Boston Symphony Orchestra*

SYMPHONY HALL, BOSTON, HUNTINGTON AND MASSACHUSETTS AVENUES. (Telephone, 1492 Back Bay.)

TWENTY-FIFTH SEASON,

I 905-1906.

WILHELM GERICKE, CONDUCTOR.

IproGtamme

OF THE SEVENTEENTH REHEARSAL and CONCERT

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE.

FRIDAY AFTERNOON, MARCH 2, AT 2.30 O'CLOCK.

SATURDAY EVENING, MARCH 3, AT 8.00 O'CLOCK-

Publiihed by C. A. ELLIS, M[aiiae«»-

1217 HEINRICH GEBHARD

PIANIST and TEACHER

Writes as follows of the

PIANO

Boston, February 6, 1906.

Mason & Hamlin Co. :

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I congratulate you on these wonderful instruments, and beUeve that

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(Signed) HEINRICH GEBHARD.

1U8 Boston Symphony Orchestra. PERSONNEL.

Twenty-fifth Season, 1905-1906.

WILHELM GERICKE, Conductor.

First Violins. Hess, Willy, Concertmeister. Adamowski, T. Roth, O. Kuntz, D. Moldauer, A. 1220 TWENTY-FIFTH SEASON, 1905-1906.

Seventeenth Rehearsal and Concert*

FRIDAY AFTERNOON, MARCH 2, at 2.30 o'clock.

SATURDAY EVENING, MARCH 3, at 8.00 o'clock.

PROGRAMME.

" Mendelssohn . Overture to the Legend of The Fair Melusina," Op. 32

F. S. Converse "La Belle Dame sans Merci " (after the Poem by Keats), Ballade for Baritone Solo and Orchestra, Op. 12. First time here

Ernst Boehe "Ulysses' Departure and Shipwreck": the First of Four Episodes for Orchestra, from " The Voyages of Ulysses," Op. 6. First time here

Marschner " Upon that Day," Aria for Baritone, from " Hans Heihng "

Richard Strauss "From Italy," Symphonic Fantasia, Op. 16

1. On the Campagna. II. Amid Rome's Ruins. III. On the Shore of Soriento. IV. Neapolitan Folk-life.

.Oi. SOLOIST: Mr. DAVID BISPHAM.

^ ^r? , There will be an internlissioo of ten minutes before the symphonic fantasia.

The doors of the hall will be doted iluririff the perfortnatire uf each number on the progranimem , Ttiose who wish to Lt-nve before the end of the concert are requested, to do ho in on interml bt. tween the numbers. •

Olty of Boston, Revised Reerulation of Augrust 5, 18G8.— Chapter 3, relating: to the coverlnar of the head in places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of anv person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, a»ay b« w»ni. Attest: J. M. GALVIN, City Clerk. 1221 L. P. Hollander & Co. Dressmaking Department Third Floor.

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(Bom at Berlin, February 3, 1809; f'ied at Leipsic, November 4, 1847.)

The legend of Melusina is an old one, and there are many variations. The version in the Chronicles of Poitou tells of the union of King IClimas and a fairy, Pressine; whom he met by a spring, when he was a-hunting. vShe married him on condition that he should never visit her when she was in childbed. She bore him triplet daughters, Melusina, Meli- ore, and Palatine. The king was so overjoyed that he rushed to her chamber. As soon as she saw him, she vanished with her babes, whom she reared on an island, and, as soon as they were old enough, she showed them from a hill each morning their father's kingdom, and mourned her fate. Melusina was fifteen years old when she found out her father's offence, and she vowed vengeance. She went with her sisters into the presence of the king, and by sorcery condemned him to lifelong imprisonment in a rock. The mother, angered, cursed lier daughters. Melusina was doomed to be a serpent below the waist on every Saturday. vShe wandered through the Black Forest and Ar- dennes, and came to the wood of Colombiers, in Poitou. There the fairies of the neighborhood chose her queen. Count Raimond of Poitiers, who had killed by accident his uncle in the chase, wandering in the woods, met Melusina and some of her companions. He loved her and wedded her, and she made him promise that he would never see her on Saturday. Their children were curiously deformed, yet the count was faithful to her, until an attendant persuaded him that during her seclusion on Saturday she was accustomed to work evil. The count peeped at her in her bath, and saw that the lower half of her fair body was that of a serpent, brilliantly gray blue and white. He had no sooner returned to his room when evil news was brought Ne"^ Song's and Ballads for Teachers and Recital-givers Soprano Tenor April's Here By Landon Ronald My ain Folk By Laura Lemon ]i*w sleeps the Crimson A Smile Landon Ronald Petal Roger Quilter Beloved A. Goring Thon>»s LScht ct rain* Eyes A. Woodforde-Fiuden In the Dawn Edward Elgar W 1 built a World for yon L. Lehmana Three Encore Soogs P. Bowie Little White Sun Cuthbert Wjmne Baritone and Bass Sea hath its Pearls Ellen Cowdell Tiolet and the Rose A. L. Two Eliiabetban Lyrics By H. LaneWils«B Imdian Rirer Song A. Woedforde-Fiaden My Captain Cyril Scott SoIdieHs Toast J. Airlie Dix Contralto Vagabond R. y. WillUmn A Breton LnlUbj By Reginald Somervilie Love of a Heart, that's True A. Woodforde-Fiudsa R^ Batten Give a Man a Horse G. M. S. Lewis l;>mBft?w. F.^Paolo Tosti Kuhmira Soiir A. Woodforde-Fiadea Soft falls the Dusk Muriel Nelson

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1224 him concerning his son with boar's teeth. Furious, he visited Mchi- sina, cursed her as a snake, and told her to leave the castle. As soon as she came out of her swoon, she swore that as a ghost she would wander over the earth, and be seen only when in Lusignan Castle some one was about to die, or she would haunt the spring before the death of the lord of the castle so long as the castle should stand. She then, weeping, went away, appeared as a frightful dragon in the air, flew thrice about the tower, and was no more seen. The count died a hermit on Alontserrat.*

The overture is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings. It begins. Allegro con moto, F major, 6-4, with the Melusina theme, a theme at first with flowing, waving arpeggio figures and then with a

more sustained, graceful cantilena. This arpeggio figure is practically identical with one used by Wagner in much of the Rhine-daughter

music in "Das Rheingold" and "Gotterdammerung." f This theme is developed fully by wood-wind, horns, and strings. There is a more energetic theme for first violins, alternating with flutes and oboes,

which might be called the Count's theme. It is developed brilliantly

by the full orchestra. There is a third theme, the Love motive, in A-flat major. The melody is sung first by the first violins, strength- ened later by the flute, then by first violins and 'cellos in octaves over a waving accompaniment in second violins and violas, with the color of the wood-wind added occasionally. The rhythm of the Count's theme appears now and then between the phrases. The section closes with a return of the Count's theme for orchestra,; fortissimo. The

For a discussion of this legend see Grimm's "German Mythology," Rorlcfs '' M>-thologie der Volks- sagcn," Kiistner's "Les Sirenes." See also th.' "Histoirc dp Mlusine." by -Jehan-d 'Arras, edited by P. Jannet. For the significance of the serpent-woman sec "Zoological Mythology," by Angelo De Guber- natis, vol. ii.. pp. 389-420. tThe hearer that is disturbed seriously in his cnjoymvnt by reminiscences should read JcanHubert's "Des Reminiscences de quelques formes melodiques parliculieres k certains maitres" (Paris iSo?)-

NEIV SONGS JUST ISSUED- BY H. Clough-Leighter Grove's Dictionary of

Included in the Programmes of JOHN EDMISTON DANIELS. Music and Musicians DESIRE NEW EDITION O HEART OF MINE BELOVED VOLS. I and 2 NOW READY MY STAR All music performed at these concerts con- Complete Vocal Catalogue sent free stantly on. hand. upon application.

Arthur P. Schmidt CHARLES W, HOMEYER & CO. 120 Boylston Street, BOSTON 165 Tremont Street, Boston

1225 —

Melusina theme returns softly in clarinet and flute. The free fantasia begins in C major with a long working-out of the Melusina theme. The remaining portion of the overture is taken up with working out the three chief themes or with their alternate recurrence in various keys. The Melusina theme in F major brings the close.

vSchumann wrote after a performance of the overture in I^eipsic :

"To understand it, no one needs to read the long-spun, although richly imaginative tale of Tieck; it is enough to know that the charm- ing Melusina was violently in love with the handsome knight, Lu- signan, and married him upon his promising that certain days in the year he would leave her alone. One day the truth breaks upon Lu- signan that Melusina is a mermaid,—half fish, half woman. The ma- terial is variously worked up, in words as in tones. But one must not here, any more than in the overture to Shakespeare's 'Midsummer Night's Dream,' wish to trace so coarse a historical thread all through.

. . . Always conceiving his subject poetically, Mendelssohn here por- trays only the characters of the man and the woman, of the proud, knightly Lusignan and the enticing, yielding Melusina; but it is as if the watery waves came up amid their embraces, and overwhelmed and parted them again. And this revives in every listener those pleasant images by which the youthful fancy loves to linger, those fables of the life deep down beneath the watery abyss, full of shooting fishes with

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golden scales, of pearls in open shells, of buried treasures, which the sea has snatched from men, of emerald castles towering one above an- other, etc. This, it seems to us, is what distinguishes this overture

from the earlier ones : that it narrates these kind [sic] of things quite in the manner of a story, and does not experience them. Hence at first

sight the surface appears somewhat cold, dumb ; but what a life and interweaving there is down below is more clearly expressed through music than through words, for which reason the overture (we con- fess) is far better than this description of it." Schumann's description was Englished by Mr. John S. Dwight, who added in his review of a performance here in 1863 at Philharmonic

Concert (the overture had been played here many years before) : "The fair Melusina, through the nice rendering of the orchestra, did not fail to charm ; and, now that she has proved so tractable and so enjoyable, we trust that she will become a frequent visitor in the concert room but we don't wish to see her when she is alone!"

It is said frequently that Mendelssohn's overture "zum Mahrchen von der schonen Melusine" was inspired by Tieck's version of the old legend. There is also a story that Mendelssohn was excited to composition by a picture of Melusina "as a mermaid" at Diisseldorf.

Mendelssohn wrote to his sister Fanny from Diisseldorf, April 7, 1834:

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1228 :

SBCOIND BDITIOIN ELSON'S Music Dictionary By LOUIS C. ELSON Professor of Theory of Music at the A'ew England Conservatory of Music

Ever since Tinctor, about 1475, wrote the first music dictionary, there has been an endless succession of books dealing with musical defini- tions. This is but natural and proper, since the musical art is constantly changing. A music dictionary, unless frequently revised, easily drops behind the times. There are no obsolete terms in Elson's Music Dictionary, but every necessary word is included, tuith its pronunciation. By pronuncia- tion is meant a phonetic spelling in the English language, not merely accent marks. This ap- plies as well to composers' names ; for instance, Rachmaninoff = Rachh-W(?/z«-nee-noff. In addition to 289 pages containing the defi- nitions and pronunciations of all the terms and signs that are used in modern music, are the following

Rules for pronouncing Italian, German, and French. A list of popular errors and doubtful terms in music. A list of prominent foreign composers, artists, etc., with their chief works, the pronunciation of their names, and the date of their birth and death. A short vocabulary of English musical terms with their Italian equivalents.

The rules for pronunciation will enable the student to pronounce not only the musical terms, but every word in either of the three languages. Such terms as " Pitch," " Sonata," " Tempera- ment," "Turn," "Scale," "Organ," "Notation," " Form," " Key," etc., are explained at length. In some cases from three to four pages are devoted to a single word. On important subjects full biblio- graphical references are given.

The book comprises 306 pages, and is bound in serviceable cloth covers.

PRICE, POSTPAID, $1.00. COPIES SENT FOR EXAMINATION OLIVER DITSON COMPANY 150 Tremont Street, Boston

1'22» "I have composed this overture to the opera* by Konradin Klreutzer, which I saw at the Konigsstadt Theatre (BerHn) about a year ago.

The overture was encored, yet I did not Hke it at all; and then they wanted the whole opera over again, but thQ singer Hahnel,t who took the part of Melusina, was not wanted. She was really very lovely* especially in the song where she presents herself as a mermaid; she was so charming in this that I conceived the idea of writing an overture.

The people have not cared much for this overture, but it pleased me greatly when I was at work on it, and it agrees well with the subject of the story. In this manner my overture came into the world." Mendelssohn went to Diisseldorf in May, 1833, to conduct the Lower Rhine Festival. His success was such that he was oflfered the post of "director of all the public and private musical establishments of the town for a period of three years, with a salary of six hundred thalers."

The engagement began on October i, 1833, with a leave of absence for three months each year, to be taken between May and November. At Diisseldorf he took lessons in water-color drawing, kept a horse, and entered into all forms of social pleasure. He was especially fond of the company of painters. ~ The overture to "Melusina"—and in the manuscript score the name of the heroine is spelled in German with a final a, not e—was com- pleted November 14, 1833. Sir George Grove says the first perform-

"Melusine," romantic opera in three acts, book by Fr. Grillparzer, music by Konradin Kreutzer, was produced at Berlin, February 27, 1833. tAmalie Hahnel, bom at Grosshiiljel (Bohemia) in 1807, went to Vienna as a child, and studied singing there with Gassmann, Salieri, and Ciccimara. She appeared in Vienna as a concert singer in 1825, and made her first operatic appearance in February, 1820, as Rosina in Rossini's "Barber of Seville." In 1830 she appeared as "guest" at the Konigsstadt Theatre. Berlin: she became a member of the company, and made her first appearance as such in Rossini's "L' Italiana in Algeri." In 1841 (September 2) she made her first appearance as a member of the Royal Opera Company, Berlin, as Romeo in Bellini's opera. She left the stage on account of her health in 1845, returned to Vienna, and died there May a, 1849. Her death was mourned with pomp and ceremony at the Sing-Akademie, Berlin. Her voice was a rich mezsso-soprano with a compass of two full octaves, from contralto low F-sbarp to F-sharp on the top line of the staff. Her reper- tory was a large one, and she sang Gennaro, in "Lucrezia Borgia," or Orsini in the same opera, as the occa- aibn demanded. Wells- Burrag'e Co. LATE OF Abram French Co. Fine CKina, Glass, and Pottery SKop

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1231 ance was at Diisseldorf in the following July. The German music journals of July, 1834, that are accessible here give little news of per- formances in Diisseldorf. Sir George Grove also says in another arti- cle: "The overture was finished November 14, 1833, and tried." The overture to "Melusina" was produced in London at a Philhar- monic Concert, April 7, 1834. Was this the first performance? It appears to be from statements made by Lampadius (lyife^of Mendels- sohn) and George Hogarth ("The Philharmonic Society of London").

Letters from Mendelssohn dated March 28 and August 4, 1834, leave no doubt. The first performance was at London. Lampadius says that Mendelssohn played the overture from the manuscript to Moscheles, when Mendelssohn with his father visited London in the summer of 1833; but according to Grove the overture was not finished till November of that year.

f^' Moscheles, who conducted the performance at the Philharmonic Concert, wrote February 12, 1834, to Mendelssohn: "I have read and studied your overture ["Melusina"] with ever-growing interest; and let me say, in the fewest of words, that it is a splendid work. It is marked by vigorous and spirited conception, unity, and originality.

Thus impressed, I proceeded to the first rehearsal. . . . But it was not an easy matter to moderate the orchestra in the piano parts ; especially at the outset they would make a desperate plunge, and the trumpets were somewhat surprised at having to fall in with their seventh on C. I winced and groaned, and made them begin again three times. The contrasting storms went as if Neptune held the sceptre; but, when the voices of the Sirens were to disarm that boisterous ruler, I had to call for 'piano, piano! piano/' at the top of my voice, bending down to

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, Opposite Bovlston the grounded /a^Beethoven, and in vain trying to restrain the ferocious violins and basses. However, at a second reading things went better. The work was studied with the HveHest interest, and received with the fullest appreciation. I hope to bring out the lights and shades still better at the performance." Mendelssohn was highly pleased. He answered: "You might have sent me three of the finest Russian orders or titles for the Overture without giving me one hour's happiness such as I have had from your letter. ... It is quite a painful feeling to have a piece performed and not to be present, not to know what succeeded and what went wrong; bfit when you are conducting I really feel less nervous than if I were there myself, for no one can take more interest in his own works than you do in those of others, and then you can hear and take note of a hundred things that the composer, preoccupied as he is, has no time or mind for. . . . After reading yotu letter, I took up the score, and played it straight through from beginning to end, and felt that I liked it better than before. By the way, you complain of the difficulty in getting the pianos observed; and, as I was playing the piece over again, it struck me that was really my fault. It is easily remedied, for the whole thing, I believe, is due to the marks of expression; if you have those altered in the parts, it will be set right at once. First, everything should be marked one degree weaker ; that is, where there

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is a /) in the wind instruments, it should be pp; instead of mf, piano; instead of /, mf. The pp alone might remain, as I particularly dislike ppp."^ The sf's, however, should be everywhere struck out, as they are quite wrong, no abrupt accent being meant, but a gradual swelling of the tone." He added that, if the copyist should attend to these matters, "the whole thing would sound twice as mermaidish." He wrote to Mrs. Moscheles, May ii, 1834: "And so the people at the Philharmonic did not like my 'Melusina'? Never mind; that won't kill me. I felt sorry when you told me, and at once played the over- ture through, to see if I, too, should dislike it; but it pleased me, and so there is no great harm done. Or do you think it would make you receive me less amiably at my next visit ? That would be a pity, and I should much regret it; but I hope it won't be the case. And per- haps it 'will be liked somewhere else, or I can write another one which will have more success. The first desideratum is to see a thing take shape and form on paper; and if, besides, I am fortunate enough to get such kind words about it as those I had from you and Moscheles, it has been well received, and I may go on quietly doing more work." He wrote to his sister Fanny from Leipsic, January 30, 1836: "Of the 'Melusina' many people here say it is my best overture; at any rate it is the one that comes most from the heart; it is the one that deals most thoroughly with red corals, green sea monsters, and fairy palaces and deep seas. All this excites even my own astonishment."

* * *

Music suggested by the legend of Melusina: Operas: "Adele di Lusignano," Carafa, de Colobrano (Milan, 1817); "Melusine," K. Kreutzer (Berlin, 1833); Schindelmeisser (Darmstadt,

*What would Mendelssohn have said to the pppp, as used by Tschaikowsky and Verdi?

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Huntington Avenue* Boston, IVIass* 1237 Mayrberger (Pressburg, 1876); 1 869); Gramtnann (Wiesbaden, 1875); von Perfall—opera entitled originally "Raimondin" (Munich, 1881); Ragiller—unfinished—about i860; "Die schone Melusine," or "Die Braut von Lusignan," Theod. Hentschel (Bremen, 1875); "Clotilde von Lusignan," Fruh (Dresden, 1865, in concert form). Ballet-operetta: "Die schone Melusine," Lehnhardt (Berlin, 1876), "Alarich und Melusine," Freudenthal Storch (Glogau, 1877) ; a parody, (Brunswick, about 1850). Cantata: "Das Marchen von derschonen Melusine," Hofmann. Symphonic Poem: "Melusine," in five movements, Jul. Zellner (Op.

10, 1873). Pianoforte pieces by von Bronsart, Krug, Theod. Giese, Countess Wurmbach-Stuppach, and others.

Philadelphia, Mr. David Bispham was bom of Quaker stock at graduated from Haverford College in 1876. January 5, 1857. He was business, but he took lessons In his early manhood he was engaged in soon became known as a choh in singing of Giles in Philadelphia, and be a pro- and concert amateur baritone. In 1886 he determined to studied at Florence with fessional singer; he went to Italy, where he Shakespeare^ Vannuccini. He went to London and studied with singer. He and began to be known there as a concert and oratorio the Due de Longueville in Mes- made his first appearance in opera as the Palace Theatre, sager's "Basoche" (Royal English Opera, now himself for his operati^ career b> November 3, 1891). He fitted Marius and He man Vezin and he began studying dramatic j rt with He was the first to sing to study Wagnerian parts early in 1892.

writing."— Boston Transcript. " A masterpiece of discreet and reticent emotional The Spirit of the Pines By MARGARET MORSE

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1239 Falstaff in Verdi's opera n England. His career at Covent Garden and at the Metropolitan is well known. Mr. Bispham has sung frequent' y in Boston, both in opera and in concert. His first appearance here was at a Handel and Haydn Con- cert ("The Messiah," December 23, 1896). We give a list, no doubt incomplete, of his more prominent appearances. In opera as

Alberich, April 5, 1897, March 2, 1898.

Telramund, April 7, 1897, March 10, 1898, March 27, April 5, 1899, March 24, 1903.

Tristram ("Martha"), April 9, 1897. Wolfram, February 23, March 12, 1898.

The Hollander, March 4, 1898, February 3, 1899. Beckmesser, April 13, 1901, March 25, 1903.

Urok (Paderewski's "Manru"), March 15, 1902. He has sung at Handel and Haydn Concerts: 1896, December 20, 21, "The Messiah"; 1898, December 26, "The Messiah"; 1902, Feb-

ruary 9, Rossini's "Stabat Mater" and Mozart's "Non piu andrai";

1904, April 3, "Hora Novissima."

Song recitals: December 3, 1898 (with Mr. Arthur Whiting); Jan-

uary 19, 1904; song cycles, October 25, November 7, 16, 28, 1904. He sang in concert with Mme. Sembrich, January 20, 1900, and in Verdi's Requiem at the Boston Theatre, March 16, 1902. He appeared here as Beethoven in "Adelaide," a one-act play adapted by him from the German, at the Hollis Street Theatre, April 27, 1898, with Julia Opp, Yvonne de Treville, Mrs. Charles Walcot, Mrs. Thomas Whiffen, and Mr. Perry Averill. He read Tennyson's "Enoch Arden" in Symphony Hall on March 28, 1904, when Richard Strauss played his own melodramatic music to the poem.

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1240 "La BelleJDame sans Merci" (after the Poem by Keats), Ballade FOR Baritone Solo and Orchestra, Op. 12. Frederick S. Converse

(Born at Newton, Mass., January 5, 1871 ; now living at Westwood, Mass.) "La Belle Dame sans Merci" was composed by Mr. Converse in 1902. It was written originally for voice and orchestra, but a paraphrase for pianoforte and voice has been published. "The ballade," writes Mr. Converse, "is in the nature of a symphonic poem' with voice part. There are extended orchestral interludes expressive of the moods of

the text." The orchestral part is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, two bassoons, one double- bassoon, four horns, three trumpets, three trombones, one tuba, a set of three kettledrums, snare-drum, bass drum, cymbals, tam-tam, one harp, and the usual strings. Mr. Bispham sang the ballade with pianoforte accompaniment at a private concert at the St. Botolph Club, Boston, March 29, 1903. Keats's poem was included in the journal letter to George Keats,

date February-May, 18 19, and headed Wednesday evening, 28th April. The revised version, which begins "Ah, what can ail thee, wretched wight," was first published in the Indicator of May, 1820, with a short preface by Leigh Hunt. Mr. Converse has set music to the original version. The first performance with orchestra was at a Boston Sym-

phony Concert at Providence, R.I., March i, 1906. Mr. Bispham was the singer.

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O what can ail thee'Knight at arms Alone and palely loitering? The sedge is withered from the Lake And no birds sing!

what can ail thee Knight at arms So haggard, and so woe begone? The squirrel's granary is full And the harvest's done.

1 see a lily on thy brow With anguish moist and fever dew, And on thy cheeks a fading rose Fast withereth too

I met a Lady in the Meads Full beautiful, a faery's child Her hair was long, her foot was light And her eyes were wild

I made a Garland for her head. And bracelets too, and fragrant Zone She look'd at me as she did love And made sweet moan

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She found me roots of relish sweet And honey wild and manna dew And sure in language strange she said I love thee true

She took me to her elfin grot And there she wept and sigh'd full sore,

And there 1 shut her wild wild eyes With kisses four

And there she lulled me asleep And there I dream'd Ah Woe betide! The latest dream I ever dreamt On the cold hill side

I saw pale Kings, and Princes too Pale warriors death pale were they all They cried La belle dame sans merci Thee hath in thrall.

I saw their starv'd lips in the gloam With horrid warning gaped wide, And I awoke, and found me here On the cold hill's side

And this is why I sojourn here Alone and palely loitering Though the sedge is withered from the Lake

And no birds sing . . .

Mackenzie's orchestral ballad, "La belle dame sans merci," was produced at a Philharmonic Concert, London, May 9, 1883. It was per- formed here at a Boston Symphony Concert, February 19, 1887, and again on January 10, 1891. * * *

GLOVES MAY BE RIGHT AND NOT BE FOWNES, BUT THEY CAN'T BE FOWNES AND NOT BE RIGHT.

1243 — —

Keats added in the letter which contained the original version of the poem: "Why four kisses?—you will say—Why four? because I wish to restrain the headlong impetuosity of my Muse—she would have fain said 'score' without hurting the rhyme—but we must temper the Imagination, as the Critics say, with Judgment. I was obliged to choose an even number, that both eyes might have fair play; and, to speak truly, I think two apiece quite sufficient. Suppose I had said seven, there would have been three and a half apiece—a very awkward affair and well got out of on my side." Clumsy playfulness! Artemus Ward's friend, Reuben Pettingill, "a broad-shouldered, deep-chested agriculturist, " had more spon- taneity: "He was contented to live in this peaceful hamlet. He said it was better than a noisy Othello. Thus do these simple chil- dren of nature joke in a first-class manner."

Keats revised the verse and spoiled it:

She took me to her elfin grot, And there she gaz'd and sighed deep, And there I shut her wild sad eyes So kiss'd to sleep.

And there we slumber 'd on the moss.

Nor do the other changes strengthen the poem.

- The revised version was published in the Indicator, as we have said, with a prefatory note which begins: "Among the pieces printed at the end of Chaucer's works, and attributed to him, is a translation, under this title, of a poem of the celebrated Alain Chartier, 'ecretary to Charles the Sixth and Seventh. It was the title which suggested to a friend the verses at the end of our present number. We wish Alain could have seen them. He would have found a Troubadour BAST INDIA HOUSE, W. H. DAVIS (Sl CO. 373 BOYLSTON STREET

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air for them, and sung them to La Belle Dame Agnes Sorel, who was, however, not Sans Mercy (sic)." The poem was signed "Caviare." In the "Eve of St. Agnes," also written by Keats in 1819, are these

lines :

Awakening up, he took her hollow lute Tumultuous—and, in chords that tenderest be, He play'd an ancient ditty, long since mute. In Provence called "La belle dame sans mercy."

There is a note prefixed to this old French poem in the English version once supposed to have been made by Chaucer, to the effect that M. Aleyn "framed this dialogue between a gentleman and a gentle- woman, who finding no mercy at her hand dieth for sorrow." Perhaps this note gave a hint to Keats for his own poem, but Chartier's verses are unemotional. Mr. E. De Selincourt, in his edition of Keats's poems (New York, 1905), remarks: "In idea and atmosphere Keats's poem is closer to Spenser's description of Phaedria ('Fairie Oueene,'

II., 6, 3, 14, 7):—

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"to a shady dale And laid him downe upon a grassy plaine; And her sweet selfe without dread, or disdaine, She sat beside, laying his head disarm'

In her loose lap, it softly to sustaine. Where soone he slumbred, fearing not be harm'd, The whiles with a love lay she thus him sweetly charm' d.

Sometimes her head she fondly would agnize With gaudie girlonds, or fresh fiowrets dight About her necke or rings of rushes phght."

But, aS/Mr. De Selincourt says, there is no sense of tragedy in Spen- ser's lines. He finds, however, a striking parallel in "Pericles" (I., i., 34-40):—

Yon sometimes famous Princes, like thyself Drawn by report, adventurous by desire, Tell thee with speechless tongues and semblance pale That without covering save yon field of stars Here they stand martyrs, slain in Cupid's wars. And with dead cheeks advise thee to desist For going on death's net, whom none resist.*

Another reminiscence of a predecessor is noted by this editor of Keats, who quotes from William Browne's Elegy on the Death of a

Friend :

Slide soft, ye silver floods. And every Spring, Within the shady woods. Let no bird sing!

*^Taimhaa

For if mine eyes fail and my soul takes breath I look between the iron side"? of death Into sad hell, where all sweet love hath end All but the pain that never finisheth

There are the naked faces of great kings. The singing folk with all their lute-playings; There when one cometh he shall have to friend The grave that covets and the worm that clings

OUR rRIE/NDS, THE IMMORTALS

Mr. H. E. Krehbiel, by a certain sympathy with the genius of Beethoven, and again by an equally certain touch of nature in matching with American colloquial speech the familiar German of Mozart, has made two very happy translations of "Beethoven " and "Mozart" (B. W. Huebsch), originally compiled by Friedrich Kerst. ... It would be diiificult to find in whole music libraries any more graphic presentation of Mozart's or Beethoven's personality than in these few hnes drawn from their letters and note-books, their biographers, and even their favorite authors. The style is the man himself. The text, in numbered paragraphs, is a moving flashlight on the life and environment of each, while the missing context is sufficiently indicated by the editor and compiler.— The Evening Sun (New York).

1246 "Ulysses' Departure and Shipwreck," Op. 6 . Ernst Boehe

(Born at Munich, December 27, 1880; now living there.)

This is the first of four episodes for orchestra to which the general title, "From the Voyages of Ulysses," is given. "Departure and Ship- wreck" was performed for the first time at the fifth subscription concert of the Musical Academy, at the Odeon, Munich, late in February, 1903. Hermann Zumpe, who died September 4 of the same year, conducted. The work, performed June 12, 1903, at the thirty-ninth meeting of the German Music Society at Basle, was afterward heard in many concert- halls of Germany. The first performance of "Ulysses' Departure and Shipwreck" in this country was at Philadelphia by the Philadelphia Orchestra, De- cember 3, 1904. The other episodes of the cycle are entitled: "Circe's Island," "Nau- sicaa's Lament," "Ulysses' Home-coming."

* * *

It was intended that Boehe, the son of an officer in the Bavarian army, should follow in his father's footsteps. As a lad, he studied harmony

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and counterpoint with Dr. Rudolf Louis.* He left the Gymnasium in 1900, and determined to be a musician. He studied under Ludwig

Thuille, and in the winter of 1 901-1902 several of his songs—two with orchestral accompaniment—were sung in Munich, Frankfort, and Berlin. The list of his compositions includes, in addition to the

Ulysses cycle: Op. i, Five Songs for voice and pianoforte; Op. 2, "Tiefe Schatten" (Theodor Storm), cycle for middle voice and piano-

forte; Op. 3, "Landung" (R. Dehmel) and "Stille der Nacht" (Gott-

fried Keller), for voice and orchestra; Op. 4, Six Songs for voice and

pianoforte; Op. 5, Two Songs for baritone and pianoforte. * * * "Ulysses' Departure and Shipwreck" is dedicated to his mother and scored as follows: four flutes (two interchangeable with piccolos), three oboes (one interchangeable with English horn), three clarinets in B-flat (one interchangeable with one in E-flat), one bass clarinet, three bassoons, one double-bassoon, six horns, four trumpets, three trom- bones, one bass tuba, four kettledrums (two drummers), bass drum, snare-drum, cymbals, triangle, tam-tam, two harps, sixteen first violins, sixteen second violins, twelve violas, twelve 'cellos, eight double-basses. There should also be two horns and one trumpet off the stage, but

. they may be taken from those already named. The score, published in 1903, contains an explanatory note in German,

signed " W. St. " It may be Englished as follows :

"As Homer, in the introductory words of his immortal poem, hints at the general subject before he himself begins to tell the story, so the composer, inspired by the

* Dr. Rudolf Louis was bom at Schwetzingen on January 30, 1870. He studied at Geneva and Vienna, and in the latter city he received the degree Dr. Phil. He studied music with Friedrich Klose and Felix Mottl and then conducted in the opera houses of Landshut and Lubcck. Since 1897 he has hved at Munich. After the death of Heinrich Forges (November 17, 1900) he was chosen music critic of the Munich Neueste Nach- richten. His symphonic fantasia " Proteus " awakened interest at the meeting of the Germa:*Music Society at Basle in 1903. His chief Uteraryworks are "Der Widerspruch in der Musik" (1893), "Die Weltanschauung Richard Wagners" (1898), "Franz Liszt" (1900), "Hector BerUoz" (1904), "Anton Bruckner" (1905)- He edited Hausegger's "Unsere deutschen Meister" (1903).

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1249 old song of the voyages and adventures of Ulysses, first of all sets the picture of the hero before our mind's eye. This figure of the hero arises in our memory in the full consciousness of strength and power as it broadened his breast after the final fall of Troy,—the hero whose shifting fortunes touched our hearts even when we were very young. We are under Troy's walls. After an arduous struggle for ten years the combined Grecian bands have become the master of the foe, thanks before all to the trick of the son of Laertes. The crime of Paris is avenged. A smoking heap of ruins marks the place where once stood Priam's stronghold. A distant roar comes to our ears; it draws nearer and swells to an ever louder tumult. It comes from the band of exulting Greeks, who, weighed down with precious spoil, drunk with joy over the victory won at last, draw near to the shore, toward the ships, which are to bear them to the home so long desired. Ulysses is with his companions. He, too, has abandoned himself to arrogant delight in victory. "The hero stands musing by the sea. He now hardly hears the noise of the outer world. The calls of his companions, who have hurriedly embarked to get ready for the voyage, are now faint as though far away. In his mind's eye he sees a picture, and his soul, intoxicated with memories, forgetful of the present, views a scene of overpowering charm,—Penelope, the faithful wife, whom he will soon clasp again in his loving arms. But his rapture is not of long duration. The present moment asserts its right. The cries of his companions grow more urgent. The picture fades away. The hero rouses himself; longing lends wings to his steps. He boards the ship, and gives to the impatient crew the signal for departure. "A favoring breeze blows fresh, and the sails are gayly swelling. Everything points to an easy and quick voyage. There is joyful activity on board. The sailors, as they work, sing merry songs. They all live in the certain prospect of a speedy home-coming. The soul of the hero glows with longing for his Penelope. Her

image is always before him ; the desire to see her again is the driving force of all his deeds and aspirations. He does not suspect for a moment how far lies the ful- filment of his longing; he believes that he is near the goal. But the sky is now more and more darkened; greater obstacles arise like towers; the homeward voyage, entered upon so lightly, becomes more and more dangerous. Much shall he undergo,

much shall he suffer. But his heroic spirit braves all ; his burning longing gives him indomitable strength and endurance. At last he will, he must, triumph. "Lo,—a mighty shock! and all his hopes are dashed on a rocky cliff. Neptune,

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* *

The following description of the music is based on a sketch by Dr.

Rudolf Louis : C minor, allegro energico, 4-4. The hero is portrayed musically in the first measures. The Hero theme of Ulysses is sounded (bass clarinet, bassoon, horn, violas, and 'cellos) under a tremolo of violins. A second theme, appassionato, the symbol of Joy in Victory, appears, and is combined immediately with a short development of the Hero theme. There are various modulations, and there is a return to C minor. The brass intones with might the Hero theme in augmentation, with flutes and strings in figured counterpoint. The jubilant shouts of the Greeks are heard as they approach the shore. A fragment of the Joy in Victory motive is used as the basis of a crescendo, which finally leads to a march movement in E-flat major. Fragments of the two preceding themes are employed. At last the Hero theme, un poco maestoso, is fully developed and com- bined with the other theme. The climax is followed by a general pause. Ulysses muses, standing alone. A trumpet sounds the call to board the vessel, and a violoncello answers with the Hero theme. Then comes Penelope's motive (A-flat major, Lento, clarinet solo, with clarinets,

'cellos, and harp). The development is interrupted by the Ship-call, and this theme, heard in the distance, is combined with that of Pe-

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nelope. "^The'ship-cairgrows more'and'more*imperative ;'[it is developed with the Hero theme in augmentation.

C major, con animo. The voyage begins. The Ship-call is proclaimed by the brass (ff). There is an episodic and gay section (trumpet and wood -wind). The three chief themes enter into varied combinations, and there is elaborate development. The march theme also reappears. The ship is wrecked. The Neptune motive is thundered out by trombones (/// marcato). The Penelope theme is heard (strings) as a mighty wail, and is answered by the Hero theme, now mournful, gloomy. The Joy in Victory motive and that of the Ship-call are brought to mind, and the music ends pianissimo (Neptune theme, muted trumpets) * * *

For curious notes on the Ulysses legend and with special reference to Penelope and her traditional fidelity to Ulysses see the articles "Penelope" and "Ulysses" in Bayle's Dictionary; "Commentaires sur les Epistres d'Ovide" by Messire Gaspar Bachet, Sr. de Meziriac, vol. i., 11-106 (The Hague, 1716). The scandal-mongers of old and there are no idle chatterers more sneaking in foul suggestion than some of the early commentators of the classics—tore Penelope's repu- tation from her, and snickered at her as at a shameless thing. "The 'Arabian Odyssey,'" says Sir Richard F. Burton, "may, like its Greek brother, descend from a noble family, the 'Shipwrecked Mariner,' a Coptic travel-tale of the twelfth dynasty (b.c. 3500), pre- served on a papyrus at St. Petersburg. In its actual condition 'Sind- bad' is a fanciful compilation, like De Foe's 'Captain Singleton,' bor- rowed from travellers' tales of an immense variety and extracts from Al-Idrisi, Al-Kazwini, and Ibn al-Wardi. Here we find the Polyphemus,

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1255 the Pygmies, and the Cranes of Homer and Herodotus ; the escape of Aristomenes; the PHnian monsters, well known in Persia; the mag- netic mountains of Saint Brennan (Brandanus) ; the aeronautics of 'Duke Ernest of Bavaria' and sundry cuttings from Moslem writers, dating between our ninth and fourteenth centuries. The 'Shaykh of the Seaboard' appears in the Persian romance of Kamarupa, trans- lated by Francklin, all the particulars absolutely corresponding. The 'Odyssey' is valuable because it shows how far eastward the mediaeval Arab had extended; already, in The Ignorance he had reached China and had formed a centre of trade at Canton. But the higher merit of the cento is to produce one of the most charming books of travel ever written, like 'Robinson Crusoe,' the delight of children and the admiration of all ages." See also the curious book, "Remarks on the 'Arabian Nights' Entertainments, in which the origin of Sinbad's Voyages and other Oriental Fictions is particularly considered," by Richard Hole (London, 1797). * * *

Ulysses, Penelope, Telemachus, Circe, Nausicaa, have figured in many operas. The list, too long to be quoted here, may be found in Riemann's "Opem-Handbuch" and in Clement and Larousse's "Dic- tionnaire des operas," revised and extended by Arthur Pougin, whose latest supplement is dated 1904. Some of the latest musical works suggested by the legend are August Bungert's tetralogy, "Homerische Welt" ("Kirke," 1898; "Nausikaa," 1901; "Odysseus Heimkehr," 1896; "Odysseus Tod," 1903, — all produced at Dresden); "Circe," lyric drama by Ruperto Chapi (Madrid, 1902); and Coleridge-Taylor's music to Stephen Phillips's play, "Ulysses" (London, February i, 1902).

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Aria, "Upon that Day," from "Hans Heiung." Heinrich Marschner

(Born at Zittau, August i6, 1795; died at Hanover, December 14, 1861.)

"Hans Heiling," a romantic opera in three acts and with a prelude before the overture, Hbretto by Eduard Devrient,* music by Marschner, was performed for the first time at the Royal Opera House, Berlin, on May 24, 1833. Devrient created the part of Hans Heiling.

The words of Heiling's aria (Act I., No. 3) are as follows:

An jenem Tag da du mir Treue versprochen, Als ich in Wonn' und Schmerz zu deinen Fiissen rang. Da ist in meiner Brust der Morgen angebrochen, Gestillt zum erstenmal ware meine Seele Drang. Aus triiber freudenloser Nacht

Philipp Eduard Devrient, opera singer, librettist, manager, a nephew of the famous play-actor, Ludwig Devrient, was bom at Berlin, August ii, 1801. As a boy he had a beautiful soprano voice, which developed into a bass baritone In 1818 he entered the Sing Akademie, where Zclter taught him singing and harmony. On Good Friday of i8ig he sang for the first time in public (the bass part in Graun's "Death of Jesus"). His success was such that he soon appeared in opera, but not under his own name, as Thanatos in " Alceste." His first operatic appearance under his own name was as Masetto on April 25, i8Tg; and he was then engaged for the Berlin Royal Opera. From 1820 to 1836 he sang many parts, from the Chief Priest in "Alceste" to the EngHsh Lord in "Fra Diavolo." from lago in Rossini's "Othello" to Figaro in Rossini's "Barber of Seville." He was largely instrumental in bringing about the performance of Bach s "Passion ac- cording to Matthew" (March 11, 1829), when he sang the part of the Saviour. In 183T he gave a famous performance of the Templar in Marschner's "Templar and Jewess"; but his voice thereafter failed him, and he turned play-actor. In 1844 he was appointed stage manager of the Dresden Theatre, and in 1852 man- ager of the Grand Duke's Theatre at Carlsruhe, where he died October 4, 1877. He wrote the librettos for Wilhelm Taubcrt's "Die Kirmess" (1832) and "Der Zigeuncr" (1834); and he wrote books on various sub- jects, one of which, "Meine Erinnerungen an Felix Mendelssohn-Ba'rtholdy und seine Briefe an mich" (Leipsic, 1869), excited considerable discussion and some adverse criticism. Jordan Marsh Co.

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Bin ich zum hellen Leben da erwacht. Du hast iiberschwenglich selig mich gemacht,

O lass die Treue niemals wanken, Halt fest die Liebe in deinen Herzen, In dir nur lebe ich Ich liebe dich so ohne Schranken, Ich liebe dich mit tausend Schmerzen, Mit Hollenqualen lieb' ich dich!

Konntest du je von mir lassen, Konnte je dein Herz erkalten,

Weh ! uns beiden dann ! Weh Schon bei dem Gedanken fassen mich die finstern Gewalten, Treiben zu grasslicher Rache mich an!

Ich liebe dich mit blutendem Herzen, Ich liebe dich mit endlosen Schmerzen, Mit Argwohn und Bangen, Mit rasendem Verlangen, So lieb' ich dich. So, ja so lieb' ich dich!

On that day when thou plighted me thy troth, when I was at thy feet in agony of bliss and woe, then, yes, then the dawn was breaking in my breast, then for the first time my soul's throe was soothed. From lowering and joyless night, I was then wakened into bright existence. Thou hast made me rapturously happy. O let faith be kept unswerving; hold fast love in thy heart; in thee only do I live. I love thee boundlessly, I love thee with a thousand pains, I love thee with the tortures of hell. If thou couldst ever leave me, yea, if thy heart could colden, woe then to us both. Woe! Now at the mere thought gloomy powers seize me to spur me on to horrible revenge. I love thee with bleeding heart; I love thee with endless pangs, jealously, anx- iously, with mad longing. love I thee yes, I love thee so. So ;

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1259 ENTR'ACTE. "FROM SOUR CAME SWEET." BY VERNON BLACKBURN.

The mystery which approaches any modern inspiration is this par- ticular fact, that what seems to be a sudden creation is really a matter of slow birth and of slower growth. Just as a mother watches and keeps vigil over the child of destiny—we are all children of des- tiny!—so do the very few who perceive early promise in the great work of the future meditate over possibilities and strive to think that they do not "imagine a vain thing." We speak of the ultimate recog- nition of musical artists. It is so easy to be a Mrs. Crummies of art. It will be remembered that she—wonderful creature!—was first seen by Mr. Vincent Crummies balancing herself on the top of a spear, surrounded by blazing fire-works. "Such grace," cried Mr. Crummies "coupled with such dignity," had never been seen before. And Mr. Crummies promptly offered his hand in marriage. Now the record of that fact embodied the essential significance of popularity. Mrs. Crummies made a most immediate effect. Matrimony and subsequent (one had almost written posthumous) laudation were the necessary results. Meanwhile, we laugh to-day over the Crummles's of yester- day, simply because we find that, in Mr. Kipling's too-little understood phrase,

"Grief of a day shall fill a day, Because its creature died."

But one may almost burlesque Dickens, and say, "Crummies was sugar." That is to say, the art of music is part of the interminable

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philosophy of things ; it is not immediately recognizable when it reaches a zenith in any generation. It is sour to the taste at first, but sweet as honey afterwards. It is impossible in such a connection not to recall a sort of reversal of "Revelation" and the eating of the "Uttle book," which "was in my mouth sweet as honey," and afterwards was bitter to the eater. Music is brought forth with much travail of spirit but it is one of nature's beneficent laws that the things that cost much pain bring mostly the greatest pleasure in the fulfilment of things. In other words, music once more emphasizes the mere chemical dis- tinction between the acid and the sweet. That which yesterday was sour to the musical taste is to-day sweet; that which yesterday was sweet is to-day sour. Emanuel Bach might write the prettily sweet things of his art by the day and by the hour, but he no longer remains with any class of musician as a composer of importance. Thus it is that popularity is so immediate (and so meaningless) a test of artistic merit. "Grief of to-day will fill a day." One may select a few in- stances.

There is nothing more curious in the history of musical art than the record of Mendelssohn. He stood half-way between the things that had been and the things that were to be. He recognized every possibility of his own past as a forerunner of the future (which was his present), and yet he stopped absolutely short, when that future met him face to face. He tasted the sweetness which time had brought to the acid of things; he refused the acid which one day would turn to sweetness. That is a very curious historical fact; it belongs, as it seems to the present writer, to the essential organism of things; and music is, from the purely philosophic standpoint, again absorbed in the universal logic that asks and demonstrates and discovers—who shall say what issue?

The meeting of Mendelssohn with Goethe is, to the philosophic mind, surely one of the most curiously engrossing incidents in the history of art. It proved the modem mind of Mendelssohn (who, later on, re- CITY TICKET OFFICE 306 WASHINGTON STREET, Next to Old Soulh McctinH-hovse

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1263 jected subsequent modem things with scorn) and it demonstrated the eternal youthfulness of the old poet, who was ever bent on discovery, ever peering outwards, ever making for the East, ever expecting the sunrise from the edge of the sea in the endless distances of the dark. Yet Mendelssohn was a great musician of his day; he was even more than that, though his work is not so pressingly convincing as once it was; he was the patriarch of the young pianist of to-day. The ex- amination-room without Mendelssohn would be indeed a thing of bar- renness and infertility. How could judges at young ladies' institu- tions do their work efifectively if the "Lieder ohne Worte" had never been written? The issue need not be dwelt upon. We return to our proposition without further proof, indeed, without superfluous demon- stration. Music has a dreadful claim upon them that are given to be her expounders. She will not be cheaply dealt with. The sweet- ness of the summer, in Shakespeare's phrase, comes from her loftiness and sourness. Deal with her justly and strongly, and, though at first she may repel you, she will ally herself with you to great issues in the end. Be a Wagner, and Music will walk with you through the ages.

Mendelssohn, in the ballroom of life, did but ask her for a dance.

VLADIMIR PACHMANNDE ART AND TRADE. BY VERNON BLACKBURN.

The very important subject of the teaching of music, of whatever kind,—whether vocal, instrumental, or what not, —seems to possess small enough interest for the public at large. The matter ought, however, to interest that public, because, just as universities, public and private schools, are founded in order to give men an impulse in life, in fact a vocation, so the schools of music are supposed to exist in order to encourage a certain form of profession for man or woman. Such a profession is well enough, and in some cases leads to a middle-class in-

come ; in very many cases it brings to the teacher the wages of a brick- layer; in extremely rare examples it leads to fortune and to notoriety, if not to fame. The great difference which separates the School of Music from the common school, or collegiate centres of education, is that the former only begins to exist, for all practical purposes, when the latter is com- pleted. Therefore, no parallel exists between the two kinds of institu- tion. You may join a music school, after your natural classical and scientific course, from Matriculation to Degree, is finished, quasi in statu pupillari. And therefore it is, because a higher point is here reached, that the schools of music, wherever they exist, should be con- MARTIN BATES and SONS FRANCIS E. WARREN, Proprietor 290 Devonshire Street, Boston U/>e FUR SnOV of Boston and Ne^r Eng^land

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1265 ducted with the utmost care and responsibility. A pupil who has no real talent should be instantly, even ruthlessly, dismissed from an im- possible position; such a one should be treated as the mediaeval mas- ters treated their apprentices; the money was paid back, and the ap- prentice left, let us say, shoemaking for carpentering, or for whatever form of work towards which his natural bent seemed to lie. Yet it is possible to hear voices unutterably inartistic, prompted by the dictation of an ear, incompetent to recognize the smallest sense of tune, driven on, spurred on and encouraged by kindly-minded teachers when, as a matter of fact, the owner of that voice would be doing far better behind the counter of a draper's shop, or working to pecuniary advantage in such a concern as the Prudential Association. We regard this as really a deplorable state of things. Art is art, and trade is trade. You can create a tradesman; you cannot create an artist. Anybody with an average brain can learn the multiplication table; it requires a very peculiar, individual, and remotely located talent to accomplish a great artistic achievement. Therefore the teach- ing of music on a large, a multitudinous, scale—as if one should attempt to turn out from the loom a continual repetition of the same sort of cricket flannels—seems, to our thinking, to be like building a palace of three thousand rooms, when it is more than likely that only a score of men are likely to inhabit them. In Vienna, in Paris there are wonderful schools of music into which drift innumerable students desirous of ac- complishing great things in the art of music. Frankly, how many of those students win any solid, any worldly advantage from such centres of teaching? We should say very few indeed. We do not attack the teachers who bring chosen pupils to a high level of attain- ment. We only state our opinion that academic schools of music are not, by any manner of means, pioneers of art, or of great musical encour- agement to the best and most thoughtful musicians.

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Messrs. M. STEINERT (Si SONS COMPANY 102 Boylston Street, Boston 1367 We say nothing about the professors who naturally fall in line with a given system. We have a genuine admiration for Sir Hubert Parry, we are equally sincere in our appreciation of such a sound and excellent musician as Sir Walter Parratt; but, frankly and sincerely, we regard the corridors and schoolrooms of (say) the Royal College, or the Academy, as to a large extent waste ground. Among these innumer- able pupils, how many will tease the world with a desire to guess the inner meaning of their temperament ? The Royal College is a fine and notable institution. Its museum, too rarely visited, contains much that must fill any musician with enthusiasm and reverence. Its pro- fessors are men of charming disposition, and of industrious habits. They, at all events, unite in tempting the Muse of Art to intermarry with the God of Perseverance. They are justified, by the earnestness of their endeavour, in their crowd of pupils. Yet, can they create an artist ? We trow not. A college, as we began by saying, enters into no competition here ; it can make a scholar ; a music-school cannot make a musician. Every well-educated man is a scholar. How many of those that go to the colleges of music become musicians? The answer might be, You can but try! But here there should be no trial. Nor is our argument shaken by any parallel that might be made with the instances of any other art.

"From Italy," Symphonic Fantasia, Op. i6. Richard Strauss

(Born at Munich on June ii, 1864; now living in Charlottenburg — Berlin.)

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ism ^—-... 1 sketch: "October, 1885, daily rehearsals of the Meiningen <^ourt ot- ^ chestra under the direction of Biilow" ; and he spoke of Biilow training him to conduct according to his and Wagner's theories of the art. And it was then that he became acquainted with Alexander Ritter.* "Before I knew Ritter," said Strauss, "I had been brought up in a severely classical school. I had been nourished exclusively on Haydn, Mozart, and Beethoven; and then I became acquainted with Mendels- sohn, Chopin, Schumann, and Brahms. It is only through Ritter that I came to understand Liszt and Wagner." Strauss journeyed to Rome and Naples in April and May, 1886, and "From Italy" was the result of his impressions. The work was first performed at Munich under his own direction in the spring of 1887. It was played in New York in the course of the season 1887-88. Mr. Gericke produced it in Boston on December 22, 1888. The second performance at these concerts was also led by Mr. Gericke, January 12, 190 1. "From Italy" is dedicated to Hans von Biilow. It is scored for one piccolo, two flutes, two oboes (one of them interchangeable with English horn), two clarinets, two bassoons, one double-bassoon, four horns, two trumpets, three trombones, a set of three kettledrums, snare- drum, cymbals, triangle, tambourine, harp, and the usual strings. The composer gave a title to each of the four movements, yet his step from absolute to programme music was in this respect at least a modest one.

* Alexander Ritter (1833-9C) studied at Lejpsic, and in 1854 married a play actress, Franziska Wagner the niece of Richard Wagner. He was conductor for a couple of years at Stettin (1856-58), and was a violinist under von Biilow at Meiningen from 18S2 until the latter's withdrawal (1886). He Uved in other cities,—at Dresden, Chemnitz, Paris; and his home from 1863 to 1882 was at Wiirzburg, where he established and man- aged a music shop (1875-82). In 1886 he moved to Munich, where he died. He was a most zealous advocate of ultra-modem musical thought. Among his published works are a string quartet (1865); two operas,—"Der faule Hans" (Munich, 1885) and "Wem die Krone?" (Weimar, 1890); symphonic poems,—"Seraphische Phantasie," "Erotische Legende," "Olafs Hochzeitsreigen," "Karfreitag und Frohnleichnam," "Sursum Corda," and "Kaiser Rudolphs Ritt zum Grabe."

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1270 I. On the Campagna, Andante, G major, 4-4. A London annotator, Mr. E. F. Jacques, described this movement as "depicting the charm of the landscape scenes for which the Campagna is so celebrated." This remark called forth from Mr. Vernon Blackburn of the Pall Mall Ga- zette the following answer: "The fact is, of course, that the Campagna

is absolutely destitute of scenery, its tragic secret lying, for the most part, too deep even for the modem explorer; its 'dim warm weather'

is an attribute which exactly describes its general aspect of loneliness and locked quietude. These are the points which Strauss makes ap- parent in his music, and proves the constancy of that mood in the second portion of his Fantasia, in which he only completes the hidden tragedy of the Campagna in the section which he has entitled 'In the Ruins of Rome.' 'My desolation doth begin to make a better life.' Such might have been the motto upon which Strauss has built the labor of this extraordinary work. He makes you feel through every bar how completely his musical spirit is oppressed by a sense of tragic

thought which, if anywhere, is surely appropriate in the presence of the wreckage of that huge civilization which reached the zenith of its glory in the genius of Julius Csesar." The movement is a free piece of development, though there are la- borious analysts who find pleasure in .pointing out and ticketing the three sections: "theme-group," "working out," and "repetition." II. Amid Rome's Ruins, Allegro molto con brio, C major, 6-4, "3-2. There is a subtitle, "Fantastic pictures of vanished splendor, feelings of sadness and grief in the midst of the sunniest present." The movement is built up from two contrasting themes. The trumpet has a figure over sustained chords in the strings. This figure, which hints in a way at the more famous trumpet figure in "Thus spake Zarathustra," forms the basis of the chief theme. The first violins THE T H B Handicraft Salesroom 367 BOYLSTON STREET, BOSTON Antique Shop Four doors from Arlington Street Church (elevator) Wrought Silver and Copper of Antique Furniture, China, Beautitul Design. Dedham Pottery, Vases, " Rabbit" sets, Pewter, Brass, Copper, plates, etc. Fine Book-bind- Bric-a-brac, etc. ing. Fine Lace-making, Pil- low and Point.

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Mothers!! speech from the lips. Miiller-Walle Method. Simplest and most successful. Enables pupil Mothers!!! to follow natural conversation. The eye is trained to observe slightest movement of lips and chin. Pupil has sensation of Mrs. Winslow's Soothing Syrup hearing. has been uied for over SIXTY YEARS by MILL- Instruction private and in class. Sole IONS of MOTHERS for their CHILDREN authorized representative of this method in while TEETHING, with PERFECT SUCCESS. America. It SOOTHES the CHILD, SOFTENS the GUMS, ALLAYS all PAIN, and is the best remedy. Sold Miss M. BRUHN, by Druggists in every part of the world. Be sure Pierce Building, Room 610, and ask for " Mrs. Winslow's Soothing Synip," and COPLEY SQUARE, BOSTON. take no other kind. Twenty-five cents a bottle. Circulars sent upon application. 1272 sing a theme of a more melodic nature (G major). This theme is de- veloped in the other strings and the wood-wind. III. On the Shore of Sorrento, Andantino, A major, 3-8, with a middle section, Piil mosso, in A minor, 6-8. The form, according to some, approximates that of scherzo with trio. In the middle section Mr. Hermann Kretzschmar sees the sea ruffled by the wind. "A boat appears, and in it a singer sings a genuine native melody, sprung from the noble sicilianos,* which since the end of the seventeenth century have passed over Europe, journeying from the region near Sorrento." The movement is a tone-picture. The instrumentation is comparatively light. "The strings, excepting the basses, are all divided, however, thus furnishing a rich background for the sparkling flashes of melody which emanate from the other instruments, the whole being suggestive of a water-picture. The almost constant shimmer in the strings might easily be construed as a description of the restlessness of the ocean, over which the melodies of the wood-wind play like the glintings of sunlight." Thus Mr. Hubbard WilHam Harris, of Chicago. IV. Neapolitan Folk-hfe, Allegro molto, G major, 2-4. The chief theme is Denza's familiar song, "Funiculi, Funicula," which appears in the Adolas and 'cellos against a long-held low G in horn and bassoon, while brass and kettledrum mark time. A second theme is given to first violins and 'cellos. The finale is brilliant, tumultuous, audacious. There are orchestral effects which at the time when it was first produced were unusual and bold.

*The siciliana, or siciliano, is an idyllic dance of Sicily frequently performed at weddings. It has been described as follows: 'The peasants dance to a Hiite, or a tambourine with bells: those who are above the peasants in the social scale have an orchestra of two or three violins. Sometimes the music is furnished in the by a bagpipe or guitar. The ball is opened by a man who, taking his cap hand, bows low to woman ; she then rises noisily and dances with all her might, the couple holding each other by means of a handker- chief. After a time the man makes another profound bow and sits down, while the woman continues pirouetting by herself: then she walks round the room and chooses a partner, and so it goes on, man and woman alternately dancing and choosing. The married couples dance by themselves, until toward the end of the evening, when they all dance together." It has also been described as a sort of passepied danced to a 6-8. dancing-master, Gawlikoski, about 1850, in Paris, gave ihe name of this dance to a livelymeasure of A " form' of waltz, and the dance was in fashion for a year or two. Walther, in his " Musicalisches Lexicon (17^2), classed the siciliana as a canzonetta: " Tlie Sicilian Canzonetten are after the manner of a gigue, ij-8 or 6-8."

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1273 £verytKin^ about otir works is abso* Ititely clean and sanitary DOES NOT THAT MEAN MUCH TO FASTIDIOUS PERSONS CONVENIENT SHOPS BOSTON Principal Office 17 Temple Place

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New York Philadelphia Baltimore Washington Providence Newi>ort Worcester Hartford New Haven Lynn

1274 Eighteenth Rehearsal and Concert*

FRIDAY AFTERNOON, MARCH 9, at 230 o'clock.

SATURDAY EVENING, MARCH JO, at 8.00 o'clock*

PROGRAMME.

Goldmark Overture to " Sakuntala," Op. 13

Jaques-Dalcroze Concerto in C minor, for Violin and Orchestra, Op. 50. First time here

Debussy Prelude to Stephane Mallarme"s Eclogue, " The " Afternoon of a Faun

Schubert Symphony in C major, No. 7

SOLOIST :

Mr. HENRI MARTEAU.

1t7f RECITAL for TWO PIANOS BY Harold Ernest Randolph Hutcheson

Tuesday Afternoon, March 6, at 3

PROGRAMME 1. BACH. In G major ...... Goldberg Variations 2. BRUCH. In D minor . Fantasie

3. SCHUMANN. In B-flat major Andante with Variations

4. REINECKE. On a Theme from Schumann's Manfred " . . Impromptu

5. SAINT-SAENS Danse Macabre " 6. WAGNER. From Die Walkiire " . Ride of the Valkyries Arranged for two pianos by E. Hutcheson.

STEINWAT I'lANOS Reserved seats, 75 cents to $1.50. Tickets are now on sale at the hall.

STEINERT HALL Tuesday Afternoon, MarcK 20, at TKree SONG RECITAL BY Mr. FERDINAND JAEGER Baritone

Accompaniments to be played by EDITH THOMPSON

Tickets, $ 1 .50, $ 1 .00, 50 cents. For sale at the hall.

Mason & Ha.mUn Pia.no 1276 STEINERT HALL SATURDAY AFTERNOON, MARCH 10, at 3 5TOJOWSRISIGISMOND First Piano Recital

Sonata, F minor, Op. 57 (Appassionata) .... Beethoven Allegro assai. Andante con moto. Presto. Rondo, C minor ...... Mozart Carnaval ...... Schumann Nocturne. A minor ^ Four Etudes (Op. 25, Nos. 6. 7, 8, 9) ^ . . . . . Chopin

Ballade, A-flat major )

Theme cracovien varie' (Op. 26, No. 4) . . . . Stojowski

Ldgende (No. i) ...... Paderewski Polonaise, E major ...... Liszt Management, Henry Wolfsohn. Reserved seats, $1.50 to 75 cents, at box office of hall. THE STEINWAY PIANO USED FOUR CHAMBER CONCERTS HOTEL SOMERSET

MONDAY AFERNOON, MARCH 5, AT 3. Fourth in the Series

Mrs. HALL McALLISTER, Soprano Mr. CHARLES ANTHONY, Piano Mr. HEINRICH WARNKE, Violoncello Mr. MAX ZACH, Accompanist

Tickets, $ 1 .50. On sale at Symphony Hall and at Hotel Somerset afternoon of concert

Miss ORVIS ANNOUNCES Fou-F Concerts for lovers of music, at Huntington Chambers Hall, Saturdays at eleven, on the 1 0th, 17th, 24th, and 31st of March, 1906

Among the assisting artists are Mme. SZUMOWSKA THE HOFFMANN QUARTET Mr. JOSEF ADAMOWSKI Mrs. MARSH

Miss INEZ DAY plays the pianoforte in Mendelssohn's D minor Trio. Mrs. MYRTLE MORSE plays Reinecke's Cantata to Grimm's Fairv Tale of " Snowdrop," with three excellent singers, the connecting story being read. Miss ANNA MILLER WOOD is to sing some old songs. Miss M. S. WITHER wifl sing her native Scotch songs. The Misses BISHOP are to play a Handel sonata for violin and pianoforte, with other attractive selections. ^^__^^^^^^ Season tickets to the course, at three dollars, can be procured of Miss Helen D. Orvis, 6 Peter Parley Road, Jamaica Plain, or at C. W. Thompson's Music Store, 13 West Street.

1277 OHICKERING HALL

Sunday GIiamliBi GoncBits

Organized by Chickering & Sons

Under the direction of Mr. H. G. TUCKER

THIRD SERIES

March 4 THE HOFFMANN QUARTET JOSHUA PHIPPEN, Pianoforte March 11 THE LONGT CLUB March 18 MARY HISSEM DE MOSS, Soprano MARIE NICHOLS, TioHn

ELSA RUE6GER, Tioloncello H. G. TUCKER, Pianoforte March 25 THE MARGULIES TRIO

Sinele tickets for each concert, 50 cents

EIGHTEENTH CONCERT

March Fourth at 3*30 o* clock

The HOFFMANN QUARTET AND

Mr. JOSHUA PHIPPEN, Pianoforte

1278 I Faelten Pianoforte School 30 HUNTINGTON AVENUE, BOSTON A.rtist Course, 1Q05-1Q06

FIFTH CONCERT: Wednesday E'vening, cAprit 4, at 8 Mr. CARL FAELTEN, Prof. WILLY HESS, Mr. EMILE FERIR, Mr. HEINRICH WARNKE PROGRAMME Sonata for Pianoforte and Violoncello, A major. Op. 69, Beethoven Chaconne, D minor, for Violin Solo Bach Quartet for Pianoforte. Violin, Viola, and Violoncello, G minor. Op. 25 Brahms RESERVED SEAT TFCKETS, ONE DOLLAR: At the School

Analyses of the criticisms appearing in the daily papers of New York on the musical performances given in that city are published every week in THE NEW YORK MUSICAL COURIER

which is for sale on the news stands. See Boston, Philadelphia, Baltimore, Washington letters. Published every Wednesday. Musical news from all parts of the world in The riusical Courier, St. James Building, Broadway and 26th Street. Established 1880

ELIAS HOWE CO., 88 Court Street, Boston OLD VIOLINS VIOLAS, 'CELLOS BASSES Over 6O0 in Stock Leather Cases. Fine Bows. Italian Strings. Gold and Silver G Strings. 2^000 New Violins in stock.

ELIAS HOWE CO., 88 Court Street, Boston

127! I : JORDAN MALL (SEASON 1905-1906)

MONDAY EVENING, MARCH 5, 1906 AT EIGHT O'CLOCK

FIFTH CONCERT tb^ Boston S^mphonp Quartet Professor WILLY HESS, First Violin Mr. OTTO ROTH, Second Violin Mr. EMILE FERIR, Viola Mr. HEINRICH WARNKE, Violoncello

PROGRAMME

1. A. ARENSKY Trio for Piano, Violin, and 'Cello, in D minor, Op. 32

2. C. SINDING From Quartet in A minor, Op. 70 a. Andante. d. Allegretto scherzando. (First time.)

3. BEETHOVEN Quartet in E-flat major, Op. 127, No. 12

Assisting Artist

Mr. CARLO BUONAMICI . Piano

Reserved scats, $1.50, $1, and 75 cents. Now on sale at Symphony Hall.

The sixth concert will take place on Monday evening,

April 9, J 906. 1280 GEL Go.

To every woman and every man— to whom every moment is attention are Drecious ; to every housewife, whose time and required closely to her household duties, or when it rains, or it is otherwise unpleasant to go out, then CALL UP by SHOPPING by PHONE I OXFORD 2600 [ SHOPPING PHONE Instant connection is given Saves time. ORDER YOUR DRY GOODS It's economical. you with the department vou AND GROCERIES wish to trade with — the indi- You are sure to be pleased, By phone. Every morning ring us vidual you are accustomed to as it is our set rule to serve up. Tell us just what you want. have wait on you will take Take advantage of our special ad- you best at all times —intelli- your order. You can transact vertised bargains. In this connection gently, accurately and expe- it would facilitate matters by opening your shoppmg with the same ditiously. Experienced shop- a charge account with us. In this satisfactory results as if you way your shopping becomes a matter pers buy your goods for you shopped in person. of no time consequence. — fill vour orders.

1281 :

THE PIPE OF DESIRE

Romantic Grand Opera in One Act By F. S. CONVERSE. Text by George E. Barton JORDAN HALL, Tuesday, March 6, At 8.15 The Original Cast and Chorus Orchestra, 50 Symphony Players. Wallace Goodrich, Conductor

HERALD : '"Dramatic and eloquent music. . . Hoiv beautiful the long scene in lohich lolan expresses his longing; the aliening phrases for Naoia, in which she describes her peaceful cottage life : and then her fancies in delirium, and the pathos of her death .'" — Philip Hale. " TRANSCRIPT : JEverywhere it keeps its romaiitic glamour and its emotional poignancy, its rnusicianly substance and form, its imaginative finesse, its dramatic feeling, and its appeal of the theatre."— H. T. Parker.

TICKETS, $ 1 .50, $ I .00, 75c. Jordan Hall Box Offico Orders taken at Herrick's

Sanders Theatre, Cambridge

Fifth Concert by the BOSTON SYMPHONY ORCHESTRA WILHELM QERICKE. Conductor Thursday Evening, March 8 At 7.45

Soloists

MYRON W. WHITNEY. Jr.. Bass ADOLF BAK, Violin

Tickets, $i each, on sale at University Bookstore, Harvard Square, and at the door.

128i! Potkr 1)^11, new Century Building,

177 Huntington Jtvenuc

the Kneisel Quartet

FRANZ KNEISEL, Ftrst Violin LOUIS SVECENSKI, VioU

J. VON THEODOROWICZ, Second Violin ALWIN SCHROEDER, Violoncello Zwinty=first Season, 1905=1906

FIFTH and LAST CONCERT OF TfflS SEASON

Tuesday Evening, March 6, AT EIGHT

Mozart loeffler

Beethoven . 1 BRATTLE HALL .... CAMBRIDGE

THURSDAY EVENING, MARCH 22 „ I AT 8 O'CLOCK

1 THIRD CAMBRIDGE CONCERT

OF THE

Boston Symphony Quartet

Professor WILLY HESS, First Violin Mr. OTTO ROTH, Second Violin Mr. EMILE FERIR, Viola Mr. HEINRICH WARNKE, Violoncello

PROGRAMME.

BEETHOVEN .... Quartet in E-flat, Op. 127, No. 12

Sonata for Piano and Violin J. K. PAINE (MS. First time.)

. . . . Octet in E-flat, Op. 20 MENDELSSOHN . .

Assisting Artists, HOFFMANN STRING QUARTET and Mr. HEINRICH GEBHARDj, Pianist

Tickets at the University Bookstore, $1.00 and 50 cents.

1284~ ' Mr. JOHN C. MANNING announces THREE LENTEN MUSICALES

at Miss CHAMBERLAYNE'S SCHOOL, 28 The Fenway

Wednesday Afternoon, MARCH 14, at 3.30 Miss BERTHA FILKINS, Soprano, assisting. Wednesday Afternoon, MARCH 28, at 3.30 Mr. HEINRICH WARNKE, assisting.

Course tickets $4, single tickets Ji.so. Tickets may be procured by addressing M. B. Parks, 183 Huntington

Avenue, Suite 4, or Miss Chamberlayne.

The Wade Corsets invaiuaweto singers and those interested in deep breathing.

Boston Representaii've Mrs. J. McLEOD MORRISON, 367 Boylston Street

Mrs. NELLIE EVANS PACKARD, studio, 131 TREMONT ST., BOSTON. VOCAL INSTRUCTION.

Mrs. Packard is commended by Walker, Randegger (London), Marchesi, Bouhy, Trabadclo (ParU), Leoni (Milan). Vannuccini CFlorence), Cotogni, Francesclietti (Rome). Hotel Rennert

Within one block of the shopping

district. The standard hotel of the South. The cuisine of this hotel has made Maryland cooking famous. The only hotel in the world where the Chesapeake Bay products — Fish,' Oysters, Terrapin, and Canvasback Duck — are prepared in their per- fection. Baltimore, Md* 1280 tm €xtrd Subscription niu$tcak$

Tuesday Afternoon, MARCH 6, 411 Commonwealth Avenue, at 3.30 Recital by Mr. EMILIO DE GOGORZA. Mr. ALFRED DE VOTO, Accompanist. Tuesday Afternoon, MARCH 20, 77 Mount Vernon Street, at 3.30 Piano Solos by Miss JESSIE DAVIS. Miss KEY, Miss ORMOND, Mr. DANIELS, and Mr. SARGENT in Vocal Quar- tettes, including the five Quartettes by Mr. GEORQ HENSCHEL, written to Rus- sian fclk=songs. Mrs. S. B. FIELD, Accompanist.

Tickets, for the two, may be had of Miss Mary Russell, 58 Allerton Street, and Mrs. Field, Hotel Nottingham.

MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and 50FRANO S0L0I5T Han.ing.„n Miss HARRIET S. WHITTIER. '83 Av..ue. ^J Exponect of the method of the late Charles R. Adanu. Portsmouth, New hairpAhire, Mondays. Resumes teaching Tuesday, October lo.

VOCAL INSTRUCTION,

Mr, CHARLES B.STEVENS, studio: SulU .4. SUin^ert nan. ,6a B

Telephone, 1331 Oxford. Brockton, Mass., Wednesdays.

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

PIAAIIST. Miss LADRA HAWKINS, No. 6 NEWBURY STREET.

And Teacher of Singing. WILLIAM KITTREDGE. 160 Boy Is ton Street, Boston.

1289 Classes in Sight Reading (eioht hands,. Miss CAROLINE M. SOUTHARD, AdvaDced pupils follow the Symphony prograoimM TEACHER OF THE PIANOFORTE. as far as practicable.

22 Huntington Avenue - - Boston

Concert and Oratorio. Miss GERTRUDE EDMANDS, vocai instruction. EXETER CHAMBERS.

TEACHER of SINGING. COACHING. Mrs. J. E. TIPPETT. STUDIO, PIEPCE BUILDING, COPLEY SQUARE, BOSTON. Tel., Back Bay i57»<-6. Wednb&dats in Portland, Maine.

Mental = Pliysical Culture. Poise, Breatliing, Relaxation, u TTT/iTi n I T Ti ninnnn Mrs. LUCIA GALE dAaBER, concentration, and Rhythm. Class and Individual Instruction. STUDIO, THE LUDLOW, COPLEY SQUARE.

TEACHER OF SINGING and SOPRANO SOLOIST. Mrs, HALL MCALLISTER, 308 Pierce Building . . Copley Square. Monday, Wednesday, and Saturday mornings.

VIOLIN. HARMONY. COnPOSlTION. GDSTAV strdbe, COACHING AND ENSEHBLE. 79 Qainsboro Street.

Soprano and

Miss Bertha Wesselhoeft Swift, Teacher of singing.

Trinity Court. DARTflOUTH STREET.

VIOLIN. Mr. CARL BARLEBEN, S Blackwood street. Back Bay, Boston.

1287 Who is well known as a Tenor Singer and Teacher 'of wide experience and acknowl- edged ability, will be glad to meet any who WILLIS CLARK, desire to study. ^ Pupils fitted for Con- cert, Oratorio, Opera, or Church.

Steinert Hall, . 162 Boylston Street.

PIANOFORTE and VOICE INSTRUCTION. H. S, WILDER Tuesdays and Fridays, Day Building, Worckstbr. Teacher of Pianoforte, Permanent Address, New England Conservatory of Music, Steinert Hall, Boston. Boston. Tickets to Series of Pupils' Recitals, to be given after the holidays.may be had upon application to the above.

Tenor Soloist and Teacher,

CLARENCE B. SHIRLEY, Concert and Oratorio.

Studio, Huntington Chambers, Boston.

FAY SIMMONS DAVIS, Mr. ALVAH GLOVER SALMON, CONCERT SOLOIST and ACCOMPANIST. Pianoforte Recitals* Teacher of Lectures (Russian Music), Organ, Piano, and Harmony. Instruction.

Chambers . . Boston. studio, 1 Frost Terrace, Cambridge, Mass. Huntington

Mr. Georg Menschel GEORGE DEANE, Has much pleasure in warmly recommend- ing as a Teacher of the Pianoforte, Accom- Tenor Soloist and Teacher. panist, and "Coach" (Lieder, Oratorio, etc.), Oratorio, Concert, and Opera. Mrs. 5. B. FIELD, Studio, A Tremont Street, Boston. Hotel Nottingham, Huntington Avenue. 149

Miss ANNA MILLER WOOD, i Miss MARY A. STOWELL HEZZO-CONTRALTO SOLOIST PIANIST AND TEACHER. and TEACHER. The OXFORD, BOSTON, Studio, Pierce Building, Copley Square, Boston. and at the Whitney International School of Music.

Miss Rose Stewart, Miss LOUISE LEIMER, Concert and Oratorio Soloist. Vocal Instruction. VOCAL INSTRUCTION. 246 Huntington Avenue. Studio Steinert Building.

Krs. Frances Dunton Wood BACH PIANOFORTE SCHOOL, e50I>IiA.lV0 ©OLOIST 98 Dartmouth St., cor. Columbus Ave. Two minutes' walk from Copley Square. and rCesiolxer of "Voioe. 50c. per Lesson. Highest excellence attained. Piano, Voice, uid Address, 112 St. Botolph Street, Boston. Composition.

128S