~bt J,incinnati ~!,mpbon!, ®rtbtstra ~tar Jljook

TWENTY-SECOND SEASON 1916-1917

Published by The Cincinnati Symphony Orchestra Association Company Cincinnati

CONTENTS 5

CONTENTS

't 't Page

Personnel of the Orchestra...... 6

Illustration-The Orchestra in Emery Auditorium...... 8-9

The ·Orchestra Association...... 11

Subscribers to the Orchestra Fund...... 12

Illustration-The Conductors ...... ~ ...... " 13

Historical Sketch...... 15

Index to works performed during the Twenty-second Season...... 18

Soloists who have appeared in the Symphony Concerts during

the Twenty-second Season...... 240

Symphony Concert Programs and Descriptive Notes...... 26

Soloists who have appeared in the Popular Concerts during the

Twenty-second Season ...... 152

Popular Concert Programs and Descriptive Notes...... 153

The Repertoire from 1895 to 1917 ...... 217

Soloists from 1895 to 1917 ...... 240

Engagements Filled, Season 1916-1917 ...... 244 6 TWENTY-SECOND SEASON, 1916-17

The Cincinnati Symphony Orchestra

DR. ERNST KUNW ALD, Conductor

. FIRST VIOLINS VIOLAS HARP CONTRA FAGGOTT Emil Heermann, Carl Wunderle, Principal Joseph Vito M. Bucci Concertmeister Peter Froehlich Max Schulz G. Bialy FLUTES FRENCH HORNS' Sigmund Culp I Max ThaI Nicholas Kouloukis Gustav Albrecht Frank Hancock V. Coffey Ellis McDiarmid Joseph Ringer A. Borjes A. Brand Max Hadricka Hans Lind Felix Leipnicker D. Epstein E. Bellstedt Ernst Pack Otto Brasch PICCOLO I. Schnitzler L. Wiegand TRUMPETS' Max Hadricka Raphael Groff Ferdi Weiss S1:. Scmulewicz VIOLONCELLOS' OBOES Wm. Heine Leo Brand, Jr. Joseph Loebker George Pierkot A. DeBusscher Leroy Hancock {ulius Sturm, Principal August Schefer . Argiewicz A. Rabbu Adolph Loeb Jos. Chabr EdWIn Memel S. Frederiksen PISTON Carl Crumb Walter Heermann Joseph Loebker Leroy Schwab ENGLISH HORN August Schaefer SECOND VIOLINS H. W. Hofmeester A. Rabbu Harry Kopp TROMBONES Hubert Endres, Pr·incipal Leonard Watson CLARINETS Hyman Schuler F. Broeder Carl Kohlmann W. Cotton ~seph Elliott Karl Eckhardt F. Tallarico ilford Gunn Louis Brand Samuel Schoen BASSES Richard Brand Tito Ragnetti TUBA BASS CLARINET John Goodall A. Hase, Principal J. Austin Houston Carl Burck J. Zweifel Wilford Gunn Wm. Knox Karl Querengaesser TYMPANI AND A. Peters F. Boos FAGGOTTS Claire Yarwood G. Liebholdt PERCUSSION Reuben Lawson Wm. Stein Gaston Duhamel Leo Brand A. Dondero T. Tedescki Johann Fisnar La wrence Manzer J. Loebker Herman Burck M. Bucci Frank Lohmann

The Cincinnati Symphony 0] chestra in Emery Auditorium

OFFICERS, DIRECTORS AND STOCKHOLDERS 11

The Orchestra Association Officers MRS. CHARLES P. TAFT, President MRS. J. WALTER FREIBERG, First Vice-President MRS. CLIFFORD B. WRIGHT, Second Vice-President MRS. LOUIS N. STIX, Recording Secretary' MRS. ALBERT H. CHATFIELD, Corresponding Secretary MRS. RUDOLPH A. KOEHLER, Financial Secretary MRS. FRANK D. JAMISON, Treasurer

MR. JOSEPH WILBY, Counsel KLINE L. ROBERTS, Manager Directors Miss Bertha Baur Mrs. Murray M. Shoemaker Mr. Harry M. Levy Mrs. Frederick Exton, Jr. Mrs. George H. Warrington Mr. Wm. Cooper Procter Mrs. John Gates Mr. Geo. W. Armstrong, Jr. Mr. J. G. Schmidlapp Mrs. Robert Halstead Mr. Albert H. Chatfield Mr. W. Kesley Schoepf Mrs. James Morrison Mr. Julius Fleischmann Mr. Charles P. Taft Miss Emma L. Roedter Mr. Maurice Freiberg Mr. Clifford B. Wright Stockholders The Apollo Club Mrs. J. Walter Freiberg Mrs. L. F. Phips Mrs. Larz Anderson Mrs. F. Forchheimer Mr. Richard Neff Miss Martha Allen Dr. Walter Forchheimer The Orpheus Club Mr. Joseph Adler Miss Aline Fredin (E. W. Glover) Mrs. F. H. Alms Miss Elsie Field Mr. Wm. Cooper Procter Mr. G. W. Armstrong, Jr. Mrs. John Gates Mrs. S. E. Rattermann Mrs. L. A. Ault Mr. Edward Goepper Mr. Lawrence Poland Mrs. Pitts H. Burt Miss Ruth Harrison Miss Annie L. Roelker Mrs. Henrietta Billing Mme. Renee de Bonaud Miss Emma L. Roedter Miss Wanda Baur Mrs. Ella B. Harriss Mr. Robert Ramsey Miss Bertha Baur Miss Mary T. Harrison Mrs. Joseph Ransohoff Mr. Rudolph Balke Mrs. A. Howard Hinkle Princess Francesco Mrs. Chas. W. Bosworth Mrs. Robert Halstead Rospigliosi Mr. A. H. Chatfield Mrs. C. R. Holmes Mr. W. Kesley Schoepf Mrs. A. H. Chatfield Mrs. M, E. Ingalls Mrs. ,Louis N. Stix Mrs. Alice P. Coddington Miss Isabel J elke Miss Alice Sterne Mrs. Briggs Cunningham Mr. F. D. Jamison Mrs. W. W. Seely The Corryville Liederkranz Mrs. F. D. Jamison Mr. J. G. Schmidlapp Miss Henriette Doughty Mr. David Kanner Mrs. Murray M. Shoemaker' Mrs. Chas. Duhme Miss Marie Krippendorf Mrs. C. P. Taft Mrs. Chas. W. Dodd MrA Thomas H. Kelly Mr. C. P. Taft Mr. G. W. Dittman Mrs. R. A. Koehler Mrs. Wm. H. Taft Mrs. N. DuBrul Mrs. Emma Kreis Mrs. Geo. H. Warrington Mr. Albert Erkenbrecker Mrs. Clara Kupferschmid Mrs. Clifford Wright Miss Jennie Elsner Mr. Rudolph Kleybolte Mrs. H. Wiborg Mrs. Geo. Ehrman Mr. Frank A. Lee Mrs. Frank Wiborg Mr. Louis Ehrgott Mr. Harry Levy Miss Eugenie Werk Mrs. F. Eckstein, Jr. Mr. Nicholas Longworth Mr. Lucien Wulsin Mr. J. G. Ebersole Mr. Fenton Lawson Miss Sarah H. Woolley Mrs. T. J. Emery Mrs. Edna K. Loeb Mr. Richard Wald Mr. Julius Fleischmann Mrs. L. Markbreit Mrs. Carrie C. Wood Mr. Maurice J. Freiberg Mrs. C. W. McDermott Miss Julia Worthington Mrs. L. Maxwell, Jr. Mrs. C. Zinke Mrs. James Morrison 12 TWENTY-SECOND SEASON, 1916-17

Subscribers to the Orchestra ~'und

Mr. Samuel Ach The J. M. Gidding Co. Mr. Wm. Cooper Procter Mr. William H. Alms Mr. Louis J. Goldman The H. & S. Pogue Co. The Loring Andrews Co. Mr. A. W. Goldsmith Mrs. Nathan Powell Mr. G. W. Armstrong, Jr. Miss Eugenia 1. Goshorn Mr. George Puchta Mrs. W. P. Anderson Mr. Albino Gorno Dr. Joseph Ransohoff Mrs. Vachel W. Anderson Mr. Romeo Gorno Chas. B. Ratterman & Bro. Mr. L. A. Ault Miss Mary Hanna Mrs. Bernard Ratterman Mr. L. B. Ault Mrs. Robert Halstead Mr. A. J. Redway Mr. R. F. Balke Miss Ruth Harrison Miss Lulu Reemelin Miss Bertha Baur Miss Marie Harff Mrs. Elizabeth L. Ricketts P. Benninghofen Mr. Louis J. Hauck Miss Annie L. Roelker Mrs. Henriette Billing Mr. Adolph Hahn Mr. C. T. Rogan Mr. Joseph E. Block Mr. E. L. Heinsheimer Mr. Casper H. Rowe Mr. George H. Bohrer Mrs. E. L. Heine Miss Emma L. Roedter Mr. Theodor Bohlmann Mr. H. A. Heister Mr. Louis Victor Saar Mrs. R. B. Bowler Mrs. A. Howard Hinkle Mr. Albert W. Schell Mr. Arthur Brand Mr. James J. Heekin Mr. J. G. Schmidlapp Mrs. J. W. Bullock Dr. Carl Hiller Mr. W. H. Schmidlapp Mr. John J. Burchenal Dr. and Mrs. C. R. Holmes Mrs. W. W. Seely Burkhardt Bros. Co. Mr. John R. Holmes Mr. A. Clifford Shinkle Mrs. Pitts H. Burt Mrs. Charles F. Hofer Mr. Stewart Shillito Mrs. Chas. Bosworth Mr. Charles F. Hofer Mrs. Henry A. Smith Dr. N. W. Bowd Mr. Robert Hochstetter Mr. P. B. Stanbery Mr. A. H. Chatfield Mr. Fred'd J. Hoffmann Steinway & Sons Mr. J. R. Clark The Frank Herschede Co. Mrs. William Stern The A. B. Closson, Jr., Co. Miss Isabel F. Hopkins Miss Alice Sterne The John Church Co. Mrs. Daniel H. Holmes Mr. A. L. Stix Mr. Edward Colston Mr. Franklin I ves Mr L. N. Stix ~:r r. John Carlyle Davis Miss Isabel J elke Mr. Benjamin W. Strader Mrs. N. H. Davis* Mr. & Mrs. Frank J. Jones Mrs. Therese A. Strauss Mr. Charles J. Davis J os. Joseph & Bro. Co. Mrs. E. W. Strong Mr. George W. Dittmann Mr. W. Alexander Julian Mr. Julius Sturm Miss M. C. Dow* Mr. Chas. H. Krippendorf Mr. & Mrs. Chas. P. Taft Mr. Martin G. Dumler Miss Mary Eva Keys Mr. Pier Tirindelli Mr. Adolph Dryer Mr. Adolph Klein Mrs. Charles H. Thomas Mrs. Thomas J. Emery Mrs. Louise A. Kinney Mr. J. Garfield Trager Mrs. Agnes D. Eckstein Mrs. Stillman Kelley Messrs. Tietig & Lee Mr. Louis Ehrgott Mr. John E. C. Kohlsaat Mrs. E. A. Wachman Mr. Richard P. Ernst Dr. Max Koehler Mr. Richard H. Wald Mrs. George D. Eustis Mrs. R. A. Koehler Mrs. George Warrington Mr. Frederick S. Evans Mr. Louis Kramer Miss Fannie B. Webster Mr. Julius Fleischmann Mr. Irwin M. Krohn Miss E. M. Werk Mrs. Charles Fleischmann Mrs. Robert Kuhn Mr. W. G. Werner Dr. Albert H. Freiberg Mr. Fenton Lawson Mr. Alphonse S. Wetterer* Mr. J. Walter Freiberg Mr. Harry M. Levy Mrs. Morris M. White Mrs. J. Walter Freiberg Mr. Charles Lewis Mr. Frank B. Wiborg Mr. Maurice J. Freiberg Mrs. ]. Ledyard Lincoln Mrs. Morris Wickersham Mrs. Jonas B. Frenkel Mr. Charles J. Livingood Mr. Charles Wiedemann Mrs. Alfred Friedlander Mrs. Longworth - Mr. Charles H. Willis Miss C. Belle Fithian Mr. Lino Mattioli Mr. George B. Wilson Mr. Max Fruhauf Mr. D. B. Meacham Mr. William Worthington Mr. Gus R. Fries* Mr. John H. Miller Mr. Clifford B. Wright Mr. B. W. Foley Mrs. M. E. Moch Mr. Lucien W. Wulsin Mr. & Mrs. John Gates Mr. James P. Orr Mrs. K. E. R. Wulsin Mr. A. J. Gantvoort Mrs. Frank Perin The Rudolph Wurlitzer Co. Mr. F. A. Geier Mrs. James H. Perkins Mr. John Yoakley Mrs. F- A. Geier Mr. L. F. Phipps Mr. Frank Zumstein Mr. Omar T. Glenn* Mr. Sidney E. Pritz *Deceased THE CONDUCTORS Frank Van der Stucken Leopold Stokowski 1895·1907 1909.1911 Dr. Ernst Kunwald 1912.

HISTORICAL SKETCH 15

Historical Sketch NLY slow and logical growth of musical taste, developing with the progress of a community, can result in the establishment and main­ O tenance of a symphony orchestra as the highest medium of ex­ pression vouchsafed by a music-loving public. The elements making up the citizenship of Cincinnati were such as to introduce musical activity at a very early period. Musical programs, of one kind or another, were given as early as 1800, during which year a choral organization, made up of "those ladies and gentlemen who felt themselves disposed to organize a singing school," was established. Aside from various choir organizations, there were in existence the Haydn Society and the Harmonical Society, which were more or less active during the early years of the nineteenth century. In 1824, the Apollonian Society, "for the cultivation of vocal and in­ strumental music," was organized, with forty active and honorary mem­ bers. These were the forerunners of the list of musical clubs of various kinds which have contributed to the development of music in Cincinnati. The first Saengerfest ever held in the Middle West was given at the old Arrpory Hall, in Cincinnati, in 1842. Theodore Thomas spent the years of his greatest activity during the early period of musical development in Cincinnati. As head of a music school, he organized an orchestra and brought together various singing societies. The first complete series of Symphony Concerts by a regular Sym­ phony Orchestra in the city of Cincinnati was that given under the aus­ pices of the Cincinnati Orchestra Association Company, during the sea­ son of 1895-96, with Frank Van der Stucken as conductor. For some years previous, an orchestra of forty musicians, under the direction of Michael Brand, had been giving concerts in Cincinnati, and it was this orchestra which was used as a nucleus for the Symphony Orchestra of later years. Symphony Concerts in Cincinnati were the idea of Miss Helen Sparrman, honorary President of the Ladies' Musical Club, and she, with Miss Emma Roedter, President of the Club, Mrs. W. H. Taft, Secretary, and a group of enthusiastic music-loving women, we~e the moving spirits of the company which was later formed to give these concerts. The Association consisted of a Board of fifteen women, the Orchestra numbered forty-eight men, and ten pairs of concerts, on Friday after­ noons and Saturday evenings, were given in Music Hall. 16 TWENTY-SECOND SEASON, 1916-17

In 1896-1897 the Orchestra was increased to seventy men; in 1897- 1898 the number of men was reduced to sixty, and remained that number for several years. The guarantee fund for the first year was only $15,000, but as the Orchestra grew, and the circle of its influence widened, more money was necessary, and the fund has been increased from year to year. The Orchestra has had three presidents. Mrs. William H. Taft, was the first, and she retained the office until Judge Taft was appointed Governor of the Philippines, in 1900. Mrs. Christian R. Holmes, the next President, held the office for thirteen years, when, because of ill health, she was compelled to give it up. Upon the resignation of Mrs. Holmes, Mrs. Charles P. Taft was elected to the Presidency, which office she n0'W holds. Mrs. Taft took up the work where Mrs. Holmes dropped it, and has carried it steadily on, developing and improving the quality, increasing the number of men, and as changes became necessary in the personnel, employing men of orchestral experience and mature musicianship. The Orchestra has had three Conductors. Mr. Frank Van der Stuc­ ken, the first Conductor, remained with the Orchestra from 1895 t0' 1906. During the seasons of 1907-1908 and 1908-1909 the Cincinnati Sym­ phony Orchestra, owing t0' labor disturbances, was disbanded. In 1907-1908, the Association provided the city with Symphony Con­ certs by bringing the large orchestras from other cities to Cincinnati. In 1908-1909, no Symphony Concerts were given, but during this period the Board of Directors of the Association were busily at work securing a sufficient guarantee fund to found a new Orchestra on a per­ manent basis. In the spring of 1909, a yearly guarantee of $50,000 for a period of five years, had been secured, and Mr. Leopold Stokowski was engaged as Conductor. Mr. Stokowski immediately set to work securing men, and in November, 1909-1910, the Cincinnati Symphony Orchestra re­ sumed the series of ten pairs of Symphony Concerts, which had been interrupted for two years . . In 1910-1911, six Popular Concerts were added to the Symphony senes. In 1911-1912, the number of Symphony Concerts was increased to twelve pairs, and six Popular Concerts also were given. In the spring of 1912, Mr. Stokowski resigned and Dr. Ernst Kun­ wald, Associate Director with Nikisch of the Philharmonic Orchestra of Berlin, was secured for the position. Dr. Kunwald is the present Con­ ductor of the Orchestra. In 1913-1914, the number of Popular Concerts was increased to eight and in 1914-1915 the Symphony series was increased to sixteen pairs of concerts, with a Popular series of ten. HISTORICAL SKETCH 17

In 1915-1916, owing to additional work imposed by the May Festival, the symphony series was reduced to fourteen pairs of concerts, with ten Popular Concerts. The Symphony Concerts were originally held in Pike's Opera H'ouse, but were transferred to Music Hall in 1896, where they were given until January, 1911. In 1910, Mrs. Thomas J. Emery had begun the construction of a building for the uses of the Ohio Mechanics Institute, the auditorium of which since the completion of the building, has been used by the Or­ chestra for its concerts. Upon the death of Martha Cora Dow, in October, 1915, the Cincin­ nati Symphony Orchestra inherited her entire estate, in trust, the in­ come to be used for the perpetuation of symphony concerts in Cincinnati and to be known as the "Cora Dow Endowment Fund." To the devotion and untiring efforts of ,the women of the Board of Directors of the Cincinnati Symphony Orchestra Association, the city of Cincinnati owes its Orchestra, and much of its reputation as a musical center and city of culture. 18 WORKS PERFORMED, 1916-17

Index to Works Performed During Season 1916-1917

AUBER, DANIEL F. E. Page Overture, "Fra Diavolo"...... 202

BEETHOVEN, LUDWIG VAN Symphony No.3, "Eroica" ...... 146 Symphony No.6, "Pastorale" ...... 38 Symphony No.7...... 69 Overture, Leonore No. II...... 68 Overture, "Namensfeier" ...... , ...... 141 Violin Concerto ...... 68 Aria, "Abscheulicher" (Fidelio) ...... 140 Overture, "Egmont" ...... 166

BACH, JOHANN SEBASTIAN Concerto, No.3, G Major ...... 146 Violin Concerto, A Minor...... *

BIZET, GEORGES Aria, "Micaela's Prayer" (Carmen) ...... 122 Suite, L' Arlesienne No. 1...... 179 Suite, L'Arlesienne No.2 ...... 191 Toreador Song ...... 20.8 BERLIOZ, HECTOR Overture, "Le Carnival Romain" ...... , ...... 115 Overture, "King Lear" ...... 130. BRAHMS, JOHANNES Symphony No.2, D Major ...... 29 Symphony No.3, F Major ...... 134 Serenade, D Major...... 92 Song, "Feldeinsamkeit" ...... 63 Song, Vor dem Fenster"...... 63 Song, "'Schwalbe, Sag' mir" ...... : ...... 64 Songs, "Botschaft" ...... 64 Hungarian Dance No.1...... * Hungarian Dance No.2 ...... 187 BOCCHERINI, LUIGI

Minuet ...... ~ ...... 20.5 BORODIN "In the Steppes of Middle Asia" (A Sketch) ...... 139 BRUCKNER, HERMAN Symphony No.7 ...... '...... 56 BRUCH, MAX "Scotch Fantasie" ...... 96 *On tour and concerts not in the two regular series. WORKS PERFORMED, 1916-17 19

BRUNE Page "Ein Daemmerungsbild" ...... 140 CARPENTER Suite, "Adventures in a Perambulator" ...... ; . . . 42 CHARPENTIER, GUSTAVE ArIa, · "D epuls,. Ie J our " ...... * CHERUBINI Overture, "Ali Baba" ...... 134 Overture, "Anacreon" ...... , ...... 5(; CORNELLISSEN Rhapsodie Characteristic ...... 181 DAVID Aria, "Thou Charming Bird"...... 195 DEBUSSY, ACHILLE CLAUDE Two Nocturnes-"Nuages," "Fetes" ...... 114 DELIBES, CLEMENT PHILIBERT LEO Intermezzo, N aila ...... 192 Suite Sylvia ...... '...... , ...... 155 Suite, Coppelia ...... * DONIZETTI Aria, Mad Scene from "Lucia"...... 123 DVORAK, ANTONIN Overture, "Husitzka" ...... 62 Overture, "Carnival" ...... :...... 184 Slavonic Dance No.1 ...... 170 Concerto for Violoncello ...... * Symphony, "The New World"...... * DVORSKY "Chromaticon" ...... 53 ENESCO, GEORGES Two Roumanian Rhapsodies, D Major, A Major ...... 167 FLOWTOW Overture, "Martha" ...... 160 GLAZOUNOW "Le Printemps" ...... ;...... 124 Pas des Fiances from "Russe d'amour" ...... " * GOLD MARK, CARL Overture, "Sakuntala" ...... 173 Overture, "1m Friihling" ...... •...... 204

GOUNOD, CHARLES FRA~COIS March, Queen of Sheba...... 166 GRAINGER Molly on the Shore ... , ...... , ...... 163 *On tour and concerts not in the two regular series. 20 TWENTY-SECOND SEASON, 1916-17

GRIEG, EDWARD HAGERUP Page Two Symphonic Dances...... 36 Symphonic Dances in A Major and A Minor ...... 157 Overture, "In Autumn"...... 209 Aria, Ein Traum...... * Peer Gynt Suite, No.1...... * HALVORSEN March of the Bojaren ...... 172 HAENDEL, GEORGE FREDERICK Largo ...... 156 Aria! Hear Me! Ye Winds and Waves,...... * R eCltabve. . f rom "Ju l'IUS C aesar " ...... * Air from "Scipio"...... * Song, Come, Come live with pleasure...... 178 Song, No more complaining, No more disdaining ...... 178 Song, Dryads, Sylvans with Fair Flora ...... , ...... 178 HAYDN, FRANZ JOSEF Symphony in D (B & H, No.4) ...... 110 Symphony in D (B & H, No.5) ...... 144 'Concerto for Violoncello ...... , ...... 113 Largo ...... 199 Symphony in G Major, "Surprise" ...... * KELLEY, EDGAR STILLMAN Aladdin Suite ...... 161 KRAMER Valse Triste ...... 187 Chant N egre ...... -...... 187 LALO,EDOUARD Overture, "Le Roi d'ys"...... 108 Symphonie Espagnole ...... * LASSEN Festival Overture ...... 208 LEONCAVALLO, RUGGIERO Arioso, "Vesti la guibba"...... 163 LOEFFLER "A .Pagan Poem" ...... 106 LIAPOUNOW Piano Concerto No.1, E-flat Minor...... * LISZT, FRANZ Polonaise in E-flat...... 184 Rhapsodie No.1...... 205 MASSENET, JULES Suite, Scenes N apolitiane...... 198 Ballet Music from "Le Cid"...... 173 Aria, "He is Good, He is Kind"...... 169 Aria, "Vision Fugitive" from Herodiade ...... * *On tour and concerts not in the two regular series. WORKS PERFORMED, 1916-17 21

. MENDELS'SOHN, FELIX BARTHOLDY Page Concerto for Violin...... 42 Overture, "A Midsummer Night's Dream" ...... 102 Suite, Midsu,mmer Night's Dream ...... 209 Overture, Midsummer Night's Dream ...... 101 Overture, "Athalia" ...... 178 MEYERBEER, GIACOMO March, "L'Africaine" ...... 196 Coronation March, "Le Prophete" ...... , 178 Aria, "0 Paradisio"...... * MONTEVERDE Aria, "II Lamento d' Arianna" ...... 62 MOZART, WOLFGANG AMADEUS Symphony, G Minor...... 48 Overture, "The Marriage of Figaro"...... 38 Overture, "Die Entfuehrung aus dem Serail"...... 126 Overture, Marriage of Figaro...... 38 Overture from "The Magic Flute"...... 196 Aria, "Deh Vieni," from "Figaro" ...... * NICOLAI, CARL OTTO Overture, "Merry Wives of Windsor" ...... * OFFENBACH,JACQUES Intermezzo, "Tales of Hoffman"...... 169 Aria, 0 Diamond Bright, from "Hoffman"...... 210 PIERNE Concertstiick for Harp ...... 172 PONCHIELLI, AMILCARE Aria, "Cielo e mar" ...... * PUCCINI, GIACOMO Aria, "La Boheme" ...... 160 Aria, Un bel di ...... 166 REGER, MAX . A Romantic Suite...... 51 ROSSINI, GIOACCHINO A. Overture, "William Tell"...... i98 RUBINSTEIN, ANTON Concerto for piano, No.4, D Minor...... 130 Toreador and Andalouse ...... , ..... '" 211 SAAR, LOUIS VICTOR En Berceau ...... 210 SAINT-SAENS, CHARLES CAMILLE Concerto for piano, No.4, C Minor...... 50 Danse Macabre ...... 179 Violin Concerto No.3, B Minor, Op. 61 ...... " * Symphonic Poem, Le Rouet d'Omphale ...... 202 Bacchanale, Samson and Deliah...... 185 Aria, My Heart at Thy Sweet Voice ...... " * *On tour and concerts not in the two regular series. 22 TWENTY-SECOND SEASON, 1916-17

SCHUBERT, FRANZ PETER Page Symphony, C Major, No.7 ...... 126 Symphony, "Unfinished," No.8...... 84 Overture, "Rosamunde" ...... '...... 172 March, "Heroique" in D Major ...... , ...... ••..... 160 SCHUMANN, ROBERT ALEXANDER Symphony, C Major No.2 ...... , .•...... 103 Concert for piano, A Minor...... • ...... 77 SCHOENBERG Symphonic Poem, "Pelleas and Melisande"...... 118 SCHYTTE Piano Concerto in C sharp Minor...... 215 SIBELIUS "The Swan of Tuonela" ...... '...... , ...... 122 Valse Triste ...... '...... 204 SMETANA Symphonic Poem, "Moldau"...... 191 STRAUSS, JOHANN Waltz, Mein Lebenslauf ist Lieb und Lust ...... * Overture, "Der Ziegeunerbaron" ...... ',' ...... 193 Overture, Die Fledermaus...... 164 STRAUSS, RICHARD Sinfonia Domestica ...... 78 "Tod und Verklaerung"...... 87 Finale from "Salome"...... 88 Tone Poem, "Death and Transfiguration" ...... " ..... , ...... , ... * Aria, Salome ...... '...... * Song, Meinem Kinde ...... 180 Song, 'Cacilie...... 181 SUPPE Overture, "Poet and Peasant"...... 182 Overture, "Die Schoene Galatea"...... 174 SVENDSEN Rhapsodie N orvegienne ...... •...... 19,2 TSCHAIKOWSKY, PETER ILLYITSCH Fantasia, "Francesca da Rimini"...... 33 Symphony No.6, "Pathetique"...... 214 Capriccion "Italienne"...... * THOMAS, AMBROISE Overture, "Mignon" ...... 185 VERDI, GIUSEPPE Aria, "A,"A'd" fors e lui" (Traviata)...... 86 Marc, h 1 a ...... 190 VIEUXTEMPS Fantasia Appassionata ...... 190 *On tour and concerts not in the two regular series. WORKS PERFORMED, 1916-17 23

VOLKMANN Page Serenade, Violoncello, D Minor...... * WAGNER, RICHARD Prelude, "Lohengrin" ...... 28 Prelude, "Die Meistersinger"...... 75 Bacchanale from "Tannhaeuser"...... 97 Senta's B.alalde from "The Flying Dutchman" ...... 139 Siegfried's Rhine Journey ...... 203 Prelude to Act III, Lohengrin ...... 199 Prelude to Act I, Lohengrin ...... 214 Overture, "Flying Dutchman" ...... 162 Bacchanale "Tannhauser"...... 91 Violin Solo, "Traume" ...... 155 Violin Solo, Albumblatt ...... * Ride of the Valkyries ...... ~ .. " ... 174 Overture, "Rienzi"...... 168 March, "Tannhauser" ...... 154 Overture, "Tannhauser" ...... 216 Overture, "Die Meistersinger"...... 156 Aria, "Elsa's Dream" ...... ',' 186 Aria, Dich Theure Halle ...... ,...... 184 WEBER, CARL MARIA VON Overture, "Oberon" ...... 84 Overture, "Abu Hassan" ...... ~... 92 Overture, "Der Freischiitz" ...... 154 Overture, "Precioso" ...... 190 WEINGARTNER Aria, "Liebesfeier" ...... •...... * WIENIAWSKI Polonaise in D...... 203

*On tour and concerts not in the two regular series. 24 TWENTY-SECOND SEASON, 1916-17

SOLOISTS SYMPHONY CONCERTS TWENTY·SECOND SEASON, 1916-1917

Eddie Brown, Violinist, November 10-11 Concerto in E minor, Op. 64, Mendelssohn...... 42 Josef Hofmann, Pianist, November 24-25 Concerto No.4 in C minor, Saint-Saens...... 50 ""Chromaticon" for Piano and Orchestra, Dvorsky...... 53 Julia Culp, Contralto, December 8-9 Aria, "II Lamento d' Arianna," Monteverde ...... 62 Songs, Feldeinsamkeit, } Vor dem Fenster, Schwalbe, sag' mir an, Brahms ...... ~ ...... 63 Botschaft, Emil Heermann, Violinist, December 22·-23 Concerto, Op. 61, D major, Beethoven ...... '" . ... 68 Carl Friedberg, Pianist, January 5-6 Concerto, Op. 54, A Minor, Schuman1~...... 77 Marcella Craft, Soprano, January 19-20 Aria, "Ah, fors e lui (La Traviata), Verdi...... 86 Finale Scene from "Salome," Strauss...... 88 Fritz Kreisler, Violinist, February 2-3 Scotch Fantasie, Bruch ...... : ...... 96 Ruth Deyo, Pianist, February 16-17 "A Pagan Poem," Loeffler...... 106 Pablo Casals, 'Cellist, March 2-3

Concerto, Op. 101, D major, Haydn ...... 0 •••••• 0 •• 0 o. 0 0 0 o. 0 000000 113 Anna Case, Soprano, March 16-17

Aria, Micaela's Prayer, "Carmen," Bizet 0 • 0 0 • 0 0 0 •• 000 0000 • 0 0 0 00 • 0 000 122

Aria, Mad Scene, "Lucia," Donizettio 0 0 • 0 0 0 0 000.000. 0 0 0000 ••• 0 0 • 0 •• 0 123 Fannie Bloomfield-Zeisler, Pianist, March 30-31

Concerto, Opo 70, D minor, Rubinstein. 0 •• 0 ••••••••••••• 0 •• 0 • • • • • • • • 130 Melanie Kurt, Soprano, Apri113-14

Aria, Senta's Ballade, "The Flying Dutchman," Wagner.o ...... 0'0 139

Aria, Abscheulicher, "Fidelio," Beethoven ...... o..... 0 140 TWENTY-SECOND SEASON 191 6-191 7

EMERY AUDITORIUM

FIRST PROGRAM

Friday Afternoon. Saturday Evening October 27. 1916. October 28. 191 6.

Prelude-"Loheng'lin" ...... , ...... Wagner

Symphony No.2, D major, Ope 73...... Brahms I. Allegro non troppo. II. Adagio non troppo. III. Allegretto grazioso (Quasi Andantmo). IV. Allegro con spirito.

Fantasia, "Francesca da Rimini," Ope 32 ...... TschaiqoDJsqy (First time at these concerts.)

Two Symphonic Dances, Ope 64 ...... Grieg a. A major. b. A minor. Program Notes By J. HERMAN THUMAN

Prelude to "Lohengrin" ...... Richard Wagner 1813-1883

HE orchestral introduction to "Lohengrin:' departs from th~ c~n­ ventional overture to an opera not only In form but also In Its T contents. The usual operatic overture epitomizes the musical ideas of the acts which are to follow. The "Lohengrin" prelude, depart­ ing from this plan, is built entirely upon one theme, the "Grail" motive. It aims to create the mood and give the impression that a high and mysterious force is to underlie the action about to begin when the curtain rises. In form it is a single movement-an extensive crescendo and decrescendo. The theme enters in the first violins, divided into four parts, in the highest registers. From the ethereal distance it floats down, becoming louder and louder as it reaches the ears of man, until a sonorous outburst in the brasses signifies its approath to earth and the accomplishment of its strength:-giving mission. Thenceforth it recedes to the regions whence it came, the decrescendo extending back to the mysterious whisper of the opening bars. This prelude, which is regarded as one of the purest and noblest pages in all musical literature, and the beauty of which is now universally recog­ nized, was written by Wagner after the opera itself had been completed. In composing "Lohengrin," the subject of which had been in his mind from the time of his first visit to Paris, he wrote the third act first. Its composition was begun during a vacation in the Saxon Switzerland. Ac­ cording to Wagner's own dates, September 9, 1846, marked the begin­ ning of the work. The third act was concluded in the following March. Then the first act received his attention, being composed in the time from May 12 to June 8, and the second act required the period from June 18 to August 2. On August 28, 1847, he began the Prelude. Three years later "Lohengrin" received its first performance in W ei­ mar, under Liszt, to whom Wagner dedicated the work. Wagner him­ self was an exile at the time from Germany, owing to his political activi­ ties. He did not hear the opera until May 12', 1861, when he was invited to attend its first performance in Vienna. He gladly accepted the invita­ tion because he felt sure that a worthy performance would be provided. The dress rehearsal proved eminently satisfactory. Salvi conducted. On the night of the performance Wagner was received with great acclaim as he entered his box. Prolonged applause greeted the Prelude, and simi- FIRST CONCERT 29

lar demonstrations took place at the end of each act. At the conclusion of the opera Wagner was called upon to address the enthusiastic audience. H'e was deeply touched and said: "I have heard my work for the first time tonight, given by a truly artistic institution beside which I can place no other, accepted by a public in such a manner that I almost feel it a burden. What shall 'I say? Al­ low me to carry this burden in all humility, allow me to pursue the ends of my art. I beg of you to sustain me in this by continuing your support." The brief speech was all the more significant when it is borne in mind that, two months before, the fashionable world in Paris had hooted and howled his "Tannhaueser" off the boards.

Symphony No.2, D major, Op. 73 ...... Brahms 183'3,-1897 HOUGH Brahms was forty-three years old before his first sym­ phony saw the light of day, only one year elapsed until his second T symphony, in D major, was announced. It was composed in 1877 and published that same year. Its first hearing was at a private musicale when Brahms himself and Ignaz Bruell (composer of the opera "The Golden Cross"), played a four-handed piano arrangelnent of it. This was a few days before its first public orchestral performance, which took place on December 30, 1877, in the Vienna Philharmonic Orchestra's concert series under the direction of Hans Richter. The reception was a most cordial one. The Austrian capital had hesitated to accept the C minor symphony, finding it difficult to understand; but it opened its heart most readily to the D major symphony, which suited its temperament better than the first. On the other hand, the second performance of this symphony, which took place in Leipsic on the following January 10, and which Brahms him­ self conducted, was not so cordially received. In direct contrast to the Vienna public, the Leipsic music lovers were somewhat disappointed in the second symphony. They had received the first symphony with great enthusiasm and expected a work of similar imposing nature. Instead of the sublime and abstruse quality of the C minor they were greeted with one in which the idyllic and the appealing were in the ascendancy. The reception was a cordially polite one, but Leipsic was not Vienna. The D major symphony has always been regarded as the most readily understood and appreciated of the four Brahms gave to the world. It is not only the lay public which feels this work to be the most enjoyable. Felix Weingartner, the eminent conductor, is most emphatic in expressing his choice of this work above any of the others. In his book, "The' Sym­ phony After Beethoven," he says: "The strain of invention has never flowed so fresh and spontaneous in other works of Brahms and nowhere has he colored his orchestration so successfully." There are many reasons for this, whatever individual opinion might be to the contrary. The beautiful first movement, the pregnant adagio, 30 TWENTY-SECOND SEASON, 1916-17

the delicious and sprightly allegretto and the flowing finale combine many qualities of melodic beauty which are more appealing to the senses than are fouild in the other three. Theodore Thomas gave the first performance of the work in this coun­ try, in New York, in the fall of 1878, less than a year after its first per­ formance in Vienna. 1. Allegro ,non troppo. The first movement opens at once with the principal subject, the first , half played by the horns and the latter part by the flutes, clarinets and bassoons:

11i&MJlt'Ul f ;I!JJIJ 111111UIJ Ill: Jl.nws~.../ '- iJ:::is .... J.. ~s Considerable use is made of the first measure of this quotation. In fact, much that follows is derived from this motive, clothed in varied orchestral colors. A charming episode leads into the second theme, one of the most graceful of Brahms' melodies. It is played by the 'cellos while the violins weave a delicate tracery of figures about it:

, No.1t J 8 J g iiI .l. '"" ~ 1 ~. 1 11 ll' I ! I-!!'t If at I r ffl Tl r jj-it ItH If ti Ii v p Y'ittt..s B (t13 ! The even flow of this delightful cantelina is interrupted ever and anon by new motives, giving this portion a somewhat restless character. But the melody soon returns, first in the flutes and then in the violins, ac­ companied by a triplet figure. The development is devoted almost entirely to the principal theme and the transitory episode referred to above. The master hand is in evidence at every turn and the remarkable contrapuntal facility of the composer is given the widest latitude, though it is not allowed to disturb the even flow. The recapitulation, full of rich surprises and departures, is never­ theless in regular form, bringing forward no new material. A long coda, in which the horn has a beautiful passage derived from the first three notes of the opening bar of the movement, provides a glorious climax, which ends in a quiet and lulling pianissimo. FIRST CONCERT 31

At the thirteenth bar the violins pick up the melody. A new motive enters shortly, first announced by the horns and treated in the style of a fugato. But the first theme maintains its 'importance in the upper reg­ isters of the strings. This leads to the statement of the second theme:

lo.~ r'I. ~ _ 1.·~'ftfJlil ti 51 tit ttl q E ,1frJI With its capricious syncopations this theme is in direct contrast to the first melody. From it is derived the following motive, shortly met in the strings: ;:. ~. I'~.! It ! H l em I! ell uTIjTi Ifj1' l rik VkS. ~------It is developed in the woodwind with a counterpoint in the violas and cellos. The development section is elaborate. The principal subject ap­ pears in various instruments and different keys, always interrupted by the more sombre motive of the movement until it finally is stated complete in its original key. The ending is very beautiful. The theme passes down gradually from the high registers to the lower until a sustained B major chord softly marks the conclusion. III. Allegretto grazioso (Quasi Anda,ntino). In bright and piquant mood the third movement, which is in the na­ ture of an intermezzo, opens with one of the most delightful melodies of the work. It is a graceful theme sung by the oboe to the pizzicato accom­ paniment of the 'cellos: i .,. o~ __...t. , '1 r 'r , IF rr fir S rJ Ir pii* II I 111 ! i£~ I ~ ! ; 11 j I i Ii ~ ::::=-- ---.: ... After the idyllic statement of this theme, remindful of the piping of some sylvan god, the melody undergoes a sudden thange. In almost unbridled humor, closely approaching a parody, the frequent shifting of the rhythm greatly alters the mood and treatment, until it reaches the following character: /0'7' I~·;,t; r IUf Itr f lti I In·j@ I jIlt iI

Then, quite as unexpectedly, a modified re-statement of the first theme occurs, leading to a second trio, in 3-8 time, which in turn, with many an 32 TWENTY-SECOND SEASON, 1916-17

original and! striking idea, leads back to the oboe melody. By way ~f a beautifully modulated passage the opening key of the movement, G major, is returned, gently closing the section. IV. Allegro can spirito. The strings, "sotto voce," announce the principal theme of the closing 'movement: I~t ffiifiW [I rEi! I! tDlr1I Itrtr It&_. I! FIRST CONCERT 33 voice is unusually high and clear and sounds as if it were cracked. Brahms sat opposite to grandmother and was very lively and witty. The. con­ versation was quite animated. In the evening attended a Museumgesell­ schaft concert. In honor of Brahms the program consisted entirely of works by him."

Fantasia, "Francesca da Rimini," Op. 32 ...... Tschaikowsky 1840-1893 HE subject of the poignant love of Francesca da Rimini and Paolo Malatesta, which is recounted by Dante in his "Divina Commedia," T in that part of the work telling the poet's descent into the second circle of Hell, has been the inspiration of many dramas, operas and or­ chestral pieces. Liszt includes it as one of the most beautiful moments in his "Dante" symphony. Zandonai, one of the modern Italian com­ posers, has used it as an opera, the performance of which is announced by the Chicago Opera Company for the coming season. About ten years ago there were no less than three dramas written and played in New York. One was by the late Stephen Phillips, the other by the late F. Marion Crawford, and the third by Gabriel d' Annunzio, in which Duse played the role of Francesca. In addition to' these there is an old dra­ matic version by Edward Boker, which Otis Skinner revived a few years ago. \\Then Tschaikowsky's attention was first drawn to the story of "Francesca da Rimini" it was with the idea of inducing him to write an opera on the subject. The Russian author, K. T. Zvantsef, arranged the libretto for him. This authnr was a great admirer of Wagner, in the day when all those who were not enthusiastically for the Bayreuth master were regarded as against him, and he insisted that if Tschaikowsky used the text he was to follow the Wagnerian scheme of music drama composi­ tion. This Tschaikowsky refused to do. But the story of the hapless lovers appealed to him, and in a letter to his brother, written from Paris, in 1876, h'e says: "I read through the fifth canto of the Inferno and was beset by the wish to compose a symphonic poem, -'Francesca da Rimini." It was finished in November of that year and was given its first perform­ ance March 9, 1877, under the direction of Nichnlas Rubinstein, in Mos­ cow. A year later it was introduced into Germany by Bilse at one of his concerts in Berlin. Singularly enough, the second symphony of Brahms, which was also a novelty at that time, was on the same program. The contrast between the two composers led to critical opinions of all kinds. The enemies of Brahms-and they were legion at the time-were not amiss to using this opportunity to their advantage, while the ardent ad­ mirers of the Viennese master-and they were led by the redoubtable Buelow-did not hesitate to severely excoriate the Russian composer's production. But almost forty years have passed since then, and Dr. Kun- 34 TWENTY-SECOND SEASON, 1916-17 wald's action in placing the two works on the same program in Cincin­ nati, for the opening concert of the 1916-17 season, is not likely to lead to any such foment. Time has placed the valuation upon both composers. It is also remarkable that, while Tschaikowsky's works have found frequent performance in Cincinnati, his "Francesca da Rimini" has never been given by the Cincinnati Symphony Orchestra, nor has it been played at a May Festival. As nearly as memory will serve, its only performance here in recent years was that given by Nikisch upon the occasion of the visit of the London Symphony Orchestra in this city, in April, 1912. The score of Tschaikowsky's work is prefaced by a quotation from the fifth canto of the "Inferno." As translated by Henry Francis Cary it is as follows: "Dante, coming into the second circle of Hell, witnesses the punish­ ment of carnal sinners, who are tossed about ceaselessly in the dark air by the most furious winds. Amongst these he meets with Francesca of Rimini, whQ relates her story: No greater grief than to remember days Of joy, when misery is at hand. That kens Thy learned instructor. Yet so eagerly 1£ thou art bent to learn the primal root, From whence our love gat being, I will do As one who wheeps and tells his tale. One day For our delight we read of Lancelot, How him love thrall'd. Alone we were, and no Suspicion near us. Ofttimes by that reading Our eyes were drawn together, and the hue Fled from our alter'd cheeks. But at one point Alone we fell. When of that smile we read The wished-for smile so rapturously kissed By one so deep in love, then he, who ne'er From me shall separate, at once my lips All trembling kissed. The book and writer both Were love's purveyors. In its leaves that day We read no more. Thus while one spirit spake, The other wailed so sorely, that heartstruck I, through compassion fainting, seemed not far From death, and like a corpse fell to the ground." The work opens (Andante lugebre) with a sinister description of the poet's entrance into the region, that real entrance into Hell above whose portal are the awesome words: "Leave every hope behind all ye who enter here." The theme is as follows: Andante lugubre. ,. ::> ::>'- --- - ,--=: t .... _ I { :t; 2.. ~~ .~ ~ '~ CIJ~ < '"' 11 I I Cres. ~ ~ I- I- ", ...-:'Q ~ . '.. .~( ( F:J: ,1777 - .• ~ ..,.~'-c1!T~_ :-r=' :::=- ::t~~--'- :::: T'~ ""''''''-r• +r ~ 1(j,I J~j~"- .... ___-' ~ _ ...... ____,..,.J .... ,--V ___ - FIRST CONCERT 35

As the tempo is gradually hastened and the poet gains entrance into the Hell proper, the following theme is used as the basis of the subsequent delineation: Moderato. > 3 .. - 'T' T ~+-n' ~ ~ l~ ~ ~~ - -+ ~ • ~ :;;tI- ...... r ...... -+ '- eEI.I.•• ! - ... - ... ~ ~ -..... <\ ...... ""'- - - ~- I--=='~ '.- -- :#- (F:i 9 f-~ ·r_ ~ , t ' ~'t ' ~, ~, ~~ , t ~ ' ~~' t The din which follows is to convey the idea of the wind which rages so furiously and which tosses the damned souls about in its resistless terror. The wailing of these lost ones is heard through the whirl. So it continues for a lengthy time, when a new section is approached, the one which indicates that the poet has met Francesca in this abyss and is listen­ ing to her story. A pathetic melody, sung by the clarinet, an andante cantabile, represents the pitiful story of the hapless maiden: Andante canlabile. ,,--. ;:; --... - CLAIR. '::k! .. ~ I ~ (~~J ~ L~ .

This material is liberally used and then the fury of the first part re­ turns. Saint-Saens, who is a great admirer of Tschaikowsky, makes the fol­ lowing comparison of the Russian's work and Liszt's "Dante" symphony: "Piquant charms and dazzling fireworks abound in Tschaikowsky's 'Francesca da Rimini,' which bristles with difficulties and shrinks from no violence of effect. The gentlest and kindest of men has let loose a whirl­ wind in this work, and shows as little pity for his interpreters and hearers as Satan for sinners. But the composer's talent and astounding technique are so great that the critic can feel only pleasure in the work. A long melodic phrase, the love song of Paolo and Francesca, soars above this tempest, which attracted Liszt before Tschaikowsky and engendered his 'Dante' symphony. Liszt's Francesca is more touching and more Italian in character than that of the great Slavonic composer; the whole work is 36 TWENTY-SECOND SEASON, 1916-17 so typical that we seem to see the profile of Dante projected in it. Tschaikowsky's art is more subtle, the outlines clearer, the material more attractive; from a musical standpoint the work is better. Liszt's version is perhaps more to the taste of the poet and the painter. On the whole, they can fitly stand side by side. Either of them is worthy of Dante."

Two Symphonic Dances ...... Edvard H agerup Grieg 1843-1907 a. A Major. 'b. A Minor. HESE are two of four Symphonic Dances which Grieg wrote for two pianos and, subsequently or simultaneously, scored them for or­ T chestra. The title-page of the partitur indicates that they were arranged for orchestra without reference to the piano version. The two played today are numbers two and four. SECOND PROGRAM

Friday Afternoon, Saturday Evening, November 10, 1916. November 11, 1916.

Overture, "The Marriage of Figaro" ...... Mozart

Symphony No.6, F major, "Pastorale" ...... Beethoven I. Awakening of Happy Impressions on Arriving in the Country (Allegro rna non tanto). II. Scene by the Brook (Andante molto moto). III. Merry Gathering of Country Folk (Allegro). IV. Thunderstorm (Allegro). V. Shepherd's Song. Thanksgiving After the Storm (Allegretto).

Violin Concerto in E minor, Op. 64 ...... Mendelssohn Allegro molto appassionato. Andante-Allegro molto vivace.

Suite, "Adventures in a Perambulator" .., ...... Carpenter (First time in Cincinnati.) En Voiture. The Policeman. The Hurdy-Gurdy. The Lake. Dogs. Dreams.

SOLOIST: EDDIE BROWN. 38 TWENTY-SECOND SEASON, 1916-17

Overture, "The Marriage of Figaro" . . ' .... Waltgang A made.us Mozart 1756-1791 OZART'S opera, "The Marriage of Figaro," was begun in De­ cember, 1785, and concluded the following April. The text was M adapted from the story of Beaumarchais by da Ponte. It was given its first performance in Vienna, and from the beginning proved to be a great success. The overture is written in Mozart's brightest vein, and is a scintillating example of the spontaneous flow of his art.

Symphony No.6, F major, "Pastorale" ...... Ludwig V an Beethoven 1770'-1827 N his lovely "Pastorale" symphony Beethoven gave impetus to discus- , sions which are still waging and which will continue to exercise the I musical world until the end of time. In it he supplied the partisans of so-called "program-music" with an argument they never cease quoting, even though he was not the first to employ a program. But, the fact that he did seek his inspiration from without and that he labeled the various movements of his symphony, has given the programmists great cause for reJOlcmg. Without assuming any place in such discussion, it is fair to agree with Grove when he says that "there can be no doubt that one derives more enjoyment from having a clew to his intentions than if he had simply entitled the work 'Symphony in F.' " The great love which Beethoven cherished for the cot).ntry and for Nature was bound to be reflected in his music, and that he should have devoted one of the immortal nine to an expression of his love for the out-of-doors is no surprise. How wonderfully, how beautifully, how sym­ pathetically he has accomplished this the "Pastorale" will forever indi­ cate. Years after he had written the work he was passing through the woods near Vienna and came upon the brook which was the source of the second movement, and reclining on the mossy bank, said to a friend who was accompanying him: "The goldfinches up there in the trees, and the cuckoos and the nightingales, all were co-laborers." Perhaps this accounts for the pleasantry in the close of the second movement in which the quail, the nightingale and the cuckoo are imitated and so specified in the score. It has always been maintained that Beethoven intended this interpolation to be taken in the nature of a joke. The "Pastorale" was composed in the summer and autumn of 1807. At first Beethoven intended to call it "Sinfonia characteristica;" Die Erinnerungen vom Landleben" (Characteristic Symphony; Recollec­ tions of country life) and scrawled a note on the side of one of the early pages that "the hearer is to be allowed to find out the situation for him­ self." (This, by the way, sounds almost like Richard Strauss and "Till Eulenspiegel.") But he later changed his mind and determined to give SECOND CONCERT 39

each movement a heading, warning his public, however, that what was to follow was "Mehr Ausdruck der Empfindung als Malerei" (more the ex­ pression of feeling than painting.) The program given by Beethoven for the various movements is as follows: l-Erwachen heiterer Empfindung bei der Ankunft auf dem Lande. (Awakening of happy impressions on arriving in the country.) 2-Scene am Bach. (Scene by the brook.) 3-Lustiges Zusammensein der Landleute. (Merry Gathering of the Country Folk.) 4-Gewitter Sturm. (Thunder Storm.) . 5-Hirtengesang; Frohe und dankbare Gefiihle nach dem Sturm. (Shepherd's Song; Thanksgiving after the storm.) I. Allegro ma non tanto. The symphony opens without introduction with the following theme, as if the composer, starting on his stroll into the country, is saying a pleasant good-morning to the passer-by: If-EdEI@A laffilI I ]J "!" This theme practically contains the germ of the entire movement, many of the supplementary phrases germinating from it. The beauty of the spirit, the charm of the day, the heartfelt pleasure of once again greeting Nature in all her glory and cheer is manifest throughout the movement. The composer is happy in breathing the free, pure air of the woodland, and every resource in the orchestra mirrors this affection. The second theme is stated by the'cellos as follows:

and is later taken up by the violins and flutes. With marvelous ingenuity the long notes of this beautiful phrase are built up, one on the other, until the charming close with the arpeggios is reached.

II. Andante malta mota. The second movement, at the brook, is no effort to delineate a definite scene but to express the feeling of one who, reclining under some over­ hanging tree, hears things in the rustle of the leaves, in the singing of the birds, in the soughing of the breezes while, as an underlying accompani­ ment, the purling of the brook proceeds to murmur softly as it flows along. 40 TvVENTY-SECOND SEASON, 1916-17

Over this, flowing accompaniment, which continues practically throughout the movement, the violins sing the opening theme:

The second subject appears later on, first in the violins and then, in the second section, in the following delightful manner in the bassoons, followed by the 'cellos: 0--:;:--' ~---.:;:- ~ ~ I:l"pfhfttl' EI fm IjjJ I tI Hi Ptti I [I it:!!til I ;:; I . The Coda contains the imitation of the cuckoo (clarinet), the quail (oboe), and the nightingale (flute,) thus: . . ~-!lR f' ~ r - 1"'\ ~7aA"r.'\ /'"'\ ~ -. > "> Y-i'"> -- .!~_~J" 'Lt..~_ - ~t.).,.,., =11_ ~ ,..--... ~~;l17 "4 t1t" I )tl UlUlU iJ!J YbJ I 2§jjj if '15 ~ ~, "It is obvious," says Grove, "that this passage, eight bars in length, is one of those droll, capricious interpolations which may be noticed in these symphonies from the second onward, put in in defiance of any considera­ tion but "his absolute will." III. Allegro. Though this movement is not designated as such, it is in effect a scherzo. In it Beethoven seeks to depict a merry festival of village life. The following theme,. played . by the strings, opens the movement: g~ TV ii If HI~ 11 HIll¥lp liH !i,!qlr ~ ...... ~ . + The flute* and bassoons soon enter and subsequently the second theme is given out:

+ t"'"+ + ,...... ~ ~ -t-~*' IS ~ 1· I 11 T I q r fi rI r ii I!.i r I! I T 1j hi + ~ to rTdf.I ~. . 8v ... "-I.., .. The rusticity is so evident that no mistake can be made of the char­ acter of the festival. This theme, played by the oboe over the waltz rhythm in the violins, is full of delicious humor. The bassoon plays an accompaniment consisting of two notes, F, C and the octave F. The whole theme suggests the performance of a band of village musicians whom Beethoven heard at a tavern near Heiligenkreuz. The bassoon SECOND CONCERT 41 player is evidently drunk and whenever the three notes of his old instru­ ment will not fit into the harmony he remains silent. When the oboe has finished the clarinet takes up the melody and finally the horn. Mean­ time the bassoonist has grown impatient and refuses to count, wherefore he continues to play F, C, F without stopping. The trio of the movement presents a rustic dance tune as follows:

There is a return to the first part of the movement which leads directly into the thunderstorm forming IV. Allegro. The low mutterings of the basses suggest the rumbling thunder of the approaching cataclysm. The movement is a free tone painting which Berlioz has described as follows: "Listen to those gusts of wind laden with rain; those sepulchral groanings of the basses; the shrill whistlings of the piccolo that announce a terrible tempest about to burst. The hurricane approaches, swells; an immense chromatic streak, starting from the highest notes of the orches­ tra, goes burrowing down into its lowest depths, seizes the basses, carrie& them along, and ascends again, writhing like a whirlwind that levels every­ thing in its passage. Then the trombones burst forth; the thunder of the tympani redoubles in fury. It is no longer a wind and rainstorm; it is a frightful cataclysm; the universal deluge; the end of the world." Without pouse, the movement leads directly into V. Allegretto. A "yodel" announced by the clarinet and answered by the horn le~ds to the theme of the finale, which is the "Hymn of the Shepherds."

i .;---+ +~ C1=l + ::--. ~~ +-=-" + ~ $ I¥p fi #r {;I' j ill to L II f t If i 1> I' j &olillilQg Considerable development is given this theme whereupon the second subject in the clarinets and bassoons, with an undulating accompaniment in the violas, is stated: 42 TWENTY-SECOND SEASON, 1916-17

The remainder of the movement is given over to the elaborate work­ ing out of this material and the close comes with the distant "yodel" in the horns. The "Pastoral" was played for the first time on December 22, 1808, in Vienna. It appeared on the same program with the C Minor Sym­ phony, the G Major Piano Concerto, the Choral Fantasy and several other Beethoven compositions. Originally it was designated as No.5, while the C minor was known as No.6. They were composed about the same time. The attendance was small and an historical record of the concert says that the theater in which the concert was given became so cold that the audience lost interest in the performance.

INTERMISSION.

Concerto for Violin, E minor, Op. 64 . .... Felix M endelssohn-Bartholdy 1819-1847

HE only concerto Mendelssohn composed for the violin takes its place with the greatest written for that instrumel)t. Work on it T was begun as early as 1838 but it was not until 1844 that it was fi:qished. The first public performance was given at Leipsic by Ferdinand David, who was the concert-meister of the Gewandhaus Orchestra, of which Mendelssohn was the conductor. It was written for him. He greatly aided Mendelssohn in the composition, as far as the practical violinistic side is concerned, which fact largely accounts for the fine un­ derstanding displayed in the treatment of the. solo instrument. David played it first at a concert in Leipsic, March 13, 1845, Neils Gade con­ ducting. The concerto is a very grateful one. Its first movement is a sweeping one, affording great display of brilliance on the part of the solo instru­ ment. The second movement is one of infinite charm and delicacy, while the last forms a noble climax to the work.

Suite, "Adventures in a Perambulator" ...... John Alden Carpenter 18.76-

HIS delightful suite has been one of the most successful composi­ tions from the pen of an American composer in years. Since its first T performance in Chicago, March 19, 1915, it has been widely played by the orchestras in America and has met with the most cordial reception. Somebody has called it the "American Domestica." With what right the present performance will serve to disclose. The following is the program of the work: SECOND CONCERT 43

1. En Voiture! Every morning-after my second breakfast-if the wind and the sun are favorable, I go out. I should like to go alone, but my will is over­ borne. My Nurse is appointed to take me. She is older than I, and very powerful. While I wait for her, resigned, I hear her cheerful steps, al­ ways the same. I am wrapped in a vacuum of wool, where there are no drafts. A door opens and shuts. I am placed in my perambulator, a strap is buckled over my stomach, my Nurse stands firmly behind-and we are off! II. The Policeman. Out is wonderful! It is always different, though one seems to have been there before. I can not fathom it all. Some sounds seem'l-ik.e smells. Some sights have echoes. It is confusing, but it is Life! For insta'iice, the Policeman-an Unprecedented Man! Round like a ball; taller than my Father. Blue-fearful-fascinating! I feel him before he comes. I see him after he goes. I try to analyze his' appeal. It is not buttons alot1e, nor belt, nor baton. I suspect it is his eyes and the way he walks. He walks like Doom. My nurse feels it too. She becomes less firm, less powerful. My perambulator hurries, hesitates, and stops. They converse. They ask each other questions-some with answers, some without. I listen, with discretion. When I feel that they have gone far enough, I signal to my Nurse, a private signal, and the Policeman resumes his enormous Blue March. H'e is gone, but I feel him after he goes.

III. The Hurdy-Gurdy. Then suddenly there is something else. I think it is a sound. We approach it. JVly ear is tickled to excess. I' find that the absorbing noise comes from a box-something like my music box, only much larger, and on wheels. A dark man is turning the music out of the box wi'th a handle, just as I do with mine. A dark lady, richly dressed, turns when the man gets tired. They both smile. I smile too, with restraint, for music is the most insidious form of noise. And such music! So gay! I tug at the strap over my stomach. I have a wild thought of dancing with my Nurse and my perambulator-all three of us together. Suddenly, at the climax of our excitement, I feel the approach of a phenomenon that I remember. It is the Policeman. He has stopped the music. He h,as frightened away the dark man and the lady with their music box. He seeks the ad­ miration of my Nurse for his act. He walks away, his buttons shine, but far off I hear again the forbidden music. Delightful forbidden music! 44 TWENTY-SECOND SEASON, 1916-17

IV. The Lake. Sated with adventure, my Nurse firmly pushes me on, and before I recover my balance I am face to face with new excitement. The land comes to an end, and there at my feet is the Lake. All my other sensa­ tions are joined in one. I see, I hear, I feel, the quiver of the little waves as they escape from the big ones and come rushing up over the sand. Their fear is pretended. They know the big waves are amiable, for they can see a thousand sunbeams dancing with impunity on their very backs. Waves and sunbeams! Waves and sunbeams! Blue water-white clouds -dancing, swinging! A white sea gull floating in the air. That is My Lake! V. Dogs. We pass on. Probably there is nothing more in the W orId. If there is, it is superfluous. There IS. It is Dogs! We come upon them with­ out warning. Not one of them-all of them. First, one by one; then in pairs; then in societies. Little dogs, with sisters; big dogs, with aged pa{ents. Kind dogs, brigand dogs, sad dogs and gay. They laugh, they fight, they run. And at last, in order to hold my interest, the very littlest brigand starts a game of "Follow the Leader," followed by all the others. It is tremendous! VI. Dreams. Those dogs have gone! If is confusing, but it is Life! My mind grows numb. My cup is too full. I have a sudden conviction that it is well that I am not alone. That firm step behind reassures me. The wheels of my perambulator make a sound that quiets my nerves. I lie very still. I am quite content. In order to think more clearly, I close my eyes. My thoughts are absorbing. I deliberate upon my Mother. Most of the time my Mother and my Nurse have but one identity in my mind, but at night or when I close my eyes, I can easily tell them apart, for my Mother has the greater charm. I hear her voice quite plainly now, and feel the touch of her hand. It is pleasant to live over again the adventures of the day­ the long blue waves curling in the sun, the Policeman who is bigger than my Father, the music box and my friends, the Dogs. It is pleasant to lie quite still and close my eyes, and listen to the wheels of my perambulator. How very large the world is! How many things there are! On the occasion of its premier the composer was asked to supply the analysis for the program book of the Chicago Symphony Orchestra, which he did as follows: I. En Voiture. The first movement is in the nature of a short pro­ logue, introducing the "principal characters," viz: "My Nurse," "My Perambulator" and "Myself." The themes representing these ideas re- SECOND CONCERT 45 appear constantly throughout the composition in varying form. "My Nurse" announces herself promptly at the beginning of the first move­ ment by means of two violoncellos, soli, as follows:

This IS followed by the first appearance of the "Perambulator" motive:

over which, almost immediately, the first flute announces the ingenuous idea which stands for "Myself:"

II. The Policeman. A few introductory measures, suggesting an interested and hurrying perambulator, are followed by the "Policeman," who makes himself known in flutes and clarinets over a pizzicato accom­ paniment:

After a short development, this is followed by a sort of "In­ termezzo" which is intended to suggest the conversation between the Policeman and the Nurse-the remarks of the former being voiced in a solo bassoon, and the responses of the latter in four solo violins, divisi. The conversation is interrupted by the "private signal"-sounded by a muted trumpet If, over an agitated suggestion of the perambulator theme in celesta and piano. The first part of the movement is then, in substance~ repeated. III. The Hurdy-Gurdy. There is no new material in this movement. Bits of familiar masterpieces are heard on the "Hurdy-Gurdy" (two xylo­ phones and harp) with excited interjections by "Myself" and "Nurse." We all "dance together" to a little valse based on the "Perambulator" theme. The remainder of the movement requires no analysis. 46 TWENTY-SECOND SEASON, 1916-17 . IV. The Lake. The only theme necessary to mention, as belonging to this movement, are the first, suggesting the "little waves," allotted to the flute, and another, suggestive of the large and amiable ones, which is heard in the strings and the horns. V. Dogs. The woodwind bear most of the burden of furnishing de­ scriptions of dogs, in various themes and snatches of themes, which it would not be of interest to quote. "Ach Du Lieber Augustin" may be detected in the "melee" as well as "Where, Oh Where, Has My Little Dog Gone?" A variation of the last is used toward the end of the move­ ment as the theme of a short fugue in the woodwind, suggesting dogs playing "Follow-the-Leader." VI. Dreams. A resume of all the preceding "excitements." It may be worth while simply to call attention to the softened and broadened ver­ sion of the original "Nurse" theme, which here represents "My Mother;"

Lenlo ~- -- ~:J ."n .J. ~ -- ~ nl ~ .I.;,J -' pp ---=== II and also to the final "ben;euse," which is made up in part of the "Child" theme over an accompaniment drawn from the "Perambulator" mo­ tive, as ..,. kll. --. .- ..- ' ..~ P ~OIO VIO In - PI.lJ ~ J- • .fi ~ ~ ~~ -:n -

p Celesfo elc U I ';.ii i ~ i -~ i' - I ...... ~ v 0 i John Alden Carpenter was born at Park Ridge, Illinois, February 28, 1876. His mother, a pupil of Marchesi and William Shakespeare, was his first instructor. H'e studied composition with Bernard Ziehn and, for a short time, with Sir Edward Elgar. He was also a pupil of Professor Paine at HarvCj.rd, and upon graduating from that institution, entered the business of his father in Chicago, of which he is now the vice-president. Mr. Carpenter is, therefore, an amateur in the real sense of the word. His songs have attracted wide attention and several new compositions for orchestra as well as for ensemble have spread his fame. The first Cincin­ nati performance of the "Perambulator" suite was originally intended for the May Festival last spring, but had to be deferred until the present time. THIRD PROGRAM

Friday Afternoon. Saturday Evening. November 24. 1916. November 25, 1916.

Symphony, G minor ...... Mozart I. Allegro molto. II. Andante. III. Minuetto and Trio-Allegretto. IV. Finale-Allegro assai.

Piano Concerto, No.4, C minor ...... Saint-Saens Allegro moderato; Andante. Allegro vivace; Andante; Allegro.

A Romantic Suite, Opus 125 ...... Reger (First time in Cincinnati.) Notturno. Scherzo.

"Chromaticon," fo·r Piano and Orchestra...... Dvorsky (First American Performance.)

SOLOIST: JOSEF HOFMANN. 48 TWENTY-SECOND SEASON, 1916-17

Symphony in G minor ...... Wolfgang Amadeus Mozart 1756-1791 D1STINGUISHED writer on art subjects once compared Mozart, the musician, with Raphael, the painter. "In the works of both," A says this writer, "we admire the same marvelous beauty and refine­ ment, the same pure harmony and ideal truthfulness; we also recognize in the two men the same intense delight in creation, which made them regard each fresh work as a sacred task, and the same gratitude toward their Maker for this divine gift of genius. The influence of each upon his art was immeasurable; as painting has but one Raphael, so music has but one Mozart." The wonderful genius of Mozart will always remain one of the most brilliant chapters in the history of music. In the thirty-five years of his life he accomplished that which only the God-endowed genius can hope to achieve. When it is considered that in this brief span of life Mozart com­ composed forty-nine symphonies, six violin· concertos, twenty-five piano concertos, twenty-eight string quartets, forty-five sonatas for violin and piano, seventeen piano sonatas, and seven operas, beside a large number of masses, minor choral works, solo and ensemble works, an idea may be gained of the marvelous flow of his talent. But, it is not only in the amount which Mozart wrote, but also in the great advance he made that his immortal service must be reckoned. With Mozart began the extension of the technique of the orchestra. While his early symphonies show the influence of Haydn, the last three indicate the new field into which he was venturing as a pioneer. Mozart had op­ portunities to travel and to become acquainted with the good orchestras in Mannheim, Munich and Paris, and to appreciate th~ir hidden possibili­ ties. In his later symphonies the fruits are shown. The woodwinds are no longer employed merely to strengthen the strings, but begin to assume an individual function and to add their distinctive color to the orchestral palette. The highest point in his symphonic writings was reached in his last three symphonies. Of the forty-nine, these are the only ones which have remained in the repertoire of the modern concert orchestra. They are the one in E-flat, the one in G minor and the one in C major, commonly known as the "Jupiter" Symphony. These ~hree monumental works were composed in 1788 between J nne 26 and August 10, a little more than six weeks. They rep~esent the high­ est points of perfection as examples of pure music. The G minor sym­ phony was written in ten days, a feat which can not but make the student pause and marvel. ' . THIRD CONCERT 49

I. Allegro M olto. Without any introduction the principal theme is at once stated by the violin as follows: ~O.I. • ..... FJ. ~ u··.... [if f· 'littlE Ii r GIP j,EjI Ur Gin i With great charm this material is developed until the announcement of a beautiful melody as the second subject:

~.!,•• ,.... ~ f;..L. a .:-!! --..... £:l IDbff ;tj?ijm i A lOttiE =jj'iWr!l@ p", ~ ;~~ The entire movement is built on this material. II. Andante. The second movement, written in strict sonata form, is built on the following motive which is first stated by the basses and then taken up in succession by the violas, second violins and the first violins: rt6.~. 12=41 r' 1"1) I $kffJ I EO The second theme in B flat major appears and the entire movement is developed in strict form. III. (Minuetto-Allegretto.) This movement is one of the most serious of this character in the en­ tire writings of Mozart. The peculiar syncopated rhythm is one of its chief characteristics. The theme is as follows: l~o ..t-. t&,~ I 11 ~ tp 11,1111 l! IJ tIt JIfl PHI i The Trio is in direct contrast to the first part. It is founded on a beautiful, simple and flowing melody: ~o.S. !&!! Nfl] J JEM t 1 11 f1TIJ I! '\. * After this Trio, the first part of the movement is repeated without any change. 50 TWENTY-SECOND SEASON, 1916-17

IV. (Finale-Allegro assai.) The last movement bears the energetic characteristics of the first and opens with a pregnant theme:

A lengthy transitional period leads to the second theme which is again different in character and marked by a beautiful serenity:

A brilliant short coda closes the work. The symphony was originally scored for what is today regarded as the small orchestra, one flute, two oboes, two bassoons, two horns and the usual strings. The clarinets were added later.

Piano Concerto, No.4, C minor ...... Camille S aint-Saens 1835- HE foremost, most versatile and most prolific composer among the living Frenchmen is Camille Saint-Saens. N ow past eighty years T of age he still commands the attention of the musical world, while his achievements place him in a most unique position. As a composer, as a conductor, as a solo pianist, as a writer, as an astronomist, as an organist, as a critic and now as a polemic and a patriotic defender he has earned his right to be classed as one of the most widely gifted men in the art world of the present time. He is, historically, also the link between Wagner, Liszt, Berlioz on the one side, and the moderns on this side. As many-sided as he has been in the various pursuits which have en­ gaged his attention, so has he been in the more specific field of musical composition. Operas, symphonies, symphonic poems, oratorios, piano, viollin and 'cello concertos, ensemble music, songs-in fact, in every form of musical expression he has been active and what he has had to say has commanded attention. He wrote five piano concertos, the last one of which he played himself about ten years ago when he appeared here as soloist with the Cincinnati Symphony Orchestra. But the two most popular works in this form are the G minor concerto, No.2, and the C minor, No.4, which will be played at today's concert. THIRD CONCERT 51

This concerto, like the G minor, departs from the classic form and may be regarded as a symphonic poem with a piano solo. It was this feature which earned the hearty recommendation of Liszt in the earlier work and which has characterized all the Saint-Saens concertos. While the composer makes two divisions of the work there are prac­ tically no definitely separated movements. The various subjects appear in different aspects throughout the work, with the gracefulness which is characteristic of Saint-Saens.

INTERMISSION.

A Romantic Suite, Ope 125 ...... Max Reger 1873-1916

HEN the news sifted through the censorship last May that Max Reger, one of the leading composers of Germany, had died, great W regret was expressed by many who believed that this unusually gifted man was about to enrich the world with the best work of his career. While an enormous quantity of music came from the pen of Reger, including songs, organ compositions, piano pieces, sonatas for violin and piano, choral work and others of a miscellaneous character, his first orchestral work was a "Sinfonetta," his opus 90. The second orchestral work was his "Serenade" which was given at these concerts two years ago. In this field Reger's activities were, therefore, com­ paratively young and much was anticipated of him. The details of his death are meager, but it is generally stated that it took place in Leipsic. Reger was born March 19, 1873, at Brand, a village in Bavaria. His parents left there when he was a year old, for Weiden, where he received his first musical education from his father and the local organist. In 1890, he went to study with Riemann in Sondershausen, and followed him to Wiesbaden when he was made professor at the Conservatory there. In 1895, Reger also won a position on the faculty of that institution. After an illness which followed his service in the army he returned to his home and then went to Munich in 1901. Several years ago he accepted a position on the faculty of the Leipsic Conservatory and, comparatively recently, was appointed conductor of the Meiningen orchestra. The Romantic Suite, which will be played today, contains three movements. Dr. Kunwald has elected to play only the first two. The suite was first performed at Dresden on October 11, 1912. As the poetic program of his suite Reger quotes verses of Joseph, Freiherr von Eichendorff. Felix Borowski gave the following description of the work on the occasion of its performance by the Chicago Symphony Orchestra: 52 TWENTY-SECOND SEASON, 1916-17

I. Notturno. This, the first movement of the Suite, is based on Joseph von Eichen­ dorff's poem "Nachtzauber." Reger quoted only one verse of the com­ plete work: Horst du nicht die Quellen gehen Zwischen Seen und Blumen weit, N ach den stillen Waldesseen, W 0 die Marmorbilder stehen In der schonen Einsamkeit? Von den Bergen sacht hernieder, Weekend die uralten Lieder, Steight die wunderbare N acht, Und die Griinde glanzen wieder, Wie du's oft im Traum gedacht. Hear'st thou not the brooklets streaming Where sweet Spring her blossoms strewed, Where the woodland lakes are dreaming, By the marble icons gleaming In sweet Nature's solitude? From the mountain slopes descending, Ancient strains melodious blending Onward comes maj estic night. Up from sylvan groves ascending Visions fair as dreams delight, Charm the senses, haunt the sight. (English Translation by John Bernhoff.) The movement is freely constructed as to form. It opens (Molto sostenuto, E major, 4-4 time) with a motive-this recurs in the finale­ given to the two fiutes over softly held notes of the clarinets. This is re­ stated in the muted and divided first violins, and a broader passage fol­ lows, its theme, heard in the violins, leading to a change of time and to a new idea sung by the clarinet. Other ideas are introduced-an expres­ sive theme sung by the first violins on the G string; later, one for the violoncellos and first horn, given afterward to the violins, which leads to a great climax. A subsidence follows, and the movement comes to a pianissimo conclusion. II. Scherzo. The poem employed as the basis of this piece is entitled "Elfe." Bleib bei uns! wir haben den Tanzplan im Tal Bedeckt mit Mondesglanze, J ohanneswiirmchen erleuchten den Saal, Die Heimchen spielen zum Tanze. Die Freude das schone leichtgHi.ubige Kind, Es wiegt sich in Abendwinden: Wo Silber auf Zweigen und Biischen zinnt, Da wirst du die Schonsten find en.

Stay with us! The dancing place down in the valley we have bedecked with shin­ ing moonbeams. Glowworms illumine the hall; the crickets play the dance tunes. Joy, that lovely, credulous child, is cradled in the evening breezes: Most beautiful is it where the silver flows on shrubs and bushes. THIRD CONCERT 53

Vivace, D minor, 3-4 time. Under. a tremolo on the high A in the muted first violins the woodwinds play an elflike theme. Much use is made of a figure given out later by the flute. A more expressive and swinging subject is heard in the clarinets and violas. The mood becomes more tranquil and a waltz-like theme, lightly accompanied by the strings and harp, is given to the oboe. Another section is heard in the oboe and later a motive is tossed back and forth between woodwind and strings. Development is given to previous material. The tremolos on the high notes of the muted violins return, and the dance dies away in a long diminuendo.

Cbromaticon, for Piano and Orchestra ...... Michelle Dvorsky 1890- HIS novelty is the work of a young composer whose name has re­ cently appeared on programs given by pianists, but who appears for T the first time on this occasion at a Cincinnati concert. Dvorsky was born in Pau, France, in 1890. His father was Polish and his mother French. Because of the limited means of his parents Dvorsky is practically a self-taught man, his only instruction in piano and composition being from a Gustave Grainier, a local teacher in Pau. While very little is known of Dvorsky in this country, he has written several orchestral pieces and two piano concertos, of which "Chromaticon" is the first. His principal contributions have been to the piano literature. At present he is in delicate health and resides at San Sebastian, the famous Spanish watering place. "Chromaticon" receives its first American performance at these con­ certs. The main motive is as follows: 1 61 7 J uz I~c: b =1~,--. =/J tfi a t'lJ'dll)~ '-...... This is based on a chromatic scale, whence the work most likely re­ ceived the name "Chromaticon.

FOURTH PROGRAM

Friday Afternoon, Saturday Evening, December 8, 191 6. December 9, 191 6.

Overture, "Anacreon" ...... Cherubini

Symphony, No.7, E major ...... Bruckner I. Allegro moderato. II. Adagio (sehr feierlich und langsam). III. Scherzo (sehr schnell). IV. Finale (bewegt, doch nicht schnell). (First Cincinnati Performance.)

Aria, "II Lamento d' Arianna" ...... Monteverde

Overture, "Husitzka" ...... Dvorak

Songs- F eldeinsamkeit Vat dem Fenster ...... Brahms Schwalbe, sag' mir an Botschaft

SoLOIST: JULIA CULP. 56 TWENTY-SECOND SEASON, 1916-17

Overture, "Anacreon. " ...... L Utgt. . Ch eru b"tnt, 1760-1842 HE ballet-opera, "Anacreon," was written by Cherubini in 1803, and produced in Paris. In its day it was regarded as a master:. T piece, but the style of entertainment to which it belonged has gone out of fashion. Nothing remains except the overture, which is still played with frequency in the modern concert-room. At the time of its composition Cherubini was breaking away from his early Italian style and entering upon the second period, which was devoted to the develop­ ment of dramatic opera. The form of the overture still maintains the classic outlines: consisting of a slow introduction, followed by a rapid movement in which the composer's skill in counterpoint is displayed. But there is a greater freedom apparent and Cherubini makes the form subservient to the dramatic intent. Cherubini had a remarkable career. From an humble beginning he rose steadily until his talents were recognized and he was made director of the Conservatoire in Paris, in 1822. In this position he exercised a potent influence over the development of the French composers of the first half of the last century. He lived in the French capital during the days of the Revolution, saw the rise and fall of Napoleon, who bore a marked dislike toward him, and was awarded his final honors under Louis XVIII., though he lived long enough to see the end of the Bour­ bon sway. During his stay in Vienna he made the acquaintance of Beethoven, but never seemed to understand his music, which, he once averred, "makes me sneeze." On the other hand, Beethoven esteemed him as the leading figure among the writers for the stage of his day.

Symphony, E major, No.7 ...... ' ...... Anton Bruckner 1824-1896 DE to the efforts of Dr. Kunwald, the works of the Viennese sym­ phonist, Anton Bruckner, are becoming familiar to local audiences. D The seventh symphony is the third given in as many seasons, the third and the fourth having preceded it in the order named. Previous to this time Bruckner's "Te Deum" and his ninth (unfinished) symphony were given at the May Festival, under Theodore Thomas' direction, while the fourth (Romantic) was also played under Van der Stucken. These performances mark the sum total of Bruckner's appearances on local con­ cert programs. The seventh did more, perhaps, than any other of Bruckner's sym­ phonies to spread his fame beyond the boundaries of his native land. Whether or not it ranks as the greatest of his works, it does contain what is regarded as the noblest monument of his creation, the impressive adagio, which was written in memory of Richard Wagner. This won­ derful elegy has been placed with the funeral march of the "Eroica" sym- FOURTH CONCERT 57 phony and the Siegfried funeral music of Wagner's "Gotterdammerung" as one of the greatest dirges in all music. At one time Weingartner classed the seventh symphony as Bruckner's "greatest and comparatively best rounded work," though he does not greatly ad,mire the composer's efforts as a whole. The E major symphony was written from 1881 to 1883. It received its first performance in Leipsic, under the direction of Nikisch, at a con­ cert given for the benefit of a fund with which to erect a 'Wagner me­ morial in that city. Other performances in the leading Ge~man cities followed, and its fame soon spread. Theodore Thomas gave' it the first American hearing November 13, 1886, with the New York Philharmonic. The second movement, the adagio in C minor, which has given the sym­ phony the prestige it enjoys, was written in anticipation of Wagner's death. Bruckner was a great admirer of the Bayreuth master and counted as his greatest distinction the meeting with him in Munich on the oc­ casion of the premiere of "Tristan and Isolde." When Wagner became ill and journeyed to Venice, Bruckner became very solicitous. Writing to his friend, the late Felix Mottl, he says: "One day I came home and was very sad. I thought to myself, it is impossible for the master to survive much longer. Then occurred to me the C sharp minor adagio." The influence of Wagner in the harmonic treatment of Bruckner's works is always marked, but never quite so strongly as in this symphony. He even goes so far as to make use of the Bayreuth tubas and begs Mottl not to replace them with horns. The difficulty of securing these instru­ ments and the always open question of the adaptability for a concert per­ formance has led modem conductors to pass over Bruckner'se request and use the horns instead. Dr. Kunwald will follow this precedent in the present performance. I. Allegro moderato. The principal theme, a melody of true symphonic character, makes its appearance immediately in the 'cellos and violas, while the upper strings sustain the tremolo harmonies.

1fIf - i:. i 6 -E @~~I-=t1=r-~~I~~ ~~~~-~--~~---;-j-~~ I=~ D ~~ . ..--.....:-=== .,.-...... ~. r.: "

~~~ft~~~~~?-"-t!.f__ l'?-~-~~~~ ~~--=:==~ =:!-l=r=fI~1-#~-,a-U'::!::~ ___ ~ #-ff -====--=~-_- I __-= The idea is augmented by a short subsidiary motive announced by the 'cellos, violas and clarinets, after which the main theme is again pres- 58 TWENTY-SECOND SEASON, 1916-17

ent, in a solemn and imposing manner, in the violins and woods, the other string instruments still maintaining the tremolo. It will be noted through­ out the symphony that Bruckner makes very liberal use of the tremolo, so much so that those who were not in sympathy with him, characterized the work, with some effort at disparagement, as the "tremolo symphony." The subsidiary theme having been repeated, leading to a fortissimo, there is a rapid diminuendo, a change in the character of the mood, which leads through a restless modulatory passage to the second theme, in B minor, in great contrast to the first, as follows:

A lengthy development of this theme then occupies the energies of the composer, the trombones and tuba making their first appearance in an effective manner. The harmonic influence of Wagner and the organlike counterpoint are two characteristics to be found in all Bruckner's works, and not to be denied here. The religious mood gradually subsides and one of serene hopefulness replaces it until the climax is reached in the full orchestra's proclamation of a sharp chord which leads to the fol­ lowing motive, to the accompaniment of which is placed a cheering coun­ terpoint:

1) 1 "-

Str. I .~ ~~fp:p ,----". •• • col.8va.

This, and a romantic melody, which shortly follows, forms the mate­ rial upon which the closing section is built. In the development an inver­ sion of the first theme, the accompanying motive of illustration 3 and a broadly stated inversion of the second theme are employed, until the "reprise" is reached upon which iOs joined, in majestic utterance, a coda. I ts construction is original. An organ-point on E is sustained throughout by the basses and the tympani, while the thematic material is derived from the first subsidiary melQdy and a final statement of the principal theme, leading to a brilliant and majestic close. FOURTH CONCERT 59

II. Adagio (sehr feierlich und langsam.) This movement has been regarded as the highest point reached by Bruckner in any of his compositions. As one critic said at the time of its performance· in Munich, "if Bruckner had written nothing else, this alone would have assured him a place of honor among the foremost spirits of the nation." It was completed April 21, 1883, about two months after Wagner's death, to observe which event it is a worthy monument. In solemn tones the pathetic main theme is stated: 10. lit 1= 63.: I _ ___ Viol. f,"7'~ -.... "t-~_~._.. .,L.(2 A A ~#~le=-=-~~~Lt: !-t±:rE~~ ... p - (re.sc. sempre dim. "'1

~~=Tn~~~ft£cl:L~~~------..,;- .... T cresco scmpre dim. .._ ~ The tenor tubas (in this performance the horns) and the violas state the first part of the melody, which is continued by the violins as they seek to alleviate the gloom. It is characteristic of the entire movement that, while the poignant grief is always felt, it is never given full utter­ ance, but is restrained and kept free from all suggestion of hopelessness. Coming as a balm of consolation the second theme, in F sharp, is sung by the strings:

These themes, together with snatches of the principal motive of the first movement, form the material for the development section, during which the ebb and flow between sorrow and hope make for a notable result. The coda is a noble epilogue of deep pathos and childlike trust, as the following melody most eloquently indicates: "-J Fl. == ~ t"I.1 w ,..cresc;..-..,. ~,..I BJ~~} ~ ~~_ ~j¥iWTI'f3,;' =g:~'1< ~ I-----i 1 1 rT Softly and gently the music pictures the peaceful passing of the fighter who has fought the good fight, the sorrows resolving themselves into a celestial rest. 60 TWENTY-SECOND SEASON, 1916-17

This movement was played by the Berlin Philharmonic at a memorial concert shortly after Bruckner's death, October 26, 1896, Nikisch con­ ducting. III. Scherzo (Sehr schnell.) The scherzo is one of great originality. The humor approaches the grotesque, and somebody has said that it is remindful of giants playing ball with mountain caps. A certain elemental spirit pervades the move­ ment, though the heroic quality is not absent. .The principal theme is a sprightly one as follows: M.J = 00. ~-f--~-==t ~ - -t-~-=t 'g pp-- r - :;;-,; r - - r - - r - Str.~1 ( ~, r ;t/' r ~I ( col Bv&. Tromp. ~ qg2-=~~~~-~ r -j ~i t==~ .... !I~ r=--r;l r I ?";t I ""'" • d.. r tEl_-'" I ~ KLu. dim ~ J ¥f triSt 849 ~-I~.. d .~==r= r 7i r --.. r ~ - I r mJ ..... I I I r tJ I" -r ~ I I , ~ 'I -----" The use of this melody is subject to a series of striking modulations and a peculiar sullen rhythm which, after a full orchestral treatment, is suddenly accentuated in an unmistakable manner by the tympani. This leads to the development section. . The trio, which is marked "Gesangvoll," comes as the soft and bright­ ening gleam of sunshine sifting through the deeply wooded forest: Jt=~ g. ~~ FOURTH CONCERT 61

A startling modulation to D major brings a repetition of this melody. Considerable use is made of the first two bars 'of the theme, the treatment strongly suggesting Wagner throughout. The first part of the movement is repeated without change.

IV. Finale (bewegtJ doch nicht schnell.) A gracious theme, not entirely free of capriciousness, opens the move­ ment. The first violins sing the melody and the other strings repeat the tremolo accompaniment characteristic of the first movement.

The cellos and the basses repeat this theme, whereupon the clarinets and the flutes in merry style make good use of a brief motive of parts of the fsmrth and fifth bars. The horns, with strong suggestions of the Valkyries, put a stop to this playfulness and give way to the second theme. This chorallike Inelody, with a pizzicato accompaniment of the bass, sug­ gests a pilgrimage slowly winding its way toward a mountain chapel:

The development is one of the great length and, following the custom of other conductors, Dr. Kunwald will make judicious excisions. Con­ siderable use is made of the first theme of the rpovement both in its ori­ ginal form and also in an inverted shape. . In the second part of the de­ velopmenttthe chorale is sounded by the strings. The coda is one of great solemnity. The horns intone the principal theme of the movement and later on the brasses repeat, as if in great jubilation, the elegiac theme of the opening movement. 62 TWENTY-SECOND SEASON, 1916-17

II Lamento d' Arianna ...... M •••••••• Monteverde 10567-1643 o Teseo, 0 Teseo mio, 0 si che mio ti o Theseus, 0 my Theseus, you must say vo' dir, che mio pur sei, benche t' involi, that you are mine, even though you fly ahi crudo! agli occhi miei. 0 Teseo mio, from me, alas, cruel in my eyes! 0 se tu sappessi, 0 Dio! se tu sappessi, oime, Theseus, if you knew, 0 God, if you come s'affanna la povera Arianna, forse, knew how troubled is your poor Ariadne, forse pentito rivolgeresti ancor la prora perhaps, perhaps, repenting, you would al lito, rna con l'aure serene tu te ne vai turn your prow back toward the shore, felice, ed io qui piango, Ahi che non pin and with tranquil breezes you would not risponde! Ahi che pin d'aspe e sordo ai leave me, you, happy, while I weep here. miei lamenti! Alas! that you' do not reply! Alas! o nembi, 0 turbini, 0 venti, sommer­ that you are deaf to my cries! getelo voi dentro a quell' onde. Correte o clouds, 0 whirlwinds, 0 winds, orche e balene e delle membra immonde overwhelm him in the waves! Hasten, empiete Ie voragini profonde. Che parlo, sea monsters and lightning, fill your ahi che vaneggio? Misera, ohime, che abysses with his dismembered body! chieggo? 0 Teseo, 0 Teseo mio, non What am I saying? Am I raving? 0 son quell' io che i feri detti sciolse, par- me miserable what do I ask? 0 Theseus, 16 l'affanno mio, parl6 il dolore, parl6 o my Theseus, it is not I who has said la lingua sl, rna non gia il core. Dove these fierce words-my trouble speaks, e la fede che tanto mio giuravi? Cosi my grief speaks, even my tongue speaks, nell' alta sede tu mi ripon delgi avi. but not yet my heart! Where is the Sono queste lecorone, on de mi adorni faith you have sworn to me? Not this il crine? Questi gli scettri sono, queste did you reply in the old home of our Ie gemme e gli ori? Lasciarmi in abban­ ancestors. Are these the crowns where­ dono, 0 fera che mi strazi e mi divori? with my locks are adorned? These the Ahi Teseo mio lascierai tu morire invan scepters, these the jewels, and the golden piangendo invan gridando aita, la misera ornaments? Leave me prostrate, 0 Arianna che a te fidossie ti da gloria e wild beast which tears and devours me! vita? Ah, my Theseus, you would leave me Lasciatemi morire! E che volete che to die, weeping in vain, calling in vain mi con forte in cosi dura sorte, in cost for help, the unhappy Ariadne who gran martire? Lasciatemi morire! would give you her faith, her glory, her life! Let me die! Who would wish to com­ fort me in such a cruel fate in so great a martyrdom? Let me die!

Overture, "Husitzka" ...... Dvorak 1841-1904

HEN the new Bohemian Theater in Prague was dedicated, in 1883, Dvorak was invited to write an overture for the occasion. W He determined to give expression to the newly quickened national­ istic life and selected the wars of the Hussites as a fitting epoch in the history of his country. The overture is founded on their battle hymn. A slow and imposing introduction with the hymn played by the wood­ winds leads to its statement by the full orchestra, after which it passes through various phases. A calmer section, with a second theme, in E major, then occurs, leading to a return to the first mood. In the sonorous coda the Hussite song is made the climax, ending the overture as it began it. FOURTH CONCERT 63

Feldeinsarnkeit ...... Brahms 1833-1897

Ich ruhe still im hohen griinen Gras Where noonday sleeps upon the grassy Und sende lange meinen Blick nach hill, oben, I lie and watch the boundless blue Von Gri11en rings umschwirrt ohn' Un­ above me; terlass The whirr of tiny wings is never still, Von Himmelsbhi.ue wundersam umwob­ The sunlit skies to wond'rous visions en. move me. Die schonen weissen Wolken zieh'n As o'er me float, along the azure dome, dahin The fair white clouds, like dream­ Durch's tiefe Elau, wie schone stille land's silent legions, Traume, My spirit seeks again its long-lost home, Mir ist, als ob ich langst gestorben bin And floats with them through heaven's Und ziehe selig mit durch ew'ge Raume. eternal regions.

Vor dem Fens,ter ...... Brahms

~011 sich Mond nicht he11er scheinen, The moon may shine with doubled splen­ SolI sich die Sonn' nicht friili aufgeh'n dor, So will ich diese N acht geh'n freien, The sun rise brighter than of yore, Wie ich zuvor auch hab' gethan. And I this night will go a-wooing, As I have often gone before. Als er wohl auf die Gasse trat, Da fing er an ein Lied und sang, And as he walked the street along, Er sang aus schoner, aus he11er Stimme A song so rich and sweet he sang, Dass sein fein's Lieb' zum Bett aus That from her bed his true love heard sprang. him, And joyful to her feet she sprang. Steh' still, steh' still, mein feines Lieb', Steh' still, steh' still und ruhr dich nicht, o hush, 0 hush, my own true love, Sonst weckst du Vater, sonst weckst du Be still, be still, and make no sound, Mutter, Lest thou shouldst waken father and Das ist uns Beiden nicht wohl gethan. mother, Lest we by them should here be Was frag ich nach Vater, was frag ich found. nach Mutter, Vor deinem Schlaffenster muss ich What care I for father, what care I for steh'n, mother, Ich will mein schones Lieb anschauen, Beneath thy window I will stay, Urn dass ich muss so ferne geh'n. For I must see my own true love, Ere far from here I go away. Da standen die zwei wahl bei einander, Mit ihren zarten Mundelein d,er Wachter, So side by side they stood together, Der Wachter blies wohl sein Hornelein, The while he pressed her to his heart, Ade, ade es muss geschieden sein. The watchman on his horn is blowing, "Farewell, my love, for thou I must Ach, Scheid en, Scheiden uber Scheiden, part !" Scheiden thut meinem jungen Herzen weh', Oh, partmg, parting is such sorrow­ Dass ich mein schon Herzlieb muss Parting it is that makes young hearts meiden, so sore, Das vergess ich nimmermehr. Oh, must I from my true love sever, -Volkslied. I can bear it nevermore." -Constance. 64 TWENTY-SECOND SEASON, 1916-17

Schwalbe, sag' mir an ...... " ...... Brahms

Schwalbe, sag' mir an, Swallow, tell me, pray, 1st's dein alter Mann, 1s't thine old mate, say Mit dem, du's Nest gebaut? Thou mad'st thy nest beside, Oder hast du jiingst erst Or say, didst thou now e'en Dich ihm vertraut Thy heart confide? Sag' was zwitschert ihr, Say, what whisper ye, Sag' was fliistert ihr Say, what whisper ye, Des Morgens so vertraut At morn, so dear confide, Gelt, du bist wohl auch Aye, thou art, too, surely, Noch nicht lange Braut? Not long a bride? -0. Fr. Gruppe.

Botschaft ...... Brahms

Wehe, Liiftchen, lind und lieblich Gentle zephyrs, wanton softly Urn die Wangen der Geliebten, On my fair one's cheek of roses, Spiele zart in ihrer Locke, When ye toy among her tresses, Eile nicht, hinweg zu flieh'n! Rest awhile nor flyaway. Thut sie dann vielleicht die Frage Then if she perchance should ask ye Wie es urn mich Armen stehe, How I bear my lot of sorrow; Sprich: Unendlich war sein Wehe, Say: "With tears he greets the morrow, Hochst bedenklich seine Lage; And the pangs of absence rend him; Aber jetzo kann er hoffen, But if thou a message send him, Wieder herrlich aufzuleben, Joy within his heart will waken, Denn du, Holde, denkst an ihn. When he knows it comes from thee." FIFTH PROGRAM

Friday Afternoon. Saturday Evening. December 22. 1916 December 23. 1916

BEETHOVEN

Overture, "Leonore," Op. 72, No. 2 ...... Beethoven

Concerto for Violin, D major, Op. 61 ...... Beethoven Allegro rna non troppo Larghetto. Rondo.

Symphony No.7, A major, Op. 92 ...... Beethoven Poco sostenuto; Vivace. Allegretto. Presto. Allegro con brio.

SOLOIST: EMIL HEERMANN. 66 TWENTY-SECOND SEASON, 1916-17

BEETHOVEN. Born at Bonn, December 16, 1770.. Died'!it Vienna, March 26, 1827. HE recurrence of Beethoven's natal day has led to the presentation ·of a program constituted entirely of his works. In consideration of T this fact a brief reflection on the greatest of all composers may not be amiss. Side by side with the chosen few who are the master artists of the world-Shakespeare, Dante, Michelangelo-the name of Beethoven is given rank. A giant among giants, he is the genius whose wonderful creations in music transcend the limitations of the art itself and place him upon the highest pinnacle, in that rarified atmosphere where only the mightiest may dwell. In what storm and stress the years of his earthly life were spent may be learned from a perusal of his biography. H'ow slow and steady was his progress, an acquaintance with his work will testify. To what ex­ altation of mind and heart the absorption of his entire being was able to attain is evident as we pass through the various stages of his work, from the acceptance of forms and styles as he found him in his youth, through the development of his own powers, to those final detached and more than mundane achievements which the ninth symphony, the Missa Solennis, and the last quartets and sonatas exemplify. And with what energy and devotion this was accomplished, the re­ markable concentration, patience, care and severe self-criticism with which his masterpieces were formed and perfected reveal. Beethoven's creative facuIties were not like those of Mozart or Schubert, who, in a brief span of life, were able to give forth many more compositions than the addi­ tional twenty-five years of his own life were able to approach. The many sketches, alterations, reconstructions and final polishings which mark everyone of Beethovens' important works disclose the great expenditure of energy he vouchsafed in order to perfect each composition. That is why they are masterpieces which will endure for all time. Their spontaneity is not diminished because of this any more than the value of a precious stone is lessened by the polishing of an accomplished work­ man. It has been claimed that there is hardly a bar in his music which was not re-written a dozen times. In a general way, the compositions of Beethoven are divided into three periods-the first, which shows the influence of his immediate pre­ decessors, particularly Haydn and Mozart, extending to the second sym­ phony, which is his Opus 36, and which was completed in 1802; the second, which begins practically with the C minor piano cencerto, and marks the mature period of his life, the development of his individuality and the establishment of that mastery which is his strongest characteris­ tic; and the final period, that of complete detachment from exterior con­ siderations and approach toward the infinite, beginning with the "Ham­ mer-Clavier" sonate and including the ninth symphony, the great mass, and the last quartets. FIFTH CONCERT 67

The second period is the most fruitful, including the "Eroica," fourth, C minor, "Pastorale," seventh and eighth symphonies, the opera, "Fi­ delio" with its three wonderful "Leonore" overtures, the G major and "Emperor" piano concertos, the violin concerto, the Rasoumowsky quar­ tets, the "Appassionata" piano sonata, the "Egmont" and "Coriolan" overtures, monuments anyone of which would have insured his immor­ tality. Beethoven's art grew slowly, steadily, definitely, inevitably, perman­ ently. Like a mighty moving glacier its progress was irresistible. The conditions of his material existence, his uncouth manners, his physical ailments, find little or no reflection in his work. Even his ideas grew as he labored over them and found for them the exact mode of expression. That is why Beethoven is on a plane all his own; that is why the ma­ jestic grandeur of his music is unlike any other. Greatness was his in a totally different way from Bach or Mozart, or Monteverde or Pales­ trina or 'V agner, or any of the other great ones in music. He stands alone, illuminated by something which approaches the divine. As pretty and tempestuous as was his life, so noble and sublime is his art. He was in this world, but scarcely of it. There has been, and can be, no other like him. Beethoven was born in Bonn, where, with the exception of a brief tour to Vienna, he practically spent all of his youth. When he was in his twenty-second year he returned to the Austrian capital, which was destined to be his home for the rest of his life. He had met and played for Mozart on the occasion of his first visit to Vienna, but upon his re­ turn found the musical world mourning the death of that genius. He had planned to study with Haydn, but could not tolerate the seeming in­ difference of that composer. He sought other instructors, among them Albrechtsberger and Salieri; but after all, he was his own most severe master, his own most uncompromising critic, his own keenest judge. . His genius obtained recognition from the aristocracy of the day. He associated with them as their equal. His disdain of what was to him their artificial position was picturesque. The superficiality of the times, the gayety alternating with the suffering which the Napoleonic wars brought with them, scarcely touched him. His personal traits tested his numerous and influential friendship. Only his ardent love for nature was enduring. Only his communion with the Divine was satisfying. His death, which occurred after four months of severe illness, took place March 26, 1827, after he had returned to Vienna from a visit to his brother. His funeral witnessed the spontaneous outburst of sincere sorrow on the part of the public, for he was greatly appreciated in his lifetime. Accompanied by an extraordinary demonstration he was laid to rest. This is not intet:Ided as a survey, however brief, of his life and works, but merely as an expression of appreciation of the genius whose great- 68 TWENTY-SECOND SEASON, 1916-17 ness is to be celebrated in the program of this concert, designated in commemoration of the anniversary of his birth, which occurred last Saturday.

The three works which constitute the program of today's concert are brilliant examples of Beethoven's second period. They are full of the exaltation, still leavened with the wonderful touch of humanity. They are widely different in content and mode of expression, but each one of them is a masterpiece. .

Overture, '''Leonore'' No. 2, Ope 72. EETHOVEN wrote only one opera, "Fidelio." He wrote four overtures for it. Three of them bear the title "Leonore" and one B of them the same title as the opera. The three "Leonore" over­ tures are more than overtures. They are much greater in scope and may be regarded as the first symphonic poems in music. The "Leonore" No. 2 was written for the first production of the opera, in 1805. The work was not very successful and was rewritten and reduced from three acts to two. As such it was produced March 29, 1806, with the overture "Leonore" No.3, written for that occasion. Some years later it was again revised, in which form it is known at present, and produced May 23, 1814, the "Fidelio" overture being written for that occasion. The "Leonore" No.1 was written for a projected performance of the opera in Prague, in 1807, which, however, did not occur. It was published later as an overture in C, bearing the opus number 138. The "Leonore" No. 2 stands immediately behind the No.3, which has been characterized as the "King of Overtures." A lengthy intro­ duction, built upon the opening phrase of Florestan's song "In des Lebens Fruehlingstagen" in the second act, precedes the main movement. The allegro is magnificently developed, punctuated with the trumpet calls, announcing the arrival of the Governor in the opera.

Concerto for Violin, D major, Op.61. UST as Beethoven wrote but one opera, so he also composed but one violin concerto. It is a monument, however, and stands unrivalled. J It maintains the outlines of the classic form, but has greatly extended them, and become more like a symphony with solo violin than a means for virtuoso display. The concerto was written in 1806, the year which also gave birth to the Rasoumowsky quartets and the fourth symphony. It was written for Franz Clement. a prominent violinist of his day, and, at the time, con­ ductor of the Theater-an-der-Wien. He played the monumental work at a concert on December 23, 1806, on sight. It is quite fair to presume that Clement, brilliant virtuoso though he was, did not play it as it stands today. FIFTH CONCERT 69

A lengthy orchestral introduction, with that stroke of genius in the kettledrums, precedes the entrance of the solo violin. The first movement follows the sonate form with the double exposition, which was a charac­ teristic of almost all the classic concertos. The solo violin has many brilliant opportunities, though the orchestra also plays a far more im­ portant role than the mere accompaniment. A cadenza occurs shortly before the close. The second movement is one of great beauty and deep-felt loveliness, and the spirited final movement, in rondo form, leads to a spectacular climax. INTERMISSION.

Symphony No.7, A major, Opus 92. EETHOVEN, who seldom spoke of his own compositions, charac­ terized his symphony in A as "one of my very best," and the world B has since agreed with him. It was composed about four years after the "Pastorale," the title-page of the autograph score, which is in posses­ sion of the Mendelssohn family in Berlin, bearing the date of May, 1812. Its first performance, which occurred in Vienna, December 8, 1813, was given under unusual circumstances. Johann Maelzel, the in­ ventor of th,e metronome, had· also invented a mechanical trumpet which he desired to exploit under the most favorable conditions. The Austrian and Bavarian troops, who had tried to cut off the retreat of Napoleon after the battle of Leipsic, had been beaten by the French general at Hanau. Maelzel seized upon the opportunity to arrange a patriotic con­ cert for the benefit of the invalidated soldiers. He enlisted the services of Beethoven and, incidentally, included his mechanical trumpet' in the program, the latter playing two marches with full orchestra accompani­ ment. Beethoven agreed to conduct two of his new compositions, the symphony in A) and the "Battle of Vittoria," which had been written in celebration of vVellington's victory. Many famous musicians who were in Vienna at the time, including Spohr, Romberg, Hummel, Meyerbeer (who played the drums of whom Beethoven claimed he always came in after the beat), Dragonetti (was regarded as the greatest double bass player of the day), and Moscheles, then a young pianist, played in the orchestra. Great enthusiasm was aroused in interest of the concert. Beethoven himself was quite deaf at the time, but nevertheless agreed to conduct, "only because the music was of my own composition," as he said in a public letter thanking the participants. "Had it been by another," he continues, "it would have given me just as much pleasure to have played the bass drum like Hummel, since all of us are filled only with simple love of our Fatherland." The success of the concert was so great that it had to be repeated 70 TWENTY-SECOND SEASON, 1916-17 four days later, on which occasion the second movement, the "allegretto," had to be repeated. Two more performances followed shortly, the one on February 27 also providing the first performance of the eighth symphony. The two were published in 1816. A year after that the London Phil­ harmonic played the seventh for its first time in England. St. Peters­ burg heard it in 1840 and three years later its first American perform­ ance took place in New York. Various programs have been designed for the symphony, but Bee­ thoven has given no clue. The most generally accepted is Wagner's de­ scription in which he declares: "This symphony is the Apotheosis of Dance herself. It is Dance in her highest aspect, as it were, the loftiest deed of bodily motion incorporated in an ideal mould of tone. 1\1elody and harmony unite around the sturdy bones of rhythm to firm and fleshy human shapes, which now with giant limbs' agility; and now with soft, elastic pliance, almost before our very eyes, close up the supple, teeming ranks." I.

Poco sostenuto J Vivace. The symphony begins with an introduction, of such grand and impres­ sive dimensions that it has been likened to a stately portico leading to the noble apartments of a magnificent palace. A sharp chord,' in A major, . is sounded by the full orchestra from which issues a melodious phrase, first played by the oboe and then imitated by the clarinet and horns, con­ cluding with the bassoon. . It is as follows:

r ~ ! ~t. .. ~ A second episode for the flutes, oboes and bassoons, in C major, ap­ pears shortly, and these two phrases form the material from which the introduction is built. A transition period, leading to the movement proper (Vivace), is one of great originality. The note, E, is repeated no less than sixty-one times, echoing backwards and forwards between the flutes, oboes and strings, finally leading to the principal theme of the Vivace, a movement of won­ derful spirit, dignity and richness. The flutes play the leading theme thus: FIFTH CONCERT 71

The glow of romance pervades the movement, sudden gradations of dynamics revealing a fervent imagination, and the marked rhythm giving the whole a firm character. There is scarcely a bar which does not con­ tain its two groups of dotted triplets. (Example in first bar of the above quotation. ) The violins and flutes present the second theme, as follows: l~o.3 ~ rt~~~ ,.r Sf ~,n [11 £t tlfr?t In orthodox form this material is developed, concluding with an elab­ orate coda in which occurs the famous instance where the violas and basses repeat a peculiar rhythmic figure for no less than twenty-two bars, gradually increasing from a fine pianissimo to a powerful fortissimo, while the remainder of the orchestra maintains a pedal point in E. Weber was so displeased with this that he declared it fitted Beethoven for the madhouse. Today it is regarded as marvelously characteristic and ap­ propriate. II. Allegretto. This is one of the most charming movements in all the symphonic works of Beethoven, the one which was encored on the occasion of its second performance. A certain stately rhythm, which is inexorably maintained throughout, is not unlike that of a dignified minuet, while a kind of melancholy beauty pervades the entire movement. After two measures, during which the woods and horns sound the A minor chord, the melody, which was originally intended for the string quartet in C (Op. 50, No.3) appears in the lower strings:

Ai ..J. A• IJ • tit • fll'•••••• l Ii til Ii 0•• Ii" ~~id£I1N...... " •• '--' ~U...... i A lovely counter melody, by the violas and 'cellos, and steadily assert­ ing itself in the entire orchestra, is as follows: ~o. )- 1$1 I II Ini nln i II nItt! 11 lIP!, [II r!l b..g." '.. + +. + ~ '-...:- ~ '" --- ~ - - The minor mode has thus far been maintained, but with the approach of the trio, the key changes to A major and an exquisite melody, coming like a gleam of sunshine filtering through a rift in the clouds, is sung 72 TWENTY-SECOND SEASON, 1916-17 by the clarinets, while an arpeggio accompaniment is woven about it by the violins, the while the basses maintain the original rhythm:

P 3 The mood is brief, however, and the minor key returns soon as the opening subject is developed and a fugato introduced. The trio is again suggested and the coda concludes the movement with the opening chord. III. Presto. This movement· is practically a scherzo with the orthodox trio and is scintillating in its brilliance. The joyful opening subject is announced by the full orchestra:

~ 01- J I I I I I I I J h v I "" .- . ~ "'. ... . It. V • :J... N • . . I """ A . ,.. • " v V J - • , j f - It is a charming example of lightness and grace with an unmistakable foundation of strength. The trio, in which the tempo is somewhat slower, is one of those original touches which only Beethoven was able to give. The violins hold an A while the clarinets, accompanied by the horns and bassoons, play a melody which is said to be a pilgrims' hymn In use in lower Austria:

IV. Finale-Allegro con brio. Capriciousness, vigor and a certain harshness characterize this move­ ment, in which the composer fairly revels in his own idea of humor. Its general character is happily described in Spohr's description of Beethoven himself, when he says he "was often a little hard, not to say raw in his ways, but he carried a kin~ly eye under his bushy eyebrows." FIFTH CONCERT 73

After four bars of loud chords the following vigorous· theme ap- pears:

It is claimed that it is taken from an Irish song, "Nora Creina," which Beethoven had edited for a publisher in Edinburgh, Thompson. The second theme, charmingly elastic and with an unmistakable touch of humor in the bassoons as it proceeds, is this:

A remarkable coda, 124 bars in length, concludes the work. The more serious mood returns. The bass, moving from E to D sharp, then gradually proceeding downward by half steps until it rests on a low E, is a passage of strong originality. The strings are occupied by imitations and repetitions of the opening phrase, while the winds sustain long, sonor­ ous notes, the whole forming a climax of great beauty, majesty and noble proportions.

SIXTH PROGRAM

Friday Afternoon, Saturday Evening, January 5, 1917. January 6, 1917

Prelude, "Die Meistersinger" ...... Wagner

Concerto for Piano, A minor, Op. 54 ...... Schumann Allegretto A1fetuoso. Intermezzo. Allegro Vivace.

Symphonia Domestica, Op. 53...... Strauss (In one movement)

SoLOIST: CARL FRIEDBERG. 76 TWENTY-SECOND SEASON, 1916-17

Prelude, "Die Meistersinger" ...... Richard Wagner 18:13-1883 HE prelude to "Meistersinger," which ranks today as one of the most popular and impressive concert numbers, was given its first T performance at a concert under Wagner's own direction in Leip­ sic, on November 1, 1862. Wagner's own statement is to the effect that the first plans of this opera came to his min4 in the summer of 1845. Twenty-two years later the work was finished and on the twenty-first of June, 1868, the opera was produced for the first time in Munich. That event was the greatest triumph in the· life of Wagner. He occupied the imperial loge in company with King Ludwig II of Bavaria, and the audience was composed of the foremost musicians, artists, theatrical pro­ ducers, publishers and critics of the day. The late Hans Richter, who prepared the perfect copy of the score for Wagner, also rehearsed the chorus for the performance. The period of preparation extended over eight months. Sixty-six rehearsals were needed. Hans von Buelow conducted the performance. In spite of the great success of the opera the criticisms of some of the papers were extremely bitter. Dr. Hanslick, the famous Vienna critic, and one of the most influential opponents of Wagner, pronounced the prelude "a piece of music of painful artificiality and really brutal effect." Concerning the melodies in the opera, the beauties of which are today universally recognized, he said: "In the opera the voice of itself is not only something imperfect, but absolute nothing at all." This, too, in view of the tremendous success which has come to the famous "Preislied" alone. The partitur he called "absolutely formless," "a bone­ less mollusc," and the opera as a whole "the end of all music." Otto Gumprecht, another well-known critic of the day, referred to the pre­ lude as an example of "a bad form of polyphone * * * a wild mixture 9f dissonances, the brutal terrorism of the brass." Dr. J. Kastan, still another, honestly claimed that a single cavatina of Rossini's "Barber of Seville" was worth more to him than the entire "Meistersinger." Ferdinand Hiller, a well-known. conductor, charged it with being "the maddest attack on art, taste, music and poetry which had ever been per­ petrated," while one of the Berlin papers, "Montags-Zeitung," charm­ ingly expressed its opinion by stating that "a more horrible cat-music (Katzenmusik) could not be achieved, even if all the organ-grinders of the Renz circus (a well-known circus of that time) were locked in one room and each made to grind out a different tune." It is interesting to look back upon these opinions, expressed by men who were leaders in their time, educated men musically, not mere lay­ men. But, for all that Wagner was the hero of the day and his "Meis­ tersinger" prelude is now recognized as one of the most beautiful com­ positions ever written. SIXTH CONCERT 77

The prelude is built on five themes, the first one being the grandiose theme of the mastersingers themselves: NO.1, I,t .F ) t, Then follows the motive of "Walking Love :" r. o. 1v. --- :--.. I; '} j t fO r I Gtrf16!~~.~1-14=== After which comes the pompous "Bann'er" Illotive, a marchlike theme which accompanies the marching of the guild as its banner with St. David and the harp is carried before them: ~o,3. ~ ~ ~ ~ 1;* UD If i ~ ~ I! 1 ! The "Love Confessed" motive, derived from the famous Prize Song, comes next No.4-

If At qfth -+81 £11'1\8!+ •~ • . ~ followed by the "Impatient Ardor" theme: n··S. '~ I;t~. QJW ;e;t 11J After these melodies have been stated and developed the magnificent climax approaches, the famous instance in which the three themes-num­ bers one, three and four-are employed simultaneously. This over­ whelming example was Wagner's defying reply to his critics who claimed he could not write counterpoint.

Concerto for Piano, A minor, Op. 54 ...... Robert Schumann 181()-1856 NLY one concerto for piano was written by Schumann, though he undol1btedly made several other attempts in that direction. The O A minor concerto was originally intended as a fantasie of which the first movement was the full scope. This was finished by Schumann at Leipsic in 1841, and in August of that year the composer's wife, Clara 78 TWENTY-SECOND SEASON, 1916-17

Schumann, played it at a rehearsal at the Gewandhaus in that city. Schumann had difficulty disposing of it in that form and later on de­ termined to extend its scope and elaborate it into a concerto. This was accomplished in 1845, and an entry in the diary of Clara Schumann in­ dicates that the work was finished on July 31, 1845. The concerto, which has since come to be recognized as one of the most beautiful in the piano literature, was given its first performance by Clara Schumann on December 4, 1845, in Dresden. Ferdinand Hiller, to whom the work is dedicated, conducted. In the following year Mme. Schumann played it at the Gewandhaus in Leipsic, under Mendelssohn. Before long it won great recognition and is now a prime favorite with pianists. The first movement is practically built upon two themes. The first of these appears, after a display of chords by the solo instrument, in the winds and then in the piano. The second makes its first appearance in the fiutes, clarinets and bassoons and then in the solo instrument. This material is developed extensively, the cadenza coming immediately before the coda, which is built on the firt theme. The second movement, the Intermezzo, is one of those genuine Schu­ man episodes, a charming dialogue between solo instrument and orches­ tra. A theme by the 'cellos appears later on and the movement leads without pause to the third. The syncopated rhythm of this portion of the work gave the orchestra no little difficulty in the first performances. A vigorous element permeates this section of the concerto and a brilliant coda leads to an effective close.

INTERMISSION.

Sympbonia Domestica, Ope 53...... Richard Strauss 1864-

HE final page of the score of the "Domestica" bears the inscription "Charlottenburg, December 31, 1903," indicating the date upon T which it was finished., It received its first performance in New York on March 21 of the following year. Richard Strauss made a tour of America that season and presented the newest of his orchestral works with the orchestra in New York which was, at that time, conducted by Herman Hans Wetzler, and which has since disbanded. On June 1 fol­ lowing it was given its first performance in Europe, at the Tonkuenstler­ fest in Frankfort. For theAmerican performance Strauss supplied no other clue to his work than its title. When it was given in Frankfort he volunteered the following sub-titles: SIXTH CONCERT 79

1. Introduction and development of the three principal themes. The Husband's themes: (a) Easy-going. (b) Dreamy. ( c) Fiery. The Wife's themes: (a) Lively and gay. (b) Grazioso. The Child's theme: Tranquil. II. Scherzo. Childish Play. Parental happiness. Cradle Song. (The clock strikes seven in the evening.) III. Adagio. Working and thinking. Love scene. Dreams and cares (the clock strikes seven in the morning) . IV. Finale. Awakening and merry dispute. (Double fugue.) Joyous conclusion. It will be noted from this division that the Symphonia Domestica, though played in one movement, is really divided into the usual four parts of the classic symphonic form. And, in spite of the multiplication of means for the exposition of his theme and the material employed, it is re­ markable how readily this work may be analyzed and how clearly its com­ ponent parts stand forth. The skill which Strauss displays in its con­ struction and the absolute command he has of the resources of the modern orchestra make for an unusually fine preservation of the form of the symphony and still compel this form to contain the most modern of con­ ceptions. When the symphony was originally produced in New York it natur­ ally evoked a great deal of discussion and all kinds of comment. There were pros and cons, and I recall one very prominent musician in this country writing a personal impression of the work in which he styled it a "musical monstrosity." But, as time went on and the work came to be more thoroughly understood its manifold beauties and the really mar­ velous cleverness and finesse displayed in it were more thoroughly ap­ preciated, until today it may rank as one of the finest works Strauss has presented. The "Domestica" was given its first Cincinnati hearing under the direction of Dr. Ernst Kunwald at the pair of symphony concerts on March 14 and 15, 1913. The first movement is, in effect, an exposition of the thematic master­ ial. In an unmistakable manner the composer presents the characteristic themes of the husband, wife and child. While there is only one child theme, for the youngster is evidently very young, there are several to represent the various sides of the characters of husband and wife. 80 TWENTY-SECOND SEASON, 1916-17

The 'cellos at once state the first theme of the husband, marked "gemaechlich :" No.1 ~ ~.awJ.fti ''''~e; it IL H~! I jl lJ fj ij ,I I , Immediately upon this appears the second husband theme, marked "traeumerisch." (It is translated "dreamy," but it signifies the idealistic strivings as opposed to the materialistic.) It is sung by the oboe as fol­ lows: No.ZI ~ I,,! if8fft 11. 4£11 If i IJp ·0'--' The third theme, which is typically Strauss in flavor, is played by the violins, "Fiery," thus: ~o.3. ~ ~~'Ij'. ~ :~~~-, ~~ ~--'.+N ~~ ~. f* f, t 9 IT ItH H rEqb [~W 9 j·iJl i lEI! l!IfNi ~i ! I After a bright fanfare in the trumpets the first of the wife's themes is announced by the violins in this manner:

~o.~ .----. ~ ~~ .~» ~ Ir".jlkli'Ui1JjilgjliiB'19IT I A moment's comparison of this theme with the first husband's theme will note that there is much in common. The one is an inversion, to a certain extent, of the other. The husband's theme of three notes has an upward inflection while the first three notes of the wife's theme is down­ ward. They are, to a certain extent, complementary, as if Strauss desired to indicate the reciprocal relationship of married people. The second theme of the wife marks the love episode and is as fol­ lows, played by the solo violin and concluded by the clarinet: ~o.S' -l ------.---: r1 I'"qffi tD @lB,l1!tt ":11 zr I The third member of the family, the child, is unfolded with more mystery. There are several suggestions, as if it were arriving from the unknown land, until the oboe d'amore (an oboe a minor third lower than the regular oboe of the orchestra) plays the following beautiful melody: ~o.b. £11 III I Ji rlM I 1M ! IJ I@! i IrsEH I ' ,'i, PI' - __ or + _ n .--'" _ - SIXTH CONCERT 81

This completes the family as well as the important thematic material of the work. The treatment for the remainder of the movement gives an idea of the happiness of the home and also introduces the much-dis­ cussed episode of the aunts and uncles viewing the child, the former de­ claring him to resemble his father (first theme) and the latter maintain­ ing that the resemblance is toward the mother (theme four). In the score Strauss has noted at this place, under the husband's theme: "Die Tanten: Ganz der Papa;" under the wife's theme: "Die Onkels: Ganz der Mama." This little joke leads to the Scherzo. The hapipness of the family is mirrored in a most charming manner. The oboe d'amore presents the child's theme extended and rhythmically changed as follows:

The themes of husband, wife and child are interwoven in a delightful manner, to which is added a new idea suggesting the maternal care for the sleepy child. As the movement proceeds there are apparent sugges­ tions that the parents meet with some difficulty inducing the little one to retire, whereupon two clarinets playa charming lullaby, to which, in delicious counterpoint, the oboe d'amore plays the child's theme in the following version: ~o.5.

&& r I fj th - IIe_ P + +Fi I! ...... n 1"""". II .11 I . I .;; I' ,.. ~ - + In a most striking manner the composer hereby indicates that the child is being rocked to slumber. The clock strikes seven and the infant is apparently sound asleep for the night. All is peaceful and serene, as is suggested in the beautiful intermezzo which follows, leading to the third movement, marked "Adagio." The first part of this section suggests that the husband has taken the opportunity to devote the quiet of the evening hour to work, though the occasional suggestion of the wife's theme shows that she is sharing his thoughts. This develops into the wonderfully fine and tender love scene. These episodes mark the highest portion of the work and are characteristic of the most beautiful and sincere in Strauss. There fol­ lows the "dreams and cares" and the hearer is not left in doubt as to the object of these dreams and cares, for the child's motive is soon apparent. Again the clock strikes seven. Morning is at hand and the Finale of the work is introduced with the awakening cries of the lusty youngster. A merry dispute, presented in an unusually effective manner by a great 82 TWENTY-SECOND SEASON, 1916-17 double fugue, follows. Mother and father are differing about the child. The first theme of the fugue, the "assertion," is an extension of the child's theme:

If .' t-~ After suggestions of the father's themes are added the mother sud,;. denly enters with her counter-as~ertion:

~o.IO. ~~> ;. ~ : .> ; i :.; t+· E 1,*IJDtHh UI"~4hl.ilt:,nlr I if ~...L The argument proceeds,at first quietly but determinedly, and then more excited until the dispute assumes serious aspects. But, gradually calmer judgment prevails. Father and mother lay aside their differences and express concern about the child and then join in a pleasant folk song. The "Joyous Conclusion" is wrought to a great climax in which the various themes of the work are tossed about with a contrapuntal abandon which is little short of wonderful. This is no ordinary domestic life, no everyday family. But it seems to be a very human one and eager for a happy life, as the bright and brilliant close readily testifies. In a recent "Study of Strauss" Daniel Gregory Mason says: "Strauss' characterization is consummate. Superlatives are dangerous, but prob­ ably no other musician has carried to such a point the power of music to depict, or at l~ast to suggest, varieties of character both in human beings and in inanimate objects. Strauss' reported remark that music was becoming so definite that we should soon be able to portray a table­ spoon so unmistakably that it could be told from the rest of the silver­ ware is probably an instance of his sardonic delight in hoaxing the public; but if anyone is going to subject the art of tone to this curious test, we are all agreed, doubtless, that it should be Strauss himself. Meanwhile, fail­ ing a tablespoon, we have a sufficiently varied collection of portraits in his gallery, each sketched with a Sargent-like penetration." This admirably suggests the powers of the "Domestica." And yet, all this cleverness is made to serve an artistic and musical end, for a beautiful and poetic idea underlies the entire work and reflects itself in the many appealing pages of the score. SEVENTH PROGRAM

Friday Afternoon. Saturday Evening. January 19. 191 7. January 20. 1917

Overture, "Oberon" ...... Weber

Symphony, No.8, B minor, "Unfinished" ...... Schubert Allegro moderato. Andante con moto.

Aria, "Ah, fora e lui" (La Traviata)...... Verdi

Tone Poem, "Tod und Verklaerung"...... Strauss

Finale Scene from "Salome" ...... ' ...... Strauss

SoLOIST: MARCELLA CRAFT. 84 TWENTY-SECOND SEASON, 1916-17

Overture, "Oberon" ...... Carl Maria von Webe1 1786-1826

HE great success of Weber's operas, particularly "Der Freischuetz" and "Euryanthe," led to an offer from the directors of Covent T Garden in London for an opera to be written for production in that theater. Weber was in failing health at the time, but undertook the commission and selected a fairy tale by Wieland, "Oberon," as the subject of the libretto. He began it in 1824 and two years later, in March, 1826, he arrived in London to superintend the presentation of the opera. The overture was the last portion which he wrote, as it is also his last musical composition. The first performance of the opera occurred on April 12, 1826, the overture having been completed three days before. It was sung in English. Though Weber was practically dying at the time he never­ theless fulfilled his contract, which called for twelve performances under his own direction. Arrangements were then made for his removal home, but he died before they had been completed. He was buried in Moorfield Chapel on June 21. Later his remains were removed to Germany and re­ interred at Dresden in 1844, on which occasion Richard Wagner made the memorial address. The overture is a resume of the musical contents of the opera and has been placed among the finest of the romantic overtures the world pos­ sesses. After the introduction there is heard the prolonged horn tones representing the call of Oberon, the king of the fairies. All the elves of his kingdom obey the summons. The famous crashing chord, which comes as a striking surprise, concludes the introduction. The leading subject and the love song form the material for the main 'section, and the closing subject is the melody of the well-known "Ocean thou mighty monster" aria of the third act.

Symphony, No.8, B minor, "Unfinisbed" ...... Franz Schttbert 1797-1828

HE great genius of Franz Schubert, who is one of the gentlest char­ acters in the history of music, exemplified itself in a comparatively T brief space of time. He was thirty-one years of age when he died, his demise occurring in Vienna, a year and a half after Beethoven's. Something like nine hundred songs, a great many chamber music composi­ tions and eight symphonies are among his accomplishments. Two of the symphonies have attained a permanent position on the modern concert program, the C major and the B minor. The latter is called the "Unfinished," because only two movements have been found. Why Schubert never finished it is unknown, though there are some who believe that he probably never intended it to extend any further. A few SEVENTH CONCERT 85

bars of a scherzo were found at the same time the manuscript of the first two movements was discovered in Graz, but no other indications or sketches as if Schubert had intended to complete the usual son ate form of four movements. The "Unfinished" was written for the Music Society of Graz, in 1822, and is said to have been composed for the society to express Schubert's appreciation of his election to membership. The manuscript was dis­ covered and published in 1867, forty-five years after its composition. Its appeal was direct and its many beauties immediately established it as a high favorite, from which plane it has never descended.

Allegro moderato. The movement begins with the following melody in the 'cellos: ~o.1. 12"';1 3. IV I Q!Jj! I¥ t I 1. I J. 11. ~---- Shortly after all the strings present the following which has been char­ acterized as an accompaniment to a song:

Whereupon follows the melody sung by the oboes and clarinets III unison as follows: No.3 -- ~,-- ~,...---;----.. fH,f Ii. liP If" I!' .1 HI r I !.!!JI r r g This constitutes the material of the first part of the movement, which has been in the nature of an introduction. By means of a simple modula­ tion the second subject is announced, first appearing in the 'cellos. It is one of the loveliest of themes, a haunting melody which seems to have found its inspiration in the celestial choirs:

As beautifully, as charmingly, as delightfully the movement proceeds, forming one of the most appealing chapters in music. 86 TWENTY-SECOND SEASON, 1916-17

II. Andante can mota. Following the introductory bars, with the pizzicato in the basses, the first theme is announced as follows:

In the quiet mood which has been characteristic of the symphony this continues until a broader melody is announced by the trumpets and trom­ bones. It assumes considerable force and importance, but is gradually blended again into the first theme. The second theme, played by the clarinet, is as follows:

Writing of this part Df the work, Edmondstaune Duncan says: "WhO' could believe' that this plaintive melody-faintly breathed by clarinet, oboe or flute-should shortly appear clad in thunder-pealed forth by the full Drchestra? A new and delightful feature of the continuation of the movement is the duet between the 'cellO's and basses on the one part and the first and second violins on the other. The return from C to' E is a most poetic device, with oboe, flute, horn and clarinet gently calling to' one another, while the strings slowly glide to the appointed key (E major). In the repetition much of the material is untouched; the second theme, however, now appears in A minor instead of C charp minor. An especially beautiful and long coda closes the movement."

Aria, "Ah, fors e lui" (La Traviata) ...... Verdi 1813~1901

HIS aria, which is Dne of the most celebrated colorature numbers, fDrms the climax to' the first act of Verdi's opera. "La Traviata" is T founded on Dumas' play, "Camille," and was first produced in Venice, March 6, 1853. It was nDt a very pronounced success at first, but was later revised and eighteenth century costumes and settings substituted fDr the modern. In this form it has prov~n to be one of the most brilliant works in the sphere of Italian opera. SEVENTH CONCERT 87

Ah, it was he my heart foretold, when in the throng of pleasure, Oft have I joy'd to shadow forth one whom alone I'd treasure. He who with watchful tenderness guarded my waning powers, Strewing my way with flowers, Waking my heart to love! Ah, now I feel that 'tis love and love alone, Sole breath of all in the life, the life universal, Mysterious power, guiding the fate of mortals, Sorrow and sweetness of this poor earth. What folly! What folly! For me there's no returning! In ev'ry fierce and wild delight I'll steep my sense and die! I'll fulfill the round of pleasure, Joying, toying from flower to flower, I will drain a brimming measure from the cup of rosy joy. N ever weary, each dawning morrow Flies to bear me some new rapture Ever fresh delights I'll borrow, I will banish all annoy!

INTERMISSION.

Tone Poem, "Tod und Verklaerung," Ope 24 ...... Richard Strauss

HIS is the third of Strauss' tone poems, "Macbeth" and "Don Juan" naving preceded it. It was composed in 1890 and produced for the T first time at the Tonkuenstlerfest held that year at Eisenach. A poem by Alexander Ritter, under whose influence Strauss made his progressive step which removed him from the school of the classicists, has been published on the title-page. It was written after the first per­ formance of the composition and evidently expresses the composer's pro­ gram of the work. The scene is a bare and humble chamber in which a man lies on a hard pallet, dying. The ticking of the clock is heard, the only sound that disturbs the silence of the death chamber. A wan smile passes over the countenance of the dying man as he recalls the days of his childhood. But the struggle with death interrupts. Then a delirium intervenes an9. the man reviews his life, his pleasures, his youthful ambitions, his manly accomplishments, his struggles and his victories. In a wonderfully graphic manner Strauss portrays these various pictures. There is the last struggle to attain the unattainable and death is the conqueror. His mortal life is ended, but the transfiguration of immor­ tality, gloriously and imposingly sounded in the orchestra, tells of his eternal happiness. "Death and Transfiguration" has become the most popular of all the Strauss tone poems. Its melodic beauties are undeniable and the orches­ tral treatment is of that gorgeousness which have made Strauss the wizard of his generation. 88 TWENTY-SECOND SEASON, 1916-17

Final Scene from. "Salome" ...... Richard Strauss 1864-- TRAUSS resumed his interest in operatic producti0'n, which had lain dormant after "Feuersnot" had been produced in 1900, with the put­ S ting of Oscar Wilde's one-act drame, "Salome," to music. The score was completed June 20, 1905, and its first performance took place in Dres­ den on the following December 9, under the direction 0'f the late Ernst von Schuch. Strauss took the Wilde play bodily, without any adaptation, and wove a marvelous score about it. The subject-matter of the plot aroused tremendous opposition in some circles and the "decadent" school was excoriated right and left. But the opera created a tremendous sensa­ tion and is today regarded as the greatest achievement scored by Strauss on the stage. Oscar Wilde 0'riginally wrote "Salome" in French and intended it for the use of Sarah Bernhardt. But that celebrated actress never played in it. It never achieved any great success of the dramatic stage, though following upon the sensation the opera created there was a revival of in­ terest in it, particularly in the German theater. The Biblical tale of the daughter of H'erodias dancing before Herod forms the basis of the plot. Herod is entertaining visitors from Rome and Salome is invited to dance for their pleasure. She had been repulsed by J okanaan, the pr0'phet (John the Baptist), but his curses have merely served to stimulate her infatuation for him. When Herod asks her to dance, she at first refuses. Then the thought of the prophet comes to her mind and Salome agrees to dance provided Herod promises to grant her any request she might make. The tetrarch readily registers his oath and the beautiful maiden perf0'rms "The Dance of the Seven Veils." The tetrarch and the court are sitting on the open terrace. Slaves remove Salome's sandals, anoint her with perfumes and wrap her in veils. In the deep blue oriental sky a thousand stars are glittering as the girl enthralls her audience. When the dance is finished and she lies prostrate at the feet of Herod the latter is beside himself and asks her to name her re­ ward. She pauses, and then demands the head of J okanaan brought to her on a silver charger. Herod is shocked and seeks to' dissuade her, offering her riches, honors, even half his kingd0'm. But Salome is obdurate and finally Herod orders her wish to be fulfilled. The executioner enters the well in which J okanaan is captive. There is a moment of silence. Then something falls. Salome thinks it is the executioner's sword and that he ha$ proven a craven. Like one obsessed she orders the soldiers to d~scend, when a black arm protudes, the hand clutching a silver charger with the bloody head upon it. Salome wildly seizes it and, taking it gloatingly to the front of the stage, begins her apostrophe. This scene, which concludes the opera, has been termed the most im­ pressive qperatic production since the Brunhilde "Immolation" scene. It SEVENTH CONCERT 89 has also been the cause for withdrawing the opera from many stages. Musically it is wonderfully vivid, and Dr. Neitzel has claimed that, as the scene proceeds, Strauss has desired to paint an impression of ideal love in the orchestra in contrast to the lustful and unnatural desires of the pnncess. The first part of the scene pictures Salome's revengeful spirit and her fiendish glee; later there is a note of regret because there is no response. The actual conclusion of the opera comes immediately at the end of this scene when Herod orders her smothered under the shields of the soldiers. Salome. Ah! Du wolltest mieh nieht Salome. Ah! thou wouldst not suffer deinen Mund kiissen lassen, Joehanaan! me to kiss thy mouth, Iokanaan. Well! W ohl, ich werde ihn j etzt kiissen! Ieh I will kiss it now. I will bite it with will mit meinen Zahnen hineinheissen, my teeth as one bites a ripe fruit. Yes, wie man in eine reife Frueht beissen I will kiss thy mouth, Iokanaan. I said mag. J a, ich will ihn j etzt kiissen, deinen it; did I not say it? I said it. Ah! I Mund, Joehanaan. Ieh hab' es gesagt. will kiss it now. But wherefore dost Hab' ieh's nieht gesagt? Ja, ieh hab' es thou not look at me, I'Okanaan? Thine gesagt. Ah! Ah! Ieh will ihn j etzt kiis­ eyes that were so terrible, so full of sen. Aber warum siehst du mieh nieht rage and scorn, are shut now. Where­ an, J oehanaan? Deine Augen, die so fore are they shut? Open thine eyes! sehreeklieh waren, so voller W ut und Lift up thine eyelids, Iokanaan! Where­ Veraehtung, sing j etzt gesehlossen. Wa­ fore dost thou not look at me? Art rum sind sie gesehlossen? Oeffne doeh thou afraid of me, Iokanaan, that thou die Augen, erhebe deine Lider, J oeh­ will not look at me? And thy tongue, anaan! Warum siehst du mieh nieht that was like a red snake darting poison, an? Hast d'u Angst vor mir, J oehanaan, it moves no more, it speaks no words, dass du mich nieht ansehen willst? Und Iokanaan, that scarlet viper that spat its deine Zunge, sie sprieht kein Wort, venom upon me. It is strange, is it not? Joehanaan, diese Seharlaehnatter, die How is it that the red viper stirs no ihren Geifer gegen mieh spie. Es ist longer? Thou didst speak evil words seltsam, nieht? Wie kommt es, dass against me, to me, Salome, daughter of die3e rote Natter sich nicht mehr riihrt? Herodias, Princess of J udaea ! Well, I Du spraehst bose W orte gegen mieh, still live, but thou art dead, and thy gegen mieh, ~alome, die Tochter der head belongs to me. I can do with it Herodias, Prinzessin von J udaa. Nun what I will. I can throw it to the dogs wohl! Ieh lebe noeh, aber du bist, tot, and to the birds of the air. That which und dein Kopf, dein Kopf gehort mir! the dogs leave, the birds of the air shall Ieh kann mit ihm tun was ieh will. Ieh devour. Ah, Iokanaan, Iokanaan, thou kann ihn den Hunden worwerfen und wert beautiful. Thy body was a column den Vogeln der Luft. Was die Hunde of ivory set upon feet of silver. It was iihrig lassen, sollen die Vogel der Luft a garden full of doves and lilies of sil­ verzehren. Ah! Ah! J oehanaan, J oeh­ ver. There was nothing in the world anaanj du warst schon. Dein Leib war so white as thy body. There was noth­ eine Elfenbeinsaule auf silbernen Fus­ ing in the world so black as thy hair. sen. Er war ein Garten voller Tauben in I'D the whole world there was nothing der silberlilien Glanz. Nichts in der so red as thy mouth. Thy voice was a Welt war so weiss wie dein Leib; Niehts censer that scattered strange perfumes, in der Welt war so schwarz wie dein and when I looked on thee I heard a Haar. In der ganzen Welt war niehts strange music. so rot wie dein M undo Deine Stimme (Lost in thought as she gazes upon war ein Weihrauehgefass, und wenn ich Iokanaan's head.) dieh ansah, harte ieh geheimnisvolle Ah! wherefore didst thou not look at Musik. me, Iokanaan! Thou didst put upon (In den Anblick von lochanaans Haupt thine eyes the covering of him who versunken.) would see God. Well, thou hast seen Ah! Warum hast du mich nieht an­ thy God, Iokanaan, but me, me, thou gesehen, J oeha.naat?- ? D? legtest ~her didst never see. If thou hadst seen me deine Augen die Bmde emes, d!;!r semen thou hadst loved me. I am athirst for 90 TWENTY-SECOND SEASON, 1916-17

Gott schauen wol1te. W ohl ! Du hast thy beauty; I am hungry for thy body; deinen Gott gesehn, J ochanaan, aber and neither wine nor apples can appease mich, mich hast du niegesehn. Hattest my desire. What shall I do now, loka­ du mich gesehn, du hattest mich geliebt ! naan? Neither the floods nor the great Ich diirste nach deiner Schonheit. Ich waters can quench my passion. Ah! abo! hungre nach deinem Leib. Nicht Wein wherefore didst thou not look at me? noch Aepfel konnen mein Verlangen If thou hadst looked at me thou hadst still en. Was solI ich jetzt tun, Joch­ loved me. Well II know that thou anaan? Nicht die Fluten, no~h die gros­ wouldst have loved me, and the mystery sen Wasser konnen dieses briinstige of Love is greater than the mystery of Begehren loschen. Oh! Warum sahst du Death. micht nicht an? Hattest du mich an­ Ah! I have kissed thy mouth, loka­ gesehn, du hattes1; micht geliebt. Dnd naan, I have kissed thy mouth. There das Geheimnis der Liebe ist grosser als was a bitter taste on thy lips. Was it das Geheimnis des Todes. the taste of blood? Nay; but perchance Ah! Ich habe deinen Mund gekiisst, it was the taste of love. They say that J ochanaan. .Ah ! kh habe ihn gekiisst love hath a bitter taste. But what mat­ deinen Mund, es war ein bitterer Ge­ ter? what matter? I have kissed thy schmack auf deinen Lippen. Hat es mouth, lokanaan. I have kissed thy nach BIut geschmeckt? N ein! Doch es mouth. schmeckte vielleicht nach Liebe. Sie sa­ gen, dass die Liebe bitter schmecke. Allein, was tut'st? Was tut's? Ich habe deinen Mund gekiisst, Jochanaan. Ich habe ihn gekiisst, deinen Mund. EIGHTH PROGRAM

Friday Afternoon. Saturday Evening, February 2. 1917. February 3, 1917.

Overture, "Abu Hassan"...... Weber

Serenade, No.1, D major, Op. 11 ...... ' ...... Brahms Allegro molto. Scherzo. Adagio. Minuetto. Scherzo. Rondo.

F antasie on Scottish Folk Melodies, for violin and orchestra...... Bruch Grave. Adagio Cantabile. Allegro (Dance). Andante sustenuto. Finale-Allegro Guerrieo.

"Bacchanale" (Tannhaeuser) ...... Wagner

SoLOIST: FRITZ KREISLER. 92 TWENTY-SECOND SEASON, 1916-17

Overture, "Abu Hassan" ...... Carl M aria von Weber 1786-1826 HEN Weber was twenty years of age he was, invited by Prince Eugene to come'to his .court in Silesia whe~e he remained fStuttgart. There he met Danzi, a well-known composer of the day, with whose encouragement he wrote an opera, "Silvana," the text of which was supplied by Hiemer. The duke was an improvident individual who led a gay life. His brother, the King of W uertemberg, blaming his associates for much of this, ban­ ished them from the kingdom. Weber was again forced to take up con­ cert tours. In his autobiography he states that, from then on, he devoted himself entirely to his art. He also speaks of the cordial success which greeted him everywhere, and of his meeting again with the Abbe Vogler, under whose influence he wrote an opera, "Abu H'assan," the text of which Hiemer again supplied. It was written at Darmstadt and was dedicated to Ludwig I, the Grand Duke of Hesse. The opera was given its first production in Munich, Weber himself conducting, on June 4, 1811. The story of "Abu Hassan" is taken from an Arabian fairy tale. Hassan, who is a favorite of the Caliph, is married to Fatima. Both are improvident and, when in need of money, hit upon the idea of mourning each other as dead. Both collect contributions for the funeral expenses. Later their duplicity is discovered, but the Caliph forgives them and provides for their future. The overture is based on melodies from the opera, the opening theme being taken from the final chorus. The second theme, prefaced by a not­ able horn passage, is sung by the oboe. 'Cellos and bassoons repeat it and the violins and triangle are added in the development. In the recapit­ ulation only the first theme is employed.

Serenade, No. 1, D major, Op. 11...... Johannes Brah1ns 1833-1897 HE genius of Brahms, which was recognized by Schumann when that composer examined his first works and wrote his famous article, T "New Paths," in 1853, was developed steadily and rationally. The D major Serenade is his first work for orchestra. It w~s immediately preceded by his first piano concerto in D minor. This concerto, which bears a later opus number (15), was given its first public performance by Brahms himself, in Leipsic. The occasion was a failure. The strong­ hold of the conservatives refused to accept the utterances which were strange to them. "I wish I had been in Leipsic in January, 1859," writes James Huneker, "among the big-wigs of music and listened to the first EIGHTH CONCERT 93 performance of the D minor, the first piano concerto, played by its com­ poser, Johannes Brahms. The Gewandhaus must have been disgusted by the 'symphony with piano obligato,' as the critics called it." On March 28th of the same year, the Serenade in D received its first performance in Hamburg, the city of Brahms' birth. Hadow says of it that "Germany yielded to the enchantment and allowed itself to enjoy, without afterthought, the sweetness of the melodies and the pellucid clear­ ness of the form." The two Serenades, the one in D and the one in A, were written at the same time, "and as it is most unlikely," says Fuller-Maitland, "that their easily apprehended style was adopted in deference to the opinions of the critics who were unfavorable to the concerto, we are probably jus­ tified in supposing that the change was a perfectly natural and normal one." The Serenade in D has never before been played at a concert by the Cincinnati Symphony Orchestra. Theodore Thomas performed it at the May Festival in 1902. The official program book of that year, gave the following excellent analysis of the work: The first movement is cast in the form of the opening movement of a symphony, that is the sonata-form, consisting of a first section, tech­ nically the exposition, in which two principal themes are stated and sub­ jected to a preliminary development, a second free-fantasia, in which the given thematic material is more extensively and deliberately worked out, and a third recapitulation in which the contents of the first part are reviewed preparatory to bringing the movement to a close. The com­ position opens in D major, with some soft long-held tones in the violas and violoncellos, over which, after four measures, the solo horn sings the first theme, as follows:

77 StrinE's.

This is immediately taken up by the solo clarinet, the first and second horns attaching themselves to the· drone of the deeper strings. Then begins a development in which this theme is worked up elaborately by the full orchestra, the whole moving quickly to a powerful climax. When this has subsided a short diminuendo in the strings leads to the entrance of the second theme, which makes its appearance in the first violins, 94 TWENTY-SECOND SEASON, 1916-17

doubled in the octave below by the bassoons for the first four measutes, and from there on by the second violin: . -;" JdViolina. E.pre~ .,,-- e~ etc. ~ . - .--~~~~ ~~ ! t LIp· ; Ii rr I It· rlt=:z2V I I I' 's~

Ball.eOD- -= 8va. - -== .. YloliJaa--==:::: 8 ... -=::::: This theme is forthwith developed at considerable length, especial em­ phasis being laid on the triplet figure of the above quotation. The first part concludes with a fortissimo climax, following which all the forego­ ing is repeated. The free-fantasia begins with some further developments of the sec­ ond theme, but the first straightway begins to work its way into the fore­ ground again, being presently joined by a little quivering counter":figure, first heard in the strings, and which remains prominent throughout the rest of this part. This free-fantasia is quite long and elaborate in point of detail, runs mainlY,on the first theme, and in the end leads to the restatement of the first theme in full as the beginning of the recapitula­ tion. This is again given out by the solo horn, as at the commencement of the movement, although it is here somewhat extended and supported by a slightly different accompaniment. The solo clarinet answers as be­ fore, and then the developments of the first part are gone over with some slight modifications, the movement finally coming to an expressive close with a gradually diminishing coda in which both themes are represented, the first being the most prominent. The second movement opens with the following theme in the strings and. bassoon,

the elaborate development of which consumes the entire first part of the movement. The Trio runs on this theme,

which is also worked up deftly by various combinations of instruments. When the Trio is finished the Scherzo is replayed. The third movement, like the one with which the serenade began, is EIGHTH CONCERT 95

in the sonata-form. There is no introduction, the deeper strings and bassoons leading off with the principal theme, which commences as fol­ lows: BaUOOD1..l j .. i ~ .. --- 7 .. -fII- -f:: " .. " ,,-.-• •

The development of this subject leads shortly to the appearance of a subsidiary theme, given out in octaves by the first violins and violas over a tremolo accompaniment from other strings, and carried on by the woodwinds.

This forms the approach to the second theme proper, which makes its entrance in the solo horn:

Such is the principal material of this movement, which consists fur­ ther of a short free-fantasia, an elaborated recapitulation of the first part, and a brief coda. The fourth movement is made up of two short minuets, both being scored for very small orchestra. The first, scored for flute, clarinets, bas­ soon and violoncellos, has the following for its theme:

The second, of which this is the leading motive,

is scored for clarinets, first violins, violas and violoncellos. Both are in two short sections, each of which repeats. At the conclusion of the second minuet the first is replayed without repeats, the violas being added in the brief coda which completes the movement. The fifth movement is another Scherzo neither so long nor so elabor­ ate as the second movement. The first part, the Scherzo proper, is devel- 96 TWENTY-SECOND SEASON, 1916-17 oped from the following theme, announced by the solo horn with a coun­ ter-melody in the violoncellos:

Dora. I 1. Tl 1 ~. • . t@J#~ r.rkt Ir·=r IF~ ~ ~. ] t r ....-..~ r I·r In the Trio the horn again carries the theme, against running figura- tions in the violas and violoncellos: .

~ Horn•• $?:" J IJ" ~ J ]ft; ; J IJJ IJ J IJ ;d 1 "', 'T~ "1 ..,.... '()O~IO.! ! ! f"! I I I I I I etc.

This Trio is in two sections, both repeating, and is followed by a repetition of the Scherzo. The sixth and last movement is a brilliant rondo for which two. quota­ tions will suffice; the first theme,

./L ± f:. de ~qltlilt;J h£ifdfdl§a ad I' f given out at the start by the violoncellos, clarinets and bassoons; and the second,

which comes in the first violins, accompanied by running triplet figura­ tions in the violas, all over long sustained tones in the horns and violon­ cellos. INTERMISSION. -

Fantasie on Scottish Folk Melodies, for violin and orchestra, Ope 46...... Max Bruch- 18;38- RVCH was deepy interested in the folk music o~ ?cotland and ar­ ranged a set of songs from that country. He vIsIted England for B the first time in 1877, with Sarasate. The Scotch Fantasie was composed in the winter of 1879-1880, at Berlin. Its full title is "Fantasia for the violin with orchestra and harp, with the free use of Scottish Folk Melodies." It is dedicated to Sarasate (to whom the second violin con- EIGHTH CONCERT 97

certo, in D minor, is also inscribed) and was played by him for the first time in Hamburg in September, 1880. In that year Bruch became direc­ tor of the Liverpool Philharmonic Society and while acting in that capac­ ity, Joachim played the Fantasie ther~ February 22, 1882. Its only per­ formance with the Cincinnati Orchestra was on February 22, 1895, when Y saye played it at one of the three concerts conducted that season, the first of the orchestra's existence, by the late Anton Seidl. . There was considerable criticism at the time of the work's perform­ ance in England on the ground that the melodies were not accurate Scotch themes. Bruch admitted that he had made free use of the songs, adapting them to suit his purpose. In this he followed a precedent already established by Beethoven who made numerous alterations in the Scotch songs he edited for publication. The introduction (Grave) opens with weighty chords in the brass, bassoons and harp, the rhythm being marked by the drum and cymbals. The solo instrument makes its first appearance with recitativelike phrases. The prelude leads to the Adagio cantabile which opens pianissimo in' the full orchestra with the strings muted. The violin sings a soulful and characteristic melody which forms the material upon which the movement is based. In the second movement, after an introduction by the orchestra, the violin announes a bright dance theme which is developed at some length. A quiet episode interposes and then the first mood returns. Revitative­ like phrases in the solo instrument lead directly to the third movement, Andante sostenuto. A beautiful Scotch-flavored song is given out by the violin on the lower strings and repeated in the higher registers. The accompaniment is played alternately by the strings, woodwinds and horns. Then the melody is sung in turn by the horn and by the oboe and then by the horn and 'cello and last by the flute while the solo instru~ ment traces a delicate embellishment about it. A livelier theme is devel­ oped in the middle section and then the first idea returns. The last movement, marked Guerriero (martial,) opens vigorously with the statement of a marchlike theme by the solo violin in full chords, accompanied only by the harp. The orchestra repeats the phrase. The second section is again based on a songlike melody, with a return of the first part and a spectacular conclusion.

"Bacchanale" from "Tannhaeuaer" ...... Richard Wagner 1813-1883 HEN Napoleon III, of France, in May, 1860, finally listened to the importunities of the Princess Metternich, wife of the Aus­ W trian Ambassador, to produce Wagner's "Tannhauser" at the Grand Opera in Paris, the famous composer was given his first opportunity to be heard in the French capital. Orders were given that no expense was to be spared, and Wagner proceeded to apply this most literally. He 98 TWENTY-SECOND SEASON, 1916-17 augmented the orchestra until it included twelve horns, twelve trumpets, four trombones, four players for each group of the woodwinds and simi­ lar extensions. He worked indefatigably with Roche to make the transla­ tion and held no less than one hundred and sixty-four rehearsals in preparation for the work. Albert Nieman was engaged to sing the title role. The total expenses for the production amounted to one hundred thousands francs and Wagner spent more than a year in Paris preparing for the great event. Royer, the director of the opera house, was not greatly in favor of the production and pointed out to Wagner the fact that the opera had no ballet. It was the custom always to have a ballet in the second act and Royer insisted that Wagner supply this. The composer vehemently opposed the suggestion, but finally relented and agreed to extenc\ the Venusberg scene in the first act so as to include a "Bacchanale." The overture was altered for this purpose and Wagner showed great energy in arranging the new version, as is indicated in a letter to Liszt. But, he had no idea of writing a certain number of bars to which the ballet dancers were to pirouette. He imagined a great bacchanalian scene carried out in the spirit of the Greek style, but had the greatest difficulty conveying this meaning to the ballet-master, not to say anything of the dancers. The Paris premiere of "Tannhauser," an event which Wagner awaited with so much anticipation since it gave him a hearing in the foremost opera house of the world, occurred on March 13, 1861. The house was sold out. Napoleon and his consort, the diplomatic corps and all the fashion of the gay city were in attendance. The opposition which had manifested itself throughout the period of preparation, especially on the side of the fashionable Jockey Club, began to make itself felt in the first act, starting with the shepherd scene. The sextet and the finale of the first act were given enthusiastic applause which, in spite of the pro­ testations of the opposition, prevailed. Their efforts to distract the audience in the second act did not meet with very great success and it appeared; for a time, as if the opera would succeed in spite of them. But, in the third act, they tried a new plan. Some witty remarks were made, the clique began to laugh and the merriment soon spread to such an extent that it grew in proportion as the action of the opera became more tragic. At the conclusion of the opera the friendly portion of the audience gave Wagner an ovation while the opposition tried to fight it down. For fifteen minutes this spectacular reception continued. It is without a parallel in the history of music. At the end the opposition withdrew. The ·second performance took place on March 18. It was a repetition of the first performance, only intensified. The Jockey Club brought whistles along and made such a din that it was almost impossible to follow the music. The third performance was ventured on Sunday, EIGHTH CONCERT 99

March 24. This was not a subscription night and Wagner hoped the aristocratic element, which formed the opposition, would remain away. But just the contrary was the case, and such scenes were never before, nor after, seen in an opera house as were enacted on that occasion. Hoots and cat-calls and whistling were objected to by those who wished to hear the opera so that the tumult was complete and neither side heard any- ili~ . After that "Vagner begged to be allowed to withdraw his work. The Minister was at first loath to grant the request as it was apparent that the opera was likely to become a finanCial success. The receipts for the first performance had been 7,491 francs, for the second 8,415 francs and for the third 10,764 francs. Wagner received 500 francs for each perform­ ance and had to give the translator half. Thus, for his year's work he received 750 francs. But the Minister finally gave his consent for the withdrawal and Paris waited thirty years until it again had the oppor­ tunity to hear the work.

NINTH PROGRAM

Friday Afternoon, Saturday Evening, February 1 6, 191 7 . February 1 7, 191 7.

Overture-"A Midsummer Night's Dream, Op. 21 ... Mendelssohn

Symphony, No.2, C Major, Op. 61...... Schumann Sostenuto assai-Allegro rna non troppo. Scherzo-Allegro vivace. Adagio espressivo. Finale-Allegro molto vivace.

"A Pagan Poem" for piano and orchestra ...... Loeffler

Overture, "Le Roi d' Ys" ...... Lalo

SOLOIST: RUTH DEYO. 102 TWENTY-SECOND SEASON, 1916-17

Overture, "A Midsummer Night's Dream," Op. 21 Felix Mendelssohn-Bartholdy 18009.-1847 HIS brilliant, charming and spontaneous overture, which so ad­ mirably reflects the principal romantic features of Shakespeare's T play, is one of the most remarkable creations in music. Not only its intrinsic merits gain for it this distinction, but more especially the fact that it was written when Mendelssohn was only seventeen years of age. Still more rema.rkable was the fact that when, seventeen years later, he undertook to write the incidental music for a production of the play, he was able to use the motives of this youthful work and find them suiting the situation exactly, even in the light of his more mature judg­ ment. Mendelssohn made the acquaintance of the Shakespeare play when he and -his sister Fanny, who exercised a great 'influence over him, read the Schlegel and Tieck translation early in the year 1826. The Men­ delssohn family had moved into a house on the Leipziger Strasse, in Ber­ lin, which had a charming garden in the rear. In these pleasant sur­ roundings the overture was written. The work is one of the brightest and loveliest examples of the roman­ tic literature. "No one piece of music," says G. A. MacFarren, on the occasion of the overture's performance by the London Philharmonic or­ chestra, in 1877, "contains so many points of harmony. and orchestration that had never been written before as this does, and they have none of them the air of experiment, but seem all to have been written with cer­ tainty of their success." In this overture, as in several of the chamber music works, particula'r­ ly the octet and quintet, which had preceded it, "the airy fairy lightness" and the indisputable grace of youth are no less remarkable than the ex­ cellent workmanship and the striking constructive facility which are its solid foundation. The overture was first played as a piano duet and later by an or­ chestra in the garden of the Mendelssohn home. Its first public per­ formance seems to have taken place in Stettin, in February, 1827, Men­ delssohn, himself, conducting. Two years later, when he went to Lon­ don, he took the manuscript with him and it was played there under his direction at a concert given on June 24-Midsummer night. In 1843, at the request of the King of Prussia, Mendelssohn under­ took to write the incidental music for a production of the Shakespeare play. He used the overture as the introduction to the whole and wrote twelve more pieces, using motives of the overture throughout. . Four soft chords in the woodwinds open the overture and then fol­ lows the charming passage depicting the elves at play, illustrated by the divided violins~ followed by a fortissimo passage. The second theme NINTH CONCERT 103 is given out by the clarinet, which leads to the music of the Bergomask dance. The development section and the recapitulation are in regular form, the four chords which opened the work also closing it.

Symphony, C major, No.2, Op. 61...... Robert Schumann 1810-1856

CHUMANN wrote four symphonies and one other work of sym.. S phonic proportions, called "Overture, Scherzo and Finale." He did not begin orchestral composition until the year 1840, the previou~ time having been devoted almost exclusively to piano composition and songs. In the year following his marriage to Clara Wieck, in 1841, he produced his first symphony, in B-flat, which he wished to call the "Spring" symphony, and, toward the end of that year, the "Symphonic Fantasy," which he rewrote some years later and published as the fourth sympathy, in D minor, and the "Overture, Scherzo and Finale," the ori­ ginal title of which was intended to be "Sinfonietta." In 1845-6 he wrote the symphony in C major, now known as No.2, and in 1850, the third symphony, familiarly styled the "Rhenish." The C major symphony was given its first performance at the Gewand­ haus in Leipsic. under Mendelssohn's direction, November 5, 1846. Schu­ mann was compelled to leave Leipsic in October, 1844, and move to Dresden. He had suffered a nervous breakdown and the change of scene was regarded as absolutely necessary. For the first year at the Saxon capital he lived in strictest seclusion. Then, as his health improved, he again took up the work of composition. In a letter written in 1849, he refers to the C major symphony, as follows: "I wrote the symphony in December, 1845, when I was still half sick. It seems to me one must hear this in the music. First in the finale, I began to feel myself, and indeed I was much better when I had finished the work. Yet, as I have said, it recalls to me a dark period of my life." Spitta has declared that "the characteristic of the C major symphony is a graver and more mature depth of feeling; its bold decisiveness of form and overpowering wealth of expression reveal distinctly the rela­ tionship in art between Beethoven and Schumann. The form, too, as far as regards the number and character of the movements, is quite that of the classical masters."

I-Sostenuto assai} Allegro ma non troppo.

A solemn introduction opens the symphony, the brasses (pianissimo) giving forth a theme which makes its appearance throughout the work, except the third movement, and indicates the close relationship which 104 TWENTY-SECOND SEASON, 1916-17 binds the different parts of the symphony together. This theme is as follows: AO.I... . *J)" ('air' r It cnlt f The first movement, (Allegro rna non troppo) begins shortly after .with the full orchestra announcing the following melody:

In hearing this' vigorous theme, with its marked and characteristic rhythmic treatment, it is difficult to believe that it was written by a man still "half-sick." Shortly after a second motive enters and the develop­ ment of the two melodies is considerably extended. The decided step forward in the command of the orchestra which Schumann shows from his first symphony, is apparent now. As the movement approaches its climax, the theme of the introduction enters sonorously in the trumpets. The coda is formed of new treatments of the figures of the principal sub- jects in vigorous and brilliant development. ' II-Scherzo-Allegro vivace. Schumann's scherzos depart from the dancelike character of those of Mozart and Haydn, and assume a character quite their own. The poetical meaning is made more apparent or, as one commentator has put it, "the structural outline of the old dance-forms is still recognizable, but the style and rhythm bear little trace of the dance origin, or at least the dance quality has been so far idealized as to apply rather to thought and feel­ ing than to expressive rhythmic play of limbs." In the scherzo of this symphony, Schumann adopts the device of two trios. In his fourth and seventh symphonies, Beethoven had the trio repeated. Instead of repeating, Schumann has written two trios which not only contrast with one another, but also with the scherzo proper. In the present instance the trios occupy a central position in relation to the first and last statements of the scherzo, while the scherzo in turn stands centrally between them, thus closely knitting the entire movement. The scherzo is built on the following theme, a figure in the violins, beginning as follows: ~o.3., Fi:1 ~,. , a i\ff =I itip 41:1 I;0 r ,>4 NINTH CONCERT 105

Then follows the first trio which is in a totally different vein. The woodwinds alternating with the strings, proceed with the following melody: .r . . II.• A- • fa .. i"t ... V !~ I'f ];1=11 wrpe I :f1%?G Iffii ml; woo~~~ r Upon this trio follows a repetition of the scherzo, after which comes the second trio which again has a strikingly different character. It is built on the following melody:

A.. $". ~ ~ 111 Hy I£J 11 mti.l r to IWPiff .6tU <> The scherzo is once more repeated and the coda, which is quite im­ portant in its style, brings back the melody of the introduction, (No.1,) sounded by the horns and trumpets. I I I-A dagio espressivo. This adagio is one of the noblest and most beautiful creations of Schu­ mann, in which he reaches what is probably the highest point in his or­ chestral writings. The exquisite melody upon which it is founded is not only one of heartfelt quality, but the contrasting episodes which occur in the course of the movement serve to mark and develop the romantic con­ tents in an extremely appealing and altogether gratifying manner. The charm of the movement is entrancing and the magic of its spell irre­ sistible. . The violin first states the lyric measures of the melody, after which it is repeated by the oboe. It is as follows:

IV-Finale-Allegro malta vivace. The vigor and strength which seemed to find pause in the preceding movement assert themselves with renewed strength in the finale. Schu­ mann, like Beethoven, planned to reach the climax of his symphonies in the last movement, instead of resorting to the idea of concluding' with a lighter part in order to send the audience home in a gay humor. Hence the finale of the second symphony seeks to express something which should form a fitting crown to that which has gone before. 106 TWENTY-SECOND SEASON, 1916-17

After four introductory measures the full orchestra gives out the first theme, thus:

After a brief statement, the second theme appears, in the violas, 'cellos, clarinets and bassoons, to a running figure in the violins, as follows:

'"""""- As usual with Schumann, the exposition is brief and the development of the material extended. Throughout this section a new theme is suggested but does not reach its complete statement until the coda is reached. It is as follows:

The climax of the symphony is eloquently approached and once again the theme of the introduction is sounded as the close is reached.

INTERMISSION.

"A Pagan Poem," for piano and orchestra, Op. 14, Charles Martin Loeffler 1861-- OEFFLER, who is one of the most interesting figures in American music, was born in Muehlhausen, Alsace, January 30, 1861. He L studied violin with Leonard and Massart in Paris and with Joachim in Berlin. He came to America to join the Boston Symphony Orchestra, and, until 1903 when he resigned to devote his time to composition, he occupied the first stand with Franz Kneisel, then concertmeister. Loeffler's compositions strongly show the influence of the modern French school as represented by D'Indy and Debussy. The present oc­ casion is his first appearance on a program of the Cincinnati Symphony Orchestra. At the May Festival of 1906 his "Death of Tintagiles" was {'layed. "A Pagan Poem" was first written in 1901 as a chamber musie com~ position and, for a combination of instruments consisting of piano, two flutes, oboe, clarinet, English horn, two horns, three trumpets used be- NINTH CONCERT 107 hind the scenes, viola and contrabass. Later it was arranged for two pianos and three trumpets and in 1905-6, it was recast in its present form. Loeffler took his inspiration from the Eighth Eclogue of Virgil. This Eclogue consists of two love-songs and Loeffler has chosen the second .. A Thessalian girl resorts to the magic of incantation to bring back to her home her truant lover, Daphnis. The following passage is quoted on the score: "Fetch water forth, and twine the altars here with the soft fillet, and burn resinous twigs and make frankincense, that I may try by magic rites to turn my lover's sense from sanity; nothing is wanting now but the songs. {(Draw from the city) my songs} draw Daphnis home. "Songs have might, even, to draw down the moon from heaven; with songs Circe transformed the crew of Ulysses; by singing, the cold snake is burst asunder in the meadows. ((Draw from the city) my songs} draw Daphnis home. "Threefold first I twine about thee these diverse triplehued threads, and thrice round these altars I draw thine image: an odd number is god's delight. ((Draw from the city) my songs} draw Daphnis home. "Tie the threefold colors in three knots, Amaryllis, but tie them; and say, 'I tie Venus's bands.' ((Draw from the city) my songs} draw Daphnis home. "As this clay stiffens and' as this wax softens in one and the self­ same fire, so let Daphnis do for love of me. Sprinkle barley-meal, and kindle the brittle bay-twigs with bitumen. Cruel Daphnis burns me; I burn this bay at Daphnis. ((Draw frotn the city) my songs} draw Daphnis home. "So may Daphnis love, as when the heifer, weary with seeking the steer through woodland and high grove, sinks on the green sedge by a waterbrook, in misery, and recks not to retire before the falling night; so may love hold him, nor may I care to heal. ((Draw from tke city) my songs} draw Daphnis home. "This dress he wore of old the traitor left me, dear pledges of him­ self; which now I even in the doorway, 0 earth, commit to thee; for these pledges Daphnis is the debt. i ((Draw from the city) my songs} draw Daphnis home. "These herbs, and these poisons' gathered in Pontus, Moeris himself gave me; in Pontus they grow thickest. By their might I have often seen Moeris become a wolf and plunge into the forest, often seen him call up souls from their deep graves and transplant the harvests to where they were not sown. "Draw from the city} my songs} draw Daphnis home. "Fetch ashes, Amaryllis, out-of-doors, and fling them across thy head into the running brook; and look not back. With these I will assail Daphnis : nothing cares he for gods, nothing for songs. 108 TWENTY-SECOND SEASON, 1916-17

((Draw from the city, my songs, draw Daphnis home. "See! the embers on the altar have caught with a flickering flame, themselves, of their own accord, while I delay to fetch them. Be it for good! something there is for sure; and H'ylax barks in the doorway. May we believe? or do lovers fashion dreams of their own? ((Forbear! from the city-forbear now, my songs-Daphnis comes." *Loeffler has no intention of translating these incidents literally, though the use of the trumpets to represent the refrain, "Draw from the city, etc.," is typical. In a general way the composer seeks to create a fantasy inspired by the verses. The composition opens with an Adagio. A short motive is heard which, together with an inversion is liberally employed throughout the work. The viola solo and three flutes announce the first principal theme, which has been styled the invocation. The latter half of this theme is divided into two motives. These phrases are used separately and are given extensive treatment. After the exposition, the piano enters, fortissimQ, with a harmonized inversion of the introductory phrase. A big crescendo follows and a glissando for the piano leads to the Allegro. The above-quoted thematic material is used, in addition to a second principal theme which appears in the first violins, harp and piano. A cadenza for the piano leads to the Lento assai which presents a mournful melody in the English horn. The trumpets, off stage, sound their melody. The fourth part, Tran­ quillo, adds another theme, stated by the piano. The trumpets repeat the refrain behind the scenes and the second theme reappears and is used extensively. Then the trumpets appear on the stage and announce the arrival of Daphnis, a brilliant fanfare bringing the work to a climax. In its present form it was first played with the Boston Symphony Orchestra, November 23, 1907.

Overture, "Le Roi d'Y s"...... Edouard Lalo 1823~1892 HE overture to Lalo's opera, which was produced at the Opera Comique, in Paris, February 13, 1887, was written about ten years T before. It occupied the same time which witnessed Lalo's best productions, his "Symphonie Espagnole" for violin and orchestra and the 'cello concerto. Ten years after the overture had been written, Lalo re­ wrote and re-orchestrated the opera which he had sketched. While the opera has practically disappeared from the stage, the overture remains as one of the brilliant examples of LaIo's graceful and fluent writing and his fine mastery of the modern orchestra. * From the English version of F. W. MacKail, London, 1889. TENTH PROGRA,M

Friday Afternoon. Saturday Evening. March 2. 1917. March 3. 191 7.

Symphony, D major (Breitkopf and Haertel No.4), .... . Haydn Adagio-Presto. Andante. Menuetto. Allegretto. Finale-Vivace.

Concerto, for violoncello, D major, Op. 101 ...... Haydn Allegro Moderato. Adagio. Allegro.

Two Nocturnes. : ...... Debussy Nuages. Fetes.

Overture "Le Carnaval Romain"...... Berlioz

SOLOIST: PABLO CASALS. 110 TWENTY-SECOND SEASON, 1916-17

Symphony, D major, (Breitkopf and Haertel No.4) . .... Joseph Haydn 173'2-1809 AYDN had been invited a number of times by Johann Peter Salo­ mon, a German violinist, who had settled in London and had gained H a prominent position as soloist ,and orchestra leader, to visit that city. But Haydn's position as Kapellmeister for the Prince Esterhazy was a comfortable one which he dreaded to leave in order to brave the inconvenience of a trip to England. He always found the excuse that he was unwilling to leave his patron sufficient to halt the importunities of his friend. On September 28, 1790, the Prince died and left Haydn an annual pension of 1,000 florins, provided he would retain the title of Kapellmeister to his house. His successor added 400 florins to that in­ come, but as he practically dismissed the orchestra, this left H'aydn with­ out his occupation. The composer then took up his residence in Vienna. Salomon was returning to London from Italy, whither he had gqne to arrange for the coming of some Italian opera singers for a season in the E!Jglish capital, when he heard of Prince Esterhazy's death. He immediately interrupted his return trip to London, at Cologne, and pro­ ceeded to Vienna instead, to personally solicit Haydn's consent for a visit to England. This time Salomon was successful and although Ferdinand IV, king of Naples, had invited Haydn to visit him, the contract for the London engagement was closed. He was to compose six new symphonies and conduct them from the pianoforte, as was the custom in those days. Haydn and Salomon left Vienna December 15, 1790 and crossed the channel from Calais on New Year's day, 1791. Haydn's arrival in London was the occasion of a most cordial reception. The foremost statesmen, ambassadors, noblemen, artists, and men and women of all ranks called on him and he was invited everywhere. In the following July he was awarded the degree, Doctor of Music, by Oxford University. The first of the subscription concerts under the .Salomon management took place in the Hanover Square Rooms, on lVlarch 11, 1791. The or­ chestra consisted of thirty-five or forty players who were led by Salomon as first violin while Haydn conducted from the piano. Haydn paid a second visit to London in 1794, again under Salomon's direction and again composed six symphonies. These twelve symphonies, known as the "Salomon" or "London" series, together with a few others, are the only ones of the 118 symphonies, (some count 126) Haydn com­ posed which still maintain their place in the modern concert repertoire. The one to be played to-day was composed in 1794.· In the order of its appearance in the catalogue of the London Philharmonic Society, it is No. 11. In the catalogue of Alfred Wotquenne it is marked No. 148. In the Breitkopf and Haertel Edition, in which the "Salomon" symphonies appear in two volumes, it is identified as No.4. It is sometimes given the title "The Clock" symphony, due to a figure in the second movement. TENTH CONCERT 111

Many of the titles given the H'aydn works are almost naive in their sug­ gestion. Thus, the unexpected entrance of the drums in the andante of the "Surprise" symphony gave rise to that title. The fanfare of trumpeti and cymbals led to the "Military" distinction of another, the fact that a certain symphony was played at Oxford on the occasion when Haydn was given his degree fastened the name "Oxford" to it, though it was written some years before and the composer had no idea it would ever be played in the English college town. N one of these titles were designed by the composer himself. The Symphony No.4, as it is played to-day, has been revised some­ what. Thus in the original autograph score the clarinets were entirely omitted, though they were found in all the old editions. Whether Haydn added them or whether they were the work of some­ body else has not been determined.

I-Adagio-Presto

The symphony begins with an Adagio in D minor, a formal and grave sort of introduction, the immediate theme being as follows:

There follows directly upon this the Presto, in D major: Softly the first violins announce the following theme, which has a certain archness characteristic of Haydn:

Supplemented by the flute, this melody is subjected to some variations and is reversed to form a counter-theme. With a transposition to the key of A major, the second theme" which is as follows, is introduced:

The strict sonata form is followed and the development section is de­ voted first to the last-quoted theme and then to the first one (No.2) the entire movement being full of delicacy and good cheer. 112 TWENTY-SECOND SEASON, 1916-17

II-Andante After a single bar of preparation the principal theme of the Andante enters in the first violins. It is in the nature of a German folk song and is as follows:

It is, of course, repeated, whereupon a few bars of modulation lead to the secondary theme, which is again sung in the violin, but which is, strictly speaking, derived from the first.

.;r!~

~!t ...r.:Jp4f ---I ...... I rq _­ttl I fJ 111 J[! 13 I . rb·,:;, ~...... ~ _ ~.....,... ~ - On these two themes the movement is built, the formal carrying out of the accepted scheme making its structure very clear and its musical effect very beautiful. After both themes have been stated and repeated, the~ are taken into the minor key, and then back again into the major (G), with additional embroidery, leading to a quiet close.

III-Menuetto-Alle gretto The full orchestra proclaims the first part of the theme while the flutes and violins play the second half, as follows:

The trio is somewhat unique for Haydn in its harmony. The D major (tonic) chord is held stubbornly by the strings while the flute plays the melody and the E in the third bar sounds harsh against the accompani­ ment. When the theme is repeated, Haydn makes the anticipated change to the dominant, though maintaining the tonic pedal. No reason is assigned for this, as it exists so in the original manuscript. After the trio, the first part is repeated. In today's performance, Dr. Kunwald will play it as it appears the second time, following the general belief that the first was a mistake in the manuscript. TENTH CONCERT 113

IV-Finale-Vivace The last movement, like all of Haydn's closing ones, is bright and spontaneous. The following theme opens the movement, played by the strings: ,j(: 1 V,' V4A.tl- (:.fi'''''Je,.) ~'I 4 i j I j ® I d Ji I $22 I

Though marked vivace, it is not free from the suggestion of a chorale. It is repeated note for note and then appears a kind of subsidiary motive of which liberal use is made. cIV"! 8. M 1t.g #: g, ~ ~i;B· .. 1 eJ ... 1 B ... \;; .. . I! .aG.~$.~ , " ~ 'I 1 1 ~ " " ~ , , '7 The whole movement is a typical Haydn rondo. A minor section enters after which the major returns and a fugato treatment <:>f the open­ ing theme leads to an impressive close.

Concerto for violoncello, D major, Op. 101 ...... J oseph Haydn 1732-1800 HIS concerto for the violoncello is practically the only one of the six which Haydn wrote for that instrument which is played to-day. T It was originally scored by the composer for a small orchestra, con­ sisting of two oboes, two horns and the strings in addition to the solo instrument, and written for the 'cellist of the Prince Esterhazy's orchestra. An elaboration of this and a general revision of the solo part was made by Francois Auguste Gevaert, director of the Conservatory of Brussels, (born 1828, died 1908,) who added two fiutes, two clarinets and two bassoons to the orchestra, edited the solo part and introduced the cadenza in the last movement. This arrangement is used at present. An abridgment of the lengthy orchestral prelude introduces the solo instrument seven measures after the beginning. It announces the prin­ cipal theme and, after some passage work, the second theme, is played by the 'cello, in A major. (The tonality of the movement is D major.) Toward the close of the movement the first cadenza appears. The second movement is a lovely Adagio which the solo instrument opens by stating an expressive subject, shortly repeated by the orchestra. A new theme, in E major, is played by the 'cello, after which there is a return of the first melody. After four measures by the orchestra a third theme makes its appearance in the solo instrument, this time in C major. The first theme returns again, a short cadenza follows and the movement closes with a brief coda by the orchestra. 114 TWENTY-SECOND SEASON, 1916-17

The final movement, like in all of Haydn's works, is a bright, cheer­ ful and sparkling section, written in his pellucid style and in rondo form. Toward the end a cadenza (added by Gevaert) is introduced, quite a bril­ liant opportunity for technical display, and a lively coda, based on the principal theme of the movement, concludes the work.

INTERMISSION.

Two Nocturnes ...... Claude Debussy 1862;- "Nuages" (Clouds). "F etes (Festivals). AKING the designation "Nocturnes" in a very wide sense, Debussy T has written three such pieces for orchestra. Two of these will be performed at to-day's concert. The third, called "Sirens," has ~n accompanying chorus of female voices who do not sings words but merely hum the notes as an additional color to that achieved by the orchestra. "Nuages" and "Fetes" were composed in the years 1897-99 and were first performed on December 9, 1900, in Paris. Their first performance by the Cincinnati Symphony Orchestra was in March, 1910. The signif­ icance of these two N octumes has been explained by Debussy in the fol­ lawing: "Nuages"-the unchanging aspects of the sky, and the slow, solemn movement of the clouds dissolving in grey tints lightly touched with white. "Fetes"-the restless dancing rhythm of the atmosphere interspersed with sudden flashes of light. There is also an incidental procession (a dazzling imaginary vision) passing through and through and mingling with the aerial revery; but the background of uninterrupted festival is persistent with its blending of music, and luminous dust participating in the universal rhythm of all things. WitlJ. this underlying program Debussy presents two remarkably col­ orful orchestral impressions, or as somebody has said "impressions of impressions. " "Clouds" seeks to give musical expression to the impressions sug­ gested by the filmy shapes they assume while sailing over the endless blue of the firmament. All the delicacy of nuance characteristic of Debussy's style is employed. There are no heavy thunder clouds; merely hazy light grey ones quietly and lazily stealing ov~r the sky. A mysterious motive by the clarinets and bassoons, supplemented by a contrasting one sung by the English horn, forms the thematic material upon which the entire movement is built. "Fetes" is of a different mood. It is bright and buoyant in style. The first theme is announced at the outset by the English horn and a second motive, of a march character, appears later on in the strings (pizzicato), harps and cymbals. This is the procession referred to in the programme. TENTH CONCERT 115

The impression of revelry is given throughout, though at no time is it of a boisterous nature. Toward the end all is subdued and the muted instru­ ments suggest the motives as if heard in the distance. Debussy and his methods, together with his use of the whole-tone scale, have been the subject of much controversy. His effect on modern French music is considerable. In a "Conversation on Music" Paderewski once said-"Debussy is a man of great skill in harmony and orchestra­ tion, but he writes music not for its own sake, but as handmaid to some­ thing that is not music." Daniel Gregory Mason gives an estimate of Debussy's methods which closely reflects the characteristics of the two works played to-day. He says-"They seem calculated to reduce the purely musical interest to a minimum, by veiling or disguising all definite musical traits, and to enhance the sensuous charm of the tonal combina­ tions at the expense of their intellectual and even their emotional interest, in order the better to stimulate or seduce the hearer into a half hypnotic state of reverie. This minimizing of the intellectual element, together with the enhancement of the purely sensuous charm which it aids, is traceable in almost every element of Debussy's musical technique."

Overture "Le Carnaval Romain" ...... Hector Berlioz 1803-1869 ERLIOZ composed an opera, "Benvenuto Cellini." In its original form, it was in two acts. An Overture bearing the same name as B the opera was written as a prelude to the first act. The overture to the second act was called "Le Camaval Romain." As a concert piece it was first performed under the composer's direction, February 3, 1844, in Paris. The chief thematic material of the overture is taken from the opera. It begins, Allegro assai, con fuoco, the theme being that of the Saltarello danced in the middle of the second act of the opera. The Saltarello is a dance of the fifteenth and sixteenth centuries in six-eight or six-four time. An Andante follows, the English horn singing the melody of Benvenuto at the beginning of the trio in the first act. Then comes the Allegro vivace, which is the main part of the overture. The theme is a song of Cellini's followers in the second act. The Salta­ rello is also liberally employed in a brilliant and spectacular delineation of a carnival in Rome. The overture was a success from its very first performance. It is dedicated to the Prince Hohenzollern-Hechingen.

ELEVENTH PROGRAM

Friday Afternoon, Saturday Evening, March 16, 191 7. March 17, 1917.

Tone Poem, "Pelleas and Melisande" ...... Schoenberg (FIRST CINCINNATI PERFORMANCE)

Aria, M leao el' a s P rayer, "Carm"en ...... B·lzel

"The Swan of Tuonela"...... Sibelius

Aria, Mad Scene from "Lucia" ...... Donizetti

"Le pOtno emps " ...... Clazouno'DJ

SOLOIST: ANNA CASE. 118 TWENTY-SECOND SEASON, 1916-17

Symphonic Poem, "Pelleas and Melisande," Ope 5 . . Arnold Schoenberg 1874- MONG the composers of the "music of the future," to borrow an expression which was in circulation in Wagner's time, Arnold A Schoenberg occupies a very prominent position. His -radical de­ partures from the conventional and the traditional, together with the decidedly original means he employs, have led many to proclaim him the coming man. He was born in Vienna, September 13, 1874, where he lived until December, 1901, when he went to Berlin. He taught for a time at the Stern Conservatory in that city and also became musical direc­ tor of a revolutionary theater, \iVolzogen's Buntes Theater, which identi­ fied him with the advanced movement in the art of the drama. He is practically self-taught. In 1903 he returned to Vienna, but a short time later again took up his residence in Berlin. While Schoenberg has been a prominent figure in the new music, the performance of his symphonic poem, "Pelleas and Melisande," to be given to-day, will be the first opportunity for Cincinnati audiences to become acqtlainted with him. This composition is already advanced along the paths he has since pursued, though it is one of his early works. It was composed in 1902 and given its first performance in Vienna in January, 1905. In an article on Schoenberg by Egon Wellesz, one of his pupils, which appeared about a year ago in the Musical Quarterly, the writer says: "In this work ("Pelleas and Melisande") we find Schoenberg already making use of chords and tone combinations which we do not find again until later they occur in Richard Strauss's "Elektra." Although the piece moves along in uninterrupted flow, we might designate it as a symphony in four movements, for we can clearly discern four separate parts bound together in thematic connection. * * The opinions of today with re­ gard to programme music may differ from those of a few years ago. But this work may be grasped with or without the aid of a program, and its greatness lies in the fact that it preconceives a kind of impressionism with­ out abandoning entirely the conventional forms of musical architecture." In an interview, published in London, Schoenberg denied that he had a right to the term Futurist. He said: "I simply write naturally. My music is the outcome of my personal feeling. Rules in musical art merely hamper expression, and I consider that one should give absolutely free­ dom to one's ideas. People will not think there is anything extraordinary or unintelligible in my music as soon as they are more familiar with it in the course of time." Schoenberg's "Pelleas and Melisande" follows the action of the Mae­ terlinck drama, though it does not seek to portray the exact incidents as much as the impressions of those occurrences. It is scored for a large modern orchestra, demanding one piccolo, three flutes, three oboes, two English horns, E-flat clarinet, three clarinets in A and B-flat, one bass ELEVENTH CONCERT 119 clarinet, three bassoons, one counter-bassoon, eight horns, four trumpets, one alto trombone, four tenor and bass trombones, one tuba, two tym. pani, triangles, cymbals, big drum, small drums, tam-tam, glockenspiel, two harps and the usual strings. The work received its first performance in the United States at a concert by the Philharmonic orchestra of New York, under the direction of Josef Stransky, Thursday evening, Novem­ ber, 18, 1915. The introduction suggests the gloomy mood. A haunting theme, which is used later on in the work, appears, which may be characterized as the tragic force of Love. Immediately attached to it is a second theme, ominously sounded in the bass clarinet, which may be regarded as the motive of Jealousy. These two themes are as follows:

The introduction is built upon them. Then enters the "theme of Meli­ sande, tender and sympathetic, sung by the oboe as follows:

The canonical development of this motive is suddenly interrupted by a violent §gure in the woodwinds, muted trump~ts, h~rns and strings piz­ zicato, Whereupon the theme of Golaud appears. It IS a warm and broad melody of lovely character in the strings, woods and horns:

A full orchestral development of this theme leads to a splendid climax. A sudden outburst of the theme of Jealousy, (No.2) in muted trumpets. and trombones is followed by a passionate outbreak of the full orchestra, 120 TWENTY-SECOND SEASON, 1916-17

fortissimo., with the Jealousy theme in the following character, in which it is met later on:

As it subsides the theme of Pelleas appears. It is announced by the clear-voiced trumpet in a flowing allegro: )w,.'t--~~ ~ ~ 4" _ " . ltl ,3 ; j • I~iJ. J J +lIt:· hoi » 31J1iP An extensive development section follows in which the themes of Pel­ leas, Golaud and Me1isande are used. A drastic orchestral interruption introduces a kind of scherzo which is built on the following theme, characterized as that of the child­ Golaud's little son, Yniold:

7rAl7· ~..rtI ...--.... . ~.' 0_ ~ i · I .... ~ ~ , - ~ -.'"..- . ..' I"""'" ~IA ...... 0 - •• x"'" 'fizz. 1# tq:· Qk I~'!S lr§fbl~TfX[j;J t..f l@1i;i1fi1 ~ Wellesz, in his description of the work, suggestS' that this scherzo pic­ tures Melisande's playful sporting with the ring which Golaud had given her. The ring falls into the water. Dr. Kunwald, whpse assistance in the preparation of this analysis has been invaluable, suggests another meaning. In addition to the theme just quoted there are also. appear­ ances, here and there, of the Golaud theme, suggesting the scene in which the father questions the child. His jealousy is aroused and the orchestra threatens with frightful chords in the trombones and sharp blows of the whole orchestra. A melodramatic interlude leads to the love scene of Pelleas and Meli­ sande in the tower. This interlude presents another theme of Jealousy, a most ominous one, which enters soft and lurkingly in the contrabass as follows: ~.otl'-" tNgr ~--...... f!»erl" [. IItet ~ The love scene which follows is richly developed. The orchestra por­ trays, in beautiful accents and with wonderful use of the Pelleas (No.6). and Melisande (No.3) themes, Pelleas caressing and toying with the long tresses of Melisande. The solo violin and 'cello assume a prominent ELEVENTH CONCERT 121 part in this section. But, Golaud's suspicions are aroused, as the jealousy theme (No.8) and the Golaud theme (No.4) suggest upon their en­ trance. The love scene is halted. The lovers must part. When all is again quiet there follows one of the most original parts of the work. The composer depicts the inward sufferings of the unfor­ tunate Golaud by a very striking orchestral device. The flutes in tremolo, the violas and 'celli, muted tremolo, playing chromatic scales on the bridge of the instrument, the tam-tams sounding pianissimo, and the military drums, rest upon the first theme of Jealousy, (No.2) played in a distant key by the contrabass. Without any warning the entire or­ chestra bursts out into a violent expression of the first Jealousy theme in the character as shown in Example 5. The love scene is resumed in the beautiful Adagio which follows. The ecstacy of love is expressed by the following theme sounded by the full strings:

which is developed to an overwhelming climax of warmth and beauty, until the sublimation of love is reached in the following expressive mo­ tive:

These themes are employed with wonderful fertility, forming the most extensive and uninterrupted melodic flow of the whole work. Once more the sudden change of mood is introduced by sharp on­ slaughts consisting of the themes of Golaud, Pelleas and Me1isande and concluding with a brutal smash in the brasses and percussions, suggesting the murder of Pelleas. The epilogue then follows. The first love theme, with which the work began, returns. This time two English horns and two bass clarinets are used to add to the dismal color of the dirge. Two new ideas are used, the English horn presenting one: )I.e, /I. tcql ~ ..... 1+"'- }Jlmr ~-A.tf' ~ 122 TWENTY-SECOND SEASON, 1916-17

and the other woodwinds the second: }ld/~"~ !fh_ 3!~.lE31'J ~. A broad development of the Golaud theme and these two new ideas leads to the close, which is reached with the Golaud and the first Jealousy theme, (No.2) in the utmost depths of loneliness and sorrow.

INTERMISSION.

Micaela's Prayer, "Carmen," (Act III) ...... Georges Bizet 1838-1875 C'est des contrebandiers Ie refuge ordinaire. 11 est ici, j e Ie verrai, Et Ie devoir, que m'imposa sa mere, Sans trembler, j e l'accomplirai. Je dis que rien ne m'epouvante J e dis helas! que j e reponds de moi; Mais j'ai beau faire la vaillante Au fond du coeur je meurs d'effroi! Seule en ce lieu sauvage, Toute seule j'ai peur, Mais j'ai tort d'avoir peur V ous me donnerez du courage Vous me protegerez Seigneur. J e vais voir de pres cette femme Dont les artifices maundits Ont fini par faire un infame De celui que j'aimais. jadis! Elle est dangereuse, e1le est belle, Mais je ne veux pas avoir peur, Je parlerai haut devant, e1le, Seigneur, vous me protegerez. J e dis que rien ne m' epouvante, etc., etc.

"Here's where the smugglers come When they meet one another. And it is here that him I'll see A duty 'tis, thrust on me by his mother. Without fear, 'twill accom­ plished be. I vow that none shall prevent me, I say my part I'm strong to play. But though the courage now is lent me, yet in my heart there is dismay. Alone in this place so lonely, All. alone I fear, but wrong it is to fear. Give me Courage! Thou canst only, On Thee I call and thou wilt hear. I shall see the face of this woman She with her arts so vile, who has Shamed with malice inhuman, Him, Whom my love would ne'er beguile. She is dangerous. She isa beauty, But I will ne'er give in to fear, I'll speak face to face, 'tis my duty, On Thee I call to help me now. I know my pray'r thou'llt hear. I vow that none shall prevent me, etc., etc.

"The Swan of Tuonela" ...... Jean Sibelius 18<65'- HIS unique composition is the third part, or movement, of a suite for orchestra in four numbers, which Sibelius wrote under the gen­ T eral title "Lemminkainen." Its inspiration is taken from the na­ tional epic poem of Finland, "Kalevala." In Finnish mythology "Tuonela" is the realm of death which is sur- ELEVENTH CONCERT 123 rounded by deep, dark waters. Upon the surface of these black waters rides a swan, singing a melancholy song which sounds weird and dismal as he moves along in its swift current. Gloomy chords in the divided strings open the composition and estab­ lish the mood of dim foreboding. The song of the swan is a mournful melody, given out by the English horn and continued by the strings. The harmonies are weird and uncanny. There are faint rolls of the drum, incidental solo passages by various instruments and a vague atmosphere, the while the English horn proceeds with the melody and the bass clarinet and horns echo it. The second theme appears in the strings, over a slow, rhythmical accompaniment of the horns, trombone and tympani and sub­ dued harmonies of the bassoons and bass clarinet. The melody is re­ peated by the English horn over the sustained chords of the violins and the rhythmic markings of the harp and tympani. A suggestion of the first theme recurs and a passage in the solo 'cello, gradually subsiding into melancholy chords, conclude the work. Its spirit is one of loneliness and mystery and the fanciful idea is admirably reflected in the unique tonal coloring of the composition. The "Kavevala," it has been charged, suggested to Longfellow his "Hiawatha." A critic, in 1855, accused the American poet of having "borrowed the form, spirit and most striking incidents" from the epic for his own work. Later this charge was considerably mitigated, though the influence of the Finnish work on Longfellow could not be denied.

Air f rom "L·ucla " ...... '. . . .. G aetano D"ontzeth 1797-1848 II dolce suono mi colpi di sua voce, Ah quella voce m'e qui nel cor discesa Edgardo, io ti son resa, fuggita io son da tuoi nemici. Un ge10 mi serpeggia nel sen. Trema ogni fibra, vacilla il pie, Presso la fonte meco tassidi alquanto, si pres so la fonte meco t'assidi! Ardon gl'incensi, splendon Ie sacre faci, splendon intomo. Ecco il ministro­ porgi mi la destra, Oh lieto giorno Allin son tua, Alfin sei mio, A me ti dona un Dio. Ogni piacer piu gra to, si ogni piacere ni fia Con te diviso, del ciel clemente un riso la vita a noi sara.

On my ear softly falls his sweet voice beseeching. Ah voice beloved, my heart's depths even reaching. Thine Edgar, once more behold me. No more thy foes a captive hold me. Cold shudders O'er my frame seem to creep. I tremble, falter my steps. N ear yonder fountain sit thou a while beside me. 124 TWENTY-SECOND SEASON, 1916-17

The incense rises. Brightly shine . forth the tapers shedding their lustre, Comes forth the priests now, stretch forth now thy right hand. Oh day of gladness. Thine I am ever. Thou mine for ever. Heav'n makes me thine for ever. Dearest, the words each pleasure, henceforth with thee now sharing. Life shall resemble a treasure, by Heaven on us bestowed.

"Le Printemps," Musical Tableau, Ope 34...... Alexander Glazounow 1865- HIS charming composition is exactly what it claims to be, a musical picture of spring. It was composed in 1891 and the score is pref­ T aced by the following quotations from the Russian author, Tutchew: "Spring advances, advances, And following it joyously In purple and luminous chorus Come the sweet, warm days of May." TWELFTH PROGRAM

Friday Afternoon. Saturday Evening. March 30. 1917. March 31. 191 7.

Overture, "Die Entfuebrung aus dem Serail" ...... M ozan

Symphony, C major, No.7 ...... Schubert Andante-Allegro rna non troppo. Andante con moto. Scherzo-Allegro vivace. Finale-Alle~ro vivace.

Concerto for piano and orchestra, D minor, Op. 70...... Rubinstein Moderato. Modera'to assail. Allegro assai.

Overture, "King Lear"...... Berlioz

SOLOIST : FANNIE BLOOMFIELD-ZEISLER. 126 TWENTY-SECOND SEASON, 1916-17

Overture, "Die Entfuehrung aus dem Serail," ...... Wolfgang Amadeus Mozart 17560-1791 HE opera, "Die Entfuehrung aus dem Serail," which still maintains a place in the repertoire of some of the German opera houses, though T very rarely given in this country, was written in 1781 and was given its first performance in Vienna on July 12, 1782. Emperor Joseph II established in Vienna an institution at which Ger­ man "Singspiele" and operettas were to be encouraged. Mozart settled in Vienna in 1781 and the Emperor commissioned him to write a work for this theatre. "Die Entfuehrung aus dem Serail" was the result. The overture is in the bright vein which reflects the spirit of the opera and is built on themes which occur in the three acts. When the opera was performed Joseph II is reported to have re­ marked to Mozart: "It is too grand for our ears; there is a prodigious quantity of notes." Mozart replied that this was precisely what was de­ signed. During the composition of this opera Mozart married Constance Weber.

Symphony No.7, C major ...... Franz Schubert 179'7-1828 N the short span of thirty-one years Franz Schubert gave to the world a wealth of music, all of it written with a spontaneous flow that was I God-given and most of it destined to live and command the apprecia­ tion of many generations. As Schubert approached the end of his brief career his work became more ripened without losing any of its freshness. The last year of his life witnessed a prodigious production which included the "Schwanengesang" cycle, the magnificent string quintet in C (Op. 163), three piano sonates, the oratorio "Miriam's Song of Triumph," the mass in E-flat, many smaller compositions and the Symphony in C. The autograph of the Symphony is in the library of the Musikverein in Vienna. It comprises 218 pages and the many changes which are marked indicate that Schubert had taken greater care with it than his previous works. At the same time, as Grove says, "It is impossible to look at the writing of the autograph, after Schubert has warmed to his work, especially that of the finale, and not see that it was put down as an absolute impromptu, written as fast as the pen could travel on the paper." Upon its completion Schubert offered it to the Musikverein, but it was found too difficult for this society, the foremost in Vienna's musical life, to master, and it was laid aside. The composer never heard it performed -just as he never heard his beautiful "Unfinished." The C major Symphony lay forgotten after Schubert's death for ten years until, in 1838, Robert Schumann came to Vienna on a visit. He called upon the composer's brother, Ferdinand, who had a large amount of TWELFTH CONCERT 127

Franz's manuscripts. Schumann examined them and found a copy of the C major symphony which attracted him to such an extent that he se­ cured permission to send it to Leipsic where Mendelssohn was conduct­ ing the Gewandhaus orchestra. Mendelssohn's admiration for the sym­ phony equaled that of Schumann and an adequate performance was given it on March 21, 1839. After this premiere, Schumann wrote as follows: "Often, when looking on Vienna from the mountain heights, I re­ called how frequently the restless eyes of Beethoven may have scanned the distant Alpine range, how dreamily Mozart may have watched the course of the Danub~ which seems to thread its way through every grove and forest, and how often Father ·Haydn looked at the spire of St. Stephen and felt unsteady while gazing at its dizzy height. * * * * * * "In the Schubert Symphony, in the transparent, glowing, romantic life therein reflected, I see the city more clearly mirrored than ever, and understand more perfectly than ever before why such works are native to the scene around me. * * * * Here we have, besides masterly power over the musical technicalities of composition, life in all its phases, color in exquisite gradations, the minutest accuracy and fitness of ex­ pression and, permeating the whole work, a spirit of romance such as we had come to recognize in .other Schubert works." Weingartner aptly says of the symphony: "How great it stands be­ fore us in its four monumental movements, the first swelling with life and strength, the gypsy-romantic second with its wonderfully mysterious horn passage (the 'heavenly guest,' as Schumann so finely put it), the splendid scherzo and the finale replete with colossal humor t No sought-for­ harmonic effects, no polyphonic combinations awaken our interest, and yet this work, in spite of its unusual length, fascinates the hearer and sweeps him along."

I-Andante: AllegroJ ma non troppo. A lengthy introduction, comprising seventy-seven measures, precedes the main part of the movement. The -horns in unison announce the fol­ lowing theme:

~~I. . -J:. > > > > > > 1i1lt l~ 1 :1 i. H 11. r J Il H It. n 11. £1 I~~ d.,; I The introduction is built on this single idea. It is developed to an elaborate crescendo whereupon the Allegro begins with the following strongly marked rhythmical theme: ,.~. I t I fl +. +. rl,+. ~+ .• + I • 128 TWENTY-SECOND SEASON, 1916-17

The second theme makes its appearance rather unexpectedly in the key of E minor instead of the expected dominant, G major. It is in sharp contrast to the character and mood of the leading motive and is intoned by the oboe and bassoon as follows:

The second subject is given extensive development during which the trombones frequently suggest the opening horn theme of the introduc­ tion. The development section proper is of great length and inventive fecundity. A lengthy coda is attached, the conclusion bringing forward the opening theme of the movement.

II-Andante can mota. This beautiful movement, one of the exquisite gems of music, has a certain gypsy flavor which Schubert probably gained during his. several sojourns in Hungary. After a few introductory measures in the strings the principal theme, a plaintive melody in A minor, is sung by the oboe:

In the second part the clarinet is added and a tender refrain in A major rounds it out beautifully. The strings present the second theme as follows:

It is a melody of great tenderness and charm and is developed in a delightful manner. Near the end of the development occurs the "wonder­ fully mysterious horn passage" of which Schumann said "the horn is calling as though from a distance that seems to come to us from another world; here everything listens as though some heavenly messenger were hovering around the orchestra." The first subject returns, again in the oboe, and the development of both subjects proceeds. TWELFTH CONCERT 129

III-Scherzo-Allegro vivace. The strings in unison, answered by the woodwinds and horns, present the leading motive of this movement as follows: ~P-a ,~----- No." ~~ illl !,I i ~ uD J'1 J IIlfUUUIHl:lntiilIJIt... liilf un ·1 s~ r "J This is followed by a second subject in the first violins and imitated in the 'cellos. The Trio is in A major and is based on the following eight measures which are by way of introduction:

No} >

J -- -

The scherzo is repeated.

IV-Finale-Allegro vivace. A trumpet call and a triplet figure in the strings usher in the final movement which, in breadth of character, is constructed on the same lines as the first. The first theme is given out by the woodwinds and, with the triplet variant, in the violins. The rhythmic character of the introduc­ tion, the dotted sixteenth and the triplet, are to be noted throughout the movement. A fine sounding of four Ds in the horns introduces the sec­ ond theme, with the persistent triplet figure still in the strings, thus: fto.8 "l - ~ III d till I ~ tilil! fill Ii. Wi != Ii: fl4illt~ t)l 1,..) t.) 1..") 2. 1 3 J 3 .. The development section is long and full of many striking effects. Then the four notes which precede the above-quoted theme, being fre­ quently used, finally usher in the recapitulation in which the subjects are developed as in the exposition. The four notes are sounded repeatedly by trombones, horns and strings and a brilliant coda rounds out the sym­ phony which stands as one of the masterpieces among the classics. Schubert died November 19, 1828, just twenty months after Bee­ thoven, of whom he was an intense admirer. During his lifetime he was but little appreciated. There are many anecdotes of his impecunious mode of living. When funds ran low he wrote a few songs or a cham- 130 TWENTY-SECOND SEASON, 1916-17 ber music composition and( then found himself affluent in the meager amounts realized from their sale. But, there is no doubt that he com­ posed for the pure love of it and because he could not resist the impulse. He left manuscripts scattered about without the least concern for present or future fame. An inventory of his possessions at the time of his death placed their value at about ten dollars.

INTERMISSION.

Concerto for piano and orchestra, D minor, Ope 70, ... Anton Rubinstein 1830-1894 UBINSTEIN, one of the most brilliant of pianists, strove to win a more lasting fame as a composer. While he was prolific and many R of his works received great applause in their day, they did not sur­ vive the test of time, and it is a rare occurrence now to find one of the Rubinstein symphonies-the one-time very popular "Ocean" symphony, for example-on a concert program. Of all his works, the D minor piano concerto finds its way most frequently into the concert hall today. Its brilliance and the opportunities it gives for virtuoso display in a great measure account for its life. Rubinstein himself played it here in 1873 and it has been frequently performed since. Mme. Zeisler herself played it with the Cincinnati Symphony Orchestra in 1896, more than twenty years ago. It was last played here by Joseph Hofmann, in March, 1914. The concerto is in three movements. The first, moderato, in the sonate form, is of serious character and contains a cadenza of great bril­ liance and technical display. The second movement is an appealing one and .deeply expressive, while the final movement is a bright, spirited and elaborate rondo.

Overture, "King Lear," Op. 4 ...... Hector Berlioz 1803-18()9 HE overture "King Le'ar," which Berlioz wrote during the period of his stay in Italy, whither he had sojourned as winners of the T Prix de Rome, was inspired partly by Shakespeare and partly by the famous Irish actress, Henrietta Smithson, whom Berlioz met in Paris and who afterward became his wife. In his memoirs, the composer dis­ cusses his first acquaintance with the English poet in his customary ex­ travagant language: "Shakespeare coming upon me unawares, struck me down with a thunderbolt. His lightning spirit, descending upon me with transcendent power from the starry heights, opened to me the highest heaven of Art, lit up its lowest depths and revealed the best and grandest and truest that earth can show." The wooing of Berlioz and the Irish actress was a tempestuous one. In 1830 he went to Rome. Previously he had had an affair with a certain Mlle. Moke, whose mother married her off once the erratic musician was TWELFTH CONCERT 131 gone. Berlioz heard of it and, in a rage, wanted to return to Paris and kill the husband, wife and mother. His impulse led him as far as Nice when his own judgment, together with some advice given him, induced him to forsake his plan. He lived "for a month alone at Nice," he states, "writing the 'King Lear' overture, bathing in the sea, wandering through orange-groves and sleeping on the healthy slopes of the Ville franche hills." The overture was finished in May, 1831, and received its first per­ formance in Paris at a Conservatoire concert, November 9, 1834. It has been played by the Cincinnati Symphony Orchestra but once before, in the season 1896-97. An andante introduction opens the work. The first subject is stated vigorously in alternating piano and forte after which a charming theme is sung by the oboe. The main movement is an allegro with an im­ petuous melody in the strings. The second theme is again presented by the oboe. This material is brilliantly treated in the scoring and an agitated coda concludes the overture in a sonorous manner.

THIRTEENTH PROGRAM

Friday Afternoon. Saturday Evening. April 1 3. 191 7. April 14. 191 7.

Overture, "Ali Baba" ...... Cherubini

\ Symphony, No.3, F major, Op. 90 ...... Brahms Allegro con brio. Andante. Poco allegretto. Allegro.

A Sketch of the Steppes of Middle Asia...... Borodin

Aria, Senta's Ballade ("The Flying Dutchman") ...... Wagner

"'Ein Daemmerungsbild"...... Brune

Aria, "Abscheulicher" (Fidelio)...... Beethoven

Overture, "Namensfeier" ...... Beethoven

SOLOIST: MME. MELANIE KURT. 134 TWENTY-SECOND SEASON, 1916-17

Overture, "Ali Baba" ...... Luigi Cherubini 1760-1842

HE music of the opera, "Ali Baba," which was produced in Paris in 1833, during the time that Cherubini was conducting Italian opera T in that city, was originally composed under the title "Koukourgi," in 1793. In this form it remained in manuscript. Later, when a text with the story from the Arabian Tales of Ali Baba and the Forty Thieves was determined upon as the libretto of a new opera, Cherubini used the music of the earlier work as the basis for the new. The overture is in the classic form. It is full of humorous touches and sparkles with orchestral wit. The first part is a sl'ow movement which may be said to be a series of fermata. 'The sudden and frequent halts in the music suggest the movements of the Forty Thieves. The second part of the overture is in the character of a swinging and flowing march.

Symphony, No.3, F major, Op. 90 ...... Johannes Brahms 1833-1897

HEN Brahms was fifty years old, his third symphony, in F major, was given to the world. It had been the custom of the composer Wto play his symphonies in two piano arrangements to a close circle of friends in Vienna, the composer, Ignaz Bruell, playing them with him, before their public orchestral performance. The same procedure was maintained relative to this symphony. The first public performance was given by the Vienna Philharmonic Society, on December 2, 1883, the late Hans Richter conducting. Its success was immediate and praise which sounded extravagant was showered upon it. Richter toasted it as another "Eroica," Mme. Clara Schumann pronounced it a "forest idyll," Hanslick, the dreaded critic, outdid himself in praise and Brahms became visibly nervous. Incidentally, he received the unwonted sum of 36,000 marks ($9,000) from the pub­ lishers for the copyright in addition to a percentage of the receipts. Brahms was a good business man. He received the best royalties of any composer of his time and left quite a comfortable fortune at his death. It is not generally known that Theodore Thomas endeavored to se­ cure the privilege of the symphony's first performance in America for the Cincinnati May Festival of 1884. He wrote Brahms during the sum­ mer of 1883 regarding it, but the arrangements were not completed. In­ stead another conducted, later on to be identified with Cincinnati's mu­ sicallife, Mr. van der Stucken, conducted its first American performance on November 24, 1884, at one of the novelty concerts in Chickering H'a1I, New York. THIRTEENTH CONCERT 13{)

I-Allegro con brio Three chords open the symphony by way of introduction, as follows:

~CI."

f J .f .

The upper notes of these chords-F, A-flat, F-form a kind of motto which is extensively used in the course of the work. The first theme be­ gins with the third measure. It is a long one and may be divided into two parts. The first part is this:

...v+ -, . '"

>

>

It will be noted that the three notes that form the above-mentioned "motto" are employed now as the bass. As the melody proceeds these three notes persistently recur as a counter-theme in the different voices of the orchestra,_ but without disturbing the principal melody as it is sung by the violins. The second part of the theme is the following, during which the "motto" theme is silent:

1\ -== -::::> . I ,,', I .. I J + - :: =!ji. I ~ J '" 1.11 ~ 1.1 ...." ~ ~ ,.,"1 tt f f ~~ , 1 1 l_J ~ .J..! ~ .1. if l,:t· l' : If .• ~ . I , I 1 I .

There is a tranquil episode following this exposition and then enters the seconq itpeme of the movement, a somewhat complicated one rhythmic- 136 TWENTY-SECOND SEASON, 1916-17

ally. It is sung by the clarinet with an accompanying phrase in the bas­ soon, thus: po_f .....j ... , •

'-- -.&. + .•

Added to this is the following phrase in the strings:

and immediately joined to it are the three "motto" notes of the opening played by the oboe. • The development section which follows is short in comparison to the extent of the exposition section. It is devoted to the two chief themes while the "motto" is heard in the horns and the oboes. The three chords of the opening usher in the recapitulation which is practically the same as the first part. The second theme appears in D major and the extensive coda is introduced by a modulation into F major, which concludes the movement. It is noteworthy that, throughout the movement, Brahms avoids the key of the dominant, C major, which \s the natural province of the sec­ ond theme, and seems to be reserving it for the second movement.

II-Andante This movement is one of idyllic beauty, charm and affectionate ap­ peal. The orchestral apparatus is simplified by a discontinuance of the trumpets and tympani. . The opening theme is of a decided pastoral character, sung in four­ part harmony by the clarinets and bassoons:

'~i ~4. J. J.~.

The lower strings repeat the closing phrase after which the clarinets and bassoons resume. In this manner the theme is developed for a time. THIRTEENTH CONCERT 137

A rare modulation leads to the second theme, which is also sung by the clarinets and bassoons as follows:

This phrase is repeated by the oboe and horns and a continued ex­ change between the woods and the strings leads to a return of the first theme which, in typical Brahms fashion, is extended. The coda is built on the first theme, tranquilly closing the deep-felt and appealing move­ ment. III-Poco Allegretto This movement which assumes the place of the conventional scherzo, is regarded as one of Brahms' most individual inspirations. Parry says of it that it is "one which for plaintive grace and delicate expression has not its fellow in music." It is scored for a small orchestra, only the woodwinds, two horns and the strings' being used. A soft, sighing cantilena, sung by the 'cellos, opens the movement:

It is repeated by the yiolins. The horns, oboes and flutes are con­ cerned with its continuation and development, while the strings play a restless motive by way of accompaniment. The theme of the trio is given out by the woodwinds, as follows: -- ... -

~ -

Suggestions of the first three notes of the movement occur. When the first part is repeated the melody is sung by the horn instead of the 'cello. The oboe repeats it, then the violins and 'cellos, and a peaceful coda rounds out the movement which has been aptly described as "the smile of a tearful fairy, or the sunshine of an April day. 138 TWENTY-SECOND SEASON, 1916-17

IV-Allegro The closing movement throws off all the restraint of the second and third. The dark tonality of F minor prevails for a long time and it is only toward the close that the bright and cheerful major mode returns. The strings and bassoons begin ominously with the principal theme:

}O.IO l I~.: if' ~ I e±!QD Itf!.!J1 lliru ..

After its repetition the trombones solemnly sound in subdued tones the entrance of the following hymnlike theme in the strings and woods:

r ;) f\

~'./ +1+ (J _. w of;" •. • J • ~ .

At the third entrance of the trombones the orchestra rises to an im­ pressive climax. The "motto" of the opening is suggested and when the passage has reached its height a fanfare in the horns announces the sec­ ond subject proper. The atmosphere is once more clarified. The dark­ ness has been dissolved and a peaceful theme in C major is sung by the 'cellos and horns:

iO.I1I /T" I't ;tili II ~ I I i I Iat fJ rEm) Il

The woods and violins take up the new material and proceed to de­ velop it. There follows a bold, syncopated subsidiary theme, proclaimed by the full orchestra. The development section is very limited. The recapitulation repeats and also develops the various themes. The coda begins with the leading theme and later uses the hymn-like melody. Toward the close the "motto" of the opening of the symphony returns as well as the opening bars of the very first movement. Thus is the symphony closely bound together.

INTERMISSION. THIRTEENTH CONCERT 139

In the Steppes of Middle Asia, (a sketch) ...... Alexander Borodin 1834-1887 HIS orchestral sketch, which is dedicated to Liszt, is a colorful reflection of the program which the composer himself notes as the T inspiration of his composition. It reads as follows: "Over the level sandy steppes of Middle Asia come the unwonted sounds of a peaceful Russian song. From the dista,nce is heard the stamping of horses and camels, and the peculiar sound of an Oriental melody. A native caravan draws near. It pursues its way, safe and free from care, through the boundless desert under the protection of Rus­ sian arms. It moves farther and farther away. The song of the Rus­ sians and the melody of the Asiatics combine to form a common harmony, the echo of which is gradually lost in the air of the steppes." The sketch is a delineation of mood. It is built on two themes which are sharply contrasted in character. Senta's Ballad, from "The Flying Dutchman"...... Richard Wagner 18113-1883 HE ballad is sung by Senta in the second act of the opera. The T following frre translation is from the pen of Natalia Macfarren : Y o-ho-hoey! Yo-ho-ho-hoey! Yo-ho-hoey! Y o-hoey! A ship' the restless oceans sweeps; Blood-red her sails, and black her masts; Her pallid captain never sleeps, But watchful glances round him casts. Hui! The wind is shrill! Y o-ho-hoey! Like an arrow he flies. without rest, without end! Yet this pallid man from his lifelong curse may deliver, Find he a maiden, faithful and true, to love him forever. Ah! mightest thou, pallid seaman, but find her! Pray he that Heav'n soon, In his need may grant him this boon. Against a tempest's utmost wrath, Around the Cape he once would sail; He curs'd and swore a foolish oath: "Befall what may, I' will prevail!" And Satan heard! He mark'd his word! And condemned him to sail on the sea, without aim, without end! Yet this wretched man from his lifelong curse may deliver, Would but an angel show him the way his bondage to sever. He goes on shore when seven years end; A wife he seeks, the land around; But wheresoe'r his steps he bend, For him no faithful wife is found. "Unfurl the sails!" Yo-ho-hey!" "The anchor weigh!" Y o-ho-hey !" "Faithless love, faithless troth! To the sea, without aim, without end!" Ah! where is she; to whose loving heart the angel may guide thee? Where. lingers she, thine own·· to death, whatever may betide thee? 140 TWENTY-SECOND SEASON, 1916-17

"Ein Daemmerungsbild," Op. 64 ...... Adolph Brune 1870- HE composer designates this "twilight picture" a "Capriccio." It is constructed of a principal and secondary theme and a brief inter­ T mezzo.. In the principal theme there are four musical ideas of which liberal use is made in the course of the co.mposition. The most marked of these is the one formed by the first three notes, played by the 'cellos. They are fourths (D sharp, G sharp, C sharp). The composer has built his piece o.n the harmonic system of chords of the fourth, which system is set forth by Arnold Schoenberg in his book "Harmonielehre." By so doing, he has given it an individual and striking treatment. The first theme is as follows:

lUll ~ ~'\ \ ____

o r.:--r-

The third measure is the principal source of the development, in a quiet and gentle mood, after which the second theme, which is of a more buoyant character, enters thus:

l._., If~ ~~ rl-fJ", {'~ .4-~ I ~. r ,:,,'JJ'":I

After this material has been worked over, a short intermezzo. occurs in which unique use is made of harmonics in the violins and violas. The first and second themes are repeated and the piece closes in a serene and quiet mood. Adolph Brun is a resident o.f Chicago. He was born in Bakkum, Hanover, Germany, and received his first instructio.n from his father. He came to this country in 1889, accepting a position as organist in Peoria, Ill. In 1894 he removed to. Chicago, where he now resides.

Recitative and Aria, "Abscbeulicber" (Fidelio) . . Ludwig van Beethoven 1770--1827 HIS famous aria from Beethoven's only o.pera is sung in the first act by Leono.ra after she hears Pizzaro tell ~he jailer to dig a grave T for Don Florestan, her husband, whom he Intends to. murder in his cell, where he has been committed for a political offense. THIRTEENTH CONCERT 141

Abseheulieher! wo eilst du hin? was hast du vor? was hast du vor in wildem Grimme? Des Mitleids Ruf, der Mensehheit Stimme, ruehrt nieht mehr deinen Tigersinn! Doeh toben aueh wie Meereswogen die in der Seele Zorn und W uth, so leuehtet mir ein Farbenbogen, der hell auf dunkeln W oIken ruht.

Der blickt so still, so friedlich niedert der spiegelt aUe Zeiten wieder, und neu be- saenftigt wallt mein Blut. Komm Hoffnung, lass den letzten Stern Mieh staerkt die Pflieht Der Mueden nicht erbleichen! Der treuen Gattenliebe. o komm, erhell' mein Zie1, sei's noch so o du, fuer den ich alles trug fern, Koennt ich zur Stelle dringen, Die Liebe, sie wird's erreichen. Wo Bosheit dieh in Fessdn sehlug Ieh folg' dem innern Triebe, Und suessen Trost dir bringen! Ieh wanke nieht, Ieh folg dem innern Triebe, etc.

Overture, "Namensfeier," Op. lIS...... Ludwig van Beethoven 1770-1827 HIS overture was completed October 4, 1814, though it had been sketched a number of years before. The date is the feast of St. T Francis, the namesday of Kaiser Franz, and thus the work received its name. Grove is the, authority for the statement that Beethoven had a setting of Schiller's "Hymn of Joy" in mind when sketching this music, the eventual use of the ode being in the choral finale of the Ninth Sym­ phony. The overture begins majestically with a slow movement which for dig­ nity, fineness and nobility takes rank with the foremost of Beethoven's creations. The allegro then follows, bright in character and of less serious import. This overture has never before been given by the Cincinnati Symphony Orchestra and comes, therefore, in the nature of a novelty.

FOURTEENTH PROGRAM

Friday Afternoon, Saturday Evening, April 27, 1917. April 28, 1917.

Symphony, D major (Breitkopf and Haertel, No.5) . . . Haydn Adagio-Allegro assai. Largo cantabile. Minuetto-Allegretto. Finale-Presto rna non troppo.

Concerto, G major, "Brandenburg," No.3 ...... Bach (String Orchestra) Allegro. Allegro.

Symphony No.3, Op. 55, "Eroica" ...... Beetho"en Allegro con brio. Marcia funebre: Adagio assai. Scherzo. Finale, Allegro molto. 144 TWENTY-SECOND SEASON, 1916-17

Symphony, D major, (Breitkopf and Haertel, No.5) .. .. Joseph Haydn 1732'-1809 HE twelve symphonies which Haydn wrote for the two London sea­ . sons he gave under. the direction of Peter Salomon ~re .a~ong the T greatest of his writmgs. They are not all of equal IntnnslC value, but charm and spontaneous flow are to be found in all of them. Haydn was induced to visit London-he had great. fear of crossing the channel-after he had been pensioned by the Prince Esterhazy and had determined to settle down in Vienna. It took seventeen days to make the journey from the Austrian capital to London. Salomon was a good impressario. He sent messages ahead about Haydn's engagement and aroused wide-spread interest in the coming of the noted composer, so much so that when he arrived with his "star" Haydn was greeted as a conquering hero. The aristocracy and the artistic life of London show­ ered their attention upon him and he was feted on all sides. Financially his stay was also very successful. What with the royalties for new com­ positions, the concerts he conducted and the lessons he gave, his income amounted to more than £2,000, a very large sum for those days. The first visit was made in the early part of 1791. Three years later he paid his second visit to the English metropolis, again under the direc­ tion of Salomon, again with great success and again with increased finan­ cial emoluments. The symphony to be played today' belongs to the first series. While it bears the number five in the Breitkopf and Haertel edition, it is the sec­ ond in the London Philharmonic Society's list and, according to their authority, was written during Haydn's first stay in that city, in 1791. This is the symphony's first performance by the Cincinnati Symphony Orchestra. It is replete with bright and cheerful passages and while it may not rank with the greatest of the Haydn symphonies, it is of such sprightliness and spontaneity that it is sure to be welcome. I-A dagio-A lie gro assai As is the general rule with Haydn, the symphony opens with a stately adagio by way of introduction. The full orchestra sounds the D major chord and then the violins state the theme. This introduction is short, and passes directly into the first movement proper, allegro assai. The string section begins and the first principal theme is as follows:

I .1 4 I ~'!i*_ _ _ d J:'t4- r g}~= __ 11& , Ji eN1_ ( :r,~:i___ I it..,~ I (k[$ J i _ ..,1, r d .,;:· ~t" . - ~... I In strict form the whole movement is carried out, the second theme in A major, being as follows: f; r Of~;J h ICPEjJ , 01 r '-.. FOURTEENTH CONCERT 145

These two themes are developed with much ingenuity and repeated at the close. II-Largo cantabile This movement, a little more serious in character, is founded on the following theme, introduced immediately by the violins:

)w~ 1&'- t· n 1 F;I ffih p-tu;,] it' jlt~fF0if, .. - It is used throughout the movement, the various instruments taking it up and forming thereby a tender and moving section.

III-Menuetto-A lle gretto The stately minuet opens with the following theme, upon which it is built:

The trio follows, being constructed of the following:

Mr . ~ g;: 1 ,. JJ I {jJ f J r 3J rI (-sa r tZe In true form, the first part is repeated.

IV-Finale-Presto~ ma non troppo Two themes compose the material upon which this movement is built. They contrast somewhat in character, though the whole finale is buoyant and dashing. The first theme is stated at once:

)we.

~$;.w bPlttt: iii! 1. .)/gJ]1] J i1i

After its repetition the second theme enters in the second violins and bassoons, with the first violins taking it at the second bar, thus:

This is also repeated and then the development proceeds in orthodox fashion, the work concluding in a veritable whirl of the orchestra. 146 TWENTY-SECOND SEASON, 1916-17

Concerto No.3, G major...... Johann Sebastian Bach 1685-17,5.0 HE Margrave of Brandenburg, Christian Ludwig, having met Bach at Carlsbad (so it is generally believed) invited him to write so.me T pieces for the excellent orchestra which he maintained at his palace.. Bach accepted the commission and wrote six concertos. They were con­ certed pieces for various instruments in the orchestra. While the prince carefully catalogued the works in his musical library, these concertos were not specified and Bach's name did not appear. They were included in the group Df miscellaneous works and after the prince's death, came into the possession of the Princess Amalia, the sister of Fred­ erick the Great, of Prussia. The first printed edition appeared in 1850. The concertos have been known as the "Brandenburg." The third one, in G major, is composed Df two allegro movements and is written for the strings only. They are divided into three choirs, the violins, violas and 'cellos, and each of them is, in turn, divided into three groups. The first movement is "instinct with life and genius, containing some of the finest passages in the whole realm of German instrumental lTIusic." Two sustained chords divide the first and second movements. The latter is a typical finale for a concerto. While these six concertos were written for the Margrave of Branden­ burg and mark the highest point achieved among the older concertos, there is no record that· they were ever perfo.rmed by the Prince's or­ chestra. INTERMISSION. Symphony in E.f1at, No.3, Op. SS ("Eroica").. . Ludwig van Beethoven 1770-1827 HE third symphony o.f Beethoven is familiarly kno.wn as the "Eroica." In the first publication of the work the title page bears T the description "Sinfonia Eroica-Composed to celebrate the mem­ Dry of a Great Man." It is well known that the symphony was inspired by Napoleon Bona­ parte. In fact, in a letter to his publishers, Beethoven signifies his inten­ tion of calling it the "Bonaparte" symphony. The idea of writing the work was suggested to Beethoven by BernadDtte, at that time French Ambassador to' Vienna, who.m the CDmposer had met at the house of Kreutzer, the violinist (to whom the "Kreutzer" sonate is dedicated). Beethoven was an ardent republican and Plato's "Republic" was his political creed. Napoleon, as First Consul, represented to him, in con­ crete form, the idea of political freedDm. It is quite reaso.nable to pre­ sume that, as Beethoven proceeded with the wDrk, it grew to. be vastly more than a personal glorification of Napoleon and that it was truly in celebration of a "Great Man." When the news reached Beethoven that Napoleon had accepted imperial honors he was bitterly disappointed in his chosen "herD." He threw aside the symphony and for a time, wo.uld FOURTEENTH CONCERT 147 have nothing to do with it. Later, he was invited to play it in the palace of the Prince Lobkowitz. H'e erased the original dedication which bore the name of Napoleon and gave it its present title. It is probably a confession of weakness to seek a program in listening to this symphony, but the composer himself has instituted such reflection, for the "Eroica" and the "Pastorale" are the only two of his nine sym­ phonies given a title. When we consider the conditions of Europe at the dawn of the nineteenth century, it is easy to understand how Napoleon stood for the republican form of government in Beethoven's sympathies and that the overthrow of the autocratic form was his great desire. By his early conquests, bringing chaos out of the French revolution, Na­ poleon was realizing Beethoven's fondest hopes. He was the "Great Man," carrying out the designs of the Infinite. That the "Eroica" may therefore be regarded as Beethoven's expression of political freedom, ex­ tending to all mankind, is more than plausible. Beethoven made a tremendous step forward from his second to his third symphonies. In the "Erocia," for the first time, the form is made subservient to the content. Its bounds are extended and' the great poet speaks his thoughts with the unbounded eloquence of a seer. The first movement is a gigantic struggle, the second movement a monumental funeral march, the third movement is a brilliant scherzo and the close is a wonderful set of variations. In the "Eroica" the titanic Beethoven makes his first appearance. The people of his day could not grasp its significance. An interesting com­ mentary was that of ZeIter writing to Goethe, after hearing the music, that "Beethoven's mother must have been a man." The first hearing of the symphony was at the house of Prince Lobko­ witz. It did not please the audience very much. Nevertheless the prince had it repeated for the Prince Louis Ferdinand. The first public perform­ ance took place on April 7, 1805, in Vienna, Beethoven himself conduct­ ing. The work was begun in the autumn of 1802 and finished in August, 1804. On May 18, 1804, Napoleon was proclaimed Emperor. But news travelled slowly in those days and Beethoven did not hear of it until some months later when his pupil, Ferdinand, broke into his room one after­ noon and informed him of the event. Then occurred the incident of removing Napoleon's name from the title-age. I-Allegro can brio Two great chords serve as the introduction and then the 'cellos present the principal theme. It prevails throughout the entire movement and is nothing more than the E-flat major triad, but used with such wonderful ingenuity as to baffle the student. It is as follows: ~o.'. C~, P~ibl fTlrJI[frIHlt1. p 148 TVvENTY-SECOND SEASON, 1916-17

Out of this flows a subsidiary theme. It is a succession of phras~s of three notes repeated by various instruments, one after another, thus: ~I ~~ 1'°, 21, a~ I I"" f~ ~-u ,'\1'1 PI'F B II Y:l! There is a connecting passage of a lively character and then comes the second theme, an episode of tenderest beauty, more harmony than melody, and in direct contrast to what has preceded it. It is this:

YLv.,,~ (J)~ I~l 1-...,,1 I~I

tJ p~, I~, ~s/~ P~ ·r~,~, ~r{ ·~'iJ_'F-p: ~· ~ ! t ~ J:· li· ~1,.",,1 ~ ~.1 ~ ~...... + + ...... +....~ -a- --- -t...... I I ·;~b ~ C I If E Ig: '"'''' I I I 'J12 11 I j \ 'II r r .\ . iT f ~ - r It is repeated in minor when a variation of the opening theme inter­ rupts. In the working out the above quoted material is employed with the greatest latitude. The themes are altered and modified. As Grove says, there is "the sunlight and cloud, the alternate fury and tenderness, the nobility, the beauty, the obstinacy, the human character." Just be­ fore the recapitulation occurs the passage in which the violins play B-flat and A-flat while the horns play the first four notes of the opening theme in E-flat. It is said that even Wagner regarded this as a mistake and made the second violins play G instead of A-flat. After the recapitula­ tion there is a coda of one hundred and forty bars. It is of such propor­ tions that it is no mere termination of the movement; but an essential part of it. II-Marcia funebre-Adagio assai The strings: satta voce} announce this noble and inspiring funeral music beginning with the following theme: ~ol .,,~ nil

It is succeeded immediately by a broad and melodious theme in the violins: ~o S ~ ~ lit,,! pi! p II rtitm I kl1l f ~ fl HlliJ ~ ~ p ... -+ ••• +" ~ I 'I - .... ~ The suggestion of hope is brief and there is a return to the first mood. Coleridge said that it was "like a funeral procession in deep purple," a singularly appropriate description. FOURTEENTH CONCERT 149

The trio of the march, with the change of the key from C minor to C major, brings a ray of hope. The melody is sung first by the oboe, then the flute and then the bassoon over a triplet accompaniment in the strongs: ~1 J FT9 ~ 1'10·9· .- .. ~ 1 :-! *! fTi F1 ~i r-=r I r bit OJ I G~ - I - - - 7 7 7 tiL" After this beautiful intermezzo, there is a return to the minor key and the opening theme of the movement. A fugato theme soon enters as ~o.lo. h-

t'· HjJf 1# fill! .~ J;l 1f follows: and this is pursued at some length as the full orchestra gradually joins in the gloom and religious grandeur. The first theme returns once more. All is gloom as the march proceeds, halting, to its conclusion. Ill-Scherzo-Allegro vivace A complete contrast is afforded between the second and third move­ ments. In the scheme of his programmatic delineation of a Hero, this movement has always been difficult to explain. Berlioz thinks it is a pic­ ture of Olympian games to observe, in Grecian style, the departure of the Hero. But, if the Scherzo is allowed to speak for itself it readily de­ notes the fact that, while Beethoven may have had Napoleon as his in­ spiration when he began the symphony, his inspiration extended far be­ yond an individual as he proceeded. The Scherzo to this symphony is the most elaborate of its kind intro­ duced as a movement of a symphony up to that time. While there is humor and drollery they are not allowed to become boisterous and the suggestion of the woods and fields, so dear to Beethoven, is wonderfully contained in the horns in the trio. . The theme which opens the movement, played by the strings and then joined by the oboes, is as follows:

~o II' (.1. oct.. ~P\ 1 4 I i I fill i I t l I It! 11 ! tt! I t ~ ~~ Ii t! I ! 3 f I ...... T • .J. I~ ! .l. III 'l t I ~ ~~ ba r If r r I r f f 11 til f t rl If r r I r r r I ; f I I iii I

)~~"rfiji; i~' i r 1 jJ: i i Idj ~ I~j Ii I~ !~t. I i + 1i 1/1/ If i Ii d I /11 r II d 150 TWENTY-SECOND SEASON, 1916-17

This sly melody gradually extends itself over the entire orchestra and leads to a full and joyous outburst. The woods and strings present ques­ tions and answers to one another and cheerfulness resigns. Then comes the trio with its horn calls, redolent with the fragrance of the woods and the play of sunlight through the foliage : ~;\ J 'I p~ fit HIII I i ill _J Il s • • r U r r After the trio, the first part is repeated with some abbrevicdions and minor changes. IV-Finale-Allegro molto The closing movement of this symphony is another illustration of Beethoven's emancipation from traditions in that he employs the form of the variation, but does it in such a manner that it preserves the dignity of the whole. The theme upon which the variations are based is one for which the composer evinced considerable fondness since he also used it in the ballet music of "Prometheus," in a "Contretanz," and in a set of variations for the piano. Beethoven's treatment of the melody is original and the variations also extend to the bass. The theme and the bass are as follows:

~o .13. __ +7"'" _ r-'. •. rot . ..." " l"'.1 iilt' r Iftil tlj" tlTT IT ~IIiHi1lr to

(:fi!i".i ' 10 to It J 'J; Ip, 70 It' 'Ii IH'I P \! IEi1!i Il The movement begins with an introduction to establish the key. Then the bass theme is played pizzicato. Two variations of this follow, where­ upon the theme proper appears in the oboes and clarinets. The variations proceed with remarkable diversity until a Poco Andante is reached. Here the melody is given a new version and is played by the oboes, richly har­ monized by the clarinets and bassoons:

o. I~ __ r'. '""" .~ ~ + "' ~ •• .•. +~ -..,. ,~·.1~ ) IUJ Ir Ell 1j" Ir h~2 Ij ("lEUF! i 5 It is one of the noblest portions of the work and as Grove remarks, "the march (the second movement) represents the death of the hero and the interment of his mortal part. This Andante is his flight to the skies," With all the majestic sonority of the orchestra it is developed, then grad­ ually subsiding in preparation for the brilliant Presto with which the work joyously concludes. TWENTY-SECOND SEASON, 1916-1917

'QCbt

DR. ERNST KUNWALD CONDUCTOR

PROGRAMS OF THE POPULAR CONCERTS

MUSIC HALL

KLINE L. ROBERTS. Business Milnager 152 TWENTY-SECOND SEASON, 1916-17

SOLOISTS POPULAR CONCERTS TWENTY· SECOND SEASON, 1916·1917

Emil Heermann, Violinist7 November 19, 1916 Traume, Wagner ...... 155

Manuel B. Valles, Tenor7 December 3, 1916 Aria, "La Boheme," Puccini...... 160 Arioso, "Vesta la Giubba," Leoncavallo...... 163

Helen Stover, Soprano 7 December 17, 1916 Aria, "One Fine Day," Mme. Butterfly, Puccini...... 166 Aria from "Herod~ade," M assenet...... 169

Joseph Vito, Harpist7 December 31, 1916 Concertstiick, Pi6rne ...... 172

Mme. Peroux Williams, Soprano7 January 28, 1917 Songs from "Sieg der Zeit und Wahrheit," } a. Come, Come, Live With Pleasure, .. b. No More Complaining, No More Disdaining, Handel ...... 178 c. Dryads, Sylvans With Fair Flora, Song, a. Meinem Kinde, Richard Strauss ...... 180 b. Cacilie, Richard Strauss ...... 181

Viola May Husing, Soprano 7 February 11, 1917 Aria, "Dich Theure Halle," from Tannhauser, Wagner...... 184 Aria, "Elsa's Dream" from Lohengrin, Wagner...... 186

Siegmund Culp, Violinist7 February 25, 1917 Fantasia Appassionata, Vieuxtemps...... 190

Charlotte Sandman, Soprano7 March 11, 1917 Aria, "A fors e lui," from "Traviata," Verdi...... 197 Aria, "Thou Brilliant Bird," David...... 198

Florence Hardeman, VioHnist7 March 25 Polonaise in D, Wieniawski...... 203

Carl Schiffler, Baritone7 April 8 Toreador Song, "Carmen," Bizet...... 208 Aria, "0 Diamond Bright," from Tales of Hoffman, Offenbach...... 210

*Walter Gilewicz, Pianist7 February 18 Concerto, Op. 28, C sharp minor, Schytte...... 215 * Pension Fund Concert. FIRST PROGRAM

Sunday Afternoon. November 19. 19.16.

March, "Tannhaeuser" ...... , ...... Wagner

Overture, "Der Freischuetz" ...... , ...... Weber

Violin Solo, "Traeume" ...... Wagner

Suite, "Sylvia" ...... Delibes '1. Prelude and Le Chasseresses. II. Intermezzo and Valse Lento. III. Pizzicato. IV. Cortage de Bacchus.

INTERMISSION.

Overture, "Die Meistersinger"...... Wagner

Largo (for strings) ...... Handel

Symphonic Dance in A major...... Grieg

Hungarian Dance No.1 ...... Brahms

SOLOIST: EMIL HEERMANN. 154 POPULAR CONCERTS, 1916-17

March, Tannhaeuser ...... Wilhelm Richard Wagner May 22, 1813-February 13, 1883. Tannhauser was first performed at Dresden, October 19, 1845. It is a romantic opera in three acts; the full title was given as "Tannhauser und Der Sangerkrieg auf der Wartburg" (Tannhauser and the Tourna­ ment of Singers at the Vvartburg). Tannhauser has torn himself away­ from the court of Venus and has returned to Thuringia, to find that the~ Landgrave is preparing for a competitive tournament among the singers,. the winner of which is to be given his beautiful daughter, Elizabeth, in. marnage. The March on this afternoon's program occurs at the beginning of Act II, Scene IV, when the knights with their ladies, are assembling in the; great hall of the Wartburg, just before the contest of the singers. The,: music embodies a greeting to the Landgrave, Prince of Thuringia, who. is acting as host.

Overture, "Der Freischuetz"...... Carl Maria von Weber' 1786-1826, "Der Freischiitz," a romantic opera in three acts, libretto by Fried­ rich Kind, was first performed at Berlin, June 18, 1821. The first per-· formance of the overture, as a concert number, was at Copenhagen, Oc­ tober 8, 1820, during Weber's tour through North Germany and Den­ mark. The opera was from the first a great success, and has been played. perhaps more often, in Germany, than any other opera. The overture takes its themes entirely from the opera, with the ex­ ception of the quartet for horns, which occurs at the opening. Berlioz's admiration for the work was unbounded. "The overture is. crowned Queen of today," he wrote, "no one dreams of disputing it. It is cited as the model of the kind. The theme of the slow movement and that of the Allegro are sung everywhere. There is one theme that I must mention, because it is less noticed, and also because it moves me in­ comparably more than all the rest. It is that long, groaning melody, thrown by the clarinet over the tremolo of the orchestra, like unto a far-· off lamentation scattered by the winds in the depths of the forest. It strikes home to the heart; and for me, at least, this virginal song, which seems to breathe skyward a timid reproach, while a sombre harmony shudders and threatens, is one of the most novel, poetic and beautiful' contrasts that modern art has produced in music. In this instrumental inspiration one can already recognize easily a re­ flection of the character of Agathe, which is soon to develop in all its pas sionate purity. The theme is borrowed, however, from the part of Max. It is the cry of the young hunter at the moment when, from his rocky hei,ght, .he sou?ds with his eyes the ~byss~s of the infernal glen .. Changed a httle m outlIne, and orchestrated m thIS manner, the phrase IS different. both in aspect and accent." FIRST CONCERT 155

Again, in his "Treatise on Instrumentation," Berlioz says: '''What more admirable example could I quote of the application of some of these shadowings than the dreamy phrase of the clarinet, accompanied by a tremolo of stringed instruments in the midst of the Allegro of the over­ ture to 'Freischiitz'? Does it not depict the lonely maiden, the forester's fair betrothed, who, raising her eyes to heaven, mingles her tender lament with the noise of the dark woods agitated by the storm? 0 Weber!!" As to the precise meaning of the term, "Freischiitz," Mr. W. H. Ap­ thorp has said: "I believe there is no other word in any other language that corre­ sponds accurately to the German Freischutz. The literal English trans­ lation 'Free Marksman' does not in the least convey its meaning. The same may be said of the Italian (Franco arciero'-under which mislead­ ing title the opera was given at Covent Garden-and the French 'Franc archer.' Grove has it that the opera was given under this last title at the production under Berlioz in Paris, but Berlioz himself says nothing of this in the account of the production in question he gives in his Memoires, and Wagner reports distinctly that it was then given as 'Le Freischiitz.' "The word "Freischutz (literally 'free marksman') means a Schiitz, or marksman, who uses Freikugeln-that is 'free bullets,' or charmed bullets which fly to the mark of themselves without depending upon the marksman's aim, and are therefore aptly termed 'free.' "

"Traeume"~"Tristan and Isolde" ...... Wagner "Traume (Dreams), a favorite little number on concert programs, is a song which Wagner wrote as "a study to 'Tristan and Isolde,' " and which was arranged for orchestra several years ago by Theodore Thomas, who thus lent it an added charm and effect. The song is a miniature im­ pression of "Tristan and Isolde," a mere sketch, yet drawn in exquisite line and infused with dreamy sentiment. It may have aided in depicting that mighty outburst of passion in the great music drama of Isolde's love.

Suite, "Sylvia" ...... Clement P. L. Delibes 1. Prelude and Le Chasseresses. 2. Intermezzo and Valse Lento. 3. Pizzicato. 4. Cortege de Bacchus. The above numbers are taken from the ballet, "Sylvia or the Nymphs of Diana," first performed at Paris in 1876 . The first movement, after a short prelude, depicts the chase; the sec­ ond is a languishing waltz; the third, a dainty movement for pizzicato strings, leading into the finale, which pictures a bacchanalian revel. Clement Phillibut Leo Delibes was born at St. Germain du Val, Feb- 156 POPULAR CONCERTS, 1916-17 ruary 21, 1836. He devoted himself from an early period to dramatic composition, and wrote several short comic operas, but it is in his ballets, of which he wrote a great number, that he displays the wealth of melody upon which his fame chiefly rests. He died at Paris, January 16, 1891.

INTERMISSION.

Overture, "Die Meistersinger" ...... Wilhelm Richard Wagner 1813-1883 The prelude to Wagner's only comic opera, The Mastersingers of Nure11-tberg, was first played at a concert in Leipzig, November 1, 1862, under Wagner's direction. The complete opera was not performed until six years later (Munich, 1868). The prelude is built upon five themes. They are in order of their en­ trance-the pompous, marchlike "Meistersinger" theme, followed im­ mediately by the tender "Waking Love" motive. This leads to another dignified march theme, known as the "Banner" motive. The fourth is the "Love Confessed" theme, with its suggestion of the well-known Prize Song. The last is the striving motive, known as the "Impatient Ardor" mo­ tive. After a development of the above motives, three of them-the first, third and fourth-are combined simultaneously and worked up to a magnificent climax which closes the work.

Largo ...... George Friedrich Handel George Friedrich Handel was born in Halle, Lower Saxony, Feb­ ruary 23, 1685, and was the greatest organist and harpischord soloist of his age, with the exception of John Sebastian Bach. Handel was obliged to study in secret as a boy, but the intercession of the Duke of Saxe­ Weissenfels won from the father permission for the lad to follow his natural bent, and he became a pupil of Zachau, organist of the Halle Cathedral. In 1703, he competed for the post of organist at Lubeck, but, learning that the organist would have to marry the daughter of his predecessor, he retired. Handel composed forty operas, of which only a few' airs and his Largo survive. His fame rests chiefly upon his oratorios, the greatest of which, The Messiah, was sung for the first time on April 13, 1742. His last work, J eptha, was hindered by failing eyesight and three opera­ tions were performed in a vain effort to restore his vision. Hencefortli he was almost totally blind, bl.ft continued to play the organ and direct the performance of his works, enjoying in his old ag~ an unrivalled popu- FIRST CONCERT 157 larity with' all classes, especially with the royal family, to which he had been music master. Handel died in London, April 14, 1759. The Largo} which has been arranged for almost every instrument and for every possible combination, was originally an aria in Handel's opera, Rinaldo.

Symphonic Dance, A Major...... Edward H agerup Grie g 1843-1907 This is one of four Symphonic Dances which Grieg wrote for two pianos and, subsequently or simultaneously, scored them for orchestra. The title-page of the partitur indicates that they were arranged for or­ chestra without reference to the piano version. The one played today is Number Two.

Hungarian Dance No.2 ...... Johannes Brahms 1833-1897 Brahms originally published his Hungarian dances (in four volumes) as piano duets. The wide popularity they immediately attained led, nat­ urally, to their publication in almost every conceivable form. The 01:­ chestral arrangement is, however, of all the most effective. Brahms' predilection for the characteristics of Hungarian-or, more properly, Magyar music, is apparent in many of his original compositions. The dances themselves are not original with him, but are transcriptions of the wild performances of Hungarian bands.

SECOND PROGRAM

Sunday Evening, December 3, 1916.

Overture from the Opera of "Martha"...... Floto'W

M ar,ch "Herolque, . ". m D maJo.·r ...... Shbtc u er (Orchestrated by Dr. Kunwald.)

Aria, "La Boheme" ...... Puccini

Aladdin, A Chinese Suite ...... Stillman-Kelley I. At the Wedding of Aladdin and the Princess II. In the Palace Garden. Serenade. III. The Flight of the Genii with the Palace. IV. The Return. Feast of Lanterns.

INTERMISSION.

Overture, "Flying Dutchman"...... Wagner

Arioso, "Vesta la giubba"...... Leonca."allo

"Molly on the Shore"...... Crainger

Overture, "Die Fledermaus" ...... J. Strauss

SOLOIST: MANUEL B. VALLES. 160 POPULAR CONCERTS, 1916-17

Overture from the Opera "Martha" ...... Flotow Freiherr Friederich von Flotow, son of a noble of Mecklenburg, was trained for the diplomatic service, but in 1827 visited Paris, studied music under Reicha, and though forced to leave by the Revolution of 1830, soon returned and continued for years to make Paris his artistic head­ quarters. His first real success was won with "Le naufrage de la Meduse," which was produced in 1839 at the Theatre de la Renaissance, and later won further honors in Germany, where it was given as "Die Matrosen." "Martha" was an instant success from its production in Vienna in 1847, having been rewritten from the earlier ballet of the same name .com­ posed with BurgmiiIler and Deldevez. "Martha" has proven one of the most popular of the lighter operas, and most of the music is well known and loved by the whole world. "The Last Rose of Summer" is one of the principal arias. Freiherr von Flotow was born April 27, 1812, and died January 24, 1883.

Marche Heroique in D major ...... Schubert (Orchestrated by Dr. Kunwald) The Marche Heroique was originally written for piano and although there have been several orchestrations made of this popular march, none have followed more closely the original text than Dr. Kunwald's adapta­ tion. .In this version it has become a favorite in the repertoire of the Berin Philharmonic Orchestra. Franz Peter Schubert was the world's greatest composer of songs, practically the creator of the art of song, and one of the most prolific of all composers in every form. He began the study of music at an early age, and while for three years he assisted his father as schoolmaster, he spent most of his time with music. His first symphony was composed when he was sixteen, and at eighteen his first mass, that in F, was writ­ ten. Some critics rank this mass as next to the great Beethoven mass in C. After this he began the composition of dramatic pieces. Schubert lived a Bohemian existence, was always underpaid by his publishers, un­ appreciated by the general public, and practically unknown to the higher grade of musical society and to court circles.

Aria, Your Tiny Hand is Frozen, "La Boheme" ...... Puccini Translation Your tiny hand is frozen! Che gelida manina, Let me warm it ·into life. Se la lasci riscaldar. Our search is useless; Cercar che giova? In darkness all is hidden. Al buio non si trow. Ere long the light of the moon shall ]\tla per fortuna e una notte di luna, aid us, E qui la luna l'abbiamo vicina. SECOND CONCERT 161

Yes, in the moonlight our search let us Aspetti signorina, resume, dear. Le diro con due parole chi son, One moment, pretty maiden, E che faccio come vivo. While I tell you in a trice who I am, What I do and how I live. V oule ? Chi son? Shall It? I am a poet. Sono un poeta. What's my employment? Che cosa faccio? Writing! Is that a living? Hardly! Scrivo. E come vivo? I've wit tho' wealth be wanting; In poverta mia lieta scialo da gran sig- Ladies of rank and fashion, nore All inspire me with passion, Rime ed inni d'amore. In dreams and fond illusions Per sogni e per chimere Or castles in the air E per castelli in aria Richer is none on earth than I! L'anima homilionaria. Bright eyes as yours, believe me, Talor dal mio forziere Steal my priceless jewels Ruban tutti i gioielli due ladri In Fancy's storehouse cherish'd. Gli occhi belli. Your roguish eyes have robb'd me, V' entrar con voi pur ora, Of all my dreams bereft me­ Ed i miei sogni usati Dreams that are fair yet fieeting­ E i bei sogni miei Fled are my truant fancies, Tosto si dileguar Regrets I do not cherish. Ma il furto non m'accora. For now life's rosy morn is breaking, Poi che, poi che v'ha preso stanza Now golden love is waking! La dolce speranza! Now that I've told my story, lJr che mi conoscete parlate voi, Pray tell me yours, too, Deh! parlate Chi siete? Tell me frankly, who are you? Vi piaccia.

Aladdin, A Chinese Suite ...... Stillman-Kelley I. At the Wedding of Aladdin and the Princess II. In the Palace Garden. Serenade III. The Flight of the Genius with the Palace IV. The Return. Feast of Lanterns Edgar Stillman-Kelley, one of the foremost of living American com­ poscrrs, was born in 1857, of New England parentage, in Sparta, Wis­ consin, a transplanted New England village, where the thought and tra­ ditions of the mother colony were long maintained. His American tem­ perament, musical taste and invention are thus easily accounted for. His theoretical studies were begun under Clarence Eddy, in Chicago, and continued between 1876 and 1880 at the Stuttgart Conservatory of Music, where he studied composition under Max Seifriz, royal court con­ ductor. He was graduated in 1880 and returned the same year to the United States, taking up his residence in San Francisco. In 1886 he removed to New York and later became instructor in composition in the New York College of Music, lecturer on music in the extension depart­ ment of New York University, and acting professor of musical theory at Yale. Between 1902 and 1910 he resided in Berlin, Germany. Since 1910 he has been dean of the composition department of the Cincinnati Conservatory of Music, holding also a composition fellowship at West­ ern College, Oxford, Ohio. He is a member of the National Institute 162 POPULAR CONCERTS, 1916-17 of Arts and Letters, Internationale Musik-Gesellschaft, Tonkiinstler­ Verein, Padagogen-V erband and many American musical associations. Mr. Stillman-Kelley first became known to the public through his music to "Macbeth," produced in connection with the magnificent stage setting in San Francisco in 1886. His music to "Ben Hur" has been heard in 5,000 performances in nearly every English-speaking land. His other works include two symphonies, "Guilliver" and "New England," several orchestral suites, an opera, "Puritania," chamber music, songs and piano pieces. While residing in San Francisco, Stillman-Kelley was attracted to the music of the Chinese in the inner city known previous to the fire of 1906 as Chinatown-a fragment of Asia with its brilliant costumes, mural decorations and bizarre architecture. The quaint music heard in the theater, temples and tearooms suggested the possibility of giving a distinct local color to a Chinese suite, and afforded the themes for "Alad­ din." It was not the aim of the composer to Europeanize the crude Chi­ nese melodic material, but rather, by means of the harmonic and orches­ tral devices at the command of the modern occidental musician, to pro­ duce in tones effects akin to the color schemes to be found in the em­ broideries and carvings of the Celestial kingdom, wherein brilliancy is often combined with the grotesque.

INTERMISSION.

Overture, "The Flying Dutchman" ...... Richard Wagner 1813-1883 The legend of "The Flying Dutchman" can be traced back to the be­ ginning of the sixteenth century. Captain Vanderdecken tries to double the Cape of Good Hope in the teeth of a gale, and swears to carry out his purpose if he should have to sail about through all eternity. The outcome of the story, as adopted by Wagner, was invented by Heinrich Heine, the German poet. The devil's unbelief in the constancy of woman leads him to promise to the Flying Dutchman release from the curse if he can find a woman "faithful unto death." This woman is discovered in "Senta," who had heard the story of the wanderer of the sea and has fallen in love with a picture of him. The Flying Dutchman, overhearing a conversation between Senta and Erik, her discarded lover, doubts her and is about to set sail again, when she throws herself into the sea, thus proving herself faithful unto death. The ship sinks, and the Flying Dutchman, reunited in death with Senta, is redeemed. The Overture is an epitome of the drama, presented by means of fixed themes associated with the principal characters and occurrences. It opens with the horn phrase representing the curse which hangs over the Dutch­ man. A tremolo of the violins high up on the tonic and dominant, depicts the agitated waters of the open sea. The description of a raging storm SECOND CONCERT 163

is interrupted by a tender compassionate melody, illustrative of Senta as the saving angel. The original motive returns and the tempest grows more and more violent, the waves rising and falling "like leviathans in combat." The Flying Dutchman gazes at the devastating storm, the image of his inmost torments. Presently the joyous strain of the ship's -crew is heard. The overture closes with the Senta theme transformed into a song of triumph.

A noso, " V"esti 1a gJ."ubb a f rom "P agI" lacCl "" ...... L eoncava 11 0 Ruggiero Leoncavallo was born March 8, 1853. His best known operas are Pagliacci, Zaza, La Tosca and Trilby. He has invariably supplied the libretti of his own operas, and in portions of some of his work may be seen the influence of Wagner. Translation To go on! When my head's whirling Recitar! Mentre preso dal delirio with madness, Non so pill quel che dico e quel che Not knowing what I'm saying or what faccio! I'm doing! Eppur e d'uopo sforzati! Yet I have got to force myself! Bah! sei tu forse un uom? Pshaw! Can't you be a man? Tu se' Pagliaccio! You're a Pagliaccio! Put on your smock now, Vesti la giubba Smear your face with powder­ E la faccia inforina. The people pay you, La gente paga And they must have their fun. E rider viole qua. N Harlequin your Columbine take from E se Arlecchin t'in vola Colombina, you, Ridi, Pagliaccio, Laugh loud, Pagliaccio, E ognun applaudira! And all will shout, "Well done!" Tramuta in lazzi 10 spasmo ed il pianto; Change into laughter your singing and In una smorfia il singhiozzo e'l dolor. weeping! Aye let grimaces of sobbing play the part. Ah! Ridi, Pagliaccio, Aye-laugh, 0 Pagliaccio, SuI tuo amore infranto! For your love that is ruin'd; Ridi del duol, Laugh for the pain, Che t'avve lena it cor! That now is gnawing your heart!

"Molly on the Shore," Dance for String Orchestra ...... Percy Grainger (Australian, born in 1882) The work is published among the composer's "British folk music set­ tings," "lovingly and reverently dedicated to the memory of Edward Grieg." It is described in the title as an "Irish reel, on two Cork Reel tunes from the complete Petrie Collection of Irish music, edited by Charles Vil­ liers Stanford * * * set for strings four-some or four-part string band. The two tunes are No. 901 (Vol. 2) 'Temple hill,' and No. 902 (Vol. 2) 'Molly on the shore.' " 164 POPULAR CONCERTS, 1916-17

If we wonder how Mr. Grainger produces his effects, we may. no~e first of all an insistent and infectious rhythm; perhaps the charm hes In this very insistence. To be sure, the reiteration involves the tune as well as the rhythm. Somewhat subordinate are the dainty strokes of harmony. In a broad view Mr. Grainger must be reckoned as part of the nationalist wave that has been sweeping over music in England, like a similar pulse in other countries. Music is today probably more nationalistic than it was two hundred years ago., when intercourse was far more difficult. Then there are the climaxes of the gathering momentum, rhythmic and dynamic, to­ gether with strokes of barbaric harmony. The very directions and terms suggest the temper of the music, as do those of the modern French school. They remind us of the German signs that Schumann used in his symphonies. * Mr. Grainger may have come at a time when the musical world is wearying of a certain extravagance, and reveals to us anew the long­ missed joys of simple tune and rhythm.

Overture, "Die Fledermaus" ...... I. Strauss "Die Fledermaus" is one of the best known operettas of the Viennese school and has enjoyed a most phenomenal success. It is the only operetta ever played at the Royal Opera H'ouse in Berlin, and is always given on New Year's Eve. Ten years ago it was given as a benefit performance for Conreid at the Metropolitan Opera House, New York, by an all-star cast, such artists as Caruso and Eames singing in the chorus in the sec­ ond act. The overture is based on the principal themes of the operetta, and has never been played by the symphony orchestra 'in Cincinnati. Johann Strauss, son and namesake of the most notable composer and conductor of dance music of his generation, composed nearly four hun­ dred waltzes and in addition a series of notable comic operas.

*In the score the tempo is "Fast;" the instruments are "1st fiddle; 2d fiddle; middle­ fidd1le; bass~fiddle ('cello)." The first and last are "plucked" in the beginning; later they are "bowed." At first very soft, the music grows "louder bit by bit," while the "midd'le-fiddle" is "off with the mute." Presently the tune is struck "short and heavy," then "louderr." In a later section before the climax with a new stirring melody, the "middle-fiddles" play "feelingly and piercingly." Then the "bass-fiddles" sing a strain "feelingly and clingingly." Presently the contrasting melodlies are combined, the faster above the slower in the middle, or in the bass. Towards the end the music "softens" more and more until the shock of t,he last-plucked chord. THIRD PROGRAM

Sunday Afternoon. December 1 7. 191 6.

March, "Queen of Sheba" ...... Gounod

Overture, "Egmont" ...... Beethoven

Aria, "One Fine Day," from Madame Butterfly ...... Puccini

Two Rownanian Rhapsodies...... Enesco I. D Major. II. A Major.

INTERMISSION.

Overture, "Rienzi"...... Wagner

Aria, from "Herodiade" ...... M assenet

Intermezzo, "Tales of Hoffman" ...... Offenbach

Slavonic Dance No.1 ...... Dvorak

SoLOIST: HELEN STOVER. 166 POPULAR CONCERTS, 1916-17

March, from the "Queen of Sheba" ...... ' ...... Gounod Charles Francois Gounod was born in Paris, June 17, 1818. He re­ ceived his early musical education from his mother, who was a brilliant pianist. Later he attended the Paris Conservatorie. For two years he laid aside music and devoted himself to the study of theology so intensely that it was generally supposed he intended to enter the priesthood. But he discovered his mistake in time, and again turned to music. Gounod's greatest efforts were in the direction of operas, as the road to fame and fortune in Paris opened only to music of that character, but he was suc­ cessful only with "Faust," his other operas being withdrawn after a few performances. He was too keenly intellectual and too refined in nature to create comic operas. In his later years Gounod was plunged in a deep religious mysticism and dev9ted himself to the composition of sacred works. He died October 18, 1893. The "Queen of Sheba," an opera of four acts, was first produced February 28, 1862. All that survives of it are the Choral Dance, the picturesque Aid de Ballets, and the Choral March. The latter is the number played today.

Overture to "Egmont" ...... Ludwig van Beethoven Born 1770, Died 1827 Beethoven composed this music in the years 1809-10. Egmont was his second work for the stage, and was based upon Goethe's drama of the same name. The Count of Egmont, a Flemish nobleman, was one of the associates of William of Orange, in his struggle for the liberty of the Netherlands. By a treacherous conspiracy on the part of the Duke of Alva he was captured and executed September 9, 1567. The music is supposed to portray the principal events in Egmont's life during the strug­ gle-the hopes, discouragements and triumphs, ending finally in his tragic death. There are in all nine numbers: Overture in F minor; Song for Claerchen; Entr'acte in A; Interludio in E-flat; Song for Claerchen ("Freudvoll und Leidvoll") ; third interlude and march in C; fourth interlude in C minor; incidental symphony in D minor, accom­ panying the death of Claerchen; melodramatic music accompanying the death of Egmont, and battle pieces for orchestra. The latter is the num­ ber given today.

Aria, from "Madam Butterfly" ...... Giacomo Puccini Born at Lucea, June 22, 1858 "Madame Butterfly," founded on a magazine story by John Luther Strong, dramatized by the author and David Belasco and made into an operatic libretto by Illica and Giacosa, was first performed at Milan in 1904. THIRD CONCERT 167

"Un Bel Di." "One Fine Day." Piangi? Per che? per che? Ah la fedeti One fine day we'll notice a thread of manca! smoke arising on the sea In the far horizon, and then the ship ap­ Un bel di, vedremo levarsi un fil di fumo pearing, Sull'estremo confin del mare. Then the trim, white vessel glides into E poila nave appare the harbor, Thunders forth her cannon. Poi la nave bianca entrane porto, See you? Now he is coming! Romba il suo saluto I do not go to meet him. Vedi? E venuto! 10 non gIi Not I! I stay upon the brow of the hillock, and Scendo incontro. wait there, 10 no. Mi metto la suI ciglio And wait for a long time, but never Del colle e aspetto, weary of the long waiting. From out the crowded city there is com­ E aspetto gran tempo e non mi pesa, ing a man, La lunga attesa Eu scito dalla folIa A little speck in the distance, climbing Citadina un uomo, un picciol punto the hillock. Can you guess who it is? S'avviaper la collina. And when he's reached the summit, can Chi sara? E come saragiunto you gues what he'll say? Che Dira? che dira? Chiarnera He will call, "Butterfly," from the dis­ tance. Butterfly dalla lontana. I, without answ'ring, Hold myself quietly 10 senza darrisposta me ne staro conceal'd; Nascosta un poper celia e un po'per A bit to tease him and a bit so as not to die at our first meeting, Non morire al primo incontro ed And then, a little troubled, Egli alquanto in pena chiarnera. He will call, he will call, Piccina, mogliettina olezzo di "Dear baby, wife of mine, Dear little orange blossom!" Verbena, i nomi che mi davaal suo The names he used to call me when he venire came here. Tutto questo avverra, to 10 prometto, This will all come to pass as I tell you. Banish your idle fears, for he will re­ Tienti la tua paura, io consicura fpqe turn, l'aspetto. I know it.

Two Roumanian Rhapsodies, Opus II ...... Georges Enesco Born at Cordaremi, Rumania, August 7, 1881. Now living at Paris. I-D major II-A major These two rhapsodies are, in order of their performance, Nos. 2 and 1 of "Trois Rhapsodies Roumaines." Dr. Kunwald wrote an article several years ago on them and their composer, which appeared in the October (1910) issue of Der Musiksalon, a Berlin publication. It is herewith reproduced in a rather free translation. "To those who share with me the conviction that our music, no mat­ ter how great and manifold its growth has been, found its origin in the folksong, it is a source of great satisfaction whenever a new field in the domain of national music is opened. "It is a wonderful realm of sound into which we are led by the two' Roumanian rhapsodies, which were performed by the Berlin Philharmonic Orchestra at Scheveningen. From the first I was held in spell by these 168 POPULAR CONCERTS, 1916-17 tones, which gripped me with all the magic of the Slavonic melos, deep, dark sorrow, oppressive sensuousness, childlike simplicity, gay laughter, fiery wooing, heightened and intensified into a deafening climax, a seem­ ingly endless orgy at the inn of the Slavonic village. And with this, often a falling into gypsy rhythms-Spanish, even Moorish-Arabian strains-all mixed to the unique oneness of Roumanian nationality, which is just now sounding a new note in the musical micro-cosmos. "And how has Enesco done this? With a glow of color, a spirited swing, a piquancy of rhythm, and, above all else, a sense for sound, a feel­ ing for orchestral effects, incomparable even to our modern ears. One feels that he does not instrumentate; he creates from out the very heart of the orchestra. Violin, viola, 'cello, contra-bass are treated individually; oboe and English horn sing their saddest strains, clarinets pipe, trumpets blare, even the drums speak a peculiar never-before-heard language. "Now, let us speak of the man himself, of him who is the creator of these musical revolutions. A pupil of the Vienna Conservatory, he is one of the foremost violinists of the day. His reputation as such has been made not only in Paris, where he resides, but also in Berlin, (where his violin recitals are always greeted with the greatest enthusiasm. As a thorough musician, he is an excellent conductor as well as an artist at the piano. INTERMISSION.

Overture, "R"""lenzi...... Wagner Probably inspired by the success of Meyerbeer's spectacular successes in Paris, Wagner conceived the idea of using the novel of Bulwer Lyt­ ton, "Rienzi, The Last of the Roman Tribunes," as the basis for an opera that would catch the fancy of the Parisian public. Lytton's story was published in London in 1835. With uncertain historical accuracy it told of the revolt against the Roman nobles, headed by Cola di Rienzi, who succeeded in overthrowing the nobility and was elected Tribune. After a short while in office he is made the victim of his own people's fury because of a false charge of treason against him. In Wagner's operatic version, Irene, a sister of Rienzi, is insulted by a party of nobles; as a result Rienzi heads an uprising of the people against those in power. Adriano, son of a noble, because of his love for Irene, joins the Rienzi faction. The revolt succeeds and Rienzi is elected Tribune. In the midst of his plans for improved public conditions, popular opin­ ion turns against Rienzi. The final scene shows hiin facing the mob in the Capitol, making a last passionate appeal for vindication, but in vain. The angry people set fire to the Capitol, where Irene stands by the side of her brother, awaiting their fate. Filled with remorse, Adriano dashes into the flames and meets death with them. THIRD CONCERT 169

Air di Salome ...... M assenet Jules Frederic Massenet was born at Montaud, near St. Etienne, France, May 12, 1842. He wrote a number of suites and operas. The aria sung today is taken from "Herodiade," an opera in four acts, which was first produced in Brussels in 1881. Under the title of "Sa­ lome" and with certain alterations, it was played at Covent Garden, London, in 1904. He whose words by their might obliterate all sorrow, Lo! the Prophet is here! Unto him I'll appear. He is kind, he is good, His words bring hope each morrow! He speaketh; all is hushed! Sighing breezes now rej oice, Pause on their way, hearing his voice! He speaketh! Ah! when will he come back? When shall I to him hearken? Sad was I woe begone, but my heart peaceful grew Whene'er I heard his voice, melodious and tender! My heart calmness knew! Oh! Prophet, so beloved, can I live without thee! Oh! Prophet, so beloved, what is Life, Life without thee! 'Tis there! o'er desert drear, where amazed stood the throng, And followed him along He beheld me, one day, A child by all abandon'd! Received me in his arms! Oh! Prophet, so beloved, what is Life without thee! He is kind, he is good, His words bring hope each morrow! He speaketh! all is hushed! Sighing breezes now rej oice, Pause on their way, hearing his voice! He speaketh! Ah! when will he come back? When shall I to him hearken? Sad was I woe begone, but my heart peaceful grew Whene'er I heard his voice, melodious and tender! My heart calmness knew! Oh! Prophet, so beloved, can I live without thee! Oh! Prophet, so beloved, what is Life, Life without thee! Ah! when will he come back? When shall I to him hearken?

Intennezzo, "Tales of Hoffmann" ...... Jacque Offenbach

Jacques Offenbach (originally Levy) was born at Offenbach-on-Main, June 21, 1819, the son of a cantor at a Jewish synagogue in Cologne. He died in Paris. October 5, 1880, having composed mOore than ninety works, all of a light character. Many operettas were included among them. "The Love Tales of Hoffmann" is a posthumous work. He is supposed to have worked on this score for several years; after a revision it was played for the first time at the Opera Comique, February 10, 1881. 170 POPULAR CONCERTS, 1916-17

This fantastic opera is in three acts, a prologue and epilogue, 'and the text is by Barbier. It is based on the Tales of the German author, E. T. A. Hoffman. These tales, ghostly, mysterious and enigmatical, were translated into the French and enjoyed quite a popular vogue. In the prologue H'offmann, the poet, has returned to the place of a former love affair with Stella, who is just about to be married to Lindorf, who is very rich,. Fearing that Hoffmann's old attraction might be revived to his discomfort, Lindorf conceives the idea of getting Hoffmann under the influence of drink and have him tell of his many and frequent love affairs in such a way that Stella would be disgusted with him. The action of the opera tells the story of the poet's affairs with Olympia, an automaton; Juliette, a Venetian courtesan, and' Antoine, a singer. '

Slavonic Dance No.1, Opus 46 . ... " ...... Antonin Dvorak I , 1841-1904 In the year 1878 Dvorak received a commission from the publisher Simrock to write a set of "Slavonic Dances" for pianoforte duet. These had, on their appearance, almost the same great success as did the Hun­ garian Dances of Brahms, and like them, were a wonderfully happy use of national characteristics. They were among the first works of Dvorak to call the attention of musicians to the fact that a new and fully de­ veloped composer had arisen. Their popularity led to the publication of the dances in every conceivable form. Later, a new set (Opus 72) was written at once for full orchestra. FOURTH PROGRAM

Sunday Afternoon, December 31, 1916.

March of the Bojaren ...... Halvorsen

OvertW"e, "Rosamunde"...... Schubert

Concertstueck-for Harp and Orchestra...... Pieme

Ballet Music, from "Le Cid" ...... ' ...... M assenet I. Castillane. II. Andalouse. III. Aragonaise. IV. Aubaide. V. Navarraise.

Overture to "Sakuntala"...... Coldmarit

4'Ride of the Valkyries"...... Wagner

Overture, "Die Schoene Galatea"...... Suppe.

SOLOIST: JOSEPH VITO. 172 POPULAR CONCERTS, 1916-17

March of the Bojaren ...... Halvorsen The Bojars, once hereditary owners of the soil of Russia, still exist in Wallachia and Bulgaria. In this march,' by a young Norwegian com­ poser, we have a reflection of this strange, semi-barbaric people.

Overture, "Rosamunde" ...... Schubert Franz Peter Schubert was born in Vienna, January 31, 1797, and died November 19, 1828. He is known as the world's greatest composer of songs; by some designated as the creator of the art of song. He was probably the most prolific, as well as one of the greatest of all composers in every form. The son of a Moravian peasant and one of fourteen children, his education and progress in musical study were accomplished under the most discouraging conditions of poverty, but his indefatigable industry overcame all obstacles. He was aided by Salieri in the study of composition. His first sym­ phony was written at the age of sixteen, and in his eighteenth year he began composing with that extraordinary facility which became his great­ est characteristic. In a single day he is credited with composing eight songs, including the "Erlking;" and a total of 144 songs within a year. Schubert lived a Bohemian existence and was only able to pursue his work through the help of friends. In the opinion of Liszt, "Schubert was the most poetic musician that ever lived." More than one hundred poets are to be fo~nd in the group of six hundred songs of his composi­ tion. He died in his thirty-first year, and the official inventory of his possessions, including precious manuscripts, gave a total appraisement of $12.50. Tablets have been placed on the house in which he was born, in which he lived and where he died, and in 1872 a monument to his memory was unveiled in the Stadt Park in Vienna. The Overture "Rosamunde" was first performed in Vienna in 1820, as a prelude to a play by Hoffman, called "The Magic Harp." This was a dismal failure, but the overture survived and was later used in the ro­ mantic drama "Rosamunde" by Wilhelmene von Chezy. The overture is of great beauty and has acquired much popularity on the concert stage.

Concertstueck-for Harp and Orchestra ...... Gabriel Pierne Pi erne was born at Metz, on August 16, 1863, and studied at the Paris Conservatoire. His first intention was to perfect himself as a player of organ and piano, but later he turned his attention to composition at the advice of friends who saw his creative talent. In 1879 he received the first prize at the Conservatoire for piano~playing; in 1881 the first prize for fugue, and in 1882 the first prize for organ, and also the Prix de FOURTH CONCERT 173

Rome, which entitled him to study abroad for three years, most of the time in Rome at the academy provided there by the French government for successful competitors for the Roman prize in music, painting, sculpture, engraving and architecture. He is now conductor of the Colonne Or- chestra in Paris. ' Pi erne composed the "Children's Crusade," which has been so success­ fully given at the May Festivals. The "Concertstiick" is a recent com· position and has never been played in Cincinnati.

Ballet Music from "Le Cid" ...... M assenet Jules Frederick Emile Massenet was born at Montaud, ·near St. Etienne, France, May 12, 1842, and died in Paris, August 13, 1912. He was educated at the Conservatoire, where he distinguished himself as a pianist, and in 1878 became professor of advanced composition at that institution. In 1876 he had been decorated with the medal of the Legion of Honor, and two years later became the youngest member of the Acad­ ernie des Beaux Arts. He was but thirty-six years of age, and for the vacancy~ to which he was selected, Saint-Saens had been considered the logical choice. In 1888 he was made an officer of the Legion of Honor. Le Cid is an opera in four acts and ten tableaux, the scene of which is laid in Seville during the tenth century. It was first produced in the Grand Opera House in Paris, November 30, 1885. The libretto is based on the romance of Rodrigue, "The Cid," and Chimene, whose father he was forced to kill in a duel. Chimerie demands vengeance from King Ferdinand IV, who promises her the head of "The Cid" upon the con­ clusion of the Moorish campaign, in which they are depending on Rodrigue for victory. Upon his return from a successful war, Chimene renounces her opportunity for vengeance and finds that she reciprocates the love entertained for her by the romantic warrior. The ballet music from the opera is represented on today's program by the following movements: Castillane, Andalouse, Aragonaise, Au­ baide and N avarraise. INTERMISSION.

Overture to "Sakuntala," Opus 13 ...... Cart Goldmark Born at Kreszthely, Hungary, May 18, 1830. Died at Vienna, January 3, 1:9,15. Carl Goldmark, the son of a cantor in a Jewish synagogue in the little town of Kreszthe1y, Hungary, is one of the many musical geniuses who have risen to fame despite the disadvantages of poverty. He was taught the rudiments of music by the schoolmaster of his na­ tive village. At the age of twelve he entered the school of Oedenburger Musik Verein. Having distinguished himself in the study of the violin, he was sent to Vienna to study under Leopold Jansa (1844). He en- 174 POPULAR CONCERTS, 1916-17 tered the Conservatorium in 1847, studying violin under B6hm, and har­ mony under Preyer. After the political revolution of 1848, during which he narrowly es­ caped being shot as a rebel, he returned to Vienna (1850). During the following seven yeat:'s he studied orchestral instrumentation and applied himself to various forms of composition. It was during this period that he composed the "Sakuntala" overture, which was first played in Vienna, December 26, 1865, and Goldmark's recognition as a composer of the first rank dates from this time. "Sakuntala" is taken from the writings of Kalidsa, the Sanscript poet of the sixth century. The story concerns a nymph, reared in seclusion by the chief of a sacred caste of priests as, his adopted daughter. The great king, Dushianta, sees her in the sacred grove while out hunting, and immediately falls in love. They are married, and the king gives Sakun­ tala a ring by which she may be identified and precedes her to his capitol. The ring is lost and a jealous priest deprives the king of his memory so that Sakuntala is not recognized when presented at court. After be­ ing repudiated by her stricken husband, she becomes a grief-stricken, lonely wanderer until the ring is found by a fisherman, who takes it to the king. His memory returns, he finds Sakuntala again, and their happiness begins.

Ride of the Valkyries ...... Richard Wagner

The "Ride of the Valkyries" opens the third act of the music-drama "Die Walkiire." The scene is a rocky mountain top, over which clouds are driven by the storm-wind. Occasional flashes of lightning reveal other peaks in the far distance half hidden by the mists. The V alkyries. -daughters of Wotan and Erda-race over the rocks on their steeds. It is their mission to carry to Walhalla the dead bodies of heroes who have fallen in battle, there to become the protectors of the gods; and as· the horses fly through the mists the forms of the slain warriors are to be seen hanging from their saddles. Wagner made the arrangement of this excerpt for concert perform­ ance. It is written in B minor, and is based throughout on the bold theme which suggests the impetuous energy of the flight of the V alkyrre~ as they ride their horses through the clouds.-Feliz Borowski.

Overture, "Die Schoene Galatea" ...... Suppe

Franz von Suppe was born at Spalato, April 18, 1820. His family was of Belgian descent, but lived many years at Cremona. At thirteerr he produced a Mass sung in Zara, but despite his fondness for music his father placed him at the University of Padua to qualify for a medical FOURTH CONCERT 175 career. However, his father died shortly thereafter, and Suppe with his mother went to Vienna to live, where he took up the study of music once more and obtained the post of conductor at the J osephstadt Theatre. There was no salary attached to the position, but he soon obtained en­ gagements which did pay. His most important compositions were the op­ eras "Pique Dame" and "Boccaccio," but in addition to these he com­ posed 165 farces, a "Singspiele," a "Missa Dalmatica" and a Requiem. His full name is given "Francesco Ezechie1e Ermenegildo Cavaliere Suppe Sene1li." His death occurred May 21, 1895. The overture on today's program is one of his lighter compositions.. of which he wrote many.

FIFTH PROGRAM

Sunday Afternoon. January 28. 191 7.

Coronation March from "Le Prophete"...... M e'J)erbeer

Overture, "Athalia" ...... Mendelssohn

Songs from "Sieg der Zeit und Wahrheit" ...... Hiindel a. Come. Come. live with pleasure. h. No more complaining. no more disdaining. c. Dryads. Sylvans with fair Flora.

Suite "L'Arlesienne" No.1...... Bizet I. Prelude. II. Minuetto. III. Adagietto. IV. Carillon.

INTERMISSION.

Danse Macabre ...... Saint~Saens

Songs...... R. Strauss a. Meinem Kinde. h. Cacilie.

Rhapsodie Characteristic...... Comelissen

Overture, "Poet and Peasant" ...... Suppe

SOLOIST: MADAME PEROUX WILLIAMS. 178 POPULAR CONCERTS, 1916-17

Coronation March from "Le Prophete" ...... Giacomo M eyerbeer Giacomo (Jacob) Meyerbeer was born in Berlin in 1791. Originally known as Jakob Liebmann Beer, son of the wealthy banker, Herz Beer, he assumed the name of "Meyer" in compl~ment to a rich relative whose heir he became. In childhood a pupil of Lauska and later of Clementi, he played the lVlozart D minor Concerto in public at seven years of age, and was classed among the best pianists of Berlin at the age of nine. He is best known through his operas of which he composed eighteen. Of these, five were highly successful, "Robert Ie Diable," "Les Hugenots," "Dinorah," "L'Africaine" and "Le Prophete." As his biographer Mendel expressed it, "he united to the flowing melody of the Italians and the solid harmony of the Germans the pathetic declamation and the varied piquant rhythm of the French." "Le Prophete" was produced in Paris in 1849, with Viardo Garcia and Gustave Rogers in the leading roles. The scene is laid in Holland at the time of the wars with the Anabaptists. The Coronation March occurs in the second scene of Act IV. Meyerbeer died at Paris in 1864.

Overture, "Athalia" ...... Mendelssohn

Felix Mendelssohn was born in Hamburg, on February 3, 1809. At ten years of age he made his first appearance at a public concert, and in 1819 his setting of the XIX Psalm was performed at the Akademie. At twelve he began that collection of his compositions which eventually reached 44 volumes. Hie became a virtuoso performer on the organ and piano, one of the foremost representatives of the older school of con­ ducting, and was the greatest of the many eminent musicians produced by the Jewish race. His father adopted the Christian faith and added the name of "Bartholdy" to his patronymic; and by inheritance and rite of baptism the gr~at composer became "Jacob Ludwig Felix Mendelssohn­ Bartholdy. " His compositions included all classes of music-symphonies, over­ tures, chamber music, piano pieces, vocal music, etc. The music for "Athalia" was written in 1842. Mendelssohn died at Leipsic, November 4,1847.

""Sieg der Zeit und Wahrheit" ...... George Friederich Handel (Sung in English.) (a) Come, Come, live with pleasure, Taste in youth-life's only joy! Old age knows no leisure, . But dull wintry thoughts t' employ. FIFTH CONCERT 179

(b) No more complaining No more disdaining See pleasure reigning Without control. Still more delighting, Sweetly inviting, New charms exciting, The raptur'd soul. (c) Dryads, Sylvane with fair Flora! Come, adorn this joyful place. Come, fair Iris and Aurora This our festival to grace.

Suite, "L' Arlesienne" ...... " ...... Georges Bizet Born at Paris, October 25, 1838. Died at Bougival, June 3, 1875. "L'Arlesienne" is the title of a dramatic work, by Alphonse Daudet, for which Bizet composed the incidental music. The play was produced October 1, 1872, but proved a failure, though many of the musical num­ bers met with success. The above suite consists of four of these-chosen and arranged by Bizet. In this form they have become immensely popu­ lar.. The prelude was also used as the prelude to the dramatic work The Minuetto was originally an entr-acte between scenes in Act II. It is a charming, dainty number in minuet form with the usual trio, after which the minuet is repeated. The third movement, Adagietto, is a soulful, dreamy romanze, scored for muted strings without basses. The finale, "Carillon" (meaning chimes), which in the play forms the prelude to one of the scenes of the fourth act, opens with an imitation of chimes, on three notes, by the horns. This figure is kept up persistent­ ly against counter themes until relieved by an idyllic episode given to the woodwind. The Carillon is then resumed and continues to the end.

INTERMISSION.

Danse Macabre ...... Camille S aint-Saens Born at Paris, October 9, 1835. The "Danse Macabre;" the most popular of Saint-Saens' several symphonic poems, is based on the grotesque lines of Henri Cazalis, which run as follows: 180 FQPULAR CONCERTS, 1916-17

Zig, Zig, Zig-grim Death, in cadence, Striking with his heel a tomb, Death at midnight plays a dance tune, Zig, Zig, Zig, upon his viol. The Winter wind blows and the night is all dark, Moans are heard in the linden trees; Thro' the gloom the white skeletons pass, Running and leaping in their shrouds. Zig, Zig, Zig, each one is frisking, The bones of the dancers are heard to crack, But hist! of a sudden they quit the ground, They push forward, they fly, the cock has crowed. The dance, which is in waltz measure, is made upon two themes-the first a dance movement, marked by the clack of bones-the other a ghost­ ly, serious strain. Death tuning up his fiddle is the signal for the be­ ginning of the gruesome revelry, which continues wilder and wilder until interrupted by the cock's crow, (oboe) when the tumult subsides and the skeletons return to their graves.

O "M elnem° Kmed " ...... Rlchard. Strauss

Du schUifst-und sachte neig' ich mich Ueber dein Bettchen und segne elich, J eder behutsame Atemzug, 1st ein schweifender Himmelsflug, 1st ein Suchen weit umher, Ob nicht doch ein Sternlein war' W 0 aus eitel Glanz-und Licht Liebe sich ein Gliickskraut bricht, Das sie gefliigelt herniedertragt­ Und dir auf's weisse Deckchen legt.

To My Baby-Translation Thou sleepst-and 1 bend me o'er thee, sweet, Over thy cradle-a prayer repeat. Each softest breath in a prayer to Heav'n That its blessing to thee be given- Up it soars to starry height, Through the balmy summer night, Where each orb, a silver flower, Charms the soul with magic power. o may its light brighten baby's life' And shine through this dark world of strife. FIFTH CONCERT 181

Cacilie ...... Richard Strauss Wenn du es wiisstest was traumen heisst Von brennenden Kiissen, von Wandern und ruhen Mit der Geliebten Aug' in Auge, und kosend und plaudernd Wenn du es wiisstest, du neigtest dein Herz!

Wenn du es wiisstest was bangen heisst In einsamen Nachten umschauert vom Sturm, Da Niemand trostet milden Mundes Die kampfmiide Seele Wenn du es wiisstest, du kamest zu mir.

Wenn du es wiisstest, was leben heisst Umhaucht von der Gottheit Weltschaffendem Athem Zu schweben empor lichtgetragen Zu seligen Hoh'n Wenn du es wiisstest, du lebtest mit mid

TRANSLATION. If you but knew, sweet, what 'tis to dream Of fond, burning kisses, of wand'ring and resting With the belov'd one; Gazing fondly caressing and whispering Could I but tell you, your heart would assent.

If you but knew, sweet, the anguish of waking Through nights long and lonely and rocked by the storm When none is near to sooth and comfort The strife-weary spirit, Could I but tell you, you'd come, sweet, to me.

If you but knew, sweet, what living is, In the creative breath of God, Lord and Maker, To hover upbome on dovelike pinions To regions of light, If you but knew it, could I but tell you, You'd dwell, sweet, with me.

Rhapsodie Characteristic ...... Arnold Cornelissen Mr. Cornelissen is a young American composer, now living in Buf­ falo, New York. The Rhapsodie Characteristic is built upon the famous serenade of Gabriel Pieme, whose "Children's Crusade" is so well and favorably known to Cincinnatians. Today's performance will be the first public hearing of Mr. Cornelissen's work. 182 POPULAR CONCERTS, 1916-17

Overture, "Poet and Peasant" ...... Suppe Franz von Suppe was born at Spalato; April 18, 1820. His family was of Belgian descent, but lived many years at Cremona. At thirteen he produced a Mass sung in Zara, but despite his fondness for music his father placed him at the University of Padua to qualify for a medical career. However, his father died shortly thereafter, and Suppe with his mother went to Vienna to live, where he took up the study of music once more and obtained the post of conductor a~ the J osephstadt Theatre. There was no salary attached to the position, but he soon obtained en­ gagements which did pay. 'His most important compositions were the operas "Pique Dame" and "Boccaccio," but in addition to these he com­ posed 165 farces, a "Singspide," a "Missa Dalmatica" and a Requiem. His full name is given "Francesco Ezechiele Ermenegildo Cavaliere Suppe Senelli." His death occurred May 21, 1895. SIXTH PROGRAM

Sunday Afternoon, February 11, 191 7.

Polonaise in E flat ...... Liszt

Overture "Carnival"...... Dvoraq

Aria "Dich Theure Halle," from "Tannhaeuser" ...... Wagner

Bacchanale "Samson and Delilah" ...... Saint-Saens

INTERMISSION.

Overture "Mignon"...... Thomas

Aria, "Elsa's Dream" from "Lohengrin"...... Wagner

Chant Negre } ...... Kramer Valse Triste

Hungarian Dance No.2 ...... Brahms

SOLOIST: VIOLA MAY HUSING. 184 POPULAR CONCERTS, 1916-17

Polonaise in E-ftat ...... Franz Liszf.

Born in Raiding, Hungary, on October 22, 1811, Liszt became the greatest figure in the musical world of his day. His title as the world's greatest pianist was secure while he was yet a young man. Liszt. created a new form of orchestral writing in the symphonic poem. He immortalized Magyar music in his twelve Hungarian rhap­ sodies, and the folk music of his native country is treated in many of his writings for orchestra, violin and piano. The polonaise is a form of Polish dance music, usually majestic in character and written in stately 3-4 measure. Its use on state occasions gave this form a distinctive significance. \tVhile conductor of the court opera at Weimar, Liszt offered friendly encouragement to such budding musical craftsmen as Wagner, Schumann, Berlioz, Cornelius and Raff.

"Carnival" Overture, Ope 92 ...... Anton Dvorak Born at Miihlhausen, Bohemia, September 8, 1841 Died at Prague, May 1, 1904.

This overture is the second of a set of three Dvorak wrote under the title of "Nature, Life, Love." They were first performed as a "Triple overture." However, they are now usually played singly and are known as "In der Natur," "Carnival" and "Othello." The "Carnival" overture consists of two Allegro movements divided by a short Andantino. Dvorak gives us the following clue as to the meaning of his music. He says he "imagines the lonely, contemplative wanderer reaching the city at nightfall, where a carnival of pleasure reigns supreme. On every side is heard the clangor of instruments, mingled with shouts of joy and the unrestrained hilarity of the people giving vent to their feelings in their songs and dance tunes."

Aria-"Dich, theure Halle" (Tannhaeuser) . ... Wilhelm Richard Wagner

Dich Theure Halle is the beautiful aria which Elizabeth, the niece of the Landgrave of Thuringia, sings as she enters the great baronial hall of her uncle's castle, where the contest of singers is to take place in which the knights who are competing, give their conception of Love. In this contest Tannhauser, who has just escaped from the thrall of the Venusberg, utters sentiments which offend Elizabeth and cause her to reject the love which he has offered her. SIXTH CONCERT 185

TRANSLATION. Dich, theure Halle, gruss' ich wieder, Oh, hall of song, I give thee greeting. Froh gruss' ich dich, geliebter Raum! All hail to thee, thou hallow'd place! In der erwachen seine Lieder 'Twas here that dream, so :,)weet and Und wecken mich aus dust'rem Traum fleeting, Da Er aus dir geschieden, Upon my heart his song did trace. Wie od' erschienst du mir! But since by him forsaken, Aus mir entfloh der Frieden, A desert thou dost seem! Die Freude zog aus dir! Thy echoes only waken Remembrance of a dream! Wie j etzt mein Busen hoch sich hebet, So scheinst du jetzt mir stolz und But now the flame of hope is lighted, hehr; Thy vault shall ring with glorious war, Der mich und dich so neu belebet For he, whose strains my soul delighted, Nich wei It er ferne mehr! No longer roams afar! Wie j etzt mein Busen hoch sich hebet, Yes, now the flame of hope is lighted, So scheinst du j etst mir stolz und Thy vault shall ring with glorious war, hehr; For he, whose strains my soul delighted, Der dich und mich so neu belebet For me no longer roams afar. Nicht Hinger weilt er ferne mehr. All hail to thee! Sei mir gegrusst, Thou hall of glory, dear to my heart! Du, theure Halle, sei mir gegrusst!

Bacchanale from "Samson and Delilah". .. Charles Camille S aint-Saens Born at Paris, October 9, 1835. "Samson and Delilah," a sacred drama in three acts-the libretto of which is based on the biblical story-was first performed at Weimar, in 1877. Though the opera is still given in Paris and Brussels in its orig­ inal form, it is more often heard, at least in America, in concert-form. The "Bacchanale" occurs in the second scene of Act III, which is laid in the temple where the Philistines are making merry over the suc­ cess of Delilah's stratagem in overcoming the strength of Samson.

INTERMISSIO N.

Overture to "Mignon" ...... Ambroise Thomas Charles Louis Ambroise Thomas was born at Metz, August 5, 1811. His first success was the opera "La Double Echelle" at the Opera Com­ ique, August 23, 1837. His first production at the Academie was "La Gypsy," January 28, 1839, a ballet in three acts, of which only the sec­ ond was his. H'e had three other productions at the Academie up to 1846, without scoring a success of any consequence, and then returned to the Opera Comique, where he produced a succession of operas, of which "Mignon" was the twelfth (on November 18, 1866). He succeeded Auber as Director of the Conservatoire, July 6, 1871, and died in Paris, February 12, 1896. The opera "Mignon" is in three acts and is based on Goethe's story of Wilhelm Meister. The first production was made in Paris in 1866. The libretto concerns the romance of Wilhelm, a wealthy youth, and Mignon (Sperata), a member of a gypsy band, who was stolen, as a child, 186 POPULAR CONCERTS, 1916-17 from her father, the Italian Marquis of Cipriani. Wilhelm, with the help of Philine, an actress, buys Mignon from a gypsy chief through pity. Disguised as a boy she accompanies. him. He, however, is infatuated with Philine and follows the band of entertainers, of which she is a mem­ ber. An old minstrel, known as Lothario, who has for years been in search of his lost daughter, is strangely attracted to Mignon and attaches himself to their party. The girl, who has fallen in love with Wilhelm, is insanely jealous of Philine and during an entertainment at Wilhelm's castle, is overheard by Lothario to wish that lighting would strike the castle and burn it. A demented minstrel later sets fire to the castle and Mignon is saved by Wilhelm, in a thrilling rescue. Being in ill health, she is taken to Italy, where the party is discovered on the estate of the Marquis. Here, in the final act, Lothario is found to be the Marquis of Cipriani and Mignon his daughter Sperata. Wil­ helm finds that his affection for Philine was not genuine and that Mignon is the one he really loves.

"Elsa's D~eam," from "LohengrmO" ...... , ...... R'~c h ar d W agner At the beginning of the drama, Count Telramund charges Elsa before the King (of Germany) with the death of her brother, the young Duke of Brabant, who has disappeared. It is in answer to the question of the King that Elsa tells the story of her vision of a heaven-sent knight, and offers him as her champion in a trial by combat, according to feudal rule:

TRANSLATION. Einsam in triiben Tagen, Oft when the hours were lonely, Hab ich zu Gott gefleht, I unto Heav'n have prayed; Des Herzens tiefstes Klagen One boon I asked for only, Ergoss ich im Gebet. To send the orphans aid. Da drang aus meinem Stohnen, I pray'd in tears and. sorrow, Ein Laut so klagevoll, With heavy heart and sore, Der zu gewaltgen Tonen, Hoping a brighter morrow Weit in die Liifte schwoll. Was yet for us in store. Ich hort ihn fernhin hallen, Afar my words were wafted; Bis kaum mein Ohr er traf, I dreamt not help was nigh, Mein Aug ist zugefallen But One on high vouchsafed it, Ich sank in siissen Schlaf. While I in sleep did lie. In lichter Wafi'en Scheine, I saw in splendor shining, Ein Ritter nahte da, A knight of glorious mien. So tugendlicher Reine, On me his eyes inclining, Ich keinen noch ersah, With tranquil gaze serene. Ein golden Horn zur Hiiften A horn of gold beside him, Gelehnet auf sein Schwert He leant upon his sword, So trat er aus den Liiften Thus when I erst espied him, Zu mir der Recke werth. Mid clouds of light he soar'd. Mit ziichtigem Gebahren, His words so low and tender, Gab Trostung er mir ein, Brought life renewed to me; Des Ritters will ich wahren, My guardian, my defender, Er 5011 mein Streiter sein. . Thou shalt my champion be. SIXTH CONCERT 187

"Two Sketches," for orchestra, Op. 37a ...... A. W. Kramer Born in N ew York, September 23, 1890, now living in New York. I. Chant Negre II. Valse Triste These "Two Sketches" are the first original compositions by A. Walter Kramer to be p'erformed at these concerts. His setting for large orches­ tra of Grieg's "At a Mother's Grave" ("Am Grabe der Mutter") was given two years ago in New York and a version for string orchestra of a Rheinberger "Vision," original for organ, the year previous. The composer has supplied the following information concerning his "Two Sketches:" "In the 'Chant N egre' I have attempted to enunci­ ate a melody in the idiom of the negro-the pentatonic scale is employed­ and clothe it in an orchestral garb that shall enhance it. "The 'Valse Triste' is a movement based on a motto theme (A-flat, E natural, D-flat, B-flat,) sounded first in the four horns. This appears again and again throughout the composition, treated freely as the mood of the moment demanded. Flutes and basses all have their share in an­ nouncing it, while at the close, solo violin, divided muted strings and harp harmonics deliver it in a somewhat transfigured form. There is no programme-the piece is not pictoria1." The "Two Sketches" are scored for pairs of flutes, oboes, clarinets, bassoons, English horn (only in the "Chant N egre"), four horns, two trumpets, three trombones and tuba, tympani and the usual strings, the latter divided into as many as eight parts, at times.

Two Hungarian Dances ...... Johannes Brahms (1833-1897) Brahms originally published his Hungarian dances (in four volumes) as piano duets. The wide popularity they immediately attained led, nat­ urally, to their publication in almost every conceivable form. The or­ chestral arrangement is, however, of all, the most effective. Brahm's predilection for the characteristics of Hungarian-or, more properly, Magyar-music is apparent in many of his original compositions. The dances themselves are not original with him, but are transcriptions of the wild performances of the Hungarian bands.

SEVENTH PROGRAM

Sunday Afternoon, February 25, 191 7.

March "Aida"...... Verdi

Overture "Preciosa" ...... Weber

V10• 10 mOIO S J "Fantasla 0 A ppaSSlonata..0" ...... V·leuxtemps

SudeON o. 2 "L'Ar IeSlenne 0 " ...... B·lzet

INTERMISSION.

Symphonic Poem. "The Moldau"...... Smetana

Rhapsodie Norvegienne ...... _" ...... Svendsen,

Intermezzo "Naila" ...... Delibes

Overture, "Der Zigeunerbaron" ...... J. Strauss

SOLOIST: SIEGMUND CULP. 190 POPULAR CONCERTS, 1916-17

March from the Opera "Aida"...... Verdi Guiseppe Verdi was born at Roncole, October 10, 1813, and died at Milan, January 27, 1901. Two symphonies, six piano concertos and eight operas comprise his most important compositions. Commissioned by the Khedive of Egypt to compose an opera for the festivities incident to the opening of the Suez Canal, and allowed, besides an honorarium of $15,000. unlimited expense for its production, he evolved "Aida," which was performed at Cairo in the presence of the Court and visiting poten­ tates, December 27, 1871. This is the work which has proved the in­ spiration of the young Italian school of composers, and shows the closest approach to complete mastery of the orchestra, and intimate connection of text and music, which' had been produced by any Italian up to that time. The march occurs in the second act of the opera. Admired and venerated in his old age, Verdi had received decorations and honors from all parts of the world. He lived quietly and simply, and, having survived his wife and all near relatives, he willed the bulk of his estate for the establishment of a home for aged and infirm mu­ sIcIans.

Overture "Preciosa" ...... '.' ...... Carl M aria von Weber 1'786-1826 When Weber was twenty years of age he was invited by Prince Eu­ gene to come to his court in Silesia where he remained for two years. The Napoleonic wars then made it necessary to disband the theater and the orchestra. The composer undertook a concert tour, but without suc­ cess and was finally compelled to assume the place of secretary to Duke Louis of Wuertemberg, in Stuttgart. There he met Danzi, a well-known composer of the day, with whose encouragement he wrote an opera, "Sil­ vana," the text of which was supplied by Hiemer. The duke was an improvident individual who led a gay life. His brother, the King of W uertemberg, . blaming his associates for much of this, banished them from the kingdom. Weber was again forced to take up concert tours. In his autobiography he states that, from ten on, he devoted himself entirely to his art. He composed the operas of "Freischiitz," "Abu Hassan," "Preciosa," "Euryanthe," "Oberon," which were at once the beginning of German opera as a national institution and of the Romantic School, making him the precursor of both Wagner and Schumann.

F antasle·"A ppasslOIlata. . " ...... V teuxtemp$. 1820-1881 Henry Vieuxtemps, solo violinist to the Czar, teacher of violin at the St. Petersburg Conservatory and later at the Brussels Conservatory, composed much music for the violin, including several cadenzas for Bee- SEVENTH CONCERT 191

thoven's violin concerto, which are still played~ His compositions are much favored by solo violinists. While engaged as conductor of Popular Concerts in Brussels, a post he had held for several years, Vieuxtemps was stricken with paralysis and forced to retire. He lived, however, for several years, his death occurring at Algiers on June 6, 1881.

Sulte• N o. 2,l.esIenne "L'Ar:ll· " ...... G eorge Etzet . "L'Arlesienne" is a drama in three acts by Alphonse Daudet, which was produced at the Vaudeville, Paris, October 1, 1872. The association of Bizet's music with the play was due to the desire of the manager of the Vaudeville, to revive melodrama. The play was not a success and was withdrawn after fifteen performances. Bizet took some of the twen­ ty-seven pieces of music which he had written for the drama, rescored them for full orchestra and brought them out in the form of a suite. Daudet's play with the music by Bizet has been given in other coun­ tries than France. It was staged in England under the title of "Thl;! Love that Kills." In America it was brought out at the Broadway Thea­ tre, New York, in 1887, as "The Woman of ArIes." Bizet was especially happy in his treatment of oriental themes. He was born in Paris, October 28, 1838, and died June 3, 1875, at Bougival.

INTERMISSION.

Symphonic Poem ''The Moldau" ...... Friederich Smetana 1824-1884 Of Friedrich Smetana "the father of Bohemian music," it has been justly said: "Tell the story of Smetana's life and you have told the story of Bohemian music." The life of Smetana was one of those tragedies which fill the pages of musical biography. Hard work finally brought on nervous troubles and deafness, and he died without having received the recognition to which his genius and work entitled him. "The Moldau" is one of six symphonic poems all bearing on Bohem, ian history and legend. The score bears the following preface: "Two springs gush forth in the shade of the Bohemian Forest, the one warm and spouting, the other cold and tranquil. Their waters, gaily rushing onward over their rocky beds, unite and glisten in the rays of the morning sun. The forest brook, fast hurrying on, becomes the river Vltava (Moldau,)' which flowing ever onward grows to be a mighty stream; it flows through thick woods in which the joyous noise of the hunt and notes of the hunter's horn are heard ever nearer and nearer; it flows through grass-grown pastures and lowlands where a wedding-feast is being celebrated with song and dancing. At night the wood and wa" ter-nymphs revel in its shining waves, in which many fortresses and castles are reflected as witnesses of the past glory of knighthood and the 19~ POPULAR CONCERTS, 1916-17 vanished warlike frame of bygone ages. At the St. John's Rapids the stream rushes on, winding in and out through the cataract and hews a path for itself with its foaming waves through the rocky chasm into the broad river bed in which it flows on in majestic repose, vanishing in the far distance." The composition begins with a rippling passage for the flutes accom­ panied by crisp chords in the violins and harp, picturing the first stream of the Moldau. After awhile the horns and other wind instruments intone a joyous punting call, developed to a fine climax, then gradually dying away in the distance. The gay music of a rustic wedding is next heard, superseded in turn by modulations of a faerie quality which at once suggests the realm of the nymphs. Delicate evane.scent harmonies in the woodwind instruments convey the idea of a serene moonlight, while the flutes and strings carry a sustained melody over a shimmering accompani­ ment of the clarinets. The original theme is resumed and developed to a powerful climax depicting the raging waters of St. John's Rapids. A long and gradual diminuendo pictures the waters glistening in the distance like a silver line on the horizon.

Rhapsodie Norvegienne ...... Svendsen Son of a bandmaster, John Severin Svendsen picked up a smattering of music in childhood, and after wandering over Germany, entered the Leipsic Conservatory. He was awarded the honorary gold medal upon his departure from the Conservatory, in 1867. In 1871 he visited Amer­ ica, taking a bride home with him. . He settled in Christiana where he conducted the Christiana Musical Association until 1883 when he was appointed to the post of conductor at the Court in Copenhagen. Among his compositions are two symphonies, a funeral march for Charles XV, Coronatiqn March for Oscar II, and four Norwegian Rhapsodies, one of which will be played to-day. He was born at Christiana, September 30, 1840, and resides now at Copenhagen.

Intermezzo from "Naila" ...... ' ...... ' ...... Delibes Clement Phillibut Leo Delibes was born at St. Germain du Val, Feb- , ruary 21, 1836. In 1848 he was admitted to the solfege class at the Conservatoire, and sang in the Madelaine and other churches. Later he taught in the Conservatoire. He was a Chevalier of the Legion of Hon­ or, and Member of the Institute. Delibes devoted himself from an early period to dramatic composi­ tion. H'e composed the oper~ "Lakme," which became one of the stand­ ard operas, and several short comic operas, but it is in his ballets, of which he composed a great many, that he displays the wealth of melody on which his fame chiefly rests. His ballets "Sylvia," "Coppelia" and "Naila" are among the most beautiful in the modern repertoire. His death occurred at Paris, January 16, 1891. SEVENTH CONCERT 193

Overture, "Der Zigeunerbaron" ...... Johann Strauss • Johann Strauss, son of the most notable composer and conductor of his generation, earned his title of "Waltz King" by composing nearly four hundred waltzes. Besides the waltzes he composed a notable series of operettes and comic operas, including "Der Zigeunerbaron" (Gypsy Ba­ ron,) the overture of which occupies a place on today's program. His first waltz was composed at the age of six, and at nineteen he made his debut as a conductor, producing waltzes of his own and his father's. On the death of his father he combined the two orchestras and made a series (jf tours. In 1863 he was made court conductor of balls at Vienna. Strauss was born in Vienna, October 1825, and died in the same city on June 3, 1899.

EIGHTH PROGRAM

Sunday Afternoon, March 11, 191 7

M arch, "L'Af",nC8llle " " ...... M e.:yer beer

Overture from "The Magic Flute" ~ ...... M ozarl

Ana," "A f ors e I w"" from "TraVIata. " " ...... V erd' I

Suite, Scenes Napolitaine ...... '...... M assenet I. La Dance. II. Procession. III. L'Improvisateur. IV. La Fete.

INTERMISSION.

Overture, "William" T e 1I" ...... R OSSlnl..

Aria "Thou Lovely Bird" from "Perle du Bresil"...... David

Largo in F sharp (for strings only)...... H a.:ydn

Prelude to Act III "Lohengrin" ...... Wagner

SOLOIST: CHARLOTTE SANDMAN. 196 POPULAR CONCERTS, 1916-17

March from "L' Africaine" ...... M eyerbeer Giacomo Meyerbeer (probably Jakob Liebmann Beer) was born- in Berlin of Jewish parents, February 5, 1791. His father was Herz Beer, a wealthy banker. His mother was cultured and possessed rare intel­ lectual gifts. Jakob was the eldest son. It is assumed that the change in the form of his name was made because of a legacy left him by a rich relative named Meyer. Meyerbeer, who composed the highly successful operas "Robert Le Diable," "Les Huguenots," "Le Prophete," "Dinorah," "L'Africaine," "united to the flowing melody of the Italians and the solid harmony of the Germans, the pathetic declamation and the varied piquant rhythm of the French," as his biographer Mendel expressed it. "L'Africaine" was begun in 1838 and occasioned many altercations with Scribe, the librettist. In consequence, Meyerbeer dropped the com­ position, but took it up again in 1863. Though rehearsed by him, this opera was not performed until after his death, which occurred in Paris, on l\tIay 2, 1864.

Overture, "The Magic Flute" ...... W. A. Mozart Born at Salzburg, in 1756. Died at Vienna, in 1791. Somehow the sparkle, the bubbling flame of Mozart's Muse shines here the clearest. We have all forgotten the first impression his music made upon the world-of impetuous fire, and we may wonder at it in our own feeling of a colder, formal perfection; but here we cannot resist the magic that somehow stays through unwithering centuries. Indeed, one feels it undiminished here and there in less famous pieces, whether for violin or for a musical clock. With a wrench and strain of historical memory, we may catch some­ thing of the audacity of the harmonies in those days of schoolmaster music. The mystery is that these are the new glimpses that stay ever fresh when so much of romantic art is quickly-faded. Inevitably apt, in the vivacious fugue, is the counter theme, inviting to the mocking game. Almost as bewildering as the "Jupiter" Finale is the rich counterpoint, yet with a warmth and melody all its own. The pinch of minor second in the play of sequences would be thought bold to­ day. The charming jingle in the recess of the fugue somehow relates to the virile text of the fugue. Perhaps the most wonderful art comes after the halting chords in the middle, when we have a discussion, as in symphony, at the same time with the further incidents of the fugue, now in a minor hue. Yet we are apt· to forget that it is a fugue, so purling is the melody; so natural the re- EIGHTH CONCERT 197 ports. Nay, a double stretto is here; for the theme and counter-theme each sing in close pursuing groups, so that at the thick of the plot, with the perfect design, w~ hear merely an entrancing maze or chase of melodic vOIces.

"Ah, fors e lui" from "La Traviata" (Recitative and Aria) ...... Verdi

Recitative-English Translation-Sung in Italian Surprising! surprising! his words are all rooted in my bosom! Does it portend my sorrow a deep affection? How determine, 0 heart on fire, and restless? Before, I rang'd in fancy's freedom, a transport, a new emotion, this interchange of spirits! Shall I throw such a treasure away from worldly baubles, for senseless pleasure? Aria Was this the man my fancy saw oft in bright visions smiling, Oft in bright visions smiling, one form'd to win a faithful heart, With pure love beguiling, with pure love beguiling? Is he the one who tended me when fever's rage was burning, And peace to me returning, kindled a true love's fire! Ah! 'tis the love, 'tis the love that moves the spheres, Shines in the skies pure, by human tears oft reflected, Tyrant resistless'. 'Gainst him who is protected? Rapture, rapture and torment, rapture and torment, pain and desire Rapture and torment, pain and desire! ah! pain and desire! What folly! what folly worse than vain this delusion! Most hapless woman, single, by all deserted, Amid this solitude full of people, by all the world call'd Paris, What can I do? what my resource now? Once more plunge in this vast sea of revelry, drink freely Circe's bowl! oh joy! oh joy! Shall I always freely ranging, live for feigned joy, be pleasure greeting; In this life so quickly changing, waste my time from year to year? Day by day, tho' the hours be fleeting, brings new gladness for the mor- row, Then hail pleasure, banish sorrow, and for sadness have naught To fear, for sad days, for sad days, ah for sadness Have naught to fear, for sad days, for sad days have no fear! For sad days, for sad days, ah! ah! for sad days Have no fear! for sad days, for -sad days, for sad days Have naught to fear, ah! have naught to fear! 198 POPULAR CONCERTS, 1916-17

Suite, "Scenes Napolitaine" ...... N! assenet Jules Massenet, composer of the operas "Manon," "Le Cid," "Thais," "La Roi de Lahore," was· born at Montaud, near St. Etien­ nes, on May 12, 1842; He won the first lPiano prize at the Paris Conservatoire, and several other prizes for composition. His composi­ tions include songs and duets, suites for orchestra, oratorios. Among his latest operas are "Le N avarraise," performed at Covent Garden, London, in 1894, "Sapho" at the Opera Comique, in 1897, "Le Jongleur de Notre­ Dame," at Monte Carlo, in 1902; "Ariana" and "Cherubin," in 1905. Scenes Napolitaine was composed in 1889, and is one of the most charming of Massenet's suites for orchestra. There are four movements -La Dance; Procession; L'Improvisateur; La Fete.

INTERMISSION.

Overture to "William Tell" ...... Gioachimo Rossini (1792-1868) "William Tell," a romantic opera in four acts, founded on the drama of Schiller, was the last and perhaps greatest of Rossini's thirty-seven operas. It was first performed at Paris in 1829. Its ever-popular overture suggests, in a large measure, the locale of the story. It is in the character of a tone-picture rather than an operatic overture. In other words, it is descriptive music. The introduction depicts the break of day on the Alps. The second part describes a shower of rain-a furious Alpine storm gathers rapidly. Gradually its fury is spent and (in an Andante) the plaintive piping of the mountain shepherds is heard. A trumpet call summons the soldiers of Gessler. There is an extremely brilliant Coda . .Aria, "Thou Lovely Bird" from "La. Perle du Bresil" ..... F elicien David C harmant Oiseau. Thou charming bird, so gaily singing, 'Mid shadows upon the bough! Brilliant wings, in sunlight upspringing, Thy song was ne'er so gay as now! Amid the flow'rs, sO' softly beaming, Still poise, and trill in joyous play!

In sun and shade, a sprite thou'rt gleaming, Sing now, sing and welcome the day! What is so gay? What is so free? What half so gay? As Mysoli? What is so free? What half so gay? As Mysoli? But when thy love is near thee swinging, EIGHTH CONCERT 199

Asleep in her downy nest- Then thou awhile doth end thy singing To watch the one thou lovst' the best Watch o'er the one thou lov'st the best! Mid buds and bloom and leafy gladness And fragrant breeze doth pass thy day; Doth pass, bird, pass the day; Thy sweetest life knows no more sadness, And naught but love is thine alway What is so gay? What is so free? What half so gay? As Mysoli? What is so free? What half so gay? As Mysoli?

Largo in F sharp, (for strings only) ...... Haydn Franz Joseph Haydn, "Father of the symphony," friend of Mozart, and teacher of Beethoven, was born at Rohrau, March 31, 1732, and died at Vienna, May 31, 1809. Be is best remem­ bered as the composer of "The Creation" and "The Seasons," oratorios still sung throughout the world at music festivals. A complete catalog of Haydn's works has never been made, but his own record shows 118 symphonies, fifteen masses, five oratorios, five operas for German mar­ ionettes, 366 Scotch romances, 400 minuets, besides innumerable pieces for solo instruments, string quartettes, salves, Te Deums, choruses, etc. The Largo on today's program is from one of his string quartettes, and is known as the "Celebre."

Prelude to Act III, "Lohengrln" ...... Richard Wagner "Lohengrin," a romantic opera in three acts, was produced at. Weimar, in 1850, under Liszt's direction. The "Vorspiel" (Prelude) is made practically on one theme­ that known as "The Grail" motive This mysterious motiv first appears in the upper register of the violins; after passing to the different instru­ ments in a continual crescendo it bursts forth in the brass. After a long decrescendo it dies in the glow of the muted violins. The introduction to Act III is the stirring, joyous march which, in the opera, is followed immediately, from the first rising of the curtain, by the favorite "Bridal Chorus."

NINTH PROGRAM

Sunday Afternoon, March 25, 1917.

Overture, "Fra Diavolo" ...... , ...... A uber

Symphonic Poem, "Le Rouet d'Omphale"...... Saint~Saens

Violin Solo, Polonaise in D ...... WienialVslti

Siegfried's Rhine Journey from "Goetterdaemmerung" Wagner

INTERMISSION.

"1m Fruehling" ...... Coldmarlt

Valse Triste...... Sibelius

Minuet...... Boccherini

Rhapsodie No.1...... Liszt

SOLOIST: FLORENCE HARDEMAN. 202 POPULAR CONCERTS, 1916-17

Overture to "Fra Diavolo" ...... " ...... Auber 1782-1871 Daniel Francois Esprit Auber was born at Caen, January 29, 1872, of a Norman family domiciled in Paris. He dis­ played a genius for music in childhood, composing songs when only eleven. He composed both grand and comique operas, in all more than forty, between the years 1811 and 1869. He directed the Paris Conservatoire, but was so timid he never conducted nor even attended the performance of his own works. "Fra Diavolo," perhaps the most popular of his light operas, was first performed at Paris, January 28, 1830. The overture, which reflects the merry jovial spirit of the opera, opens with a drum solo pianissimo, followed by a march theme for violins, violas and 'cellos. The march, gradually extending to the other instruments, produces the effect of an advancing troop of soldiers, the march past being given fortissimo by the whole orchestra, and at last gradually dying away in the distance. The final themes are taken from the first act. The material is effectively worked up and brings the overture to an attractive close. Auber died in 1871, at the age of ninety-one. Symphonic Poem, "Le Rouet tfOmphale" (Omphale's Spinning-Wheel,) Op. 31 .. .. Charles Camille Saint-Saens The following description is prefixed to the score: "The subject of this orchestral poem is feminin"e seductiveness, the triumphant struggle of weakness with strength. The spinning-wheel is but a pretext from the point of view of rhythm, and of the general aspect of the composition. Persons who are interested in searching for details will see on page 19 (letter J) H'ercules groaning in the bonds he can not break, and on page 32' (letter L) Omphale laughing at the hero's futile efforts." " Saint-Saens has been criticised by the unthinking for the obvious an­ achronism of giving Omphale a spinning-wheel, instead of the prehistoric distaff. But the composer, who wanted to suggest spinning to th~ mod­ ern mind, was evidently forced to use this device. The work is a marvel of ingenious instrumentation. The "fascination" theme of Omphale sug­ gested through the whirl of the wheel, the mocking laugh of Omphale as Hercules groans in bondage, are transparent effects. "Le Rouet d'Om­ phale" is the first of a series of four symphonic poems completed in 1875. Charles Camille Saint-Saens was born in Paris in 1835. He is of Jewish descent, though it can not be said his semitic ancestry is traceable in his art. He took the first prize at the Conservatory in 1851. He is distinguished alike as pianist and composer. No composer of the French school surpasses him in technical equipment, yet there is always a certain elemental force lacking in his work. He has traveled extensively; and is a man of wide culture and progressive thought. NINTH CONCERT 203

Violin Solo, Polonaise in D...... Henri W ieniawski Born, Lublin, Poland, 1835 Died, Odessa, 11880 A distinguished violinist, Henri Wieniawski toured over Europe for many years. For twelve years he occupied the post of solo violinist to the Czar of Russia, retiring to make a tour of the United States and Europe with Rubinstein. In 1874 he became the successor of Vieuxtemps at the Brussels Con­ servatory. Wieniawski composed much music for the violin, his compositions being favorites on all concert programs.

Owing to illness, Mme. Yolanda Mero has been compelled to cancel her engagement to play at this week's symphony concerts. Mme. Fannie Bloomfield-Zeisler has been secured in her place. Mme. Bloomfield-Zeisler is one of the few great women pianists of the world. She has not been heard in Cincinnati for several years and concert patrons will welcome her warmly when she comes to be the solo­ ist at the symphony concerts on Friday afternoon and Saturday evening. She will play the Rubinstein D minor concerto.

Siegfried's Rhine Journey ...... : ...... Richard Wagner

The music played under the title given above occurs in the first act of "Die GotterdammeJ;ung," the last of the great trilogy of music dramas which, with "Das Rheingold" as an introduction, compose Wagners' greatest legacy to the world, "The Ring of the Nibelung." "Die Walkiire" and "Siegfried" are the second and third dramas of "The Ring." After bidding Brunnhilde an affectionate farewell at the cave of the "Walkiire," Siegfried descends from the heights and begins his journey through the valley of the Rhine. The music is descriptive of the opening scene before Brunnhilde's cave, where the three Fates are found intoning their mysterious rites while weaving the destinies of man and his divinities. They disappear at dawn. The glowing passion of Siegfried's leavetaking, marked by his giving the magic ring to Brunnhilde, is followed by his descent into the valley; Brunnhilde stands at the edge of the cliff, watching her lover and musing upon their love; this mood is broken into by the sound of Siegfried's hunting horn in the depths of the valley; marking his progress toward his fate in the world below.

INTERMISSION. 204 POPULAR CONCERTS, 1916-17

Overture, "1m Fruhling," Ope 36 ...... Carl Goldmark 1830-1915 This overture, "In Springtime," was produced by Goldmark at a a Philharmonic concert, Vienna, December 1, 1889. It has been preceded by two other concert overtures-"Sakuntala" and "Penthesilea" -'and has been followed by three more-"Prometheus Bound," "Sap- pho" and "In Italy." . The work is scored for two fiutes, two oboes, two clannets, two bas­ soons, four horns, three trumpets, three trombones, tuba, kettledrums and strings. We reproduce the following from the pen of Felix Borowski: There is no Introduction. The principal theme begins in the second measure (Allegro~ A major, 3-4 time) with a fiery subject delivered by the first violins over a pulsating accompaniment in the other strings. This is worked over with much modulation and eventually leads into the quieter second theme put forward by the strings. After sixteen meas­ ures of this, another section of the subject appears in the first violins, over which is heard little birdlike interjections in the woodwind. There is a third division made up for the most part of a triplet figure in the first violins (pizzicato in the other strings) alternating with an imitative passage in the woodwind. The development works out a portion of the second theme, and the brilliant opening of the first. The recapitulation brings back the principal subject in full orchestra, the second appearing, as before, in the strings. The birdlike twitterings come back in the woodwind, and the subject is given further development. The Coda is long and 'elaborate. The principal theme appears fortissimo. This is followed by a change of time and movement (Vivace non troppo~ A ma­ jor, 6-8 time,) a new idea being set forth in canonic imitation by the violins and basses, reinforced by the woodwind. Episodical matter is heard, the birdlike passages are reintroduced, after which a final section (Allegro assai) brings the overture to a brilliant conclusion. Valse Triste ...... Jean Sibelius Jean Sibelius was born at Tavestehus, Finmark, December 8, 1865. He composed the first Finnish opera, several works for or­ chestras and two symphonies, in addition to many smaller numbers. He has made as pedal study of Finnish folk songs. Valse Triste is taken from the incidental music to the drama "Kuolema" ("Death") of Arvid J arnfelt (a brother-in-law of Sibelius). It portrays a dying mother in her last delirium. "It is night. The womans' son, wearied by watching over her, has fallen asleep. He dreams. The room becomes suffused with a reddish light. Music is heard in the distance, which sounds nearer and louder with the increasing light, and at last becomes a waltz melody. "The mother awakes, leaves her bed, and, clothed in a gown that looks like a white ball dress, moves about lightly and noiselessly, while in the NINTH CONCERT 205 waltz measure she beckons on all sides. To her beckoning appear men and women in couples. She mingles in these dances, and endeavors to fasten the eyes of the dancers upon her, but they seem to avoid her. "Her strength gives way; she sinks exhausted. The music stops, the reddish shimmer disappears and with it the dancers. Once more she sum­ mons all her strength, and again, with lively beckonings, invites to the dance. Again the music sounds, again the dancing pairs are seen. There is mad dancing, and when the wildness is at its height there is a knock at the door. The door opens-the mother shrieks-she stands as one frozen-the apparitions vanish-the music is still-through the door en­ ters-'Death.' "

MlDuel" ...... L U1,g1,.. B acc h er1,n1,.. Born February 19, 1743, Boccherini was a contemporary of H'aydn, and was, in his time, almost equally famous. His works number four hundred and fifty and were, for the most part, chamber music. The above Minuet is a movement from one of his string quartettes. His death occurred at Madrid, May 28, 1805.

Hungarian Rbapsodie No. 1, ~ F ...... Frank Liszt Born at Raiding, Hungary, October 22, 1811. Died at Bayreuth, July 31, 1886. The Hungarian Rhapsodie No. 1 in F (No. 14 of the original piano set), orchestrated by the composer in collaboration with F. Doppler, is one of the most elaborate works in this style-the title of which (in a musial sense) originated with Liszt. The splendid contrasts between the funeral march at the beginning, the Allegretto Zingarese and the brilliant, dashing Finale, as well as the use of some of the popular Hungarian melodies, make this rhapsodie one of the most effective of all concert numbers.

TENTH PROGRAM

Sunday Afternoon. April 8. 191 7.

Festival Overture...... Lassen

Baritone Solo, Toreador Song...... Bizet

Suite, "Midsummer Night's Dream" ...... Mendelssohn 'I. Overture. II. Scherzo. III. Notturno. IV. Wedding March.

INTERMISSION.

Overture, "In Autwnn"...... Grieg

"Eo Berceau"...... Saar INCIDENTAL SoLO: EMIL HE~~MANN.

Aria, "0 Diamond Bright," from "Tales of Hoffman" ...... Offenbach

Toreador and Andalouse ...... ' ..... Rubinstein

SOLOIST: CARL SCHIFFLER. 208 POPULAR CONCERTS, 1916-17

Festival Overture ...... Lassen

Eduard Lassen was born April 13, 1830, at' Copenhagen. He was the composer of several operas, a symphony in D, and one in C, besodes many smaller pieces. He was Chevalier of the Order of Leopold. The Festival overture is built on two Thuringian folk-songs. Lassen died at Weimar, January 15, 1904, at the age of 74.

Toreador S~g from "Carmen" ...... George Bizet BDrn at Paris, 1838 Died at BDugival, J une ,2.~', 1875 "Carmen," a romantic opera in four acts, was first performed at Paris, March 3, 1875. The libretto is based on the famous novel of Prosper Merimee. The "Toreador" song is sung in the second act by Escamillio.

TRANSLATION.

Gentlemen, I drink the health Df all the brave, FDr cDmrades we, e'en thO" the fight be gay. Yes, the TDrerD fears nDt the grave, ThO" at pleasure's bidding he gDes to' the fray. On festal days the surging crDwd' assembles, Brave gallant men, and many ladies fair. Gaily they're laughing, nDt Dne whO' trembles, ShDuting and cheering are filling the air. Wild excitement in each tier and stDry; Ev'ry eye with baleful fire alight. FDr the hDur has CDme to' strive fDr glDry, CDurting death to' win the fight. On guard! 'Tis time to' jDin the fray! On to' the fray nDW, fearlessly, TDreadbr, in gDry fight be Dn thy guard, Dark eyes beam frDm abDve, And thy reward is IDve. Silence nDW, the crDwd is hush'd and still, NO' whisper stirs the air, nO' sDund Df ShDut and cheer. Our frDm his prisDn intO' the air See, with mighty bDund and head erect CDmes the steer, On he CDmes with fury in his eye . . . . . , A hDrse is thrDwn and falls, burying his PicadDr! "BravO', the steer!" CrDwds raise the cry- Rushing madly here and there, he turns nDW with a rDar. He wildly shakes his banderillDs gay, Then rushes Dn Dnce mDre, the sDd is wet with gDre! All must flee, there's nDt Dne whO' dares to' stay- NDw's my tum, he stands at bay! On guard, 'tis time to' join the fray! On to' the fray nDW fearlessly, ToreadDr, is gDry fight be Dn thy guard, Dark eyes beam frDm abDve, And thy reward is IDve. TENTH CONCERT 209

Suite, "Midsummer Night's Dream" ...... Feliz M endelssohn-Bartholdy Mendelssohn wrote the overture for Shakespeare's play when he was but seventeen years of age, and conducted its first per­ formance in 1827. He had already composed several smaller pieces, but it is his first characteristic work, and reveals his individuality as strikingly as any work he composed afterwar.d. The overture was con­ ceived as a piano duet, and afterward orchestrated. The music for the play, composed fourteen years later, consists of twelve numbers. The "Notturno" is No. 7 of these, and is used as an entre-acte be­ tween Acts III and IV. The Scherzo is played after the first act, and preludes the well-known fairy scene. The popular "Wedding March" is No.9, and occurs at the end of Act IV. Felix Mendelssohn was born in Hamburg, February 3, 1809. His family name was originally Mendel. His grandfather, Moses Men­ delssohn, son of a school-master of Dessau, was a distinguished writer of Berlin, where his Phaedon was published in 1767. Mendelssohn's father was Abraham, second son of Moses. He was a prosperous banker in Berlin and a man of wide culture. He adopted the Christian faith and added the name Bartholdy to the family name, so that at the baptism of the great composer his name was recorded as Jakob Ludwig Felix Mendelssohn-Bartholdy. A collection of his compositions, which later appeared in forty-four volumes, was begun at the age of twelve. Acquaintance with \Veber at Berlin and Goethe at Weimar was made in 1821, and great improvement was manifest when he again played in concert the following year. Dur­ ing this time he composed quarters, songs, a Kyrie for two choirs, and the opera Die Beiden N effen, all of which were performed at the Sunday musical entertainments given by the Mendelssohn family at their home in Berlin. He was a prolific composer of nearly every form of musical works. His better known oratorios are St. Paul and Elijah. Of his symphonies the Scotch and Italian have proved the most popular, while his piano compositions haye a great vogue the world over.. Upon his tenth and last return from London he fell into a decline, from which he never ral1ied, and died at Leipsic, November 4, 1847.

INTERMISSION.

Overture, "In Autumn," Opus 11...... Edward Grieg Born at Bergen, June 15, 18.43 Died at Bergen, September 4, 1907 In the Autumn of 1865, Grieg went to Rome for the winter. During his stay at Rome the overture "In Autumn" was composed, and up­ on his return to his northern home Grieg showed the score to Gade 210 POPULAR CONCERTS, 1916-17

-then the leading representative of the Scandinavian School. Gade was a follower of Mendelssohn. Believing that German music in general, and that of his idol in particular, was definitely appointed to' rule the inspirations of compO'sers in every land, he saw something indecorous in an attempt to infuse anything more than the faintest color of national spirit into musical compositions. Gade could not see his way to approve of Grieg's prO'nounced Scandinavianism. "No, Gi-ieg," said he, "this won't do. You must go home and write something better." In narrat­ ing the incident to the Rev. W. A. Gray, whO' visited him in Norway, Grieg declared that he had been much disheartened by this verdict, "But," he added, "soon after I obtained an unexpected revenge. I arranged the overture as a duet for the pianoforte and sent it to Stockholm, where, just then, the Academy of Music had announced a prize for the best overture. I was awarded the prize by the judges, of whom Gade was one. He must either have forgotten the piece in the intervening time, or have been in very bad temper on the day I showed it to him." "In Autumn" received its first production at the Birmingham Musical Festival in England, August 29, 1888. Grieg conducted the work himself and, according to' the critic of the Musical Times (London), "with mark­ ed success."

"En Berceau" ...... Louis Victor Saar Mr. Saar wrote the "Cradle Song" as a Christmas gift to his son, Carl. It was originally written for two violins and 'cellO', but has recently been arranged for string orchestra. Mr. Heerman plays the violin solo. Louis Victor Saar was born in Rotterdam, but early in life was en­ tered as a student in the Real-Gymnasium at Strassburg, where he re­ mained several years. In 1886 he entered the Royal Academy of Music at Munich, whence he graduated in 1889 with highest honors as com­ poser and pianist. In 1899 he won the first prize for piano composition in Boston, and in 1903 was awarded the prize for composition at the Saengerfest in Baltimore, his work having been chosen over that of four hundred competitors. Mr. Saar is a prolific composer, his works having reached their Opus 84. He has been in charge of the department of composition at the Cin­ cinnati College of Music since 1906.

Aria, "0 Diamond Bright," from "Tales of Hoffmann" ...... Offenbach Jacques Offenbach (originally Levy) was born at Offenbach­ on-Maine, June 21, 1819, the son of a cantor at a Jewish synagogue in Cologne. He died in Paris, October 5, 1880, having composed more than ninety works, all of a light character. Many operettas were TENTH CONCERT 211 included among them. The Love Tales of Hoffmann is a posthumous work. He is supposed to have worked on this score for several years; after a revision it was played for the first time at the Opera Comique, February 10, 1881. This fantastic opera is in three acts, a prologue and epilogue, and the text is by Barbier. It is based on the Tales of the German author, E. T. A. Hoffmann. These tales, ghostly, mysterious a,nd enigmatical, were translated into the French and enjoyed quite a popular vogue. In the prologue Hoffmann, the poet, has returned to the place of a former love affair with Stella, who is just about to be married to Lindorf, who is very rich. Fearing that Hoffmann's old attraction might be revived to his discomfort, Lindorf conceives the idea of getting Hoffmann un­ der the influence of drink and have him tell of his many and frequent love affairs in such a way that Stella would be disgusted with him. The action of the opera tells the story of the poet's affairs with Olympia, an automaton; Juliette, a Venetian courtesan, and Antoine, a smger. The aria on today's program is sung by Dapertutto in the last act. With my diamond bright, And magical mirror of light, r charm them and hold them in thrall ! Be they birds or but women, Should they its beauty see, Though they fly or they sigh, Some ere long will be dying, And some will render their souls! Ah! With my diamond bright My magical mirror of light, I'll draw her here! Bright gem of light! You'll dlfaw her here! o gem of light, Shine on to draw here here.

"Toreador and Andalouse," from "Ball Costume" ...... Rubinstein Cincinnatians may remember the appearance of Anton Rubin­ stein in concert in Cincinnati in the year 1872. This celebrated composer and virtuoso, whose "Toreador and Andalouse" is to be played today, was considered in his day second only to the great Liszt as a piano virtuoso. He was born in 18~9, in a little village in Bessarabia, and when still very young moved with his family to Moscow, where his father established a pen and pencil factory. His mother was his first teacher. The young Rubinstein displayed extraordinary talent and was given systematic instruction. At ten years of age he was playing in public and for a number of years thereafter was taken by his teacher from one large city to another to give concerts. In 1846 he went to Vienna with the idea of studying with Liszt, but Liszt told him a talented 212 POPULAR CONCERTS, 1916-17 man must win the goal of his ambitions unaided." For years thereafter Rubinstein suffered the bitterest hardships. Finally, however, he achieved the much desired "goal" and became one of the most celebrated virtuosos and composers of Europe. In 1872 he made his eventful tour of Amer­ ica, giving 215 concerts during the season, often playing two a day. In 1887 he assumed the management of the Petrograd Conservatory. In 1889 he gave his last concert in Moscow dramatically appearing on the stage at its conclusion and locking the piano as a symbol of his permanent withdrawal from the concert stage. He died November 20, 1894. SPECIAL PENSION FUND CONCERT

Sunday Afternoon, February 18, 191 7.

Overture to Act I, "Lohengrin"...... Wagner

Symphony No.6, "Pathetique" ...... Tschai/ro'Ws/ry I. Adagio. Allegro non troppo. II. Allegro can grazia. III. Allegro malta vivace. IV- Finale-Adagio lamentoso.

INTERMISSION.

Pianoforte Concerto in C sharp minor, Op. 28 ...... Schytte I. Allegro. II. Intermezzo-Andante can mota. III. Finale-Allegro.

Overture-"Tannhaeuser"...... Wagner

SOLOIST : WALTER GILEWICZ. 214 SPECIAL PENSION FUND CONCERT

Vorspiel to "Lobengrln" ...... Richard Wagner 18n-18·83

The "Vorspiel" (Prelude) to Lohengrin is made practically on one theme, that known as "The Grail" motive. This mysterious motive first appears in the upper register of the violins; after passing to the different instruments in a long-continued crescendo it bursts forth in the brass.' After a long decrescendo it dies in the glow of the muted violins. Both Wagner. and Liszt-to whom Lohen:grin is dedicated­ wrote a program analysis of the Prelude. The following is a transcription compressed by Ernest Newman-of Wagner's version: "Out of the clear blue ether of the sky there seems to condense a wonderful, yet at first hardly perceptible vision; and out of this there gradually emerges, ever more and more clearly, an angel host bearing in its midst the sacred Grail. As it approaches earth it pours out exquisite odors, like streams of gold, ravishing the senses of the beholder. The glory of the vision grows and grows until it seems as if the rapture must be shattered and dispersed by the very vehemence of its own expansion. The vision draws nearer, and the climax is reached when at last the Grail is revealed in all its glorious reality, radiating fiery beams, and shaking the soul with emotion. The beholder sinks on his knees in adoring self­ annihilation. The Grail pours out its light on him like a benediction, and consecrates him to its service; then the flames gradually die away, and the angel host soars up again to the ethereal heights in tender joy, having made pure once more the hearts of men by the sacred blessing of the Grail."

Symphony No.6, in B minor, "Pathetique," Op. 74 ...... Peter Iljitsch Tschaikowsky

Tschaikowsky began work on his sixth symphony in the year 1893. He had just passed through a period of despondency, which made the idea of creating a new symphony the more welcome, as he himself indicates in the following letter to his nephew, Vladimir Davidov : "I must tell you how happy I am about my work. Just as I was start­ ing on my journey (a visit to Paris in December, 1892), the idea came to me for a new symphony. This time with a program; but a program of a kind which remains an enigma to all-let them guess it who can. The work will be entitled 'A Program Symphony.' This program is penetr(;l.ted by subjective sentiment. During my journey, while com­ posing it in my mind, I frequently shed tears. N ow I am home again, and I have settled down to sketch out the work, and it goes with such ardour that in less than four days I have completed the first movement, while the rest of the symphony is clearly outlined in my head. There SPECIAL PENSION FUND CONCERT 215 will be much that is novel as regards form in this work. For instance, the Finale will not be a great Allegro} bot an Adagio of considerable dimensions. You can not imagine what joy I .feel at the conviction that my day is not yet over, and that I may still accomplish much." Six months later, in another letter to Davidov, he says: "It is the most open-hearted of all my works. I love it as I have never loved any of my musical offspring before." Later he writes: "It is indiscribably beautiful" and "without exaggeration I have put my whole soul into the work." The first performance occurred at St. Petersburg, October 22, 1893, under Tschaikowsky's direction, when it made but an indifferent impres­ sion. Tschaikowsky's disappointment, however, did not affect his opin­ ion of the work; he still insisted that it was the "best thing he had ever composed, or ever should compose." A few weeks later the symphony made a most profound impression, and became, within a short time, the sensation of the entire music world. Tschaikowsky did not follow his original intention as to the title, but named it "Pathetique," after iis first performance, at the suggestion of his brother, Modeste. Much has been written about this music; many have attempted to guess the riddle of the program, but few have given a more apt inter­ pretation than Mr. Philip Hale, who says: "To some this symphony is as the life of man. The story is to them of man's illusions, desires, loves, struggles, victories and end."

INTERMISSION.

Concerto for Piano, C-Sharp minor, Ope 28 ...... Ludwig Schytte Allegro. Intermezzo-Andante can mota. Finale-Allegro. During recent years the Northern countries have taken a prom­ inent place in the advancement of musical art, and Schytte is one of those who, like Grieg, Svendsen, Neupert, Stavenhagen and Sind­ ing, have fostered a high musical standard in Denmark. Schytte has created an extensive number of works which have placed him high in the esteem of the musical world. The concerto at hand is one of his most important works. It is, in the strictest sense, a piano concerto, for to the solo instrument is assigned the task of presenting the composer's ideas. . These are massive and vigorous and are transmitted largely in full sonorous harmonies. The piano part bristles with .difficulties which make great demands on the musical faculty as well as on the technical skill of the soloist. The influence of the composer's Scandinavian descent 216 SPECIAL PENSION FUND CONCERT

is apparent principally in the second movement, Andante con moto, which abounds in those peculiar harmonies and striking themes which seem to pertain to all modern Scandinavian composers: Ludwig Schytte, a druggist in· his native town, decided, at a compara­ tively late period in life to devote himself to music. He studied the piano with Ree and Neupert and composition with Gebauer and Gade, finishing under Liszt at Weimar and Taubert at Berlin. His works, mainly for piano, are in the form of etudes, character pieces, fantasies, silhouettes, Danish melodies, rondos, swedish songs and dances; a sonata, op. 53, and the concerto, op. 28, are his most pretentious compositions. He has also written a comic opera, Roving People, and a one-act opera, Hero, which 'was brought out at Copenhagen in 1898. Schytte is now residing at Vienna as a concert pianist, teacher and composer.

Overture to "Tannhaeuser" ...... Richard Wagner 1818-1883 . This overture, one of the best loved and at the same time one of the greatest works of its kind, takes its themes' entirely from the opera, the most prominent of which are (in order of their en­ trance) the Chorus of Pilgrims, the siren music of the V enusberg, Tann­ hauser's exulting love song to Venus, the song of Venus and finally, a return of the Pilgrims' Chorus. REPERTOIRE, 1916-17 217

The Repertoire ORKS performed by the Orchestra from 1895 to 1917 at the Sym­ phony and Popular Concerts, and on tour. The seasons in which W the works were performed are indicated by the Roman numerals. The Historical and Philosophical Society of Ohio and the Public Library of Cincinnati have complete sets of Symphony and Popular Concerts Programs beginning with the first season, of each series, 1895 and 1911, respecti vel y.

ALABIEFF, ALEXANDER- Song-"The Nightingale" ...... VIII d'ALBERT, EUGEN- Overture to Der Improvisator ...... IX Concerto to Violoncello, C maj or ...... VII ALKAN, CHARLES HENRY-

Etude, C minor .. 0 0 0 0 ••••••••• 0 •••••••••••••• 0 •••• 0 0 X ANDERSON, KARL JOACHIM-

Berceuse-Gavotte ...... 0 •• 0 •••••••••••••• XVII ANDREAE, VOLKMAR-

Symphonic Fantasie, Opo 7 •..•..• 0 •••••••••••••••• 0 • XI ARENSKY,ANTON-

'Overture-A Dream on the Volga .. 0 •••••••• 0 •••••••• V AUBER, DANIEL F. E-

Overture to Fm Diavolo ...... 0 0 •••••• 0 0 •••••• XV, XVII, XVIII, XIX, XXI, XXII

Overture to The Mute of Portico ...... 0 •••••••••• IV, XVII, XIX, XXI AULIN, TOR--:,

Midsommer dans 0 0 ••••••••••••• 0 ••••••••••••••••••• 0 XVI Concerto for Violin, C minor, Op. 14 ...... •...... XIV BACH, JOHANN SEBASTIAN-

Suite No.3, D major ...... 0 ...... IV, XII, XIV, XVIII

Concerto for Violin, A minor 0 •• 0 0 ••••••• 0 ••• 0 • 0 •• 0 XVII, XVIII, XXII

Concerto for Violin, E major. o. 0 •••• 0000 ••••••••••• XI, XVII, XXI

Concerto for two Violins, D minor 0 •• 0 •••••••• 0 ••••• XIII

Concerto for three Pianofortes and Strings 0 •• 0 •••••• VII

Concerto-"Brandenburg," No. 20 0 0 0 •• 0 ••••• 0 •• 0 ••••• X

Concerto-"Brandenburg," No.3, G maj or 0 ••• 0 ••••• 0 • XXII

Concerto-"Brandenburg," N 00 40 ••••• 0 •••••••••• 0 0 • 0 XI

Sonato, E-flat (Wetzler) .... 0 •••••• 0 •••••• 0 •• 0 • 0 • 0 •• XIII

Sonata for Violin, G minor 0 ..... 0 .. 0 ...... XVIII

Divertimento (Seidl) 0 •••••••• 0 ••••••••••• 0 ••••••• 0 • I

Prelude, Choral and Fugue (Albert) ... 0 ••••••••••••• III, IV, VI, IX, XI

Mass, B minor ... 0 • 0 •••••••••••••••••••• 0 ••••••••••• XVIII

"Sanctus" from the above 0 • 0 ••• 0 ••••••• 0 •••••••••••• XIX BEACH, MRS. Ho Ho Ao-

Song-"My Sweetheart and I" .. 0 •• 0 ••• 0 0 0 0 • 0 • 0 0 0 0 0 • 0 IX 218 SYMPHONY ORCHESTRA

BEETHOVEN, LUDWIG VAN Symphony No.1, C major, Op. 21 ...... XIX Symphony No.2, D major, Op. 36 ...... 1, IV, XVI, XVIII, XXI Symphony No.3, "Eroica," Op. 55 ...... II, VI, VII, XI, XIV, XVII, XIX, XXII Symphony No.4, B-flat, Op. 60 ...... IV, VIII, XIII, XVIII, XXI Symphony No.5, C minor, Op. 67 ...... I, III, V, VII, IX, XI, XIII, XIV, XV, XVI, XVII, . XVIII, XXI Andante from the above ...... XVI Symphony No. 6-"Pastoral," Op. 68 ...... III, VI, VIII, X, XVII, XIX, XXII Symphony No.7, A major, Op. 82 ...... V, XII, XV, XVII, XIX Symphony No.7, A major, Op. 92 ...... XXII Symphony No.8, F major, Op. 93 ...... II, VII, IX, XV, XVIII, XXI Overture-"Coriolanus," Op. 62 ...... I, III, XIII, XV, XVII, XIX Overture-"Leonore," No.3. Op. 72 ...... I, III, IV, IX, X, XIV, XVII, XIX, XXI Overture-"Leonore," No.1 ...... XXI Overture-"Leonora," No.2, Op. 72 ...... XXII Overture-"King Stephen," Op. 117 ...... IV, VIII Overture-"Dedication of the House," Op. 724 ...... ,. XIX Overture to The Creations of Prometheus ...... XIX. Egmont Overture, Op. 84 ...... II, VIII, XII, XVI, XVII, XVIII, XIX, XXI, XXII Song-"Die Trommel Geriihret" ...... XVII, XXI Song-"Freudvoll und Leidvoll" ...... VIII, XVII Fidelio Aria-"Ah! Perfido" ...... XIV Aria-"Prison Scene" ...... XIII Recitative and Aria-"Abscheulicher" ...... XXII Overture ...... XXI Concerto for Violin, D major, Op. 61 ...... I, III, XI, XIV,_ XVIII, XIX, XXII Concerto for Pianoforte No.3, C minor, Op. 37 ...... XVIII Concerto for.Pianoforte No.4, G major, Op. 5·8 ...... XI, XVI, XVII Concerto for Pianoforte No.5, E-flat; Op. 73 ...... III, VII, XII, XV, XIX Songs-"Adelaide," "Faithful Johnnie," "The Cottage Maid" ...... XVIII Overture-"N amensfeier," Op. 115 ...... XXII BEHNKE, EMIL Song-"My Heart Was Like a Swallow" ...... IX BEMBERG, Aria, "La Mort de Jeanne d'Arc" ...... XXI BENOIT, PETER Symphonic Poem for Flute and Orchestra ...... V Charlotte Corday Overture ...... -111 Scene de Bal ...... II BERLIOZ, HECTOR Symphonie Fantastique,· Op. 14 ...... III, VIII X. XI XVII Symphony-"Harold in Italy," Op. 16 ...... IV XII' , , Symphony-"Romeo. and Juliet" (Part II) Op. 17 ..... III, V XI XIX O verture-"K'mg L ear,"0 p. 4 ...... III XXII' , ' O ver t ure-"Roman C'armva 1" , 0 p. 9 ...... II, '.XVIII, XXI, XXII REPERTOIRE, 1916-1'7 219

BERLIOZ, HECTOR-Continued. Overture-"Le Corsaire" ...... XXI Overture to Benvenuto Cellini ...... XII, XVIII The Damnation of Faust Invocation-Minuet of the Will-o'-the-Wisps ...... II, V, I X, XVI, XVIII, XIX Dance of the Sylphs ...... I, II,' V, XVI, XIX Hu,ngarian March ...... II, III, V, IX, 'XIII, XVI, XIX . Song-"Absence" ...... II BIZET, GEORGES Suite No.1, "L'Arlesienne" ...... II, XIV, XV. XVIII, XXII Suite No.2, "L'Arlesienne" ...... X X II Suite No.3, "Roma" ...... 1, XII Suite, "Carmen," No. I ...... XVI Suite, "Carmen," No. II ...... XVI, XVII, XVIII, XXI Carmen Flower Song ...... XV, XXI Aria, "C' est des Contrabandiers" ...... VII Aria, Micaela's Prayer ...... XXII Dream Picture ...... XV Aria from La folie Fille de Perth ...... XIX BLOCKX, JAN Triptyque Symphonique ...... XII Kirmesse Flamande from Milenka ...... VI, X BLON,.FRANZ V. "Whispering Flowers" ...... XIX BOCCHERINI, LUIGI Minuet ...... XVI, XVIII, XIX, XXI, XXII BOHLMANN, THEODOR HEINRICH F. Lyric Tone-Poem ...... X·V BOHM, CARL

Song-"Still as the Night" ...... 0 ••••• XVII, XVIII BOIELDIEU, FRANCOIS ADRIEN

Song-"Les Voitures Versees" .. 0 •• 0 ••••• 0 ••••• 0 ••••• II BORODIN,ALEXANDER Symphony No.2, B minor ...... V, VII

A Sketch of the Steppes of Central Asia .. 0 •••• 0.0 •••• V, VIII, XVI, XXII BRAHMS, JOHANNES

Symphony No.1, C minor, Op. 68 ...... 0 •• 0 ••• IV, VII, VIII, X, XV, XVI, XVII, XIX

Symphony No.2, D major, Op. 73 ...... 0 ••••••• II, V, IX, XII, XVI, XVIII, XXII .

Symphony No.3, F major, Opo 90 ..•• 0 ••••••• 0 ••••••• III, XIII, XIV, XIX, XXII Symphony No.4, E minor, Opo 98 ...... VI, XI, XVIII, XXI

Overture-"Academic Festival" 0 •••••••••••• 0 •••• 0 •••• XVI, XVIII

Overture-"Tragic" ...... 0 •••• 0 •••• 0 •••• 0 •••• 0 •••• XVII Concerto for Pianoforte, No.2, B-flat, Op. 83 ...... II, XIX, XXI

Concerto for Violin, D major, Opo 77 .. 0 •• 0 0 0 0 0 0 •••• 0 0 VI, XII, XIV, XVII,XVIII, XIX

Rhapsody . 0 0 • 0 0 ••••••••••••••••••• 0 •••• 0 •••• 0 ••••••• XIX

Hungarian Dances, No.1 and 2 ...... 0 •• XXI*, XXII***

Two Hungarian Dances, Nos. 5 and 6 ..... 0 •••••• 00 •• VII, XV, XVI,XVII,XVIII XXI** *No. 2 only. **No. 5 only. ***No. 1 only. 220 SYMPHONY ORCHESTRA

BRAHMS, JOHANNES-Continued. "How Lovely is Thy Dwelling Place," from a Ger- man Requiem ...... XIX German Requiem ...... XXI Songs-"In Lonely Wood" ...... VIII "In the Churchyard" ...... XIII "May Night," "My Love is Fair" ...... I "There in the Field" ...... XVI "Sunbrown Lad," "Art Thinking Often Now?".IX "High and Towering Rima Stream" ...... IX "Loving God, Thou Knowest" ...... IX "Ho, There Gypsy!" "Rosebuds Three" ...... IX "Feldeinsamkeit" ...... XXII "Vor dem Fenster" ...... XXII "Schwalbe sag' mir an" ...... XXII "Botschaft" ...... XXII Variations on a theme of Haydn ...... XXI Serenade, No.1, D major, Op. 11...... XXII BRUCH, MAX Concerto for Violin, No.1, G minor, Op. 26 ...... III, VII, XII, XVI, XVII, XIX, XXI Concerto for Violin, No.2, D minor, Op. 44 ...... IX First movement from the above ...... XVI Concerto· for Violin, No.3, Op. 58 ...... II "Kol Nidrei" ('cello), Op. 47 ...... VI, XVIII Fantasia on Scotch airs for Violin, Op. 46 ...... I, XXII "Ave Marie" from The Cross of Fire ...... XVII, XIX, XXI Romanza ...... XIX BRUNE, ADOLPH "Ein Daemmerungsbild," Op. 64 ...... XXII BRUNEAU, ALFRED Entracte Symphonique from M essidor. ~ ...... XIII BRUCKNER, ANTON Symphony No.3, D minor ...... ; . XVIII Symphony No.4, E-flat ...... XII, XXI Symphony No.7, E maj or ...... , ...... XXII BRUECKNER, HERMAN Am Meeres Gestade ...... XIX Symphony No.4, "Romantic" ...... XXI BULL, JOHN "King's Hunt" ...... ~XVI BURMEISTER, RICHARD Concerto for Pianoforte, D minor ...... VI Tone-Poem-"The Sisters" ...... •...... VIII BYRD, WILLIAM "Sellinger's Round" ...... XVI CAMELLISEN, Rhapsodie Characteristic ...... XXII CARPENTER, JOHN ALDEN Suite, "Adventures in a Perambulator" ...... XXII CHARBRIER, ALEXIS EMMANUEL Rhapsody-"Espana" ...... III, XIII, XVI, XVIII, XXI Bpurree Fantastique ...... IX REPERTOIRE, 1916-17 221

CHADWICK, GEORGE W. Overture-"Melpomene," D minor ...... I Symphonic Poem-"Cleopatra" ...... XIII CHAMINADE, CECILE Songs-"Were I a Gardener," "On the Shore," "Sum- mer," "Song of Love" ...... I CHARPENTIER, GUSTAVE Aria-"Depuis Ie Jour," from Louise ...... XV, XVI, XIX, XXI,XXII Suite-"Impressions of Italy" ...... VIII CHERUBINI, LUIGI Overture to Anacreon, D major ...... I, XXII Overture-"Die Abenceragen" ...... XXI Overture, "Ali Baba" ...... XXII CHOPIN, FREDERIC Nocturne, Ope 48, C minor ...... X VI Polonaise, Ope 53, A-flat major ...... XVI Polonaise, E-flat, Ope 22 ...... IX Valse, A minor, Ope 34 ...... XIV Valse, Impromptu, Ope 36 ...... V Marche Funebre ...... ;.... Xl V Mazurka, G sharp minor, Ope 33 ...... XIV Mazurka, B-flat major, Ope 7 ...... • XIV Etude No. VII, Ope 25 ...... IV Concerto for Pianoforte No. I, E minor ...... XV, XVII Concerto for Pianoforte No. II, F minor, Ope 21...... IV, VI, XI, XVII Valse, Ope 70 ..••...•..•••..•...•.••..•••..•••.••.... VII Valse, Ope 64 ...... V CLAY, FREDERIC Song-uI'll Sing Thee a Song of Araby," from Lalla Rookh ...... XVIII COLERIDGE-TAYLOR Tales of Old Japan ...... XIX

CONVERSE, FREDERICK SHEPH~RD Fantasy-"The Mystic Trumpeter," Ope 19 ...... XII Festival of Pan, Ope 9 ..•..•...... •....•••...... XI COUPERIN, FRANCOIS Chason Louis XIII et Pavane ...... XVIII DAMROSCH, WALTER Prelude to Act II, Cyrano de B ergerac ...... IX DAVID, FELICIEN Aria from La Perle du Bresil...... XVIII Aria, "Thou Charming Bird" ...... XXII DAVIDOFF, CARL Allegro, from Concerto for Violoncello No.2 ...... III DEBUSSY, ACHILLE CLAUDE Nocturne No. l-"Clouds" ...... XIV, XXII Nocturne No. 2-"Festivities" ...... •... XIV, XXII Prelude to "The Afternoon of a Faun" ...... X, XI, XVI, XVIII Recitative and Aria from L'Enfant Prodigue ...... XV, XVI, XIX, XXI

"Rondo of Spring" ...... o •••••••••••••••••••••• XXI 222 SYMPHONY ORCHESTRA

DELIBES, CLEMENT P. L. Intermezzo-"Naila" ...... XIX, XXI, XXII Suite-"Coppelia" ...... XVII, XVIII, XXI, XXII Suite-"Sylvia" ...... XVI, XVII, XIX, XXI, XXII Aria-"Bell Song," from Lakme ...... VIII, XV. XVIII Aria-"Les Fille de Cadiz" ...... XXI Ballade and Theme Slave Varie, from Coppelia ...... II DE SWERT Concerto for 'cello in C minor ...... XXI DIAZ, EUGENE Aria from Benvenuto Cellini ...... XIX DOHNANYI, ERNST VON Suite, Op. 19 ...... XIX, XXI DONIZETTI, GAETANO Lucia de Lammermoor Aria ...... XXI Sextet ...... XVI Mad Scene ...... '" ...... •. .'X, XV, XXII Aria-"Alma Soave e Cara," from Maria de Rohan ... . XVI DOPPLER Fantasie Pastorale Hongroise ...... XVII DUKAS, PAUL Symphonic Poem-"The Sorcerer's Apprentice" ...... X, XI, XV, XVII DVORAK, ANTONIN Overture-"Husitzka,",Op. 67 ..•.•....•..•....••..••.• II, IV, XI, XXII Overture-"Carnival" ...... •XII, XIII, XV, XVIII, XXII Symphony No. 5-"From the New World," E minor, Op. 95 ...... 1, VI, XI, XV, XIX, XXI Symphony D major, Op. 60 ...... IX Symphonic Variations, Op. 78 ...... V, VII Concerto for Violin, in A minor ...... X Concerto for Violoncello ... " ...... :.~. XV, XXI, XXII . Slavonic Dance No.1, C major, Op. 46 ...... ••...... •• II; VIII, XVII, XXI, XXII Symphonic Poem-"The Moon Witch" ...... ~II Symphonic Poem-"Die Waldtaube" ...... XXI DVORSKY, MICHELLE "Chromaticon," for Piano and Orchestra ...... XXII ELGAR, EDWARD WILLIAM Symphony No.2, E-flat, Op. 63 ..•....••••..••••..••.• XVI "The Dream of Gerontius" ...... XV Sur sum Corda, Op. 11 ...... IX Two Songs-"Sea Pictures," from Op. 37 ...... Xl Variations-"Enigma" ...... X VI "The Snow" ...... XIX March-"Pomp and CircumstCj.nce," D major ...... XV ELSENHEIMER Scherzo-"Irrlichter" ...... • XXI ENESCO, GEORGES Two Rumanian Rhapsodies, Op. 11 ...... XVII, XVIII, XIX, XXII R,umanian Rhapsody No.1 ...... XXI ERK, LUDWIG V olksong-"Das M iihlrad" ...... I X REPERTOIRE, 1916-17

FARNABY, GILES "Quodling's Delight" ...... 00 .. 0... 0..... XVI FLETCHER, PERCY E. "The Walrus and the Carpenter" ... 00 0 0 ... 0...... 00 0 . X IX FLORIDIA, PIETRO Symphony, D minor .... 0.. 0.... 0...... 0... XIII FLOTOW Overture--"Martha" .... 00 ... 0... 0.. 0.. 0...... 0... XXII FOOTE,ARTHUR Symphonic Prologue-"Francesca di Rimini" .... 0. 00 .. I Irish Folk-Song" 0. 0...... 0. 0.. 0.. 0.. 00 ...... 0.. II Suite, D minor ... 0.. 0.. 00 0 .... 0.... 0.. 0. 0.. 0... 0... 0. VI Four Character Pieces after the Rubaiyat of Omar Khayyam 00 ... 0. 0... 0..... 0... 00 . 00 . 0...... XVIII FRISCHEN, JOSEF Ein Rheinisches Scherzo 0...... 00 0 0 ... 00 . , . 00 ...... IX FRANCK, CESAR Symphonie Poem No. 2-"Le Chasseur Maudit". 00 .. 0. IV Symphony, D minor ..... 0...... ~ ...... 0.. XII, XVI, XXI FUCHS, ROBERT Serenade in D .... 0.... 0.... 0. 0...... 0... 0.. 00 . XXI GABRIELI, GIOVANNI Sonata-"Pian e Forte". 0... 0..... 00 0 0 ...... 00 ..... 0. XIII GADE, NIELS W .. Concerto for Violin, D minor, Op. 560 ..... 00 ..... 0.. II GERMAN, J. EDWARD Three Dances, from Henry VIII ..... 0...... '.... 00 .... XV GERNSHEIM, FRIEDRICH Tone-Poem-"To a Drama," Op. 82 o. 00 .... 00 0 ... 00 .. XVII GILSON, PAUL Cavatine . 0.. , ..... 0" .... 0...... 0..... " . 0...... IV GLAZOUNOW, ALEXANDER Scene de Ballet, Op. 52 ...... 0...... IV Symphony N 00 6, C minor ... 0.. 00 .... 0.. 0. 0...... 00 .. VI Concerto for Violin in A. 0... 0...... 0.. 0. 00 .... 0.... XVI Valse de Concert No.1, Opo 47 ...... VIII Duet-"Pas des Fiancees," for Violin and 'Cello .. 00 .. XIX Lyric Poem, Opo 12 ...... 0...... 0. 00 ...... I "Le Printemps,", Musical Tableau, Opo 340 ...... 0.... XXII GLINKA, MICHAEL I. Overture to Russian and Ludmilla ...... II, VI, VII, XV, XIX GLUCK, CHRISTOPH WILLIBALD Recitative and Aria-"Che Faro" from Orphee et Eurydice ...... " .. '. V, XXI Iphigenie en Aulide Overture ...... 0...... 0... 0..... XVII "Diane Impitoyable" ...... 0...... 0.... 0.... 0. XIX Aria from Act IV-Iphigenie en Aulide ...... 0. 00 0 . 0. XI Ballet Suite, D .... 0.. 00 .. 00 . 0... 0...... 0... 00 . 00 0 0 . X IV Aria-"Divinities du Styx," from Alceste ... 0...... XVIII, XXI Aria-"O del mio dolce ardor," from Paride ed Elena . . XIX 224 SYMPHONY ORCHESTRA

GODARD, BENJAMIN

Suite for Flute ...... 0 ••••••••••••••••••• 0 •••••••• XVIII Concerto Romantique for Violin, Op. 35 ...... III

Adagio Pathetique ('Cello) ...... 0 ••••••••• 0 •• XIX GOETZ, HERMANN Aria from Der Widerspenstigen Ziihmung ...... XVII GOLDMARK, CARL

Symphony No. l-"Rustic Wedding" .. 0·•••••• 0 •••••• oX, XXI Overture-"Prometheus Bound," Op. 38 ...... X I X

Overture-"Sakuntala," Op. 13 ...... 0 •••••••• 0 •••••• ilI, XVI, XVIII, XIX, XXI, XXII Overture-"Im Friihling" ...... XXI, XXII

Concerto for Violin ...... 0 •••••••••• XV, XVIII Ballet Music from "Queen of Sheba" ...... XXI GOUNOD, CHARLES FRANCOIS Ballet Music from Faust ...... XVIII Overture-Mireille ...... XIV Queen of Sheba

Aria-"Lend Me Your Aid" .. 0 ••••••• 0 •• 0 •••••• 0 • XIII, XV Recitative and Aria-"She Alone Charmeth My Sadness" ...... VI Recitative and Aria-"I Am at Last Alone" ...... I March ...... XIX, XXI, XXII Funeral March of a Marionette ...... XIX Aria-"O Ma Lyre Immortelle," from Sapho ...... '. XIX

Hymn-"St. Cecile" ...... 0 ••••••••••••• 0 ••••••••• 0 •• 0 XVIII, XXI GRAINGER

Molly on the Shore ...... 0 ...... XXII GRIEG, EDWARD HAGERUP "In Springtime" ...... 111, IX, XVII, XVIII, XXI

Overture, "In Autumn" ...... 0 •••••••••••••• XXII

Suite-"Peer Gynt" No.1 ...... 0 .11, VII, XIV, XV, XVII, XIX, XXI

Suite-"Peer Gynt" No.2 ...... 0 ••••••••••••••••••••• XVII, XVIII, XXI "Hall of the Mountain King," from "Peer Gynt" ...... I, IV Concerto for Pianoforte, A minor, Op. 16 ...... 11, VII, VIII, X, XVI, XVIII, XXI Variations on an Old Norwegian Romance, Op. 51. .... XIX

Heart-Wounds 0.' •••••••••• 0 •••• 0 •••• 0 •• ' •• 0 •••••• 0 •• XIX Songs-"Sunshine Song" ...... I "Autumn Gale" ...... V

Two Symphonic Dances ...... 0 ...... XXII

Aria, "Ein Traum" ...... 0 ••••••••••••••••••••• X X II 'GUIRAUD, ERNEST Carnival, F maj or ...... IV Caprice for Violin ...... VIII HALEVY, JACQUES F.

Aria-"II va Venire" 0 •••••••••••••••••••••••••••••••• XVI HALLEN, ANDERS Rhapsody No.1, Op. 17 ...... VII HALVORSEN, J. Suite from Vasantasena ...... V

March of the Bojaren ...... '" ...... 0 XXII HAMERIK, ASGER Interlude-Tovelille ...... 11 REPERTOIRE, 1916-17 225

HAENDEL, GEORG FRIEDERICH Concerto Grosso, NO.6 ...... XVII, XVIII Concerto Grosso, No.7 ...... XIX Concerto Grosso, No. 10 ...... XXI Largo ...... o...... XVI, XVII, XVIII, XIX, 'XXI, XXII

Aria from "L'Allegro ed i1 Pensierioso" 0 0 •••••••• 0 ••• II, XVIII The Messiah ...... XIV, XVII Chorus-"Halleluj ah," from the above ...... XIX

Overture, D minor ...... 0 •••••••••••••••••••••••• VII, X, XIII Aria-"O Ruddier Than the Cherry," from "Acis and Galatea" ...... III, XVI Recitative and Aria-"Waft Her, Angels," from J ephtha ...... III Judas Maccabaeus Aria-"Sound an Alarm" ...... XIII

"See the Conquering Hero Comes" ..... 0 ••••••••• XIX Recitative and Aria-"Awake Saturnia," from Semele. IV

Aria from "Alessandro" ...... 0 •• , •• II Aria-"Sweet Bird" ...... IX Song-"Ask if yon Damask Rose be Sweet" ...... XVI Song-"Come, Come Live with Pleasure" ...... XXII Song-"No More Complaining, No More Disdaining".XXII Song-"Dryads, Sylvans with Fair Flora" ...... XXII Aria-"Hear Me, Ye Winds and Waves" ...... ,XXII Recitative from Julius Caesar ...... XXII Air from Scipio ...... XXII

HARRIS, VICTOR Song-"Madrigal" ...... 1 Song-"Night Song" ....· ...... I Symphonic Choric Idyl-"Pan" ...... XV

HARTMAN, EMIL Overture-"The Vikings" ...... IV

HAYDN, FRANZ JOSEF Symphony (B. & H. No.2), D major-"London" ...... II, VII, XVI, XVIII Symphony (B. & H. No.3), E-flat...... IX, XXI Symphony (B. & H. No.4), D major ...... XXII Symphony (B. & H. No.5'), D major ...... ,XXII Symphony (B. & H. No.7), C major ...... III, VI, XI, XXI Symphony (B. & H. No.8), B-flat major ...... XIX Symphony (B. & H. No.9), C minor ...... V, X, xl Symphony (B. & H. No. 12), B-flat major ...... IV, VIII, XVII Symphony (B. & H. No. 13), B major-"Surprise" .... XIII, XIX, XXII

Finale from the above .. 0 •••••• 0 ••••••••••••••••••••• XVI Concerto for Violoncello, D major ...... VI, XXII The Creation ...... XIX Aria-"With Verdure Clad" ...... I, VIII Largo F sharp ...... XVIII, XIX, XXI, XXII Recitative and Aria from The Seasons ...... '...... IV, XVII

Serenade in C ...... 0 ••••••••• 0 ••••••••• 0 •• XXI

HELLMERSBERGER, JOSEPH

"Ball Scene" 0 •• 0 • 0 0 •••••••••••••••••••••••• 0 ••••••••• XIX

HENSELT, ADOLF VON

Concerto for Pianoforte, F minor, Opo 16 ...... 0 .XI 226 SYMPHONY ORCHESTRA

HERBERT, VICTOR Second Concerto for Violoncello, E minor ...... IX Suite Romantique, Op. 31 ...... VIII "Aufzug," "Liebes-Scene," "Canzonetta" ...... I American Fantasie ...... XV HERMANN,HANS Songs-"Salomo" ...... XIX "Die Drei Wanderer" ...... XIX HILL, EDWARD BURLINGAME P an and the Star ...... XI X HUBER, HANS Serenata ...... XV HUBAY, JENO Scene de la Czardas ...... , ...... XV Maggioletta ...... XVIII HUHN, BRUNO Love's Philosophy ...... XV HUMPERDINCK, ENGELBERT Prelude to H af!,sel and Gretel ...... XII D'INDY, PAUL M. T. V. W allensteiil' sCamp, Op. 12 ...... X, X II Introduction to Act I, F ervaal ...... V IPPOLITOW-IVANOW, MICHAEL M, Esquisses Caucasiennes ...... XIV, XV JOACHIM, JOSEF Concerto for Violin, D ...... XII JOREL Polonaise ...... XI KAUN, HUGO Symphonic Prolo~e "Maria Magdalena" ...... XI KELLEY, EDGAR STILLMAN Symphonic Poem-"The Defeat of Macbeth" ...... XVII, XVIII Symphony No. 2-"New England," B-flat minor, Op. 33 ...... XIX, XXI Suite-"Aladdin" ...... XIX, XXI, XXII KJERULF, HALFDAN Song-"Von Liebe" ...... I KUERVELS, EDWARD "A Festal Day" ...... XI X KORNGOLD, ERICH WOLFGANG Overture-"Schauspiel" ...... XVIII KRAMER Valse Triste ...... X X II Chant N egre ...... XXII KREISLER, FRITZ Caprice Vennois ...... XVIII KURTH, CHARLES Symphonic Poem-"Almansor" ...... VI LA FORGE, FRANK Song-Schlupfwinkel ...... XV REPERTOIRE, 1916-17 227

LALO, EDUARD Symphony-"Spanish," Op. 21...... IV, XIX, XXI, XXII Suite-"Namouna" ...... XIII Concerto for Violoncello, D minor ...... IV, XII, XVII Song-"L'Esclave" ...... II Overture-"Le Roi d'Y s" ...... XXII LANG, MARGARET RUTHVEN "Irish Love Song" ...... XVII LASSEN, EDUARD Festival Overture ...... XX, XXII LEIGHTON, GEORGE A. "I'm Wantin' You, Jean" ...... XVIII LEHMANN Aria from "In a Persian Garden" ...... XXI LEONCAVALLO, RUGGIERO Pagliacci ...... V Prologue ...... V Aria-"Vesti la Guibba" ...... XIX, XXI, XXII LESSMAN, OTTO Song-"Thou Red, Red Rose on Prairie Green" ...... III LIADOV "Kikimora" ...... XXI LIAPOUNOW Piano Concerto No.1, E-flat minor ...... XXII LISZT, FRANZ "A Faust-Symphony" ...... XI Symphony to Dante's "Divina Commedia" ...... VII Symphonic Poem No. 2-"Tasso, Lamento e Trionfo" ..... ~ ...... IX, XV, XXI Symphonic Poem No. 3-"Les Preludes" ...... I, VI, VIII, X, XII, X IV, XVII, XIX Symphonic Poem No. 4-"Orpheus" ...... III Symphonic Poem No. 6-"Mazeppa" ...... IX, XIX Symphonic Poem No. 12-"Ideale" ...... VIII Hungarian Rhapsody No.1 ...... VII, XVIII, XIX, XXII Hungarian Rhapsody No.2 ...... n, XVII, XVIII, XIX, XXI Hungarian Rhapsody No. 6--"Carnival of Pesth" ... IX Hungarian Rhapsody No. 12 ...... III, V, VIII, X Hungarian Rhapsody No. 14 ...... IV Hungarian Rhapsody No. 15, Rakoczy March ...... XV Concerto Pathetique, E minor ...... V Concerto for Pianoforte No.1, E-flat major ...... , ... III, IX, XIII, XIV, XVI Concerto for Pianoforte No.2, A major ...... X, XVI, XXI Polonaise No.2 ...... XIII, XXI Polonaise in E-flat...... XXII Hungarian Fantasy for Pianoforte and Orchestra ..... III, XIX "March of the Crusaders," from The Legend of St. Elizabeth" ...... " ...... VI Fantasy on themes from Beethoven's "Ruins of Athens" ...... 1 "Mephisto Waltz" ...... XVI Songs-"O Quand je dors," "Der Rattenfaenger" ..... XVI Song-"Die Lorelei" ...... XIII, XVII, XVIII Song-"O Komm im Traum" ...... II, VII Song-"The Three Gypsies" ...... IV, VIII Song-"Im Rhein, im schonen Strome" ...... XIII 228 SYMPHONY ORCHESTRA

LITOLFF, HENRY CHARLES Scherzo from Concerto for Pianoforte-"Sym- phonique" ...... II LOEFFLER, CHARLES MARTIN "A Pagan Poem," for piano and orchestra, Op. 14 .... XXII MAHLER, GUSTAV Symphony No.3, D minor ...... XVIII Symphony No.5, C sharp minor ...... XI 'MACDOWELL, EDWARD ALEXANDER Concerto for Pianoforte No.2, D minor, Op. 23 ...... 1, XVIII, XIX Suite, A minor, Op. 42 ...... VI Poem for Orchestra-"Ophelia," Op. 22 ...... IV Suite No. 2-"Indian," Op. 48 ...... XIV, XIX Songs-''The Sea," "A Maid Sings Light" ...... XIV MAILLART, LOUISE AIME "Glockchen des Eremiten" ...... _..... XXI MANZOCCHI, S. AUTERI Aria-"Sempre ne meie delire," from Dolores ...... XIX MARSCHNER, HEINRICH Aria-"Hans Heiling" ...... IV MARTINI, PADRE Andantino ...... X VIII MARTUCCI, GUISEPPE Notturno ...... X MASSENET, JULES Suite-"Scenes Napolitaine" ...... XVIII, XXII Ballet Music from "Le Cid" ...... III" VIII, XVII, XIX, XXII Suite-"Les Erinnyes" ...... II, XII Divertissement from "Les Erinnyes" ...... V Suite-"Esc1armonde" ...... VII Overture to Phedre, G minor ...... I, III, XII, XIX Herodiade Aria-"Salome" ...... VI, XVI, XVII. XIX Aria-"Vision Fugitive" ...... XVII, XIX, XXI, XXII Aria-"Pleurez, pleurez, mes yeux" ...... XXI Duo (Clarinet and 'Cello) "Sous les Tilleus" from "Scenes Alsaciennes" ...... XVII, XXI Gavotte from Manon Lescaut ...... XVI "Le Dernier sommeil de la Vierge," from La Vierge . .. II Entracte from Don Caesar de Bazan ...... " .. VI Scenes from Cendrillon ...... VII Aria-"He is Good, He is Kind" ...... XXII Entrente from Thais ...... '.... XVI "Scenes Pittoresque" ...... IV, XIX Melodie ...... XI Recitative and Arioso, from Le Roi de Lahore ...... XIX MENDELSSOHN, FELIX Symphony in A major, No.4, "Italian" ...... V Symphony No.3-"Scotch," A minor, Op. 56 ...... I, XVI, XVIII Adagio from above ...... XVI A Midsummer-Night's Dream Overture ...... XVII, XXII REPERTOIRE, 1916-17 229

MENDELSSOHN, FELIX-Continued. Wedding March ...... XVIII, XIX, XXI Suite ...... III, XV, XXII Overture to Ruy Bias ...... X, XVI, XVIII Overture-"Becalmed at Sea and Prosperous Voy. age," Op. 27 ...... XII, XIV, XVIII Overture-"Fingals Cave," Op. 26 ...... XI X Overture- "Melusine" ...... XXI Concerto for Violin, Op. 64 ....•...... •...... •...... I, XIII, XIX, XXII Andante and Finale from above ...... XVI "Spring Song" ...... VIII, XIV Aria-"Ungluecksel'ger!" ...... , " ..... , " .... '" ... IV Aria-"Infelice" ...... VII Aria from St. Paul ...... XIX "Thanks Be To God," from Elijah ...... XIX "Spring Morning" ...... I Overture-"Athalia" ...... XXII MEYERBEER, GIACOMO Indian March, from L'Africaine ...... XVIII, XXI, XXII Recitative and Romance L'Etoile du Nord ...... IV Le Prophete ...... Coronation March, Act IV ...... XV, XVIII, XVIII, XIX, XXI, XXII Aria-"Ah ! My Son" ...... X, XVII, XVIII, XIX Aria from The Camp of Silesia ...... XVIII Aria from Robert Ie Diable ...... XIX, XXI Fackeltanz ...... •.....V Aria-"O Paradisio" ...... XXII MICHIELS, GUSTAVE Styrian Dance ...... XVI MIERSCH, PAUL T. Indian Rhapsody, Op. 19 ...... VII Elegy ...... ' .VII MONTEVERDE Aria-"It Lamento d' Arianna" ...... XXII MOUSSORGSKY Prologue-"Boris Godounoff" ...... XXI MOSZKOWSKI, MORITZ Caprice Espagnole ...... VII Concerto for Violin, C major ...... VIII ~allet Music from Boabdil ...... XV, XIX MOZART, WOLFGANG AMADEUS Symphony-"Jupiter," C major ...... III, XVII, XXI Symphony, D major (K. No. 504) ...... XIX Symphony, E-flat major (K. No. 550) ...... II, XVIII Minuet from above ...... XVI Symphony, G minor ...... 1, VII, XV, XVIII, XXII The Magic Flute Overture ...... XII, XIV, XVI, XVIII, XXII Aria-"The Pangs of Hell" ...... X Concerto for Flute, No.2, D major ...... XIX Concerto for Violin, E-flat major ...... IV, X, XIII Masonic Dirge ...... VI Aria of Sextus from La Clemenza di Tito ...... VIII, X 230 SYMPHONY ORCHESTRA

MOZART, WOLFGANG AMADEUS-Continued. The Marriage of Figaro Overture ...... XV; XVIII, XIX, XXII Aria-"Voi che sapete" ...... XV, XVI, XIX ' Atia-"Dovo sono" ...... XI, XIX Aria-"Deh Vieni" ...... XXII Aria-"L' Amer Sara Comsante," from The Shepherd ,King ...... VII, XIX Adagio from "Klarinetten Quintet" ...... XVII, XXI Don Giovanni Aria-"Non mi dir" ...... I, XV, XVI Aria-"Il mio tesoro" ...... XV, XVI Cosi Fan Tutte . Aria ...... '. XI Sextet ...... ·...... XVI Die Entfuehrung ans dem Semil Overture ...... XXII "Eine kleine N achtmusik" ...... XXI NARDINI, PIETRO Larghetto ...... VII NEVIN, ETHELBERT Songs-"At Twilight," "Nocturne," "The Merry, Merry Lark" ...... I NICODE, JEAN L. Symphonic Variations, Op. 27 ...... IV NICOLAI, CARL OTTO Overture to The Merry Wives of Windsor ...... XV, XVII, XVIII, XIX, XXI, XXII OFFENBACH, JACQUES Intermezzo from Tales of Hoffman ...... XVI, XVII, XVIII, XIX, XXI, XXII Aria-"O Diamond Bright," from Hoffman ...... XXII P AGANINI, NICCOLO Concerto for Violin, D ...... XVI Hexentanz ...... XIII PARISH-ALV ARS, ELIAS "Dance of the Fairies" (Harp) ...... XIX Fantasie Brilliant ...... XXI PARKER, HORATIO W. Overture-"Robert, Count of Paris" ...... I "The Lark Now Leaves His Watery Nest" ...... XVIII PARRY, C. HUBERT H. Aria-"Saul's Dream," from King Saul ...... II PIERNE, GABRIEL "Children's Crusade" ...... XV, XXI Concertstueck for Harp ...... XXII PITT, PERCY Interlude to Act II, ({Paolo and Francesca}' ...... IX PONCHIELLI, AMILCARE Gioconda Aria-"Cielo e mar" ...... XVIII, XIX XXI XXII Ballet Music ...... XVI, XXI' , REPERTOIRE, 1916-17 231

POPPER, DAVID Requiem (Three 'Cellos) ...... XIX Tarantelle ('Cello) ...... XIX PUCCINI, GIACOMO Aria-"One Fine Day," from Madame Butterfly ...... XVI, XVIII, XXI, XXII Aria from La Boheme ...... XV, XVI, XXII Valse Song-"Musetta," from La Boheme ...... XIX Aria from The Girl of the Golden West ...... XVI Aria from La Tosca ...... '.... XXI PURCELL, HENRY Song-"Dido's Lament," from Dido and Aeneas ..... XVI, XVIII RABAUD, HENRY Symphonic Poem, "La Procession Nocturne" ...... X RACHMANINOFF, SERGEI V. Concerto for Pianoforte, No.2, C minor, Op. 18 ...... XIV, XIX Symphonic Poem-"Isle of the Dead" ...... XV, XXI RAFF, JOACHIM Symphony No. 5-"Leonore," E maj or, Op. 177 ...... II, IV, VIII March Movement, from the above ...... I "Die Liebesfee" ...... II RASCH, H. A. Violoncello Quartet ...... XVIII REGER, MAX Serenade, Op. 95 ...••.....•..•••..••.•....•...... XIX "Symphonic Prologue to a Tragedy" ...... XXI A Romantic Suite, Op. 125 ...... XXII REINEKE, KARL Introduction to Act V, King Manfred ...... VII REZNICEK, EMIL VON Overture to Donna Diana ...... II RICCARDO, V. Song-ClAmor mio" ...... XIX RIES, FRANZ Moto Perpetuo ...... VII RIMSY.. KORSAKOFF, NIKOLAUS .. Symphonic Suite-"Scheherazade" ...... XIV, XXI Capriccio Espagnole, Op. 34. V RITTER, ALEXANDER "Good Friday and Corpus Christi" ...... VI ROSSI, FRANCESCO Aria from 11.1 itrane ...... II ROSSINI, GIOACCHINO A. Overture to William Tell ...... XV, XVII, XVIII, XIX, XXI, XXII Overture to The Barber of Seville ...... XV 232 SYMPHONY, ORCHESTRA

RUBINSTEIN, ANTON Concerto for Pianoforte No.4, D minor, Op. 70 ...... II, V, VIII, IX, XV, XVII, ,XVIII, XXI, XXII Concerto for Pianoforte No.5, E-flat, Op. 24 ...... XIII Ballet Music from Demonio ...... I Waltz-"Caprice" ...... XIV, XVII, XVIII Song-"Since First I Met Thee" ...... II Melody in F ...... ·XIV Hochzeitszug, from Feramors ...... I Toreador and Andalouse ...... XXII SAAR, LOUIS VICTOR Gondeliera ...... XVI, XVIII Chanson d' Amour ...... ~ ...... XVI Suite-Roccoca ...... XXI En Berceau ...... XXII SAINT-SAENS, CHARLES CAMILLE Symphonic Poem No. l-"Omphale's Spinning- Wheel" ...... 1, VI, XXII Symphonic Poem No. 2-"Phaeton" ...... XIII Symphonic Poem No. 3-"Dance Macabre" ...... XIII, XV, XVII, XVIII, XXII Symphonic Poem No. 4-"La J eunesse d' Hercule" ... IV, XIII Concerto for Violoncello No.1, A minor, Op. 33 ...... VIII, XI, XIV, XVIII Concerto for Pianoforte No.2, G minor, Op. 22 ...... VIII, X, XII, XVI, XIX Concerto for Pianoforte No.4, C minor ...... 1, V, X, XII, XVIII, XIX, XXII Concerto for Pianoforte No.5, F ...... XVIII Concerto for Violin No.3, B ininor, Op. 61...... II, VII, IX, XVI, XVII, XXI, XXII Suite-"Algerienne," Op. 60 ...... • III, X III, XXI Allegro Appassionate, Op. 70 ...... XIII "La Fiancee du Timbalier," Op. 82 ...... XI, XIV Aria-"La Cloche" ...... VI Havanaise ...... X Introduction and Rondo Capriccioso ...... X Introduction and Scherzo Capriccioso, Op. 28 ...... I Rondo Capriccioso, A maj ...... XIX March Heroique, E-flat major ...... V, XXI Hymn-"Pallas-Athene" ...... II, XV Caprice-Valse-"W edding Cake" ...... XIII Samson and Delila Bacchanale ...... XV, XXII Aria-"O Love Thy Help" ...... IV, XVII, XIX Aria-"My Heart at Thy Sweet Voice" ...... I, XIII, XV, XVII, XXII Concerto for Pianoforte, G minor ...... '.' ...... XIX SALTER, MARY TURNER Song-"Cry of Rachel" ...... XVII SAPIO, R Song-"Spring" ...... 11 SARASATE, PABLO "Zigeunerweisen" ...... XVI SCARLATTI, ALESSANDRO Sonata, A major ...... IX SCHARWENKA, FRANZ XAVER Concerto for Pianoforte, F minor, Op. 82 ...... XV REPERTOIRE, 1916-17 233

SCHILLINGS, MAX "Das Hexenlied," Op. 15, Recitation with Orchestral accompaniment ...... XIV Prelude to Act III, Der Pfeifertag ...... VII Prelude to Ingwelde, A-flat major ...... II, VI SCHOENBERG, ARNOLD Symphonic Poem, "Pelleas and Melisande," Op. 5 XXII SCHUBERT, FRANZ PETER Symphony No.7, C major ...... II, XII, XIV. XVIII, XXII Andante from above ...... XVI Symphony No. 8-"Unfinished," B minor ...... 1, IV. V, VIII, XIII, XV, XVI, XVII, XVIII, XIX, XXI, XXII Overture to Rosamunde ...... '...... XV, XIX, XXI, XXII March Militaire ...... XVII, XIX Funeral March ...... XVII, XIX March Heroique ...... XVII, XXI, XXII Festmarsch ...... XIX Twenty-third Psalm ...... : ...... XIX Songs-"The Almighty" ...... IX, XIII "Friihlingsglaube" ...... I "The Counterfeit" ...... IX, XIII "Sweet Repose" ...... I "Margaret at the Spinning-Wheel" ...... IV "An Schwager Krons" ...... IX "The Ed-King" ...... 111 "Ave Maria" ...... XVII SCHUBERT-LISZT Fantasie for Pianoforte, C major, Op. 15 ...... IV SCHUMANN, ROBERT ALEXANDER Symphony No.1, B-flat, Op. 38 ...... II, IX, XII, XVII, XVIII Symphony No.2, C major, Op. 61 ...... IV, XV, XIX, XXII Symphony No. 3-"Rhenish," E-flat, Op. 97 ...... V, XIX Symphony No.4, D minor, Op. 120 ...... 1, II, VII, X, XIII, XVI, XVIII, XXI Overture to Genoveva, Op. 81...... I, XI, XIX Overture-"Manfred" ...... XXI Concerto for Pianoforte, A minor, Op. 54 ...... III, VI, XVI, XVII, XIX, XXII Variations and Double Fugue on a Merry Theme, .. Op. 3~ ...... XIII Traumeret ...... 1 Songs-"Mit Myrthen und Rosen" ...... I "Widmung" ...... X "The Lotosflower" ...... VIII "Ich GroUe Nicht" ...... IX "Row Gently Here, My Gondolier" ...... III "Spring Night" ...... III, IV SCHYTTE, LUDWIG THEODOR Concerto for Pianoforte, C sharp minor, Op. 28 ...... XII Concerto for Pianoforte, C major ...... XV SCRIABINE, A. Reverie, E minor, Op. 24 ...... VI SGAMBATTI, GIOVANNI Symphony No.1, D major, Op. 16 ...... III, XV 234 SYMPHONY ORCHESTRA

SIBELIUS, JEAN Symphony No.1, E minor ...... XIV, XXI Symphony No.2, D major ...... XVI Tone-Poem-"En Saga" ...... · .. XIII Suite-"King Christian II" ...... VII Concerto for Violin, D, Op. 47 ...... •...... XIII

Legend-"The Swan of Tuone1a" ...... 0 0 ••••• 0 •••• IX, XII, XIV, XXII

Valse Triste ..... 0 •••••••••• 0 ••••••••••• 0 ••••••••••••XV, XXI, XXII

Tone-Poem, "Die Okeaniden". 0 0 ••••• 0 •••••••••••••• XXI SINDING, CHRISTIAN Romance for Violin, E minor ...... XIII SINIGAGLIA, LEONE .

Overture--.:.."Le Baruffe Chiozzotte" ... 0 ••••• 0 ••• 0 •••• 0 XV SMETANA, FRIEDRICH

Overture to The Bartered Bride ...... 0 •• V, XIII, XV, XVIII Symphonic Poems-"My Country"

1. "A Bohemian Fortress ... 0 ••••• 0 ••••••• 0 •••• 0 •• , • XIX

2. "The Moldau" .. 0 •••••••••••••••••••••••••••••••• II, VII, XIV, XIX, XXII 3. "A Legendary Amazon" ...... ,lX, XI 4. "From Bohemia's Groves and Meadows" ...... XIX SMITH, DAVID STANLEY Overture-'!Prince Hal" ...... XXI SPOHR, LOUIS

Concerto for Violin, N 00 8, A minor ...... 0 • 0 0 0 0 0 ••• IV SPROSS, CHARLES GILBERT

Song-"My Star" ...... 0 ••••• 0 0 • 0 • XVII, XVIII STANFORD, C. VILLIERS

Symphony No. 3-"Irish" ...... 0 •••••••• XVI

Old Irish Melodies ...... 0 •••••••• 0 •• 0 0 0 0 0 • I STANGE, MAX

Song-"Die Bekehrte" .. 0 0 0 0000. 0 0 0 0 o. 0 0 0 0 o. 00000000 VIII STRAUSS, JOHANN Waltz-"Bei uns z' Haus" ...... XVIII "Dorfschwalben" ...... XVIII, XIX "Geschichten aus dem Wiener Wald"' ...... XVII, XIX, XXI

"Kiinstlerleben" ...... 0 o. XVII, XVIII, XIX

"Mein Lebenslauf ist Lieb und Lust" .. 0 0 0 0 ••• XVII, XVIII, XIX, XXI XXII '

"Tausend und eine N acht" ..... 0 • 0 •• 0 • 0 •• 0 0 0 • XIX

"Wiener-Blut" ...... 0 • 0 0 •••••••••• 0 ••• XIX

"Wiener Bon-Bon" ...... 0 ••••• 0 ••••••••• XIX

"On the Beautiful Blue Danube" ..... 0 0 • 0 0 0 o. XVI, XVIII, XXI

"Kaiser" ..... '. 0 • 0 •• 0 •••• 0 ••• 0 0 •••••••••••• 0 • 0 V

"In's Centrum" ... 0 •••• " 0 • 0 0 0 0 •• 0000. 0 ••• 0 0 • XVIII

"Wo die Citronen Bliih'n" .... 0 0 0" o. 0 ., o. 0 o. XIX, XXI

"HofbalWinze . 0 ••••••• 0 ••••••• 0 0 ••••• 0 ••••• XVII, XXI

Overture-"Der Ziegeunerbaron" ...... 0 • 0 • 0 0 •• XX II

Overture-"Die Fledermaus" ... 0 ••• 0 •••• 0 0 • 0 • 0 •• 0 0 • 0 0 XX II STRAUSS, RICHARD Tone-Poem-"Death and Transfiguration," Opo 24 ..... V, VII, X, XIII, XIV, XV, ·XVIII, XIX, XXI, XXII

Tone-Poem-"Don Juan,'~ Op. 20 ...... 0 ••••••• X, XI, XV, XVI XVII XIX "

Tone-Poem-"Thqs Spake Zarathustra 0 0 •• 0 •••• 0 ••• 0 XVIII REPERTOIRE, 1916-17 235

STRAUSS, RICHARD-Continued. Rondo -"Till Eulenspiegel's Merry Pranks," Op. 28 .. XI, XVI, XVIII, XIX Symphonia Domestica, Op. 53.: ...... XVII, XXII Symphonic Fantasy-"In Italy," Op. 16 ...... XII Symphony-"Alpine" ...... XXI Solometanz ...... XV, XVI Final Scene from Salome ...... XXII Aria, Salome ...... " ...... XXII Prelude to Act II, Guntram, Op. 25 ...... VI Love Scene from Feuersnot ...... IX, X, XV Serenade for Wind Instruments, Op. 7 ...... XII, XVI, XXI Songs-"Heimliche Aufforderung," Op. 37 ...... XVII "Hymnus," Op. 33, No.3: ...... XII "Das Rosenband," Op. 36, No.1 ...... X "Befreit" ...... XVII "Liebeshymnus," Op. 32, No.3 ...... X "Morgen," Op. 27, No.4 ...... X, XVII "Stiindchen" ...... XVI "Cacilie," Op. 27, No.2 ...... , ... X, XVII, XXII "Wiegenlied" ...... XVII "Zueignung" ...... XV "Meinem Kinde" ...... XXII Concerto for Horn ...... XXI STRUBE, GUSTAV Comedy Overture-"Puck" ...... XVI STURM, LOUIS G. Preludio, Tema e Variazioni, E minor, Op. 34 ...... XIX SULLIVAN, ARTHUR SEYMOUR "Madrigal," from Mikado ...... XIV "Ouvertura di Ballo" ...... , ...... " ..... XVI "The Templar's Love Song," from Ivanhoe ...... III SUPPE, ·FRANZ VON Overture-Poet and Peasant...... XVIII, XXI, XXII Overture, "Die schoene Galatea" ...... XXII SVENDSEN, JOHANN S.· Symphony No.1, D maj or, Op. 4 ...... III, VII, VIII, XI Symphony No.2, B-flat, Op. 15 ...... VII "Carnival in Paris," Op. 9. XVII, XVIII Legend-"Zorahayda," Op. 11...... I, II, XI, XIX Rhapsodie N orvegienne ...... XXII THOMAS AMBROISE Mignon Overture ...... XVI, XVII, XVIII, XIX, XXI, XXII Polonaise ...... X, XI X Hamlet Recitative and Aria ...... VI, VII "Mad Scene" ...... I THOMAS, A. GORING Aria from The Swan and the Skylark ...... XVI Aria from N adeshda ...... XVII Songs-"Time's Garden" ...... 1 "A Memory" ...... XV 236 SYMPHONY ORCHESTRA

TIRINDELLI, PIER ADOLFO Symphonic Poem-"Leggenda Celeste" ...... IX Symphonic Poem-"Tragi-Commedia," Op. 56 ...... XII Concerto for Violin, G minor ...... VI Interludio ...... ; .. XVIII, XIX Song-"Oh To Love, To Love Again" ...... IV TOURNIER, MARCEL Solo for Harp ...... XXI TSCHAIKOWSKY, PETER ILJITSCH Symphony No.4, Op. 36, F minor ...... UI, XV, XVII Symphony No.5, E minor, Op. 64 •••••••••••••••••••• II, IV, VI, IX, X, XII, XIV, XVI, XVIII, XXI Finale from above. '" ...... XVI Symphony No. 6-"Pathetique," B minor, Op. 74 ...... V, VIII, X, XIV, XV, XVI, XVII, XIX Symphony-"Manfred," Op. 58 ...... , ...... IX, XI Overture-"The Year 1812" ...... IX, XV, XVII, XVIII Suite No.3, G major, Op. 55.; ...... IV, XIII Variations from the above ...... V, VI, XVIII March Slave ...... X, XVI, XVII, XVIII March Solonnelle ...... XVIII Miniature March, A maj or ...... II, X Concerto for Violin, D major, Op. 35 ...... V, VI, XV, XVIII, XIX Suite-"Nutcracker" ...... XV "Valse de Fleurs," from the above ...... XV Concerto for Pianoforte No.1, B-flat minor, Op. 23 .. .'1, V, VII, XIV, XV. XVI, XVII, XVIII, XXI Concerto for Pianoforte No.2, F major ...... XV Overture-Fantasia-"Romeo and Juliet" ...... III, VIII, XVI, XIX Variations for Violoncello and Orchestra ...... VII Capriccio Italien, Op. 45 ...... XIV, XVI, XIX Serenade No. 3-"Melancholique," Op. 48. XIV "Elgie" and "Walzer," from the above ...... I, V Songs-"So Fearful, so Joyful" ...... XVI "Don Juan's Serenade" ...... XVI "Was I Not a Blade on Dewey-Meadow Ground" ...... XVI "Ye Who Have Yearned Alone" ...... II, IX Aria-"Adieu, Forets," from Jeanne d'Arc ...... III, XIX "Hopak," from Mazeppa ...... IV Aria from Pique Dame ...... XVI. Arabian Dance from the Ballet Casse Noisette ...... XVI Fantasia, "Francesca da Rimini," Opus 33 ...... XXII UMLAUF, IGNAZ "Mein Vaterland" ...... XVI VAN DER STUCKEN, FRANK Caliban's Pursuit, from "The Tempest" ...... IV, XII March-"Louisiana," Op. 32 ...... XI Festzug ...... X "Pagina d' Amore," Op. 10 ...... IX Idylle, Op. 20 ...... VIII, X, XII Interlude from Vlasda, Op. 9 ...... IV, X, XII Symphonic Prologue-"Pax Triumphans," Op. 26 ..... VIII Symphonic Prologue-"William Rattc1iff" ...... V, XIII Songs-"O Come With Me" ...... I, VII "Fallih ! Fallah!" ...... I, II "Jugendliebe" ...... II "N ight of Spring" ...... IV "Songs of Zion" ...... VI REPERTOIRE, 1916-17 237

VANNAH, KATE Song-"My Bairnie" ...... IX VERDI, GUISEPPE "Ah! fors e lui," from La Traviata, Act II ...... XIV, XV, XIX, XXII Aida March ...... XIX, XXI, XXII Aria-"Ah! Celeste Aida" ...... V, XV, XXI Don Carlos Aria-"O Don Fatale" ...... V, XVI, XVII, XIX, XXI Aria-"There Shall I Sleep" ...... XIX "Requiem" ...... XV, XVIII Aria from Ballo in Maschera ...... XVIII VIEUXTEMPS, HENRI Concerto for Violin No.4, D minor, Op. 31...... VIII Ballade et Polonaise ...... XV Fantasia Appassionata ...... XXII VIOTTI, JEAN BAPTISTE Concerto for Violin, No. 22 ...•...•....••..•...•.•..• XVII VOLBACH, FRITZ Symphonic Poem - "There Were Two Children of Kings" ...... IX VOLKMAN, ROBERT Serenade for Strings, No.3, D minor, Op. 69 ...... 1, XVII, XXI Overture-"Richard III" ...... XXI WAGNER, RICHARD Rienzi Overture ...... III, IX, XII, XVI, XVII, 'XVIII, XIX, XXI, XXII Aria-"Gerechter Gott" ...... II Aria-"Adriano" ...... XXI The Flying Dutchman Overture ...... II, III, IV, VI, VII, X, XI, XII, XIV, XVI, XVII, XVIII, XXI, XXII Aria-"Die Frist ist urn" ...... XVII " Aria-"Senta's Ballade" ...... "...... XXII Tristan and Isolde Prelude ...... IV Isolde's Love-Death ...... X Prelude and Isolde's Love-Death ...... I, VIII, IX, XV, XVII, '. XIX, XXI "Dreams," from Act II ...... III, IX, X, XIII, XVIII, XIX, XXII Tannhiiuser Overture ...... I, III, IV, VI, VII, XII, XIII, XV, XVI, XVII, XVIII, XIX, XXI "Dich theure Halle" ...... IV, VI, XI, XVI, XVII, XVIII, XIX, XXI, XXII March, Act II ...... VII, XVI, XVII, XVIII, XIX, XXI, XXII "Blick' ich umher" ...... XVIII "Pilgrim's Chorus" ...... XIX Septette, Finale of Act I...... XIII "To the Evening Star" ...... VII, XVI, XVII, XVIII, 'XIX Bacchanale ...... VIII, XVIII, XXII 238 SYMPHONY ORCHESTRA

WAGNER, RICHARD-Continued. Die Meistersinger Prelude ...... ,1, III, IV, V, VII, VIII, X, XI, XIII, XV, XVI, XVII, XVIII, XIX, XXI, XXII Prize Song ...... III, IX, XII, XIII, XV Introduction to Act III ...... XV Dance of the Apprentices ...... VII Monologue of Hans Sachs ...... V, XIX Greeting to Hans Sachs ...... VII Quintet ...... XIII Trial Song-"Am StiIlen Herd" ...... 1 Overture ...... XXII Das Rheingold Erda's Warning ...... XV Finale, Entrance of gods into Walhalla ...... II, V; VIII, IX, XI, XIII, XVI Die Walkure Ride of the Valkyries, Act III ...... III, XIV, XV, XVII, XVIII, XIX, XXI, XXII Wotan's Farewell and Magic-Fire Scene, Act III.. IV, XIII, XVI, XVII, XVIII, XIX Wotan's Farewell ...... XIX Magic-Fire Scene ...... IX, XVIII, XXI Siegmund's Love-song ...... I, XII, XIII Siegfried "Forest Weaving" ...... XIII, XIX Die Gotterdammerung Siegfried's Death-Music, Act III ...... III, VI, VIII, XVIII, XXI Siegfried's Rhine-] ourney ...... XI, XII, XXI, XXII Waltraute Scene ...... XV, XXI Parsifal Prelude a.nd Finale ...... IX . Prelude and Glorification ...... I Prelude ...... ".XIV, XVIII Good Friday Spell ...... III, VI, XV Paraphrase ...... XV Lohengrin Prelude ...... II, III, V, VII, IX, XII, XV, XVII, XVIII, XIX, XXI, XXII "Zug der Frauen," Act II ...... XVI, XVII Aria-"In Fernem Land" ...... XVI Prelude to Act III .... , ...... : ...... XIV, XV, XXI, XXII "Elsa's Dream" ...... XVI, XVIII, XIX, XXI, XXII Lohengrin's Narrative, Act III ...... V. XII, XIII Overture-"Christopher Columbus" ...... XIX Siegfried Idyll ...... II, XII, XIV, XVIII Huldigungsmarsch ...... IV, VI, X Kaisermarsch ...... II, V! VI, IX, X, XI, XII, " XIII, XV Eine Faust Ouverture ...... I, VIII, XIII XV XIX Ein Albumblatt ...... VIII, XII XIII XXII Songs-"The Two Grenadiers" ...... V ' , • "Der Engel" ...... X WAGNER-WILHELM] Paraphrase from Parsifal ...... XVII Prize Song ...... XVI, XVII REPERTOIRE, 1916-17 239 ,~------WAGNER, SIEGFRIED Prelude to Act III, Der Biirenhiiuter ...... IX WEBER, CARL MARIA VON Oberon Overturet ...... I, II, XII, XV, XVII, XVIII, XIX, XXII Scene and Aria:-"Ocean! Thou Mighty Monster" .. VI, XIV, XXI Aria-"From Boyhood Trained" ...... XVII Euryanthe " . Overture ...... 1, V, VI, VIII, X, XVI, XVII, XIX, XXI Scene and Aria of "Lysiart" ...... V Der Freischutz Overture ...... XIII, XIV, XVI, XVII, XVIII, XIX, XXI, XXII Aria-"Durch die Walder" ...... XII

Aria-"Wie nahte mir der Schlummer" .. 0 0 0 ••••• IV, V, XVI, XVII, XVIII, XIX

Scene and Prayer .. 0 •• 0 •• 000.0.000. 0 00.000.0 •• '0 XIV Abu Hassan

Overture .. 0 ••• 0 0 • 0 • 0 • 0 0 •• 0 • 0 •• 0 0 •••••• 0 0 ••• 0 0 •• XXII

Overture-"Die Beherrscher der Geister" 0 0 0 0 0 0 0 •••••• VII

Overture, "Precioso" '0 ••••••••••••• 0 0 •• 0 0 ••• 0 0 ••• 0 0 0 XXII WEBER-BERLIOZ

"Invitation to the Dance" ...... 0 •• 0 0 0 0 0 0 0 ••• 0 • XVII, XIX, XXI WEBER-WEINGARTEN

"Invitation to the Dance". 0 0 ••••••• 0 0 • 0 0 • 0 •• 0 •• 0 • 0 • 0 XV WEINGARTNER, FELIX

Symphony, G maj or; Opo 230 0 •• 0 ••••••• 0 0 0 • 0 • 0 • 0 ••• VI

Aria, "Liebesfeier" 0.00.0 •• 00000. 0.' 0 •••• 0 0 •••• 00.000 XXII WIENIAWSKI, HENRI

Mazurka-"Obertass" .... 0 •• 0 •••• 0 ••••• 0 •• 0 • 0 ••• 0 0 •• XVI

Fantasie-"Faust" ...... 0 0 0 • 0 ••••••••• 0 0 0 0 •• 0 • 0 0 0 ••• I

Polonaise in D .... 00 0 ••••• 0 • 0 0 0 0 ••• 0 0 •• 0 ••••••• 0 o' 0 0 XXII WILHELM], AUGUSTE

Romanze (Violin Solo) . 0 ••••• 0 0 0 0 •• 0 •••••••••••••• XV WILLEBY, CHARLES

Song-"Stolen Wings" ...... 0 • 0 •• 0 0 ••• 0 •••• 0 0 ••• 0 •••• IX WOLF, HUGO

Symphonic Poem-"Penthesilea" .. 0 •••• 00. 0" 0.0.0 ••• XIX

Song-"Heimweh" ... 0 ••• 0 ••• 0 • 0 •••••••• 0 0 •• 0 • 0 ••••• X

"Weyla's Gesang" . 0 ••• 0 •• 0 • 0 0 0 0 ••••• 0 • 0 0 ••••• XVII

"Der Rattenfanger" 0 0 o. 0 ••••• 0 ••• 0. 0 o. 0 ••••••• XVI WUNDERLE, CARL

Reverie-"From the Alps" ..... 0 0 0 0 ••••• 0 •••• 0 0 •• 0 0 0 • XVIII

Swedish Paraphrase ...... 0 0 0 ...... 0 0 • 0 0 0 •• 0 0 0 0 0 XVI, XXI ZOELLNER, HEINRICH

Interlude-"Midnight by Sedan". 0 •••••• 0 ••• 0 ••• 0 • 0 •• VIII

Prelude to Act V, The Sunken Bell .. 0.0000.0000. 0 0'0 VII 240 SYMPHONY ORCHESTRA

The Soloists HE following list contains the names of all the soloists and assisting musicians who have appeared in the Symphony and Popular Con­ T certs of the Cincinnati Symphony Orchestra, from 1895 to 1917, with the dates of the years of their appearance:

Abraham, Terese, Contralto, 1900, 1904. Albrecht, Gustav, French Horn, 1915*. AIda, Frances, Soprano, 1912. Alvary, Max, Tenor, 1895,. d'Alvigny, Nina, Soprano, 1898. Anderson, Sara, Soprano, 1900. Argiewicz, Ignacz, Violoncello, 1914*. Aus der Ohe, Adele, Piano. 1897, 1899. Bachatts, Wilhelm, Piano, 1912. Barnett, Howard S., Baritone, 1907. Bauer, Harold, Piano, 1902, 1903, 1912, 1914, 1916. Beck, Alma, Contralto, 1915*. Becker, Hugo, Violoncello, 1901. Beddoe, Daniel, Tenor, 1907, 1911. Betscher, Mina, Soprano, 1898. Blauvelt, Lillian, Soprano, 1895, 1896, 1900, 1903. Bloomfield-Zeisler, Fannie, Piano, 1895, 1898, 1901, 1905, 1917. Bohlmann, Theodor, Piano, 1897, 1912*. Third Intermediate School, Boys' Chorus, 1901, 1905. Brema, Marie, Mezzo-soprano, 1895. Brown, Eddie, Piano, 1916. Brown, Helen, Soprano, 19'14*. Burgstaller, Alois, Tenor, 1905, 1906. Burke, Edmund, Baritone, 1914. Burmeister, Richard, Piano, 1897, 1898, 1900. Burmeister, Willy, Violin, 1899. Busoni, Ferruccio, Piano, 1910, 1911. Callahan, Charlotte, Soprano, 1907. Campanari, Guiseppe, Baritone, 1905. Carreno, Teresa, Piano, 1897, 1899, 1900, 1910, 1914. Casals, Pablo, 'Cellist, 1915, 1917. Case, Anna, Soprano, 1917. The Choral Union Chorus, 1901. The Cincinnati Lieder Kranz, Chorus, 1905. Cohen, Isadore, Tenor, 1915*. College of Music, Chorus, 1901. College of Music, Solo Chorus, 1912*. Conrey;.. Thuman, Mary, Soprano, 1912*. Craft, Marcella, Soprano, 1917. Culp, Julia, Mezzo-soprano, 1913, 1914, 1916. Culp, Siegmond, Davies, Ben, Tenor, 1906. Davies, D. ffrangcon, Baritone, 1896, 1899. DePachmann, Vladimir, Piano, 1900, 1904. Deyo, Ruth, Piano, 1915, 1917. Ebann, William, Violoncello, 1897. Egenieff, Franz, Baritone, 1914. Ehrgott, Oscar J., Baritone, 1899. Elliott, Joseph, Clarinet, 1913*. SOLOISTS, 1916-17 241

Elman, Mischa, Violinist, 1916. Elsenheimer, Dr. N. J., Piano, 1900. Ferrari-Fontana, Eduardo, Tenor, 1916. Flesch, Carl, Violin, 1914. Foster, Muril, Mezzo-soprano, 1905. Frederiksen, Sigurd, Violoncello, 1915*. Friedberg, Carl, Piano, 1914, 1917. Gabrilowitsch, Ossip, Piano, 1901, 1903, 1907, 1915. Gadski, Johanna, Soprano, 189-7, 1904. Galagher, Charles, Baritone, 1914*. Gerardy, Jean, Violoncello, 1898, 1902, 1906.

Gerhardt, Elena, Soprano, 19131 1915. Godowsky, Leopold, Piano, 1913. Goodson, Katharine, Pianist, 1916. Gorno, Albino, Piano, 189'5. Gorno, Romeo, Piano, 1900. Green, Marie Vanderveer, Contralto, 1895. Gregorowitsch, Charles, Violin, 1897, 1903. Haase, Paul, Baritone, 1897. Hahn, Adolf, Violin, 1898. Halir, Carl, Violin, 1896. Hall, Marie, Violin, 1906. Hambourg, Boris, Violoncello, 1911. Hambourg, Mark, Piano, 1902. Hankinson, Marjorie, Contralto, 1915*. Hardeman, Florence, Violin, 1912*. Harvard, Sue, Soprano, 1916. Hawkins, Florence, Soprano, 1914*. Heermann, Emil, Violin:, 19'11, 1912, 1912*, 19'13, 1913*, 1914, 1915, 1916, 1916*. Heermann, Hugo, Violin, 1910. Hekking, Anton, Violoncello, 1905. Henschel. George, Baritone, 1896. Henschel, Mrs. George, Soprano, 1896. Hersch, John c., Bass, 1907. Hess, Ludwig, Tenor, 1912. Hinkle, Florence, Soprano, 1915. Hissen de Moss, ,Mary, Soprano, 1899, 1902, 1904. Hoffman, John, Tenor, 1907, 1913*. Hoffmann, Josef, Piano, 1902, 1905, 1914, 1916. Homer, Louise, Contralto, 1907, 1915. Hosea, Robert, Baritone, 1899. Hubbel, J. Wesley, Tenor, 1907. Hughes, Marie, Soprano, 19,14*. Hutcheson, Ernst, Piano, 1912. Jackson, Leonora, Violin, 1900. Jacoby, Josephine S., Contralto, 1898, 1899. J ahn, Edmund Alexander, Baritone, 1901. Josefy, Rafael, Piano, 1896. Kellerman, Marcus B., Baritone, 1907. Kibby-Lunn, Louise, Contralto, 1906, 1910. Koenen, Tilly, Contralto, 1909. Kouloukis, Nikolas, Flute, 1914*, 1914*. Kreisler, Fritz, Violin, 1901, 1905, 1910, 1913, 1915, 1917. Krueger, George, Piano, 1900. Kunwald, Dr. Ernst, Piano, 1913, 1915. Kupferschmid, Hugo, Violin, 1901. 'Kurt, Melanie, Soprano, 1917. Langhorst, Elizabeth, Soprano, 1916*. Lawson, Corinne Moore, Soprano, 189'5. Lhevinne, Josef, Piano, 1907, 1913. Liebling, Estelle, Soprano, 1901. Lulek, Dr. Fery, Baritone, 1913*, 1914. 2'42 SYMPHONY ORCHESTRA

MacDowell, Edward A., Piano, 1895. MacMillen, Francis, Violin, 1906, 1910, 1915. Marien, Jose, Violin, 1895, 1897, 1902. Marshall, Elsa, Soprano, 1910. Marsick, Martin,. Violin, 189,5. Marteau, Henri, Violin, 1906. Mead, Olive, Violin, 1903. Mero, Yolanda, Pianist, 1916. Mischler,' Flora, Soprano, 1916*. Morris, Gretchen, Soprano, 1914*, 1916*. Nelson, Helen Sebel, Soprano, 19,15*. Nielsen, Hougaard, Tenor, 1911*. Noe, Emma, Soprano, 1915*. Olk, Hugo, Violin, 1905. O'Meara, Joseph, Dramatic Reader, 1911*. Orpheus Club, The, Chorus, 1905. Palmer, Courtlandt, Piano, 189'5. Parlow, Kathleen, Violin, 19'11. Persinger, Louis, Violin, 1912. Petschnikoff, Alexander, Violin, 1899, 1907. Petschnikoff, Maud, Violin, 1907. Plancon, Pol, Bass, 1897. Powell, Douglas, Baritone, 19'12*, 1913*. Powell, Maud, Violin, 1901, 1907, 1909. Pugno, Raoul, Piano, 1903, 1906. Purser, William, Bass, 1907. Rachmaninoff, Sergei, Piano, 1910. Rappold, Marie, Soprano, 1911, 1915. Reache, Jean Gerville, Contralto, 1914. Reisenauer, Alfred, Piano, 1904, 1905. Richard, Hans, Piano, 1906, 1911*. Rodemann, August, Flute, 1913*. Ruegger, Elsa, Violoncello, 1899, 1903. Saint-Saens, Camille, Piano, 1906. Stokowski, Olga Samaroff, Piano, 1911. Sapio, Clementine de Vere-, Soprano, 1895. Sauret, Emile, Violin, 1896, 1903. Schwarwenka, Xaver, Piano, 1911. Schenke, Joseph, Tenor, 1905, 1907, 1916*. Schnitzer, Germaine, Piano, 1913. Schradieck, Henry, Violin, 189'5,. Schuman-Heink, Ernestine, Contralto, 1902, 1903, 1904, 1910 Seitz, Hans, Bass, 1897. Serato, Arrigo, Violin, 1914. Shay, Rose Cecilia, Soprano, 1898. Siloti, Alexander, Piano, 1898. Spencer, Eleanor, Piano, 1914. Spalding, Albert, Violinist, 1916. Stadermann, Adolph H., Organist, 1914*. Stanley, Helen, Soprano, 1916. Stegemiller, Marguerite, Soprano, 1916*. Stein, Gertrude May, Contralto, 1896. Stover, Helen, Soprano, 1916*. Strauss, Jessie, Violin, 1911*. Strauss-DeAhna, Pauline, Soprano, 1904. Sturm, Bernard, Violin, 1912*. Sturm, Julius, Violoncello. 1912, 1913, 1913*, 1916*. Szumwoska, Antoinette, Piano, 1900. Thalberg, Marcian, Pianist, 1915. Thibaud, Jacques, Violin, 1904. Tirindelli, Pier Adolfo, Violin, 1900. Tushinsky, Jacob, Viola, 1914*. SOLOISTS, 1916-17 243

Valles, Manuel B., Tenor, 1916*. Van der Berg, Brahm, Piano, 1904. Van Rooy, Anton, Baritone, 1902. Vaughn, Walter, Tenor, 1916*. Vinck, H., Flute, 1899. Vito, Joseph, Harp, 1915*, 1916*. Voight, Louise B., Soprano, 1899. Welsh, Ruth, Mezzo-soprano, 1915*, Werner-West, Antoinette, Soprano, 1907, 1911*, 1913*. Wetzler, Minnie, Piano, 1896. Whitehill, Clarence, Baritone, 1912. Williams, H. Evan, Tenor, 1897, 1898. Williams, Peroux, Soprano, 1916*. Wiillner, Dr. Ludwig, Baritone, 1910. Wunderle, Carl, Zither, 1912*,1914*, 1916. Wyman, Julie L., Mezzo-soprano, 1895. Ysaye, Eugene, Violin, 1895, 1897, 1905, 1913. Zeldenrust, Eduard, Piano, 1901. Zimbalist, Efrem, Violin, 1912, 1915. *Popular Concerts. 244 SYMPHONY ORCHESTRA

Engagements Filled By The Cincinnati Symphony Orchestra During the Season 1916·1917

1916 Feb. 2-Afternoon, Cincinnati. Oct. 24-Evening, Cincinnati. 3-Evening, Cincinnati. 27-Afternoon, Cincinnati. 5-Evening, Piqua, Ohio. 28-Evening, Cincinnati. 6-Evening, Detroit, Mich. 7-Evening, Toledo, Ohio. Nov. 3-Evening, Dayton, Ohio. 8-Afternoon, Grand Rapids, Mich. 10-Afternoon, Cincinnati. 8-Evening, Grand Rapids, Mich. ll-Evening, Cincinnati. 9-Evening, Dayton, Ohio. 13-Evening, Greenville, Ohio. ll-Afternoon, Cincinnati, (Popular) . 14-Evening, Columbus, Ohio. 16-Afternoon, Cincinnati. 15-Evening, Canton, Ohio. 17-Evening, Cincinnati. 16-Evening, Cleveland, Ohio. 18-Afternoon, Cincinnati, (Pension 17-Evening, Marion, Ohio. Fund). 19-Afternoon, Cincinnati, (Popular). 25~Afternoon, Cincinnati, (Popular). 24-Afternoon, Cincinnati. 27-Evening, Cleveland, Ohio. 25-Evening, Cincinnati. Dec. 3-Evening, Cincinnati, (Popular). Mch. 2-Afternoon, Cincinnati. 4-Evening, Louisville, Ky. 3-Evening, Cincinnati. 8-Afternoon, Cincinnati. 5-Evening, Youngstown, Ohio. 9-Evening, Cincinnati. 6-Evening, Buffalo, N. Y. 17-Afternoon, Cincinnati, (Popular). 7-Evening, Oberlin, Ohio. 22-AfternQon, Cincinnati. 8-Evening, Indianapolis, Ind. 23-Evening, Cincinnati. 9-Evening, Middletown, Ohio. 31-Afternoon, Cincinnati, (Popular). 11-Afternoon, Cincinnati, (Popular). 1917 16-Afternoon, Cincinnati. 17-Evening, Cincinnati. Jan. 5-Afternoon, Cincinnati. 25-Afternoon, Cincinnati, (Popular). 6-Evening, Cincinnati. 30-Afternoon, CincinnatL 8-Evening, Johnstown, Pa. 31-Evening, Cincinnati. 9-Evening, New York City, N. Y. 10-Evening, New Haven, Conn. ll-Evening, Boston, Mass .. Apr. 8-Aftetnoon, Cincinnati, (Popular). 12-Evening, Albany, N. Y. 13-Afternoon, Cincinnati. 13-New York City, Columbia Graph­ 14-Evening, Cincinnati. ophone Co. Laboratories 27-Afternoon, Cincinnati. 14-New York City, Columbia Graph- 28-Evening, Cincinnati. ophone Co. Laboratories 15-Evening, Watertown, N. Y. May 1-Evening, Cincinmiti, (Caruso). 16-Evening, Oil City, Pa. 2-Evening, Dayton, Ohio. 17-Evening, Chillicothe, Ohio. 3-Evening, Toledo, Ohio, ( Caruso). 19-Afternoon, Cincinnati. 4-Erie, Pa. 20-Evening, Cincinnati. 5-Evening, Pittsburgh, Pa. (Caru­ 28-Afternoon, Cincinnati, (Popular). so).