kilitzky (born in 1790) was persuaded to sing "Ah, perfido." She was badly frightened when Beethoven led her out, and could not sing a note. Rockel says a cordial was given to her be- hind the scenes; that it was too strong, and the aria suffered in con- sequence. Reichardt describes her as a beautiful Bohemian with a beautiful voice. "That, the beautiful child trembled more than sang

was to be laid to the terrible cold ; for we shivered in the boxes, although wrapped in furs and cloaks." She was later celebrated for her ' 'dramatic colorature." Her voice was at first of only two octaves, said von Ledebur, but all her tones were pure and beautiful, and later she gained upper tones. She sang from 1813 to 1831 at Berlin, and pleased in many parts, from Fidelio to Arsaces, from Donna Elvira to Fatime in "Abu Hassan." She died, very old, in Berlin. "Ah, perfido" had been composed in 1796 for Josephine Duschek. The "Fantasie," for piano, orchestra, and chorus, was Op. 80. J. F. Reichardt wrote a review of the new works. He named, and incorrectly, the subtitles of the Pastoral Symphony, and added: "Each number was a very long, complete, developed movement full of lively

painting and brilliant thoughts and figures ; and this, a pastoral sym- phony, lasted much longer than a whole court concert lasts in Berlin. Of the one in C minor he simply said: "A great, highly-developed, too long symphony. A gentleman next us assured us he had noticed at the rehearsal that the 'cello part alone—and the 'cellists were kept very busy—covered thirty-four pages. It is true that the copyists here understand how to spread out their copy, as the law scriveners Dry cleaning women's gowns By the improved French process in- sures thoroughness in freshening up the colors without shrinking or fading the fabric. No powerful chemicals used to rot the texture. We also clean carpets, upholstered furniture, blankets, lace curtains, men's clothing, etc. We dye goods in all the fashionable colors.

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10 — do at home." No record of the reception by the audience of the new works has come down to us. Nor do we know which concerto Beet- hoven played. Reichardt censured the performance of the Hymn —a gloria—and the Sanctus, and said that the piano concerto was enormously difficult, but Beethoven played it in an astounding manner and with incredible speed. "He literally sang the Adagio, a master- piece of beautiful, developed song, with a deep and melancholy feeling that streamed through me also." Count Wilhourski told Ferdinand Hiller that he sat alone in an orchestra stall at the performance, and that Beethoven, called out, bowed to him personally, in a half-friendly, half-ironical manner. * * The Pastoral was described on the programme of 1808 as follows:

Pastoral Symphony [No. 5 (sic)], more expression of feeling than painting. First Piece. Pleasant feelings which awake in man on arriving in the country. Second Piece. Scene by the brook. Third Piece. Jovial assemblage of the country folk, in which appear suddenly Fourth Piece. Thunder and storm, in which enter Fifth Piece. Beneficial feelings, connected with thanks to the Godhead after the storm.

The headings finally chosen are on the title-page of this programme- book. The descriptive headings were probably an afterthought. In the sketch-book, which contains sketches for the first movement, is a note: "Characteristic Symphony. The recollections of life in the country." There is also a note: "The hearer is left to find out the situations for himself." * * * Ries tells us that Beethoven often laughed at the idea of "musical painting," even in the two oratorios of Haydn, whose musical talent he fully appreciated; but that Beethoven often thought of a set and appointed argument when he composed. Beethoven especially dis- claims any attempt at " painting" in this symphony: yet one enthusiastic analyst finds in the music the adventures of some honest citizen of a little town—we believe he locates it in Bavaria—who takes his wife and children with him for a holiday; another hears in a

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11 ' pantheistic trance "all the voices of nature." William Gardiner in 1832 made this singular remark,—singular for the period: "Beethoven, in his 'Pastoral Symphony,' has given us the warm hum of the insects by the side of the babbling brook; and, as our musical enterprise enlarges, noises will be introduced with effect into the modern orchestra that will give a new feature to our grand performances."

Ambros wrote in "The Boundaries of Music and Poetry" : "After all, the very superscriptions 'Sinfonia eroica,' 'Sinfonia pastorale,' point to a profound individuality of the art work, which is by no means deducible from the mere play of the tones with forms. It has as yet not occurred

' ' to anybody to find the Heroic ' Symphony not heroic and the Pastoral Symphony not pastoral, but it surely would have called forth contra- diction on all sides if the title-pages of both works had been accidentally interchanged. He that denies any other content of music than mere tone-forms set in motion has no right whatever to join in this con- tradiction. There is no heroic arabesque, no heroic kaleidoscopic picture, no heroic triangle or quadrangle." Hanslick has questioned the propriety of the title "Heroic," and Rubinstein argued at length against that title. Rubinstein expressed himself in favor of the programme "to be divined," and against the programme determined in advance. "I believe that a composer puts into his work a certain disposition of his soul, a programme, but with the firm belief that the performer and the hearer will know how to understand it. He often gives to his work a general title as an indication; and that is all that is necessary, for no one can pretend to express by speech all the details of a thought. I do not understand programme-music as a deliberate

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1 622 CHESTNUT STREET, PHILADELPHIA 28 and 30 Worship Street, London, E.C. 12 " imitation, with the aid of sounds, of certain things or certain events. Such imitation is admissible only in the naive and the comic. The 'Pastorale' in Western music is a characteristic expression of simple country life, jolly, awkward, rather rude; and this is expressed by a fifth held on the tonic of the bass. The imitation in music of natural phenomena, as storm, thunder, lightning, etc., is precisely one of the naivetes of which I have spoken, and yet is admitted into art, as the imitation of a cuckoo, the twittering of birds, etc. Beethoven's symphony, with the exception of these imitations, portrays only the mood of the villager and nature ; and this is why it is programme-music in the most logical acceptation of the term." * * * Programme-music has in a certain sense existed from the early days of music. Dr. Frederick Niecks, in his "Programme Music in the Last Four Centuries," begins with the vocal compositions of Jonnequin, Gombert, Josquin Depres, and others. "It was the French school of clavecinists, culminating in Francois Couperin, that achieved the first artistically satisfactory results in programme music." And Niecks quotes titles from preceding French lutenists, from Dennis Gaultier, for example. Gaultier died about 1660-70. In the eighteenth century there were many strange achievements, as Dittersdorf's Symphonies, illustrative of certain stories told by Ovid,—"Actaeon," "Phaeton," etc.,—with elaborate analyses by J. T. Hermes. The pamphlet of Hermes was recently reprinted. There were both serious and humorous attempts. Thus Johann Kuhnau, who wrote "Bible" sonatas, tells of a sonata he once heard which was entitled "La Medica." "After an illustration of the whines of the patient and of his relations, the running after the doctor, the pouring out of sorrow, there finally came a jig,

' with the motto : The patient is progressing favorably, but has not quite recovered his health.' Still funnier is the serious symphonic poem by Villa, "The Vision of Brother Martin" (Madrid, March, 1900), "a Psychological Study of Luther, his Doubts and his Plans for Reform." Or what is to be said of Major A. D. Hermann Hutter of Nuremberg,

THIRTY-NINTH SEASON PHILADELPHIA MUSICAL ACADEMY The oldest successful School of Music

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TEACHERS: Rich. Zeckwer, Wassili Leps, Camille Zeckwer, II. Ezerman, H. Immermann, Clarence Bawden, Paul Meyer, H. S. Kirkland, Misses M. Buedinger,

S. Sower, B. Davis, V. Henderson, M. Walker, Elsa Mohr, J. Calhoun, F. Urban. ]3 — with his "Bismarck" Symphony (1901) in four movements: il Ex ungue leonem; Patriae inserviendo consumor; Oderint dum metuant; Per aspera ad astra"? And has not Hans Huber written a "Bocklin" Symphony, in which certain pictures of the imaginative Swiss painter are translated into music, and Stanford a symphony on pictures by Watts?

' Yet we once smiled at Steibelt's \ Britannia, an Allegorical Overture, describing the Victory over the Dutch Fleet by Admiral Duncan," with its programme from "Adagio: the stillness of the night, the waves of the sea, advice from Captain Trollope" to "Acclamation of the populace, 'God save the King.'" On the other hand, there is a subtle meaning in the speech of Cabaner, as quoted by Mr. George Moore: "To portray silence in music, I should need three brass bands." * * * The following sayings of Beethoven, taken from "Beethoven: The Man and the Artist, as Revealed in his own Words," compiled and annotated by Friedrich Kerst and edited by Mr. H. E. Krehbiel (New York, 1905), may well be quoted here: "I always have a picture in my mind when composing, and fe 1 lnw its lines." This was said in 181 5 to Neate and with reference to the "Pastoral." Ries says that Beethoven frequently thought of an object while he was composing, "though he often laughed at musical delineation, and scolded about petty things of the sort." "The description of a picture belongs to the field of painting; in this the poet can count himself more fortunate than my muse, for his terri-

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Visit our auditorium and hear these marvellous voices reproduced with lifelike fidelity. Perfectly natural in tone. The improvement in the new exclusive styles of Victors isMUSICALwonderful. EOHO OOMFAJJTS" 1317 Cheetnut Street VICTOR HEADQUARTERS FOR PHILADELPHIA 14 ! tory is not so restricted as mine in this respect, though mine, on the other hand, extends into other regions, and my dominion is not easily reached." "Carried too far, all delineation in instrumental music loses in efficiency." This remark is found in a sketch for the " Pastoral." "How happy I am to be able to wander among bushes and herbs, under trees and over rocks; no man can love the country as I love it. Woods, trees, and rocks send back the echo that man desires." "O God! send your glance into beautiful nature and comfort your moody thoughts touching that which must be." To the "Immortal Beloved." "My miserable hearing does not trouble me here [Baden]. In the

' ' country it seems as if every tree said to me : Holy ! holy Who can give complete expression to the ecstasy of the woods? Oh, the sweet stillness of the woods!" (July, 1814). "When you reach the old ruins, think that Beethoven often paused there; if you wander through the mysterious fir forests, think that Beethoven often poetized, or, as is said, composed there." (In the fall of 181 7 to Mme. Streicher, who was taking a cure at Baden.) * * * It has been said that several of the themes in this symphony were taken from Styrian and Carinthian folk-songs.* The symphony, dedicated to Prince von Lobkowitz and Count RasoumofTsky, is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings. Two trombones are added in the fourth and fifth movements and a piccolo in the fourth. The first movement, Allegro ma non troppo, F major, 2-4, opens immediately with the exposition of the first theme, piano, in the strings. The more cantabile phrase in the antithesis of the theme assumes later an independent thematic importance. The second theme is in C major, an arpeggio figure, which passes from first violins to second violins, then to 'cellos, double-basses, and wood-wind instruments. The

* See the volume of folk-songs collected by Professor Kuhac, of Agram.

Building Leefson- HiHe Conservatory of Music Weightman 1524, njk Chestnut St.. Philadelphia FACULTY Piano Maurits Leefson Miss Elsie Stewart Hand Miss Clara Davis Woud Julius Leefson Miss Adele Sotor Miss Selma Katzenstein John F. Himmelsbach Miss Lillian Cope Miss Claire Ring Herman Kumme and assistants Virgil Practice Clavier Miss Adele Sutor Miss Selma Katzenstein Violin and Viola Gustav Hille J. W. F. Lbman Mrs. William Fai lick Voice Culture Violoncello Double-bass Robert Schukig Emil Simon Paul Rahmig Flute and Trumpet Harp Max Blever Miss Emma Schubert Harmony, Counterpoint, Fugue, Composition, and Orchestration .Gustav Hills Organ, Frederick Maxson (Organist First Baptist Church) SigHt-singing, Score-reading, and Symphony Classes MAURITS Leefson Orchestra and Ensemble Classes Gustav Hii.le ,; development of this theme is a gradual crescendo. The free fantasia is very long. A figure taken from the first theme is repeated again and again over sustained harmonies, which are changed only every twelve or sixteen measures. The third part is practically a repetition of the first, and the coda is short. Second movement, Andante molto mosso, B-flat major, 12-8. The first theme is given to the first violins over a smoothly flowing accom- paniment. The antithesis of the theme, as that of the first theme of the first movement, is more cantabile. The second theme, more sen- suous in character, is in B-flat major, and is announced by the strings. The remainder of the movement is very long and elaborate, and consists of embroidered developments of the thematic material already exposed. In the short coda "the nightingale (flute), quail (oboe), and cuckoo (clarinet) are heard." The third movement is practically the scherzo. Allegro, F major 3-4. The thesis of the theme begins in F major and ends in D minor the antithesis is in D major throughout. This theme is developed brilliantly. The second theme, of a quaint character, F major, is played by the oboe over middle parts in waltz rhythm in the violins. "The bass to this is one of Beethoven's jokes. This second theme is supposed to suggest the playing of a small band of village musicians, in which the bassoon-player can get only the notes F, C, and octave F out of his ramshackle old instrument; so he keeps silent wherever this series of three notes will not fit into the harmony. After being played through by the oboe, the theme is next taken up by the clarinet, and finally by the horn, the village bassoonist growing seemingly impatient EMERSON PIANO CO. ESTABLISHED 1849

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EMERSON PI A/NO CO. . BOSTON, MASS. 16 in the matter of counting rests, and now playing his F, C, F, without stopping." The trio of the movement, In tempo d' allegro, F major, 2-4, is a strongly accentuated rustic dance tune, which is developed in fortissimo by the full orchestra. There is a return of the first theme of the scherzo, which is developed as before up to the point when the second theme should enter, and the tempo is accelerated to presto. But the dance is interrupted by a thunder-storm, allegro, F minor, 4-4, which is a piece of free tone-painting. Fourth movement, Allegro, F major, 6-8. There is a clarinet call over a double organ-point. The call is answered by the horn over the same double organ-point, with the addition of a third organ-point. The horn repetition is followed by the first theme, given out by the strings against sustained harmonies in clarinets and bassoons. This theme, based on a figure from the opening clarinet and horn call, is given out three times. This exposition is elaborate. After the climax a subsidiary theme is developed by full orchestra. There is a short transition passage, which leads to an abbreviated repetition of the foregoing development of the first theme. The second theme enters, B-flat major, in clarinets and bassoons. The rest of the movement is "hardly anything more than a series of repetitions of what has gone before. It may here be said that some programme-makers give five movements to this symphony. They make the thunder-storm an independent movement. Others divide the work into three movements, lDeginning the third with the "jolly gathering of country-folk."

* * One of the earliest performances in Boston of this symphony was at a Boston Academy of Music Concert, January 15, 1842. The pro- gramme included Cherubini's overture, "Les deux Journees" (sic) ; a song, "The Stormy Petrel," by the Chevalier Neukomm and sung by Mr. Root; an oboe solo, fantasia, "Norma," played by "Signor Ribas"; and then the first two movements of the "Pastoral" Symphony ended the first part. The programme stated that the notes of quail and cuckoo are heard in the second movement. Part II. began with the

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I have now on hand a larger and more complete line of Musical Instruments 17 — last three movements of the "Pastoral," after which Mr. Wetherby sang a ballad, "When the Flowers of Hope are fading," by Linley, and the overture to "Masaniello," by Caraffa (sic) ended the concert. The programme published this Macedonian appeal: "The Academy regret to be obliged to add that without increased patronage the series of concerts they were prepared to give must be discontinued, as the receipts fall far short of the expenses. The hopes entertained of a different result have induced the Academy to persevere thus far, and it will be with great reluctance that they abandon their plan." The concerts were continued, certainly until February 27, 1847.

* * It is said that, when Beethoven was about to move into an apartment rented for him at Baden, he said to the landlord: "This is all right but where are the trees?" "There are none." "Then I shall not take the house," answered Beethoven. "I like trees better than men." In his note-books are these passages: "On the Kahlenberg, 18 15, end of September." "God the all powerful—in the forest—I am happy—happy in the—forest every tree speaks—through you." "O God what—sovereignty—in a—forest like this—on the heights— there is rest—to—serve Him." Justin Heinrich Knecht (1752-1817) composed a symphony, "Tone Pictures of Nature" (1784), with a programme almost identically the same as that used by Beethoven, although the storm scene was to Knecht the most important section of the symphony. In 1 8 10 B. T. A. Hoffmann, after the parts of Beethoven's "Pastoral" had been published, wrote a carefully considered study of the work for the Allgemeine Musikalische Zeitung of Leipsic (January 17), un- doubtedly the first critical article on the symphony. The first public performance in London was at a concert given for the benefit of Mme. Vaughan, May 27, 181 1. Other first performances: Paris, March 15, 1829, Paris Conservatory; St. Petersburg, March i f 1833; in Spain, in 1866, at Barcelona.

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Orchestral Suite in E minor, No. 2, "Indian," Op. 48. [Edward MacDowell

J(Born in New]York, December 18, 1861 ; died in New York, January 23, 1908.)

This suite was composed in 1891-92. The first performance in public was by the Boston Symphony Orchestra in the Metropolitan Opera House, New York, January 23, 1896. The suite was first played in Boston at a Symphony Concert, February 1, 1896; it was played in London under Mr. Henry J. Wood, October 23, 1901, and in Liver- pool the winter before. The symphony is dedicated "to the Boston Symphony Orchestra and its conductor, Mr. Emil Paur." It was also performed by the Boston Symphony Orchestra in Boston on Decem- ber 4, 1897, January 4, 1902, April 6, 1907. This suite was designed and completed before Dvorak thought of his symphony, "From the New World." On a fly-leaf of the auto- graph manuscript the composer wrote as follows: "The thematic material of this work has been suggested for the most part by Indian melodies. Their occasional similarity to North- ern European themes seems to the author a direct testimony in cor- roboration of Thorfirin Karlsefni's Saga. The opening theme of No. 3, for instance, is very similar to the (presumably Russian) one made use of by Rimsky-Korsakoff in the third movement of his symphony 'Antar.'" The composer afterward omitted the last sentence and added for the printed score: "If separate titles for the different movements are desired, they should be arranged as follows: I. Legend; II. Love Song; III. In War Time; IV. Dirge; V. Village Festival." The Indian themes used in the suite are as follows :

1. First theme, Iroquois. There is also a small Chippewa theme. 2. Iowa love song. 3. A well-known song among tribes of the Atlantic coast. There is

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21 a Dacota theme, and there are characteristic features of the Iroquois scalp dance. 4. Kiowa (woman's song of mourning for her absent son). 5. Women's dance, war song, both Iroquois.

The suite is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trombones, bass tuba, a set of three kettledrums, bass drum, cymbals, and strings. I. Legend: Not fast. With much dignity and character,* E minor, 2-2. It has been said that this movement was suggested to the com- " " poser by Thomas Bailey Aldrich's Indian legend, Miantowona ; but Mr. MacDowell took no pains to follow Aldrich's poem, incident by incident, nor to tell any particular story; "the poem merely suggested to him to write something of a similar character in music." When the suite was first played in Boston, Mr. Apthorp wrote for the pro- gramme book as follows: "Upon the whole, it should be said distinctly that Mr. MacDowell had no intention whatever of writing anything of the nature of 'programme-music' in this suite. What description I may give of the poetic character of the several movements is there- fore not to be taken as so-called programme-headings, indicative of the poetic contents and import of the music— like the headings to the separate movements in Berlioz's 'Fantastic' or 'Harold' symphonies, or the titles of Liszt's symphonic poems—but merely as showing what the composer had in his mind while writing the music. These poetic ideas and mental pictures acted upon him far more in the way of stim-

*The indications at the head of the movements in the score are invariably in three languages, English, French, and German. The expression-marks are generally in Italian. MacDowell Number The Musician For Teachers, Students, and Lovers of Music

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23 ulating his imagination and conditioning certain moods than in that of prompting him to attempt anything like would-be-definite tone- painting." Mr. Lawrence Gilman, in his "Edward MacDowell" (New York and London, 1905), referring to these separate titles, speaks of the composer's "concession, in which one traces a hint of the inexplicable and amusing reluctance of the musical impressionist to acknowledge the existence of a programmatic intention in his work. In the case of the 'Indian' Suite, however, the intention is clear enough, even without the proffered titles; for the several movements are unmis- takably based upon firmly held concepts of a definite dramatic and emotional significance. As supplemental aids to the discovery of his poetic purposes, the phrases of direction which he has placed at the beginning of each movement are indicative, taken in connection with the titles which he sanctions." The first movement opens with the announcement of the chief theme unaccompanied: the thesis is proclaimed fortissimo by three horns in unison; the antithesis is played pianissimo by a muted horn. This theme is taken up by other instruments and developed in a free way as though for a prelude to the main body of the movement, "twice as fast; with decision," E minor, 2-2. Clarinets, bassoons, and lower strings pizzicati announce the theme in short staccato chords under- neath violin trills. This theme was probably derived from the theme of the introduction by melodic and rhythmic variation. It is worked out in a crescendo that swells to fortissimo, and then diminishes, until it appears in C major in a new rhythmic variation in the strings as the second theme of the movement. After this has been developed it appears again in a diminution of its first form. The working-out of the two more prominent forms of this one theme fills the remainder of the movement. II. Love Song: Not fast; tenderly, A major, 6-8. One chief theme, which is announced immediately by the wood-wind, is developed, with the use of two subsidiary phrases, one a sort of response from the strings, the other a more assertive melody, first given out in D minor by wood-wind instruments. PAINTER & EWING IANOS MAKE A LASTING INVESTMENT

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24 III. In War Time: WithTrough vigor, almost savagely, D minor, 2-4. The chief theme is played by two flutes, in unison, unaccom- panied. Two clarinets, in unison and without accompaniment, answer in a subsidiary theme. This material is worked out elaborately in a form that has the characteristics of the rondo. The rhythm changes frequently toward the end from 2-4 to 6-8 and back again. Mr. Apthorp wrote, before the composer gave the titles: "The third move- ment might be called a Scalp-dance; not that it is meant as a musical reflection of any special ceremonies connected with the Indian Scalp- dance, but that its general character is that of a savage, warlike ardor, and blood-thirsty excitement." IV. Dirge: Dirge-like, mournfully, in G minor, 4-4. The mourn- ful chief theme is given out by muted violins in unison, which are soon strengthened by the violas, against repetitions of the tonic note G by piccolo, flutes, and two muted horns, one on the stage, the other behind the scenes, with occasional full harmony in groups of wind instruments. "The intimate relation between this theme and that of the first move- ment is not to be overlooked. It is answered by the horn behind the scenes over full harmony in the lower strings, the passage closing with a quaint concluding phrase of the oboe." The development of this theme fills the short movement. Mr. Apthorp wrote: "The fourth movement is plainly an Indian dirge; but whether over the remains of a slain warrior and chief, publicly bewailed by a whole tribe, or the secret lament of an Indian mother over the body of her dead son, the listener is left to determine for himself. There is a great deal of pictu- resque, imaginative tinting in the movement, suggestive of midnight PADEREWSKI'S CHOICE

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25 darkness, the vastness and solitude of prairie surroundings, and the half-warlike, half-nomadic Indian life." V. Village Festival: Swift and light, in E major, 2-4. Several related themes are developed. All of them are more or less derived from that of the first movement. There are lively dance rhythms. "But here also the composer has been at no pains to suggest anv of the specific concomitants of Indian festivities; he has only written a movement in which merry-makings of the sort are musicallv sug- gested." * * The music of the North American Indians has been studied by Dr. Theodore Baker, Mr. Frederick R. Burton, Mr. Arthur Farwell. John C. Fillmore, Miss Alice C. Fletcher, Mr. H. E. Krehbiel, and others. There have been earnest attempts to collect, classify, and fix in notation song and dance tunes. According to George Catlin, who knew Indians intimately before they had the doubtful advantages of reservations, paternal government, and civilization, the North American savage knew these musical instruments,

—drums, rattles, whistles, lutes ; but Catlin does not describe the lutes, nor does he insist on them, and Schoolcraft denies their existence among these Indians. The drums were like our tambourines, or they were in the shape of kegs. There is a dispute as to whether the first stage in the development of instrumental music was the drum stage or the pipe stage. It is more reasonable to suppose that the drum was the first instrument, for sav- ages sometimes have the drum alone, but never the pipe alone ; and, if they have the pipe, they also always have the drum. (The drum was the only musical instrument known among the Australians, the Esqui- maux, the Behring's nations, the Samoyedes, and the other Siberian tribes, and, until recently, the Laplanders.) The North American Indians make the drum contemporaneous with the Deluge. "When the waters of the Deluge began to subside, they were drawn off into four tortoises, each tortoise receiving one quarter of the world. And these tortoises, besides serving as reservoirs, served also as drums for men to play on, by striking their backs with drumsticks. In remem- Hyperion School of Music 1505 Arch Street

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brance of this event, the Eeh-teeh-Kas, or sacred drums of the medicine mysteries, are always four in number, made of buffalo-skin sewn " together in the form of a tortoise, and each of them filled with water. The drum was used by the Indians to accompany songs of amusement and thanksgiving and in medicine. And, as with many savage tribes, the drum itself was often regarded as a deity, just as in the Middle Ages the bell was thought to speak, and it was dressed and bedecked with fetishistic ornaments. Schoolcraft tells a legend in which a tired Indian hunter meets spirits in the form of beautiful girls, "who each had a little drum which she struck with ineffable grace." WhatWinf- wood Reade wrote of the drum in venerable and mysterious Africa may be pondered by those who think the instrument monotonous "For the drum has its language: with short, lively sounds it summons

to the dance ; it thunders for the alarm of fire or war, loudly and quickly, with no intervals between the beats ; it rattles for the marriage ; it tolls for the death ; and now it says, in deep and muttering sounds, 'Come to the ordeal, come to the ordeal, come, come, come."' Tschaikowsky knew how sinister a drum might be : witness the persistent drum-beat in the trio of the second movement of the "Pathetic" Symphony and the use of the bass drum in the "Manfred" Symphony. He might well have cried out with the North American brave: "Do you understand what my drum says?" * * Compare Walt Whitman's ''Beat! Beat! Drums!" published in his "Drum-Taps" (Xew York. 1865). 1. Beat! beat! drums!—Blow! bugles! blow! Through the windows—through doors—burst like a force of ruthless men, Into the solemn church, and scatter the congregation Into the school where the scholar is studying: Leave not the bridegroom quiet—no happiness must he have now with his bride; Xor the peaceful farmer any peace, plowing his field or gathering his grain; So fierce you whirr and pound, you drums—so shrill you bugles blow. Hotel Belvedere Charles and Chase Streets, Baltimore, Md.

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On sale at Miss Harris's, 1115 Chestnut Street, on and after April i 5 THE STEINWAY PIANO USED 28 Some who do not like Tschaikowsky call him a barbarian, a savage, for his use of the drum. They resemble Danfodio, who attempted to abolish the music of the drum in Africa. Rowbotham's claim that the drum was the first musical instrument known to man has been disputed by some, who insist that knowledge

and use of the pipe were first ; but his chapter on the drum is not only ingenious and learned: it is eloquent. He finds that the dripping of water at regular intervals on a rock and the regular knocking of two boughs against one another in a wood are of a totally different order of sound to the continual chirrup of birds or the monotonous gurgling of a brook. And why ? Because in this dripping of water and knock- ' ' " ing of boughs is ' the innuendo of design." (See ' A History of Music by John Frederick Rowbotham, vol. i., pp. 1-34. London, 1885.) The whistles or pipes of the Indians were the "mystery whistle," on which no white man could play, but which produced liquid and sweet

' tones ; the war whistle ; and the Winnebago wooing-pipe, or flute. ' In the vicinity of the Upper Mississippi, a young man will serenade his mis- tress with it for days together." He sits on a rock near the wigwam, and blows without intermission, "until she accedes to his wishes, and gives him her hand and heart." Among all savage nations the love call is the only definite purpose for which the flute is employed outside its employment as a musical instrument. There are the Formosa wooing- flute, the Peruvian wooing-flute, and the Gila wooing-flute. And what did the Indian woman, met by a rude Spanish wooer late one night in a

street of Cuzco, say : "For the sake of the Lord, sir, let me go ; for that flute which you hear in yonder tower is calling me with such passion and tenderness that I cannot refuse the summons of him who plays it, for love constrains me to go thither, that I may be his wife and thai he may be my husband."

2. Beat! beat! drums!—Blow! bugles! blow! Over the traffic of cities—over the rumble of wheels in the streets; Are beds prepared for sleepers at night in the houses? No sleepers must sleep in those beds; No bargainers' bargains by day—no brokers or speculators—Would they continue ? Would the talkers be talking ? Would the singer attempt to sing ? Would the lawyer rise in the court to state his case before the judge? Then rattle quicker, heavier drums—you bugles wilder blow.

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F. R. COMEE, 1635 Chestnut St., Philadelphia Symphony Hall* Boston. NOVELTIES IN MOURNING 29 There were one-stopped war whistles, there were flutes of deerskin of three, four, and six holes. The rattles were used to mark time. Both vocal and instrumental music were used in the dance.

'

Catlin says of the vocal music of the North American Indians : ' For the most part of their vocal exercises there is a total absence of what the world would call melody, their songs being made up chiefly of a sort of violent chaunt of harsh and jarring gutturals, of yelps and barks and screams, which are given out in perfect time, not only with method (but with harmony) in their madness.' There are times, too, as every traveller of the Indian country will attest, if he will recall them to his recollection, when the Indian lies down by the fireside with his drum in his hand, which he lightly and almost imperceptibly touches over, as he accompanies it with his stifled voice of dulcet sounds that might come from the most tender and delicate female." And in another place Catlin speaks of "quiet and tender songs, rich in plaintive expres- sion and melody." It has been stated plausibly that song in its rudest state was influenced and shaped by the story-teller, who grew excited as he told some legend or warlike adventure, or boasted of his own glorv; for in his excite- ment he would begin to intone, and the tonal unsteadiness of speech was thus corrected. There was then one note, and some sav that the first musical note was G. "At the present day," as Mr. Rowbotham claims, "the songs of savages are nearly all at this pitch, that is to say. with G for the keynote, and those savages who have only one note in their music always have G for that one note." Chanting in impassioned speech led to isolation of the tone, and the savage aware of tone apart from speech sought to vary his pleasure. A two-note period was the next step. Then came a period of three. This little scale was extended, and it was made up of the Great Scale of three notes and the Little Scale of two notes. Thus vocal music passed through three stages in the evolution of the scale, "the Isolating, where the Great Scale and the Little Scale remain isolated from one another, as is found in the most ancient music of the nations of antiquity, the music also of many savages, and of the Chinese; the next stage is the Aggluti- native Stage, when these two scales are agglutinated by the insertion

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PHILADELPHIA, Pa. of the fourth; and the Inflectional Stage, when by the insertion of the seventh the scale is enabled to pass naturally to the octave above, and to modulate to a new scale on the keynote of its fifth." ("A History of Music," by John F. Rowbotham, vol. i., p. 107, and see pp. 70-138.) Mr. Rowbotham insists that most of the Xorth American Indians were in the Agglutinative Stage, and made use of only six notes, and if the Story told among them was the prose of music, the Dance was the verse,. Miss Fletcher in her "Indian Story and Song" (Boston, 1900) says:: "Music enveloped the Indian's individual and social life like an atmos-

phere. There was no important personal experience where it did no tr- ocar a part, nor any ceremonial where it was not essential to the expres-

sion of religious feeling. . . . This universal use of music was because of the belief that it was a medium of communication between man and the unseen. ... In fact, the Indian sang in every experience of life from his cradle to his grave. . . . Indian singing was always in unison; and, as the natural soprano, contralto, tenor, and bass moved along in octaves, the different qualities of tone in the voices brought out the

overtones and produced harmonic effects. . . . Close and continued observation has revealed that the Indian, when he sings, is not con- cerned with the making of a musical presentation to his audience. He is simply pouring out his feelings, regardless of artistic effects. To him music is subjective: it is the vehicle of communication between him and the object of his desire. Certain peculiarities in the Indian's mode of singing make it difficult for one of our race to hear intelligently their songs or to transcribe them truthfully. There is no uniform key for any given song, for the Indians have no mechanical device for determining pitch to create a standard by which to train the ear. This, however, does not affect the song ; for, whatever the starting note, the intervals bear the same relation to each other, so that the melody itself suffers no change with the change of pitch. Again, the continual slurring of the voice from one tone to another produces upon us the impression of out-of-tune singing. Then, the custom of singing out of doors, to the accompaniment of the drum and against the various noises of the camp and the ever-restless wind, tending to strain the voice and robbing it of sweetness, increases the difficulty of distinguish-

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Caprice on Spanish Themes, Op. 34. Nicolas Andrejevitch Rimsky-Korsakoff

(Born at Tikhvin, in the government of Novgorod, March 18,* 1844; now living at St. Petersburg.)

Rimsky- Korsakoff's "Capriccio Espagnor' was performed for the first time in St. Petersburg at a Russian Symphony Concert, October 3i,f 1887. The composer conducted. The Caprice was performed at one of Anton Seidl's Popular Orches- tral Concerts at Brighton Beach, New York, by the Metropolitan Orchestra in 1891, at one of the concerts that were given from June

27 to September 7. The Caprice is dedicated to the artists of the orchestra of the Imperial Russian Opera House of St. Petersburg. The names, beginning with

M. Koehler and R. Kaminsky, are given, sixty-seven in all, on the title-page of the score. The caprice is scored for piccolo, two flutes, two oboes (one interchangeable with English horn), two clarinets,

* This date is given in the catalogue of Belaieff, the Russian publisher of music. One or two music lexicons give May 21.

fThis date, given on the title-page of the score, is probably according to the Russian calendar. The date in our calendar would be November 12, 1887. THE HAHN SCHOOL OF MUSIC FREDERICK E. HAHN, Director FACULTY LEO SCHULZ WILLIAM SCHMIDT LUTHER CONRADI ELLEN M. WESSELS FREDERIC F. LEONARD EDITH PUSEY LILLIAN B. FITZ MAURICE BENNO KIRSCHBAUM PHILIP H. GOEPP HARRY F. SAYLOR DOROTHY JOHNSTONE MABEL F. LEONARD ROLLO F. MAITLAND OTTO DREGER NATHAN CAHAN,' and Assistants

Catalogue or Circular on Application THE HAHN QUARTETTE 'Phone, Spruce 3148D CONCERTS, MUSICALE.S, ETC.

1524-1526 Chestnut Street, PHILADELPHIA 33 two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, side-drum, bass drum, cymbals, triangle, tambourine, castanets, .harp, and strings. The movements, according to the direction of the composer, are to be played without intervening pauses.

It Alborada. Vivo e strepitoso, A major, 2-4. Alborado, derived from the Spanish word, albor, whiteness, dawn (Latin, albor, white-

ness), means (1) twilight, first dawn of day; (2) an action fought at

dawn of day; (3) a morning serenade; (4) a morning cannon fired

at daybreak; (5) military music for the morning; (6) a species of musical composition. The word, here used as the term for a morning serenade, corresponds to the French aubade, which is applied also to festival music at daybreak in honor of an army officer. This serenade opens with the wild, tempestuous chief theme, which

is given to the full orchestra. There is a subsidiary theme for the wood-wind instruments. Both themes are repeated twice by solo clarinet, accompanied by horns and bassoons, and strings pizz. A delicate cadenza for solo violin brings the close, pianissimo. II. Variations. Andante con moto, F major, 3-8. _The horns give out the theme with a rocking accompaniment for strings. Before this theme is ended, the strings have the first variation. The second variation, poco meno mosso, is a dialogue between English horn and horn. The third variation is for full orchestra. The fourth, tempo primo, E major, organ-point on B, is for wood-wind, two horns, and two 'cellos, accompanied by sixteenth notes for clarinet and violins. The fifth, F major, is for full orchestra. A cadenza for solo flute brings the end. III. Alborada. Vivo e strepitoso, B-flat major, 2-4. This move- ment is a repetition of the first, transposed to B-flat major and with different instrumentation. Clarinets and violins have now exchanged their parts. The solo that was originally for clarinet is now for solo

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34 violin, and the cadenza that was originally for the solo violin is now for the solo clarinet. IV. Scene and Gypsy Song. Allegretto, D minor, 6-8. The dramatic scene is a succession of five cadenzas. The movement begins abruptly with a roll of side-drum, with a fanfare, quasi-cadenza, in syncopated rhythm in gypsy fashion for horns and trumpets. The drum-roll continues, now ppp, and the second cadenza, which is for solo violin, introduces the chief theme. This is repeated by flute and clarinet. The third cadenza, freer in form, is for flute over a kettle- drum roll. The fourth, also free, is for clarinet over a roll of cymbals. The oboe gives a short version of the theme. The fifth cadenza is for harp with triangle. The gypsy song begins after a harp glissando. It is attacked savagely by the violins, and is punctuated by trombone and tuba chords and with cymbal strokes. The cadenza theme enters, full orchestra, with a characteristic figure of accompaniment. The two themes are alternated, and there is a side theme for solo 'cello. Then the strings, quasi guitara, hint at the fandango rhythm of the last movement, and accompany the gypsy song, now blown staccato by wood-wind instruments. The cadenza theme is enwrapped in trip- lets for strings alternating with harmonics pizz. The pace grows more and more furious, animato, and leads into the Finale. V. Fandango of the Asturias. A major, 3-4. The origin of the word "fandango" is obscure. The larger Spanish dictionaries question the derivation from the Latin "fidicinare," to play upon the lyre or any other stringed instrument. Some admit a Negro origin. In England of the eighteenth century a ball was com- monly called a fandango. Mrs. Grove says that the Spanish word means "go and dance," but she does not give any authority for her statement. The dance is a very old one; it was possibly known in ancient Rome. Desrat looked upon it as a survival of Moorish dances, a remembrance of the voluptuous dances of antiquity. "The fandango of the theatre differs from that of the city and the parlor : grace disap- pears to make room for gestures that are more or less decent, not to say free, stamped with a triviality that is often shameless." Let us " quote from Vuillier : 'Like an electric shock, the notes of the Fandango WITHERSPOON HALL KNEISEL QUARTET FRANZ KNEISEL, First Violin LOUIS SVECENSKI. Viola JULIUS ROENTGEN, Second Violin WILLEM WILLEKE, Violoncello

Fifth Concert, Monday Afternoon, March 23, at 2.45 PROGRAMME

Schumann ...... Quartet in A minor, Op. 41, No. 1 C^sar Franck ...... Quintet for Piano and Strings a. Glazounow ...... Interludium (in modo antico) b. Raff ...... Scherzo c. Hugo Wolf ...... Italienische Serenade Assisting Artist, Mr. HEINRICH GEBHARD Mason & Hamlin 1'i\\<>

Tickets on sale at the office of Miss Harris, at Efeppe's, 1 1 1 5 ( Ihestirat Street 35 animate all hearts,' says another writer. 'Men and women, young and old, acknowledge the power of this air over the ears and soul of every Spaniard. The young men spring to their places, rattling castanets, or imitating their sound by snapping their fingers. The girls are remarkable for the willowy languor and lightness of their movements, the voluptuousness of their attitudes—beating the exact- est time with tapping heels. Partners tease and entreat and pursue each other by turns. Suddenly the music stops, and each dancer shows his skill by remaining absolutely motionless, bounding again into the full life of the Fandango as the orchestra strikes up. The sound of the guitar, the violin, the rapid tic-tac of heels (taconeos), the crack of fingers and castanets, the supple swaying of the dancers, fill the spectators with ecstasy.' The music whirls along in a rapid triple time. Spangles glitter; the sharp clank of ivory and ebony castanets beats out the cadence of strange, throbbing, deafening notes—assonances unknown to music, but curiously characteristic, effective, and intoxicating. Amidst the rustle of silks, smiles gleam over white teeth, dark eyes sparkle and droop, and flash up again in flame. All is flutter and glitter, grace and animation—quivering, sonorous, passionate, seductive. OW Olef Faces beam and eyes burn. Ole, oik! The bolero intoxicates, the fandango inflames." The principality of the Asturias, "the Wales of the peninsula," was the refuge of the aborigines. Neither the Romans nor the Moors conquered it, and it afterward became the cradle of the Gotho-Hispano monarchy. In Richard Ford's time—his famous "Handbook for Travellers in Spain" was first published in 1845 —the costume of the lower classes was Swiss-like. "The females, when dressed in their best, wear bodices of yellow or green, laced in front and adorned with gold joyas* and coral necklaces. Dark-colored serges and black mantles or dengues are thrown over the head ; sometimes pretty hand- kerchiefs are used, which are tied closely over the front, while the hair hangs down behind in long plaits or trenzas. The Gallician madrefias, or French-like wooden shoes, are also replaced by leather ones, and

* Joya is Spanish for a jewel, any precious thing. It also has other meanings. Joyas is often used to denote all the clothes and apparel belonging to a woman.—P. H. NEWMAN' S ART STORE 1704 Chestnut St., Philadelphia, Pa. Importers of Etching's, Engraving's, and Gravures Manufacturers of Frames for Mirrors and Pictures WALTER B. NEWMAN ADOLPH NEWMAN

Peabody Conservatory of Music HAROLD RANDOLPH, Director Mount Vernon Place and Charles Street, Baltimore Preparatory Department. May Garrettson Evans, Superin- tendent, 23 and 25 East Mount Vernon Place. The Peabody offers advantages which make it a Great Music Cen- tre, unsurpassed by any other Conservatory in the Country. Faculty of sixty European and American Masters, including Pro- fessors Boise, Brockway, Goodwin, Heimendahl, Hulsteyn, Hutcheson, Minetti, Phillips, Wad, Wirtz, etc. Scholarships, Diplomas, and Teachers' Certificates. Circulars mailed on request. 36 a small sock, edged with red or yellow, is worn over the stockings. The men generally have white felt caps turned up with green, and delight in skittles. Both sexes are kind, civil, and well-mannered, especially the women, who are gentle and attentive to the stranger. Their homes may indeed be humble, and their costume homely; but, far away from cities, the best qualities of the heart have never been cor- rupted; a tribute which none who, like ourselves, have ridden over these rugged districts, and shared in their unbought courtesies and hospitalities, will ever deny them." But see George Borrow's "Bible in Spain," chapters xxxii.-xxxiv., concerning the dangers in travelling in this region. Borrow was in the Asturias in 1837. The chief theme of the fandango in this "Spanish Caprice" is announced immediately by the trombones, and a related theme for wood-wind instruments follows. Both themes are repeated by oboes and violins, while flutes and clarinets have figures in accompaniment. There is a variation in dance form for solo violin. The chief theme in a modified version is given to bassoons and 'cellos. The clarinet has a solo with fandango accompaniment, and the dance grows more and more furious, until the chief theme is heard again from the trombones. The fandango suddenly is changed into the Alborada of the first movement, "Coda, vivo." There is a short closing Presto. * * The "Spanish Caprice" was performed at St. Petersburg in 1887, and it was published in that year. Yet we find Tschaikowsky writing to Rimsky-Korsakoff in 1886 (November 11): "I must add that your

Spanish Caprice ' is a colossal masterpiece instrumentation* and you I of may regard yourself as the greatest master of the present day." Tschaikowsky's admiration for his colleague was, however, a plant of slow growth. He wrote to Mrs. von Meek, in a letter dated San Remo, January 5, 1878: "All the young composers of St. Petersburg are very talented, but they are frightfully self-conceited, and are infected by the truly amateurish conviction that they tower high above all other musicians in the world. Rimsky-Korsakoff is (of late

* These words are italicized in the original letter.

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37 years) an exception. He is truly a self-taught composer, as the others, but a mighty change was wrought in him some time ago. This man is by nature very serious, honorable, conscientious. As a youth he was told in a society which first assured him that he was a genius, and then persuaded him not to study, that schooling killed inspiration, withered creative force, etc. This he believed at first. His first compositions showed a conspicuous talent, wholly devoid of theoretic education. In the circle in which he moved each one wr as in love with himself and the others. Each one strove to imitate this or that work which came from the circle and was stamped by it as distinguished. As a result the whole circle fell into narrow-mindedness, impersonality, and affectation. Korsakoff is the only one of them who about five years ago came to the conviction that the ideas preached in the circle were wholly unfounded; that the scorn of school and classical music and the denial of authorities and master-works were nothing else than ignorance. I still have a letter of that period which much moved and impressed me. Rimsky-Korsakoff was in doubt when he became aware of so many years passed without advantage and when he found himself on a road that led nowhere. He asked himself: 'What shall I then do ?' It stood to reason he must learn. And he began to study with such fervor that school- technic was soon for him something indispensable. In one summer he wrote a mass of contrapuntal exercises and sixty-four fugues, of which I received ten for examination. The fugues were flawless, but I noticed even then that the reaction was too violent. Rimsky-Korsakoff had jumped suddenly from contempt for the school into worship of musical technic. A symphony and a quartet appeared soon after; both works are full of contra- puntal tricks, and bear—as you justly say—the stamp of sterile pedantry. He has now arrived at a crisis, and it is hard to predict whether he will work his way till he is a great master or whether he will be lost amid hair-splitting subtleties." It should be remembered that this was written before the teacher of Glazounoff had composed his "Scheherazade," his "Capriccio Bspagnol," and his better operas. Tschaikowsky in later years showed thejwarmest appreciation for his colleague and his works. He wrote

H29 U29 Chestnut Chestnut Street BELLAK Street 38 in his diary of 1887: "I read Korsakoff's 'Snegourotchka,'* and was enchanted by his mastery; I even envied him, and I should be ashamed of this." Tschaikowsky first became acquainted with compositions by Rimsky- Korsakoff when he visited St. Petersburg in 1867 and made his first public appearance as a conductor, at a concert in aid of the famine fund (March 2). He led the Dances from his own "Voyevode," and Rimsky-Korsakoff 's Serbian Fantasia was on the programme. Early in 1871 Balakireff wrote Tschaikowsky that Mme. Rimsky- Korsakoff (born Nadejda Pourgould) had scratched out certain chords in the manuscript score of Tschaikowsky' s "Romeo and Juliet" overture fantasia, sent to Balakireff for criticism, "with her own fair hands, and wants to make the pianoforte arrangement end pianissimo." (In the final arrangement the composer omitted these chords.) In 1872 Tschaikowsky, visiting St. Petersburg again, met frequently the members of the "Invincible Band," and it is said that under their influence he took a tittle Russian folk-song as the subject of the finale of the Second Symphony. ' 'At an evening at the Rimsky-Korsakoff's," he wrote, "the whole party nearly tore me to pieces, and Mme. Kor- sakoff implored me to arrange the Finale for four hands." We find Tschaikowsky writing to Rimsky-Korsakoff from Moscow, September 22, 1875: "Thanks for your kind letter. You must know how I admire and bow down before your artistic modesty and your great strength of character! These innumerable counterpoints, these sixty fugues, and all the other musical intricacies which you have accomplished,—all these things from a man who had already produced a 'Sadko' eight years previously, —are the exploits of a hero. I want to proclaim them to all the world. I am astounded, and do not know how to express all my respect for your artistic temperament. How small, poor, self-satisfied, and naive I feel in comparison with you! I am a mere artisan in composition, but you will be an artist, in the fullest sense of the word. I hope you will not take these remarks as flattery. I am really convinced that with your immense gifts —and the ideal conscientiousness with which you approach your work—you * "The Snow Maiden," a fantastic opera in a prologue and four acts, book based on a poem by Ostrow- ski, music by Rimsky-Korsakoff, was produced at St. Petersburg in March, 1882. It has been announced for performance in Paris this season. Incorporated 1900 1511 Pennsylvania College of Music Girard Avenue

Departments Faculty Chandler Piano, Organ, Voice, Violin, Katb H. A. Violoncello, Henry Lang A. Hopkins Orchestral Instruments, Joseph Hamlin Composition, Languages, Edith W. A. Ricci Elocution, Physical Culture, Carlo Edward H. Smith Normal Training, Wilson Piano Tuning, Raymond S. Emilv A. Holzbaur Public Scuool Music and Associate Instructors Supervision KATE H. CHANDLER, President 39 — will produce music that must far surpass all which so far has been composed in Russia. I await your ten fugues with keen impatience. As it will be almost impossible for me to go to Petersburg for some time to come, I beg you to rejoice my heart by sending them as soon as possible. I will study them thoroughly and give you my opinion in detail. ... I should very much like to know how the decision upon the merits of the (opera) scores will go. I hope you may be a member of the committee. The fear of being rejected —that is to say, not only losing the prize, but with it all possibility of seeing my 'Vakoula' performed—worries me very much." He wrote to Rimsky-Korsakoff, November 24 of the same year, about a pianoforte arrangement of his second quartet by Mme. Rimsky-

Korsakoff, and ended : "A few days ago I had a letter from von Biilow, enclosing a number of American press notices of my pianoforte con- certo.* The Americans think the first movement suffers from 'the lack of a central idea around which to assemble such a host of musical fantaisies, which make up the breezy and ethereal whole.' The same critic discovered in the finale 'syncopation on the trills, spasmodic interruptions of the subject, and thundering octave passages'! Think of what appetites these Americans have: after every performance von Biilow was obliged to repeat the entire finale! Such a thing could never happen here." The next month Rimsky-Korsakoff answered: "I do not doubt for a moment that your opera will carry off the prize. To my mind the operas sent in bear witness to a very poor state of things as regards music here. . . . Except your work, I do not consider there is one fit to receive the prize or to be performed in public." Tschaikowsky wrote to his colleague, October 11, 1876: "I know how your quartet improves on acquaintance. The first movement is simply delicious and ideal as to form. It might serve as a pattern of purity of style. The andante is a little dry, but just on that account very characteristic—as reminiscent of the days of powder and patches. The scherzo is very lively, piquant, and must sound well. As to the

* It will be remembered that the first performance of Tschaikowsky's pianoforte Concerto in B-flat miccr was by von Biilow at Boston, October 25, 1875, i n Music Hall. Mr. Lang conducted the orchestra, which was a small one. There were only four first violins. Ed. FRANK MULLER

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41 : finale, I freely confess that it in no wise pleases me, although I acknowl- edge that it may do so when I hear it, and then I may find the obtru- sive rhythm of the chief theme less frightfully unbearable. I consider you are at present in a transition period, in a stage of fermentation; and no one knows what you are capable of doing. With your talents and your character you may achieve immense results. As I have said, the first movement is a pattern of virginal purity of style. It has something of Mozart's beauty and unaffectedness. ,, This was the String Quartet in F major, Op. 12. I have quoted these excerpts to show Tschaikowsky's opinion of Rimsky-Korsakoff and his works before he wrote to Mrs. von Meek his famous characterization of the "Invincible Band." He wrote to Rimsky-Korsakoff afterward from Maidanovo, April 18, 1885: "Since I saw you last I have had so much to get through in a hurry that I could not spare time for a thorough revision of your primer." This was Rimsky-Korsakoff 's Treatise on Harmony (trans- lated into German by Hans Schmidt). The original edition was published in 1886; the third, in Russian, in 1893. "But now and again I cast a glance at it, and jotted down my remarks on some loose sheets. To-day, having finished my revision of the first chapter, I wanted to send you these notes, and read them through again. Then I hesitated should I send them or not? All through my criticism of your book ran a vein of irritation, a grudging spirit, even an unintentional sus- picion of hostility towards you. I was afraid the mordant bitterness of my observations might hurt your feelings. Whence this virulence? I cannot say. I think my old hatred of teaching harmony crops ANNOUNCEMENT THE OTURES

Mr* Elmendorf is now delivering his annual course of lectures in New YorR, Boston, and BrooRbn.

Early in January he will begin a series of ten weeks at the Thomas Orchestra Hail, Chicago.

During this course he will also lecture in St. Louis, Milwaukee, Indianapolis, Evanston, and Oak Park.

Immediately at the close of these engagements he will leave for an extended foreign tour, in order to secure material for an entirely new series of "Travel Lectures" to be delivered at the Academy of Music, Philadelphia, early in the fall of 1908. 42 up here, —a hatred which partly springs from a consciousness that our present theories are untenable, while at the same time it is impos- sible to build up new ones, and partly from the peculiarity of my musical temperament, which lacks the power of imparting conscientious instruction. For ten years I taught harmony, and during that time I loathed my classes, my pupils, my text-book, and myself as teacher. The reading of your book reawakened my loathing, and it was this which stirred up all my acrimony and rancour. . . . Dare I hope that you would accept the position of the Director of the Moscow Con- servatory, should it be offered you? I can promise you beforehand so to arrange matters that you would have sufficient time for compos- ing, and be spared all the drudgery with which N. Rubinstein was overwhelmed. You would only have the supervision of the musical affairs. Your upright and ideally honorable character, your dis- tinguished gifts both as artist and teacher, warrant my conviction that in you we should find a splendid Director. I should consider myself very fortunate, could I realize this ideal." Rimsky-Korsakoff declined the offer, courteously, but in no uncertain words.

* * Rimsky-Korsakoff studied at the Naval Institute in St. Petersburg, but even then he gave much time to music. He was an officer in the marine service of Russia until 1873, and it would appear from a passage in Habets's "Alexandre Borodine" (Paris, 1893, p. 20) that in 1862 he came as an officer to the United States. He wrote his first sym- phony, the first written in Russia, according to Riemann's Musik- Lexicon (1905, sixth edition), when he was a midshipman. It was in

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44 List of Works performed at these Concerts during

the Season of 1907=1908.

J. S. Bach Suite in D major, No. 3, for Orchestra Beethoven

Symphony No. 6, "Pastoral."

Overture to "Leonore" No. 1.

Concerto for Pianoforte, No. 5, in E-flat major. Mr. PaderEwski

Bischoff Symphony in E major (First time in Philadelphia.) » Brahms Symphony No. 2, in D major

Chabrier "Espafia," Rhapsody for Orchestra

D'Indy, "Wallenstein," Trilogy, after the Dramattc Poem of Schiller (First time in Philadelphia.) MacDoweee Indian Suite.

Concerto No. 2, D minor, for Pianoforte and Orchestra. Mme. Teresa Carreno

"Marriage of Figaro" Mozart . . . Aria, "Yoiche sapete," from Miss Geraldixe Farrar

a by A. Hiller RegER . . . Variations and Fugue on Theme J. (First time at these concerts.)

Rimsky-Korsakoff Caprice on Spanish Themes

Schumann Overture to "Genoveva"

Pranks" . Merry Richard Strauss . "Till Eulenspiegel's

\\\\gner .... Elisabeth's Prayer, from "Tannhauser" Miss Geraldine Farrar —

1 86 1 that he began the serious study of music with Mily Balakireff,* and he was one of the group—Borodin, Moussorgsky, Cui, were the others who, under Balakireff, founded the modern Russian school. His first symphony was performed in 1865. In 1871 he was appointed professor of composition at the St. Petersburg Conservatory. He was inspector of the marine bands from 1873 to 1884, director of the Free School of Music from 1874 to 1887 and conductor of concerts at this institution until 1 88 1, assistant conductor in 1883 of the Imperial Orchestra; and from 1886 till about 1901 he was one of the conductors of the Russian Symphony Concerts, afterward led by Liadoff and Glazounoff. He conducted two Russian concerts at the Trocadero, June 22, 29, at the Paris Exhibition of 1889; and he has conducted in the Netherlands. His thirty-fifth jubilee as a composer was celebrated with pomp and circumstance at St. Petersburg, December 8, 1900, and at Moscow, January 1, 1931. On March 19, 1905, Rimsky-Korsakoff was dismissed from the Conservatory of the Imperial Society of Russian Music. He had written an open letter to the director of the Conservatory protesting against the intrusion of an armed force, against the reopening of the classes contrary to the advice of the "Artistic Council," and against the dilettantism which rules absolutely the affairs of the Conservatory. The only member of the Directorial Committee who had by nature and training a right to his office, Mr. Jean Persiany, immediately resigned after Rimsky-Korsakoff was ejected. The teachers Glazounoff, Liadoff, Blumenfeld, Verjbielovitch, and others, severed their connec- tion with the Conservatory. Letters of protestation against the treat- ment of Rimsky-Korsakoff were sent from the chief European cities- The Russian journals attacked savagely the Directorship. When a new opera by Rimsky-Korsakoff, "Kachtchei," was produced in St. Peters- burg at the Theatre-du-Passage, March 27, with an orchestra made up of students who had struck for some weeks and with Glazounoff as leader, the tribute paid Rimsky-Korsakoff by musicians, journalists,, writers, artists, was memorable, nor were the police able to put an end to the congratulatory exercises which followed the performance. For a full account of all these strange proceedings see the article written by R. Aloys Mooser and published in the Courrier Musical (Paris), November 1, 1905. In 1907 Rimsky-Korsakoff was, present at the " Five Historical Rus-

* Mily Alexeiewitch Balakireff, born in 1837 at Nijni-Novgorod and now living at St. Petersburg, began, - his musical career as a pianist. He has written a symphony and other orchestral pieces, as "King Lear," "Thamara," "In Bohemia," which was played in Boston at Mrs. R. J. Hall's concert in Jordan Hall, Mr. Longy conductor, January 21, 1008; a pianoforte sonata and other pianoforte pieces, the most famous ofj which is "Islamey"; songs, etc. He published in 1866 a remarkable collection of Russian folk-songs.

Incorporated in 1885 and chartered THE NATIONAL in 1891 by Special Act of Congress CONSERVATORY Mrs. Jeannette M. Thurber OF MUSIC OP Founder and President WASSILY SAFONOFF AMERICA Director ARTISTIC FACULTY. Wassily Safonoff, Adele Margulies, Leopold Lichtenberg,. Eugene Dufriche, Leo Schulz, S. Camillo En gel, Hugo Riesenfeld, Bruno Oscar Klein,. Henry T. Finck, and others. Admission daily. Address Secretary.

47 WEST 25th STREET, NEW YORK CITY 46 — sian Concerts" at Paris (May 16, 19, 23, 26, 30), when his "Christmas Night" symphonic poem, Prelude and two songs from ' 'Snegourotchka," ^'Tsar Saltan" suite, and the submarine scene from the opera "Sadko" were performed, and he then conducted his works. (The regular conductors of the series were Messrs. Nikisch and Chevillard.) In the fall of 1907 he was chosen corresponding member of the Academie des beaux-arts, to take the place vacated by the death of Grieg.

The list of his operas is as follows : "The Maid of Pskoff" (St. Petersburg, 1873-95); "May Night" (St. Petersburg, 1880, 1894); "The Snow Maiden" (St. Petersburg, 1882); "Mlada," ballet opera, originally an act by Borodin, Cui, Moussorgsky, and Rimsky-Korsakoff (St. Petersburg, 1892); "Christ- mas Night" (St. Petersburg, 1895); "Sadko of Novgorod" (Moscow, 1897); "Mozart and Salieri" (Moscow, 1899); "The Bride of the Tsar" (Moscow, 1899); "The Tale of the Tsar Saltan" (Moscow, 1900); "Servilia" (St. Petersburg, 1902); "The Immortal Koschtsei" (Moscow, 1902). "Pan Voyvode" (St. Petersburg, 1905); "The Legend of the Invisible City of Kitesch and the Maiden Fevronia" (St. Petersburg, 1907). A new opera, "Zolotoi Pietouchok," will be produced at St. Petersburg this season. His chief works besides those already mentioned are a Fantasia on Servian themes for orchestra, Op. 6; Overture on Russian themes for orchestra, Op. 28; Fairy Tale for orchestra, Op. 29; Concerto in C- sharp minor (to the memory of Liszt) for pianoforte and orchestra, Op. 30; Symphoniette in A minor on Russian themes for orchestra, Op. 31; Symphony No. 3, in C major, Op. 32; Concert Fantasia on Russian themes for violin and orchestra, Op. 33; Serenade for 'cello with pianoforte, Op. 37; "By the Grave," prelude for orchestra, Op. 61; Russian Song for orchestra (chorus ad lib.), Op. 62; songs and pianoforte pieces. Borodin wrote of him in 1875: "He is now working for the Free School: he is making counterpoint, and he teaches his pupils all sorts of musical stratagems. He is arranging a monumental course in orchestration, which will not have its like in the world, but time fails him, and for the moment he has abandoned the task. . . . Many have been pained to see him take a step backward and give himself up to the study of musical archaeology; but I am not saddened by it, I under- stand it. His development was exactly contrary to mine: I began with the ancients, and he started with Glinka, Liszt, and Berlioz. After he was saturated with their music, he entered into an unknown

The Berlitz School of Languages PHILADELPHIA, LODER BUILDING, 16th and Chestnut Streets New York, Madison Square Paris, 27 Avenue de l'Opera Washington, 723 14th Street, N.W. London, 231 Oxford Street Baltimore, 14 West Franklin Street Berlin, 113 Leipziger Strasse Boston, 132 Boylston Street Rome, 114 Via Nazionale Chicago, Auditorium Madrid, 5 Preciados St. Louis, Odeon St. Petersburg, 6 Newsky Prospect Cincinnati, Mercantile Library Building Vienna, Graben 13 And over 300 other branches in the leading cities of America and Europe. At Paris Exposition, 1900. the Berlitz School received two gold and two silver medals, and the Cross of the Legion of Honor was conferred upon Prof. M. D. Berlitz ; and at each of the Expositions of Lille and Zurich, one gold medal; at the St. Louis Exposition, 1904, grand prize ; at Lie"ge Exposition, 1905, grand prize. "L'eLOOE DE LA METHODE BERLITZ N'EST PLUS A FAIRE" (The Berlitz method is beyond the need of praise.) Rapport No. 1202, Chambre des D^put^s, Paris, 4 Juillet, 1903, p. 123. Send for Circular. 47 — — —

sphere, which for him has the character of true novelty." Yet in 1877 Borodin, Rimsky-Korsakoff, Liadoff, and Cui were working together amicably on the amazing "Paraphrases" for pianoforte, which

Liszt valued highly, and to which he contributed ; and after the death of Borodin, in 1887, Rimsky-Korsakoff undertook the revision and the publication of his friend's manuscripts. He completed, with the aid of Glazounoff, the opera "Prince Igor" (St. Petersburg, 1890), just as he had completed and prepared for the stage Dargomijski's "Stone Guest" (St. Petersburg, 1872) and Moussorgsky's "Khovanschtchina"* (St. Petersburg, 1886, by the Dramatic Musical Society; Kief, yet he was more radical and revolutionary in 1892) ; his views concerning the true character of opera than was Borodin. And when, in 1881, Nikisch conducted "Antar" at the Magdeburg festival, it was Borodin who conveyed to the conductor the wishes of Rimsky-Korsakoff concerning the interpretation. Liszt held Rimsky-Korsakoff in high regard. Rubinstein brought the score of "Sadko"f to him and said, "When I conducted this it failed horribly, but I am sure you will like it"; and the fantastical piece indeed pleased Liszt mightily. Liszt's admiration for the Russian is expressed in several letters. Thus, in a letter (1878) to

'

Bessel, the publisher, he mentions ' the Russian national songs edited by N. Rimsky-Korsakoff,' for whom I feel high esteem and sympathy. To speak frankly, Russian national music could not be more felt or better understood than by Rimsky-Korsakoff." In 1884 he thanked Rahter, the publisher at Hamburg, for sending him the "Slumber Songs" by Rimsky-Korsakoff, "which I prize extremely; his works are among the rare, the uncommon, the exquisite." To the Countess Louise de Mercy-Argenteaul he wrote in 1884: "Rimsky-Korsakoff,

* Rimsky-Korsakoff also orchestrated Moussorgsky's Intermezzo for pianoforte and "La Nuit sur le Mont-Chauve " (St. Petersburg, 1886), played here at a concert of the Boston Orchestral Club, Mr. Longy conductor, January 5, 1004. fHabets tells this story as though Rubinstein had conducted "Sadko" at Vienna; but the first perform- ance of the work in that city was at a Gesellschaft concert in 1872. Did not Rubinstein refer to a performance at St. Petersburg? % She was a zealous propagandist in the Netherlands of the New Russian School. Her husband, cham- berlain of Napoleon III., died in 1888, and she then left Belgium, her native land, and moved to St. Peters- burg, where she died in 1890. See the gossip about her in "Les Femmes du Second Empire" by Frederic Loliee, pp. 347-351 (Paris, 1006). Stories of Symphonic Music

A Guide to Modern Orchestral Programme Music By LAWRENCE GILMAN gg^Ffefe <| This book fills a genuine need of the music-lover, for it offers in compact, accessible, and easily intelligible form information which will help him to listen understandingly to the music of an orchestral concert. It presents clearly, and without technical analysis, the poetic or pictorial or dramatic basis of every important example of programme music in the symphonic repertoire, putting the reader in possession of information which will enable him to listen comprehendingly, for example, to a symphony by Berlioz, an overture by Mendelssohn, a symphonic poem by Liszt, or a tone -poem by Strauss or Debussy. " IT The best thing for every concert-goer to do is to get a copy of Mr. Oilman's book and prepare himself beforehand." New York Evening Post. H " From Berlioz and Liszt and Raff and Wagner down to the latest words of Strauss, d'Indy, Debussy, Sibelius, Rimsky-Korsakoff, Elgar, Chadwick, and Converse, with many others that will occur to concert- goers, Mr.Gilman has left nothing that has any claim to the attention of music-lovers. ... It is a useful and interesting book." The New Music Review, H " A valuable contribution to the music-lover's library." Chicago Post. Price, $1.25 net Harper and Brothers, Publishers 48 Cui, Borodin, Balakireff, are masters of striking originality and worth. Their works make up to me for the ennui caused to me by other works more widely spread and more talked about. ... In Russia the new composers, in spite of their remarkable talent and knowledge, have as yet but a limited success. The high people of the Court wait for them to succeed elsewhere before they applaud them at Petersburg. Apropos of this, I recollect a striking remark which the late Grand Duke Michael made to me in '43: 'When I have to put my officers under arrest,- I send them to the performances of Glinka's operas/ Manners are softening and Messrs. Rimski, Cui, Borodin, have themselves attained to the grade of colonel." In 1885 he wrote to her; "I shall assuredly not cease from my propaganda of the remarkable compositions of the New Russian School, which I esteem and appreciate with lively sympathy. For six or seven years past at the Grand Annual Concerts of the Musical Association, over which I have the honor of presiding, the orchestral, works of Rimsky-Korsakoff and Borodine have figured on the' programmes. Their success is making a crescendo, in spite of the sort of contumacy that is established against Russian music. It is not in the least any desire of being peculiar that leads me to spread it, but a simple feeling of justice, based on my conviction of the real worth of these works of high lineage." Liszt's enthusiasm was shared by von Bulow, who wrote to the Signale in 1878: " Rimsky-Korsakoff' s 'Antar,' a programme- symphony in four movements, a gorgeous tone-picture, announces a tone-poet. Do you wish to know what I mean by this expression? A tone-poet is first of all a romanticist, who, nevertheless, if he develop himself to a genius, can also be a classic, as, for example, Chopin." *

Two more recent opinions concerning the music of this Russian composer are worthy of consideration. Mr. Heinrich Pudor, in an essay, "Der Klang als sinnlicher Reiz in der modernen Musik" (Leipsic, 1900), wrote: "Rimsky-Korsakoff is in truth the spokesman of modern music. Instrumentation is every-

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49 thing with him; one might almost say, the idea itself is with him instrumentation. His music offers studies and sketches in orchestration which remind one of the color-studies of the Naturalists and the Impressionists. He is the Degas or the Whistler of music. His music is sensorial, it is nourished on the physical food of sound. One might say to hit it exactly, though in a brutal way: the hearer tastes in his music the tone, he feels it on his tongue." And Mr. Jean Marnold, the learned and brilliant critic of the Mercure de France, wrote in an acute study of the New Russian School (April, 1902): "Of all the Slav composers, Rimsky-Korsakoff is perhaps the most charming and as a musician the most remarkable. He has not been equalled by any one of his compatriots in the art of handling timbres, and in this art the Russian school has been long distinguished. In this respect he is descended directly from Liszt, whose orchestra he adopted, and from whom he borrowed many an old effect. His inspiration is sometimes exquisite; the inexhaustible transformation of his themes is always most intelligent or interesting. As all the other Russians, he sins in the development of ideas through the lack of cohesion, of sustained enchainment, and especially through the lack of true polyphony. The influence of Berlioz and of Liszt is not less striking in his manner of composition. 'Sadko' comes from Liszt's 'Ce qu'on entend sur la montagne'; 'Antar' and 'Scheherazade' at

' ' the same time from Harold ' and the Faust ' Symphony. The oriental monody seems to throw a spell over Rimsky-Korsakoff which spreads over all his works a sort of 'local color/ underlined here by the chosen subjects. In 'Scheherazade,' it must be said, the benzoin of Arabia sends forth here and there the sickening empyfeuma of the pastilles of the harim. This 'symphonic suite' is rather a triple rhapsody in the strict meaning of both word and thing. One is at first enraptured, astonished, amused, by the wheedling grace of the melodies, the fantasy of their metamorphoses, by the dash of the sparkling orchestration; then one is gradually wearied by the incessant return of analogous effects, diversely but constantly picturesque. All this decoration is incapable of supplying the interest of an absent or faintly sketched musical development. On the other hand, in the second and the third movements of 'Antar,' the composer has approached nearest true musical superiority. The descriptive, almost dramatic, intention is realized there with an unusual sureness, and, if the brand of Liszt remains ineffaceable, the ease of construction, the breadth and the co-ordinated progression of combinations mark a mastery and an originality that are rarely found among the composers of the far North, and that no one has ever possessed among the 'Five.'" See also a study of Rimsky-Korsakoff by Camille Bellaigue ("Impressions Musicales et Litteraires," pp. 97-140); "A propos de 'Scheherazade' de Rimsky-Korsakoff," by Emile Vuillermoz, in Le Courrier Musical (Paris), February 15, 1905; Mercure Musical (Paris), March 15, 1907, pp. 282-284, article by N. D. Bernstein on R.-K.'s opera, "Legend of the Invisible City," etc.; June 15, 1907, pp. 652-656, by Louis Laloy; Alfred Bruneau's "Musiques de Russie et Musiciens de France," pp. 20-25 (Paris, 1903).

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