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SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

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INCORPORATED

THIRTY-EIGHTH SEASON, 1918-1919

HENRI RABAUD, Conductor

»irini

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, APRIL 11

AT 2.30 O'CLOCK

SATURDAY EVENING, APRIL 12

AT 8.00 O'CLOCK

W. H. BRENNAN, Manager G. E. JUDD, Assistant Manager

1121 "The world needs music more when it's in trouble than at any other time. And soldiers, and the mothers and wives and sweethearts and children

of soldiers get more of the breath of life from music than the man on the street has any notion of."—JOHN McCORMACK

MUSIC is an essential of every well-regulated home. It is a factor of vital importance in the education of the children, an unending source of inspiration and recreation for the growing gener- ation, a refining, cultivating influence touching every member of the family. It is the common speech that is understood by all, that appeals to everybody, that enlists the sympathies of man, woman and child, of high and low, of young and old, in every walk of life. The PIANO is the universal musical instrument of the home, the instrument that should be in every household. And the greatest among pianos is the STEINWAY, prized and cherished throughout the wide world by all lovers of good music. Or, in the words of a well-known American writer: "Wherever human hearts are sad or glad, and songs are sung, and strings vibrate, and keys respond to love's caress, there is known, respected, revered—loved—the name and fame of STEINWAY."

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Old pianos taken in exchange Inspection invited

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1122 B©si©iH Symphony Ox

Thirty -eighth Season, 1918-1919

HENRI RABAUD, Conductor

Violins.

Fradkin, F. Concert-master Noack, S. SERGEI RACHMANINOFF

The great Russian Composer-Pianist who appeared with the Boston Symphony Orchestra two months ago and gave a memorable interpretation of his Concerto No. 2^ in C minor, Op. 18, will record his playing exclusivelyAMPICOon the (Jiebro^M^clrw ^Picunxy

His records will be available in the fall.

Symphony patrons are cordially invited to call at our ware- rooms from two to five and hear the Chickering-Ampico Reproducing Piano duplicate the artistry of renowned concert pianists.

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Established 1823 169 Tremont Street

1124 THIRTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHTEEN AND NINETEEN

Twenty-first

FRIDAY AFTERNOON, APRIL 11. at 2.30 o'clock

SATURDAY EVENING, APRIL 12, at 8.00 o'clock

PLEASE NOTE The Twenty-third Matinee of the Boston Sym- phony Orchestra, scheduled for Friday, April 25, coincides with the time named for the Parade of the 26th Division. Therefore this concert has been postponed until Saturday, April 26, at 2.30 p.m. Tickets dated Friday afternoon, April 25, should be used for the concert Saturday afternoon, April 26.

the end of a number. The doors of the hall will be closed during the performance of each number on the programme. Tliose who wish to leave before the end of the concert are requested to do so in an interval between the numbers.

City of Boston, Revised Regulation of August 5, 1898,—Chapter 3, relating to the covering 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 any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Clerk. Attest: J. M. GALVIN. City 1125 \,\ji.±\,\^t. u L/iaiiioLS>.

Established 1823 169 Tremont Street

U24 THIRTY-EIGHTH SEASON, NINETEEN HUNDRED EIGHTEEN AND NINETEEN

FRIDAY AFTERNOON, APRIL 11, at 2.30 o'clock

SATURDAY EVENING, APRIL 12, at 8.00 o'clock

Magnard "Hymne a la Justice" ("Hymn to Justice") (First time in Boston)

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

I. Awakening of serene impressions on arriving in the country: Allegro, ma non troppo. II. Scene by the brook-side: Andante molto moto. III. Jolly gathering of country folk: Allegro; In tempo d' allegro. Thunder-storm; Tempest: Allegro. IV. Shepherd's song; Gladsome and thankful feelings after the storm: Allegretto.

Foote .... Four Character Pieces (after the Rubaiyat of Omar Khayyam) I. Andante comodo. II. Allegro deciso. III. Comodo. IV. Andantino ben marcato; Molto allegro; Tempo primo.

Dubois Overture to "Frithjof"

There will be an intermission of ten minutes after the symphony

TJie ladies of the audience are earnestly requested not to put on hats before the end of a number. The doors of the hall will be closed during the performance of each number on the programme. Tliose who wish to leave before the end of the concert are requested to do so in an interval between the numbers.

City of Boston, Revised Regulation of August 5, 1898,—Chapter 3, relating to the covering 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 any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN, City Clerk. 1125 UNUSUAL PRESENTATION OF EXCLUSIVE NOVELTIES IN FRENCH NECKWEAR, GLOVES, HOSIERY

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1126 —

"Hymne a la Justice" ("Hymn to Justice"), Op. 14. Alberic Magnard

(Born at Paris, June 9, 1865; died defending his house in Baron (Oise) against the German invasion on September 3, 1914.)*

Magnard composed the "Hymne a la Justice" in 1902, and published it privately in 1904. The score is dedicated to Emile Galle. The first performance was at the Conservatory concerts of Nancy, January, 1903, Guy Ropartz conductor. In Le Guide Musical for January

18 of that year, Henri Lichtenberger made these comments : " Together with Ysaye (the soloist) the honors of the concert went to

M. Magnard, whose 'Hymn to Justice' was played. It is distinctly a work of the first order, as well by its loftiness and nobility of inspiration as by its beauty of construction. Magnard evoked with great emotional intensity the impression of Justice the Avenger and the Peacemaker; warlike and formidable when arraigned against Evil, but redolent of peace and concord when in a final chorale, she draws the hearts of men together. It is scarcely necessary to observe that M. Magnard shows no literal or descriptive intention, and that his

*So Vuillennoz gives the date, Le Guide Musical of August, 19 14-December, 1916, gives Septem- ber 21.

iL^ Cl 'isaJ*

Op. 41. Five Poems (After Omar Khayyam). Complete $1.00 Op. 45. Serenade in F. Complete .75 (Invention. Air. A Dance. Finale.) Op. 52. Twenty Preludes in the Form of Short Technical Studies. Complete 1.00

Op. 27. Nine Etudes for Musical and Technical Development 1 .00

Op. 34. No. 1 , Pierrot 40 Op. 6. No. 4, Petite Valse. For Left Hand Alone 30

Op. 37. No. 1 , Prelude and Etude. For Left Hand Alone .40 STANDARD PIANOFORTE WORKS Edited by ARTHUR FOOTE

AjCompendium of Heller's Pianoforte studies

Two Books Each, $0.75

(Schmidt's Educational Series No. 78a, b) Hymn, built upon two themes of contrasting character, develops by

purely musical methods. But the special emotion of the composer is evident enough, in its sovereign clarity and extraordinary intensity. The work had a marked success, and will be repeated at a later concert." M. d'Indy, as guest conductor of the Boston Symphony Orchestra,

conducted Magnard's " Chant Funebre" at Philadelphia, December 4, 1905; Washington, December 5; and New York, December 9. The Longy Club brought out Magnard's Quintet for flute, oboe, clarinet,

bassoon, and pianoforte on November 18, 1907, and repeated it by request on February 10, 1908. Due respect has been paid to the memory of Magnard since his death. A concert of his works, the first of a series called "Concerts Gaulois," was given on February 19, 1917, directed by Helene Slatoff-Portier in aid of a fund for French musicians, including "Promenades" for pianoforte, vocal music from "Berenice" and "Yolande," part of his Violin Sonata, and an excerpt from the string quartet. The Flonzaley Quartet played the Serenade from his quartet on February 20, 1919. At the "Concert Gaulois," Mr. E. B. Hill gave a description of Magnard from reminiscences of his friends. He was short and solidly built, alert and vigorous of constitution, and tanned by his outdoor life. He was simple and brusque in manner, almost savagely frank in assertions of his opinions, keen of intelligence, and imposing of will power. He was indifferent of neglect, proud, independent, and detached from the world; fond of solitude, but not unsociable. For his friend- ships were close and affectionate, and he would sit up all night playing his music to a group of admirers. He was a sincere and honestly in- telligent idealist, believing in the evolutionary development of music.

Mr. Hill finds that the burden of melody in his operas is borne by the orchestra, that Magnard has an innate dramatic instinct, with an insistence upon inner, moral conflict. In general estimate, that his music is conservative with bold, modern incursions, that it is sometimes

Y VIOLA D'AMORE SOLOIST AVAILABLE FOR CONCERTS RECITALS 1919-20 MUSICALS

Address: SYMPHONY HALL, Boston, Mass.

Home Studio: 145 Longwood Avenue, Brookline, Mass.

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1129 repellent, rough, sarcastic, misanthropic, at other times persuasively- beautiful, but always of the sort that wears on acquaintance, reflecting his morally noble, independent, sincere, and idealistic character, made poetic by his artistic susceptibilities and his love of the country, but never frankly or consciously descriptive. Lucien Denis Gabriel Alberic Magnard was the son of Francis Magnard, who, born in Brussels in 1837, was known as a novelist and journalist, but especially by his long editorship of Figaro. Alberic was educated at the'Lycee Condorcet for the legal profession. Determined to be a musician, he entered the Paris Conservatory where he took a prize in harmony in 1883. He rebelled against his first masters, Mas- senet and Dubois, refusing to write cantatas and like forms, which he considered obsolete. At twenty-three he became the pupil of Vincent d'Indy, and developed so remarkably under his more liberal teacher that after a concert of Magnard's compositions in 1899, Pierre de Breville was moved to say that the opera "Fervaal" and Magnard were d'Indy's two finest works. M. Gauthier-Villars, reviewing this concert, spoke of Magnard as a composer "wholly unknown to the great public, unfortunately a Dreyfusard, but a man congested with talent." He worked with d'Indy four years, studying the composition of operatic, symphonic, and chamber music. It was characteristic of him to avoid commercial dealings with publishers, publishing on his own account,

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1130 — and ignoring publicity altogether. Hence it was a long time before his music was known to other than his personal friends. At length Dukas, Ropartz, and Lalo brought his works into the light of public performance. "Yolande" and "Berenice" were produced, a concert of his music was arranged, his symphonic pieces were occasionally performed. He built himself a country residence at Baron near Paris, which he made a veritable museum of rare books, rugs, and tapestries. Here he enjoyed his collection, the beauties of the country around him. There are conflicting accounts of his death. Whether he was shot by the enemy, or shot himself when his house was fired, is not certain. A strange, unconfirmed rumor goes about that the Germans rescued the manuscript of an unfinished opera, and carried it away with them. Emile Vuillermoz describes the tragic event as follows in a letter to M. Bailly of the Flonzaley Quartet: "Magnard was of a retiring yet independent nature, excessively so, perhaps. His compositions were seldom heard; he was seldom seen in Paris. On the outbreak of the war he sent his wife and two daughters to Paris and stayed alone in the villa. There he made a voluntary sacrifice of his life. Alone and fearless he awaited the oncoming of the Germans. As he had written to a friend, 'The triumph of certain ideas is well worth the loss of our tranquillity—and even of our life.' It was the third of September, 1914. From his window Magnard saw

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1131 the approaching enemy. Realizing the absolute helplessness of his position, he nevertheless fired on the squad and killed two Uhlans. A volley was the answer. His body was found in the charred debris of the villa, which the conquerors fired. To-day a shaft of marble marks the spot where this valiant patriot of France fell while defending his hearth from the depredations of an implacable enemy." The "Hymn to Justice" is scored for piccolo, two flutes, two oboes, two clarinets, bass clarinet, two bassoons, four horns, three trumpets

(fourth trumpet ad libitum) , three trombones, harp, tympani, and strings.

The list of Magnard's chief published works follows: the opera "Yo- lande" in one act (libretto by Magnard), first performed at the Theatre de la Monnaie, Brussels, December 27, 1892; "Guercceur," opera in three acts, libretto by Magnard, published in 1904; "Berenice," first performed at the Opera-Comique, Paris, December 15, 1911; three symphonies; orchestral "Suite in the Old Style," "Chant Funebre" (in memory of his father); "Overture"; "Hymn to Venus"; "Hymn to Justice"; Quintet for wood-wind and pianoforte; String Quartet; Pianoforte Trio, Violin Sonata; "The German Rhine" for Chorus and Orchestra; "Four Poems in Music" for Baritone and Pianoforte; "Promenades" for Pianoforte, and "Three Pieces" for Pianoforte.

The editor of the Programme Books on account of sickness has been assisted by Mr. John N. Burk in the preparation of this article about Magnard.

Announces the Fifth Year of his SUMMER SCHOOL OF MUSIC In Concord, Massachusetts, JUNE 9th to JUNE 27th, inclusive The Teaching of Music to Children The Basis and Principles of Music Teaching Ensemble Playing and Singing

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1133 Symphony No. 6, in F major, "Pastoral," Op. 68. Ludwig van Beethoven (Born Bonn, December died at Vienna, at — 16, 1770; March 26, 1827.) This symphony "Sinfonia pastorale"—was composed in the country- round about Heiligenstadt in the summer of 1808. It was first performed at the Theater an der Wien, Vienna, December 22, 1808. The symphony was described on the programme as "A symphony entitled 'Recollections of Life in the Country,' in F major, No. 5" (sic). All the pieces performed were by Beethoven: an Aria, "Ah, perfido," sung by Josephine Kilitzky; Hymn with Eatin text written in church style, with chorus and solos; Pianoforte Concerto in G major, played by Beethoven; Grand Symphony in C minor, No. 6 (sic); Sanctus, with Latin text written in church style from the Mass in C major, with chorus and solos; Fantasie for pianoforte solo; Fantasie for pianoforte, "into which the full orchestra enters little by little, and at the end the ehorus joins in the Finale." The concert began at half-past six. We know nothing about the pecuniary result. There was trouble about the choice of a soprano. Anna Pauline Milder,* the singer for whom Beethoven wrote the part of Fidelio, was chosen. Beethoven happened to meet Hauptmann, a jeweller, who was courting her. In a strife of words he called him "stupid ass!" Hauptmann, apparently a sensitive person, forbade Pauline to sing, and she obeyed him. Antonia Campi, born Miklasiewicz (1773), was then asked, but her husband was angry because Miss Milder had been invited first, and he gave a rude refusal. Campi, who died in 1822 at Munich, was remark- able not only as a singer: she bore seventeen children, among them four pairs of twins and one trio of triplets, yet was^the beauty of her voice in no wise affected.

* Pauline Anna Milder was born in Constantinople, December 13, 1785. She died at Berlin, May 29, 1838. The daughter of an Austrian courier, or, as some say, pastry cook to the Austrian embassador at Constantinople, and afterwards interpreter to Prince Maurojeni, she had a most adventurous childhood. (The story is told at length in von Ledebur's " Tonkunstler-Lexicon Berlin's.") Back in Austria, she studied three years with Sigismund Neukomm. Schikaneder heard her and brought her out in Vienna in 1803, as Juno in Siismayer's "Der Spiegel von Arkadien." She soon became famous, and she was engaged at the court opera, where she created the part of Leonora in "Fidelio." In 1810 she married a jeweller, Hauptmann. She sang as guest at many opera houses and was offered brilliant engagements, and in 1816 she became a member of the Berlin Royal Opera Houseat a yearly salary of four thousand thalers and a vacation of three months. She retired with a pension in 1831, after having sung in three hundred and eighty operatic performances; she was also famous in Berlin as an oratorio singer. She appeared again in Berlin in 1834, but her voice was sadly worn, yet she sang as a guest in Copenhagen and Petrograd. Her funeral was conducted with pomp and ceremony, and it is said that the "Iphigenia in Tauris," "Alceste," and "Armide," her favorite operas, were put into her coffin, a favor she asked shortly before her death.

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1135 Finally Josephine Kilitzky (born in 1790) was. persuaded to sing

ji "Ah, perfido." She was badly frightened when Beethoven led her out,

:! and could not sing a noter Rockel says a cordial was given to her be- hind the scenes; it was too strong, and the aria suffered in consequence. Reichardt describes her as a beautiful Bohemian with a beautiful 'voice. "That the beautiful child trembled more than sang was to be

terrible cold ; for shivered : laid to the we in the boxes, although wrapped in furs and cloaks." She was later celebrated for her "dramatic colora- J'ture." Her voice was at first of only two octaves,, said Ledebur, but all her- tones were pure and beautiful, and later she gained upper ;{,ones. She sang from 1813 to 1831 at Berlin, and pleased in many Fidelio Arsaces, Elvira i parts, from to from Donna to Fatime jn "Abu Hassan." She died, very old, in Berlin.

J II "Ah, perfido," had been composed in 1796 for Josephine Duschek. llThe "Fantasie," for piano, orchestra, and chorus, was Op. 80:

! J. F. BJeichardt wrote a review of the new works. He named, but incorrectly, the subtitles of the Pastoral Symphony, and added: "Ea6h

i number was a very long, complete, developed movement full of lively painting and brilliant thoughts and figures; and this, a pastoral symphony, lasted much longer than a whole court concert lasts in Berlin." Of the one in C minor he simply said: "A great, highly-developed, too .he ; long symphony. A gentleman next us assured us had noticed at the rehearsal that the violoncello part alone—and the violoncellists were kept very busy—covered thirty-four pages. It is true that the

: copyists here understand how to spread out their copy, as the law scriveners do at home." No record of the reception by the audience of the new works has come down to us. Reichardt censured the per-

• formance of the. Hymn—a Gloria—and the Sanctus, and said that the piano concerto was enormously difficult, but Beethoven played it in an astounding manner and with incredible speed. "He literally sang the Adagio, a masterpiece of beautiful, developed song, with a deep and melancholy feeling that streamed through me also." Count Wilhourski told Ferdinand Hiller that he sat alone in an orchestra stall at the per-

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1137 — formance, and that Beethoven, called out, bowed to him personally, in a half-friendly, half-ironical manner. * * * The Pastoral was described on the programme of 1808 as follows:

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

The headings finally chosen are on the title-page of this Programme Book. The descriptive headings were probably an afterthought. In the sketch-book, which contains sketches for the first movement, is a

note: . "Characteristic Symphony. The recollections of life in the country." There is also a note: "The hearer is left to find out the situations for himself." M. Vincent dTndy in his "Beethoven" (Paris, 1911) devotes several pages to Beethoven's love of nature. "Nature was to Beethoven not only a consoler for his sorrows and disenchantments; she was also a friend with whom he took pleasure in familiar talk, the only inter- course to which his deafness presented no obstacle." Nor did Beetho- ven understand Nature in the dryly theoretical manner of Jean Jacques Rousseau, whose writings then were in fashion, for there could be no point of contact between the doctrines of this Calvinist of Geneva and the effusions of Beethoven, a Catholic by birth and by education. Nor did Beethoven share the^views of many romantics about Nature.

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He would never have called her "immense, impenetrable, and haughty," as Berlioz addressed her through the mouth of his Faust. A little nook, a meadow, a tree,—these sufficed for Beethoven. He had so penetrated the beauty of nature that for more than a dozen years all his music was impregnated by it. His bedside book for many, many years soon after his passion for Giulietta Guicciardi was the "Lehr mid Erbauungs Buch" of Sturm. Passages underscored show the truth of the assertions just made, and he copied these lines that they might always be in his sight: "Nature can be justly called the school of the heart; it shows us beyond all doubt our duty towards God and our Neighbor. I wish therefore to become a disciple of this school, and offer my heart to it. Desirous of selfdnstruction, I wish to search after the wisdom that no disillusion can reject; I wish to arrive at the knowledge of God, and in this knowledge I shall find a foretaste of celestial joys."

' Nature to Beethoven was the country near by, which he could visit in his daily walks. If he was an indefatigable pedestrian, he was never an excursionist. " Tourisme, a mania of modern Germany carried to such an extent with its instinct of militarism that it is clothed in a uniform (gray green coat with hartshorn buttons, and a shabby little hat ornamented with a shaving brush*) tourisme, I say, did not exist at the beginning of the 19th century. When any one undertook a distant journey, it was for business, not for pleasure; but pedestrian tours were then very common." M. d'Indy draws a picture of the little Wirthschaften in the suburbs of the large towns, humble inns "not yet ticketed with the pompous barbarism of 'restaurant.'" They were frequented by the bourgeoisie, who breathed the fresh air and on tables of wood ate the habitual sausage and drank the traditional beer. There was a dance hall with a small orchestra; there was a discreet garden with odorous alleys in which lovers could walk between the dances. And beyond was the forest where the peasant danced and sang and drank, but the songs and dances were here of a ruder nature.

* M. d'Indy forgets the field-glass with a strap around the neck and dangling just above or on the wearer's paunch.—P. H. ...

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1141 Beethoven, renting a cottage at Dotting, Grinzing, or Heiligenstadt, which then were not official faubourgs, could in a few minutes be in the forest or open country. Thus influenced, he wrote the pianoforte sonatas, Op. 28 and Op. 31; the "Waldstein" sonata; the violin sonata, Op. 30, No. 3; three movements of the seventh quartet (1806); the sixth, seventh, and eighth symphonies; and the tenth sonata for violin, Op. 96; also Village Dances, the finales of Trios, Op. 70, No. 2, and Op. 97, and the pastoral entr'acte of "Egmont." Beethoven did not attempt to reproduce the material, realistic impression of country sounds and noises, but only the spirit of the landscape. Thus in the "Pastoral" Symphony, to suggest the rustic calm and the tranquillity of the soul in contact with Nature, he did not seek curious harmonic conglomerations, but a simple, restrained melody, which embraces only the interval of a sixth (from fa to re *). This is enough to create in us the sentiment of repose—as much by its quasi-immobility as by the duration of this immobility. The exposition of this melody based on the interval of a sixth is repeated with different timbres, but musically the same, for fifty-two measures without interruption. In an analogous manner Wagner portrayed the majestic monotony of the river in the introduction to "Rheingold." Thus far the landscape is uninhabited. The second musical idea introduces two human beings, man and woman, force and tenderness. This second musical thought is the thematic base of the whole work. In the Scherzo the effect of sudden immobility produced by the bagpipe tune of the strolling musician (the oboe solo, followed by the horn), imposing itself on the noisy joy of the peasants, is due to the cause named above; here, with the exception of one note, the melody moves within the interval of a fifth. The storm does not pretend to frighten the hearer. The insufficient kettledrums are enough to suggest the thunder, but in four movements of the five there is not a fragment of development in the minor mode. The key of F minor, reserved for the darkening of the landscape hitherto sunny and gay, produces a sinking of the heart and the distressing restlessness that accompany the approach of the tempest. Calm re-

*In his "Essais de technique et d'esth6tique musicales," 1902, pp. 380-383, M. filie Poir6e has already remarked the pastoral character of this interval in the key of F major, which by a very plausible phenomenon of "colored audition" appears to him in correspondence with the color green.—V. d'I.

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1143 turns with the ambitus of the sixth, and then the shepherd's song leads to a burst of joyfulness. The two themes are the masculine and feminine elements exposed in the first movement. According to M. dTndy the Andante is the most admirable expression of true nature in musical literature. Only some passages of "Siegfried" and "Parsifal" are comparable. Conductors usually take this Andante at too slow a pace, and thus destroy the alert poetry of [the section. The brook furnishes the basic movement, expressive melodies arise, and the feminine theme of the first Allegro reappears, alone, disquieted by the absence of its mate. Each section is completed by a pure and prayer-like melody. It is the artist who prays, who loves, who crowns the diverse divisions of his work by a species of

Alleluia.* . * * *

It has been said that several of the themes in this symphony were taken from Styrian and Carinthian folk-songs, f The symphony, dedicated to Prince von Lobkowitz and Count Rasoumoffsky, is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings.' Two trombones are added in the fourth and fifth movements and a piccolo in the fourth. The first movement, Allegro ma non troppo, F major, 2-4, opens immediately with the exposition of the first theme, piano, in the strings.

*I have condensed and paraphrased the beautiful pages of M. d'Indy (65-74)1 A translation into English of his "Beethoven" has been published by the Boston Music Company.—P. H. t See the volume of folk-songs collected by Professor Kuhac, of Agram.

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tl44 The more cantabile phrase in the antithesis of the theme assumes later an independent thematic importance. The second theme is in C major, an arpeggio figure, which passes from first violins to second violins, then to violoncellos, double-basses, and wood-wind instruments. The development of this theme is a gradual crescendo. The free fantasia is very long. A figure taken from the first theme is repeated again and again over sustained harmonies, which are changed only every twelve or sixteen measures. The third part is practically a repetition of the first, and the coda is short. Second movement, Andante molto mosso, B-flat major, 12-8. The first theme is given to the first violins over a smoothly flowing accompaniment. The antithesis of the theme, as that of the first theme of the first movement, is more cantabile. *The second theme, more sen- suous in character, is in B-flat major, and is announced by the strings. The remainder of the movement is very long and elaborate, and consists of embroidered developments of the thematic material already exposed. In the short coda "the nightingale (flute), quail (oboe), and cuckoo (clarinet) are heard." The third movement is practically the scherzo. Allegro, F major, 3-4. The thesis of the theme begins in F major and ends in D minor, the antithesis is in D major throughout. This theme is developed brilliantly. The second theme, of a quaint character, F major, is played by the oboe over middle parts in waltz rhythm in the violins. "The bass to this is one of Beethoven's jokes. This second theme is supposed to suggest the playing of a small band of village musicians, in which the bassoon-player can get only the notes F, C, and octave F out of his ramshackle old instrument; so he keeps silent wherever this series HNGMAN

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1145 of three notes will not fit into the harmony. After being played through by the oboe, the theme is next taken up by the clarinet, and finally by the horn, the village bassoonist growing seemingly impatient in the matter of counting rests, and now playing his F, C, F, without stopping." The trio of the movement, In tempo d' allegro, F major, 2-4, is a strongly accentuated rustic dance tune, which is .developed in fortissimo by the full orchestra. There is a return of the first theme of the scherzo, which is developed as before up to the point when the second theme should enter, and the tempo is accelerated to presto. But the dance is interrupted by a thunder-storm, allegro, F minor, 4-4, which is a piece of free tone-painting. Fourth movement, Allegro, F major, 6-8. There is a clarinet call over a double organ-point. The call is answered by the horn over the same double organ-point, with the addition of a third organ-point. The horn repetition is followed by the first theme, given out by the strings against sustained harmonies in clarinets and bassoons. This theme, based on a figure from the opening clarinet and horn call, is given out three times. This exposition is elaborate. After the climax a subsidiary theme is developed by full orchestra. There is a short transition passage, which leads to an abbreviated repetition of the foregoing development of the first theme. The second theme enters, B-flat major, in clarinets and bassoons. The rest of the movement is

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1147 hardly anything more than a series of repetitions of what has gone before.

I said : It may here be that some programme-makers give five movements to this symphony. They make the thunder-storm an independent movement. Others divide the work into three movements beginning the third with the "jolly gathering of country-folk." * * *

' One of the earliest performances in Boston ofjthis symphony was at 4 Boston Academy of Music Concert, January 15, 1842. The programme included Cherubini's overture, "Les deux Journess" (sic); a sjbng, "The Stormy Petrel," by the Chevalier Neukomm and sung by Mr. Root; an oboe solo, fantasia, "Norma," played by "Signor Ribas"*; and then the first two movements of the "Pastoral" Symphony ended the first part. The programme stated- that the notes of quail and cuckoo are heard in the second movement. Part II. began with the last three movements of the "Pastoral," after which Mr. Wetherby s^ang a ballad, "When the Flowers of Hope are fading," by Linley, and the overture to "Masaniello," by Caraffa (sic), ended" the concert! The programme published this Macedonian appeal: "The Academy regret to be obliged to add that without increased patronage the series of concerts. they were prepared to give must be discontinued, as the receipts fall far short of the expenses. The hopes entertained of a different result have induced the Academy to persevere thus far, and it will be with great reluctance that they abandon their plan." The concerts were continued, certainly until February 27, 1847.

! The first public performance in London was at a concert given for the benefit of Mme. Vaughan, May 27, 1811. Other first performances: P^ris, March 15, 1829, Paris Conservatory; Petrograd, March 1, 1833; in Spain, in 1866, at Barcelona. || *

Beethoven in June, 1808, offered this symphony and the one in C I

* Antonio L. de Ribas, born at Madrid, January 12, 1814; died in Boston, January 28, 1907. A distinguished virtuoso, he made his first appearance in London in 1837 and in New York in 1839. He was the first oboe when the Boston Symphony Orchestra was established in 1881. Hi* associate-then was Paul Fischer.

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1148 1149 minor, "one mass and a sonata for pianoforte and 'cello," to Breitkopf &*Hartel for 900 florins; "this sum of 900 florins, however, must be paid according to Vienna currency, in convention coin, and this must be expressly stated on the draft." (The mass- was the one in C; the sonata was Op. 69.) He stipulated that the two symphonies should not be published before six months. "I shall probably make a tour as winter approaches, and at any rate I do not wish them to become known during the summer." In July of the same year he offered the same composition with two sonatas for the pianoforte or "instead of them perhaps another symphony for 700 florins." "You see that I give more and take less—but that is the lowest figure. ... I cannot con- sent to any modifications. It is the lowest I can manage, and I am convinced that you will not repent the bargain." In 1809 he sent a list of small improvements "which I made during the performance of the symphonies—when I gave them to you I had not heard a note of either. One must not pretend to be so divine as not to make improvements here and there in one's creations." He wrote a few days afterwards that the title of the symphony in F should be "Pastoral Symphony, or Reminiscence of Country Life," expression of feeling rather than painting. * * * Ries tells us that Beethoven often laughed at the idea of "musical painting," even in the two oratorios of Haydn, whose musical talent he fully appreciated; but that Beethoven often thought of a set and appointed argument when he composed. Beethoven especially dis- claims^any^attempt at "painting" in this symphony; yet one enthusi-

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1150 — ' astic analyst finds in the music the adventures of some honest citizen of a little town—we believe he locates it in Bavaria—who takes his wife and children with him for a holiday; another hears in a panthe- istic trance "all the voices of nature." William Gardiner in 1832 made this singular remark,—singular for the period: "Beethoven, in his 'Pastoral Symphony/ has given us the warm hum of the insects by the side of the babbling brook; and, as our musical enterprise enlarges, noises will be introduced with effect into the modern orchestra that will give a new feature to our grand performances." He must have dreamed of Richard Strauss's bleating sheep and wind machine, of Paderewski's tonitruant. Ambros wrote in "The Boundaries of Music and Poetry": "After all the very superscriptions 'Sinfonia eroica/ 'Sinfonia pastoral,' point to a profound individuality of the art work, which is by no means deducible from the mere play of the tones with forms. It has as yet not occurred

' to anybody to find the Heroic ' Symphony not heroic and the Pastoral Symphony not pastoral, but it surely would have called forth contra- diction on all sides if the title-pages of both works had been accidentally interchanged. He that denies any other content of music than mere tone-forms set in motion has no right whatever to join in this con- tradiction. There is no heroic arabesque, no heroic kaleidoscopic picture, no heroic triangle or quadrangle." Hanslick has questioned the propriety of the title "Heroic," and Rubinstein argued at length against that title. Rubinstein expressed himself in favor of the programme "to be divined," and against the programme determined in advance. "I believe that a composer puts into his work a certain disposition of his soul, a programme, but with the firm belief that the

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1151 — performer and the hearer will know how to understand it. "He often gives to his work a general title as an indication; and that is all that is necessary, for no one can pretend to express by speech all the details of a thought. I do not understand programme-music as a deliberate imitation, with the aid of sounds, of certain things or certain events. Such imitation is admissible only in the naive and the comic. The 'Pastorale' in Western music is a characteristic expression of simple country life, jolly, awkward, rather rude; and this is expressed by a fifth held on the tonic of the bass. The imitation in music of natural phenomena, as storm, thunder, lightning, etc., is precisely one of the naivetes of which I have spoken, and yet is admitted into art, as the imitation of a cuckoo, the twittering of birds, etc. Beethoven's symphony, with the exception of these imitations, portrays only the mood of the villager and nature; and this is why it is programme-music in the most logical acceptation of the term." The following sayings of Beethoven, taken from " Beethoven: The Man and the Artist, as Revealed in his own Words," compiled and annotated by Friedrich Kerst and edited by Henry E. Krehbiel (New York, 1905), may well be quoted here:

. "I always have a picture in my mind when composing, and follow its lines." This was said in 1815 to Neate and with reference to the "Pastoral." Pies says that Beethoven frequently thought of an object while he was composing, "though he often laughed at musical delineation, and scolded about petty things of the sort." "The description of a picture belongs to the field of painting; in this the poet can count himself more fortunate than my muse, for his terri- tory is not so restricted as mine in this respect, though mine, on the other hand, extends into other regions, and my dominion is not easily reached." "Carried too far, all delineation in instrumental music loses in efficiency." This remark is found in a sketch for the "Pastoral." "How happy I am to be able to wander among bushes and herbs, under trees and over rocks; no man can love the country as I love it. Woods, trees, and rocks send back the echo that man desires." "0 God! send your glance into beautiful nature and comfort your

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1152 — moody thoughts touching that which must be." To the "Immortal Beloved." "My miserable hearing does not trouble me here [Baden]. In the country it seems as if every tree said to me: 'Holy! Holy!' Who can give complete expression to the ecstasy of the woods? Oh, the sweet stillness of the woods!" (July, 1814.) "When you reach the old ruins, think that Beethoven often paused there; if you wander through the mysterious fir forests, think that Beethoven often poetized, or, as is said, composed there." (In the fall of 1817*to Mme. Streicher, who was taking a cure at Baden.) * * *

It is said that, when Beethoven was about to move into an apartment rented for him at Baden, he said to the landlord: "This is all right but where are the trees? " "There are none." " Then I shall not take the house," answered Beethoven. "I like trees better than men." In his note-books are these passages: "On the Kahlenberg, 1815, end of September." "God the all powerful—in the forest—I am happy happy in the—forest every tree speaks—through you." "O God what—sovereignty—in a—forest like this—on the heights—there is rest—to—serve Him." Justin Heinrich Knecht (1752-1817) composed a symphony, "Tone Pictures of Nature" (1784), with a programme almost identically the same as that used by Beethoven, although the storm scene was to Knecht the most important section of the symphony. In 1810 E. T. A. Hoffmann, after the parts of Beethoven's "Pastoral" had been published, wrote a carefully considered study of the work for the Allgemeine musikalische Zeitung of Leipsic (January 17), undoubtedly the first critical article on the symphony.

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1153 .

Four Character Pieces, Op. 48 Arthur William Foote

(Born at Salem, Mass., March 5, 1853; now living in Brookline, Mass.)

These short pieces are transcriptions from a set of pianoforte pieces, "Five Poems after Omar Khayyam."* The original pianoforte pieces were composed at Dedham in the summer of 1898, and four of them were orchestrated two years later. These transcriptions were performed for the first time by the Theodore Thomas Orchestra, led by Mr. Stock, at Chicago, December 20, 21, 1907. They were performed in Boston at concerts of the Boston Symphony Orchestra, April 19, 20, 1912, Max Fiedler conductor. Two of them, arranged for John Philip Sousa's band, have been frequently played by it. "These pieces are not complex," writes Mr. Foote, "and they need little description." We quote from the description which was furnished by Mr. Foote for the excellent programme books of the Theodore Thomas Orchestra. "They are rather impressions or sketches, than compositions written with any 'development.'"

* Mr. Foote's Quatrains from the "Rubaiyat of Omar Khayyam" were sung by Anna Millar Wood at a concert of the Boston Symphony Orchestra in Cambridge, January 27, 1898, and at her concert in Boston, January 11, 1899; also by Stephen Townsend with orchestral accompaniment on January 14, 1909. These songs are in no way connected with the "Four Character Pieces."

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1155 — —

Iram indeed is gone with all his Rose, And Jamshyd's Sev'n-ring'd Cup where no one knows; But still a Ruby kindles in the Vine, And many a Garden by the Water blows.

• "Andante comodo, in B major and 3-4 time:—The theme heard at the outset in the solo clarinet runs through the whole, with a contrasting counter-subject; while always there is an accompaniment persisting with a 'strumming' sort of rhythm.

II They say the Lion and the Lizard keep The Courts where Jamshyd gloried and drank deep: $ And Bahram, that great Hunter—the Wild Ass Stamps o'er his Head, but cannot break his Sleep.

"Allegro deciso, in B minor and 3-4 time:—The basis of this is a strongly accented theme stated at the commencement by the first violins. For this the fullest orchestra is used, and there are occasional touches of cymbal, tambourine, etc.

"The middle part is as a revery:

Yet ah, that Spring should vanish with the Rose! That Youth's sweet-scented manuscript should close! The Nightingale that in the branches sang, Ah whence, and whither flown again, who knows!

"In this the accompaniment is softly given by the strings, harp, etc., the melody being sung by clarinet and by flute. This dies out, and the first theme returns—ending ff.

Ill A Book of Verses underneath the Bough, A Jug of Wine, a Loaf of Bread—and Thou Beside me singing in the Wilderness Oh, Wilderness were Paradise enow!

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"Comodo, in A major and 4-4 time:—The subject heard at the start in the strings appears in changing forms—without any other contrasting theme, and is throughout based on an organ-point on the domi- nant (prolonged E in the bass). It fades out in the strings in their highest positions, with a few last Es in the harp." Or as Mr. Foote now writes: "This is like the first movement, based on a persistent figure of accompaniment, which, this time, is a pedal point on the note E, sounding from beginning to end, being passed from one group to another, the brief melodic phrase being varied, while there is no long melodic line.

IV Yon rising Moon that looks for us again How oft hereafter will she wax and wane; How oft hereafter rising look for us Through this same Garden—and for one in vain!

"With strongly marked rhythm, in E minor and 6-8 time:—After some chords with harp and strings pizzicato the theme enters in the solo horn and violoncello—rises to ff and, again, dies out in the E minor chord, being succeeded by the Piu allegro (in B major and 3-4 time)

Waste not your Hour, nor in the vain pursuit Of This and That endeavor and dispute; Better be jocund with the fruitful Grape Than sadden after none, or bitter, Fruit.

"This next is a sort of Scherzo, toward the end of which is a reminiscence of the theme of the first piece, fortissimo. This subsides, and after a pause the first theme returns, with a wavy accompaniment in divided strings—the movement proceeding thence to an expressive pianissimo close." Mr. Foote now writes: "This middle part, after a reference to the

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1157 —

of first theme ( ff) of No. 1 gives way to a return the part, and dies away

VV- > "The scoring is for the usual strings, woodwind, and brass, with tympani, harp, cymbals, tambourine, and large drum." * * * The following compositions of Mr. Foote have been played at the subscription concerts of the Boston Symphony Orchestra in Boston: 1887, February 5, overture "In the Mountains," Op. 14 (first time). 1888, April 14, overture "In the Mountains." 1889, November 23, Suite for strings, D major, No. 2, Op. 21 (first time). 1891, January 24, Symphonic Prologue to "Francesca da Rimini," Op. 24 (first time). 1893, February 4, "The Skeleton in Armor," Ballad for chorus, quartet, and orchestra, Op. 28. Singers: Mrs. Marie Barnard Smith, Miss Lillian Carlsmith, George J. Parker, Clarence E. Hay (first time in Boston). 1895, March 2, Prologue to "Francesca da Rimini." 1896, March 7, Suite in D minor, Op. 36 (first time). 1898, February 26, Songs with piano: Elaine's song, "Sweet is true love"; Irish Folk-song. Mrs. Henschel, soprano. The composer played the pianoforte accompaniments. 1903, March 28, Suite in D minor, Op. 36. 1909, April 17, Suite in E major, Op. 63, for string orchestra (first time). 1912, April 20, Four Character Pieces, Op. 48 (first time in Boston). Mr. Foote's Suite for strings, Op. 12, was played in Boston at a "Popular Concert" of the Boston Symphony Orchestra, May 15, 1886.

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1158 Overture to " Frithjof" Theodore Dubois

(Born at Rosnay, Marne, France, August 24, 1837; now living at Paris.)

The overture to "Frithjof," composed in 1879, was performed for the first time at a concert of the Societe Nationale de Musique, Paris, April 12, 1880, and afterwards at a Chatelet concert, February 13, 1881. It was published in 1894. The first performance in Boston was at a concert of the Boston Symphony Orchestra February 6, 1904, Mr. Gericke conductor. It is dedicated to Hugues Imbert,* and is scored for these instruments: piccolo, two flutes, two oboes, two clarinets, four bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, bass drum, cymbals, strings. The composer has added this note: "In orchestras where there are only two bassoons, the third and the fourth bassoons may be replaced by two bass saxophones, or, if absolutely necessary, by two violoncellos." The following argument is printed on the first page of the score: "King Bela and his friend Thorsten are dead. Their children, Frithjof and Ingeborg, love each other. Frithjof asks the hand of Ingeborg from her brother, King Helga, but his demand is scouted. In his de- spair he cleaves the king's buckler. He is exiled. Absence and an- guish of Frithjof. Lament of Ingeborg. On the return of Frithjof, Ingeborg is, through the command of Helga, the wife of the old King Ring. Frithjof goes to the temple of Balder, accuses and provokes King Helga. He tries to pull from the arm of the statue the betrothal bracelet which he had given to Ingeborg; in the attempt the god is thrown into the flames of the sacrifice, and the temple takes fire." The overture begins Andante largo, E minor, 3-2. The opening measures are for muted string quartet. The theme announced in the

* Hugues Imbert was a prominent writer about music and musicians. His chief volumes are: "Profils de Musiciens" (Paris, 1888); "Nouveaux Profils de Musiciens" (Paris, 1892); "Portraits et iStudes" (Paris, 1894); "Profils d'Artistes Contemporaina " (Paris, 1897); " M6daillons Con- temporains" (Paris, 1903),—all of a biographical nature; "Etude sur Johannes Brahms" (Paris), "Rembrandt et Richard Wagner" (Paris), "Charles Gounod" (Paris), "Symphonie" (Paris), "La Symphonie aprds Beethoven: R6ponse & Felix Weingartner." A contributor for several years to the Guide Musical, he became its editor-in-chief in 1901. Born on January 11, 1842, he died on January 15, 1905.

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1159 first measure—violoncellos—has been marked " Frithj of" motive; this theme is connected with a sustained melody for violoncellos sup- ported by soft chords of wind instruments. The "Ingeborg" motive is introduced by solo clarinet. This section, which is said to portray the lovers, ends with sighs interrupted by the "Wrath" theme, thun- dered out by wind instruments and strings.

n The chief theme of the overture appears in the first measures of the main body, Allegro appassionato e agitato, E minor, 6-8. This theme, "Frithjof in exile," is announced by the first violins, piano. The subsidiary is given to the full orchestra, fortissimo. A German has found that a second subsidiary typifies Helga. Poco piu lento. First violins and violoncellos, afterwards oboes and clarinets, sing the second theme, Love's lamentation, which is roughly interrupted by the Wrath motive; but there is a fresh expression of amorous longing, which, with the use of the first subsidiary theme, ends the first section of the allegro. There is a return for a few measures to the pace and the mood of the introduction, and then the free fantasia begins, and carries on a conflict of the hitherto announced themes. There is a stormy climax. Andante. The Frithjof theme is heard ppp from a trombone against a tremolo of violoncellos and double-basses, drums, and brass. Presto and fortissimo. Frithjof forces his way into the temple and fires it: exile theme, the second expression of amorous longing, and the Wrath motive. *

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1160 Dubois's argument is derived from the Icelandic Frithjof saga, as- signed by some to the fourteenth, century. (Possibly the saga was told by word of mouth at the close of the eighth century.) This saga of the Norwegian Frithjof, or Fridthiof, is now best known to the world through the poem of Bishop Esais Tegner (1782-1846). Excerpts from his poem were published in Iduna in 1820, five cantos in addition were published in 1822, and the whole poem appeared at Stock- holm in 1825. Miss R. du Puget translated it into French prose in 1838, and Victor Wilder made a translation into French of the text of Max Bruch's cantata. In Dubois's symphonic poem the climax is the burning of the temple. The subsequent adventures of Frithjof at King Ring's court, his temptation, Ring's death, Frith j of 's atone- ment for his sacrilege, and his wedding of Ingeborg,—these do not enter into the scheme of his musical illustration. The bracelet, or arm-ring,* which plays an important part in the saga, was wrought by Vaulunder, "the dwarf, called the limping, the Northern Vulcan." This fire-dwarf, the son of a Taurian king, went to Nidrud, king of Sweden, an avaricious person, who imprisoned him and set him at work. Vaulunder finally killed Nidrud and usurped the throne. This bracelet, on which was engraved heaven with the twelve castles of Valhalla, emblems of the moon's variations, and many apologues and symbols, was an heirloom of ancient repute, handed from father to son. It was stolen by Sot', a sea-robber. Thorsten

* Arm-rings, usually of gold, were constantly and often extravagantly worn by the old inhabitants of Scandinavia. " The ornament gave a separate appellation to precious metals: eldr liths, or lilh bravndum,—the fire of the wrist, or wrist-flame."

JORDAN HALL, SATURDAY AFTERNOON, MAY 3, 1919 AT 3.15 PIANO RECITAL BY

ASSISTED BY WILLIAM HENRY HUMISTON, Organist of the New York Philharmonic Orchestra THE PROGRAMME

Prelude ) \ Allemande > (From "Partita," No. 1) Bach Courante ) Siciliano Bach Ballet Music from "Rosamunde." (Arranged by Fischof) .... Schubert

II Six Variations on Duett, " Nel cor piu non mi sento." (From Paisello's opera, " La Molinara ") Beethoven Adagio grazioso. (From Sonata, Op. 31, No. 1) Beethoven Momento capriccioso Weber III Introduction and allegro appassionato, Op. 92 Schumann Accompaniment on the organ by William Henry Humiston IV Valse Chopin Of Br'er Rabbit "... MacDowell Sung outside the Prince's door "Edgar Thorn" (MacDowell) Dance of the Dryads MacDowell Lesghinka (by request) Liapounow

MASON

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-1161 recovered it after a strange struggle, for Sot' with his ship and booty- was in the tomb.

Forth from the tomb shone a light, and the champions could see, through the gate- hinge, Sot's vessel, pitch black, with rudder, and sails spread out ready for flying. Wrapped in a red fiery cloak saw they there, on the poop of the vessel, Hideous, a terrible mass, grimly cleaning his blood-spotted dagger. But never vanished the blood, and around the dark vault was seen scattered Whate'er of gold he had pillaged, and, lo! on his arm was the bracelet.

Bela first heard there the tune of a song, like a troll's incantation, Clashing of swords next, and sounds of dispute, and some horrible yelling; Then afterwards all became hushed, and hither ran Thorsten, bewildered, Pale, for with death had he struggled; but his was the beautiful arm-ring.

There is a curious picture of this arm-ring in the volume of the translation into English by "G. S." (George Stephens) (Stockholm and London, 1839), a volume that contains interesting notes. The picture, a folded sheet three feet long, is accompanied by a description contrib- uted by Bror Em. Hildebrand.

Frithj of inherited from his father Thorsten the ancestral sword

Named Angurwadel by them, and famed as the Brother-of-Lightning, Wrought in the East by the fire, and the magic of dwarfs, says the legend;

the arm-ring; and the ship Ellid. When Frithj of was sent by Helga to collect tribute from Jarl Argantyr under penalty of dishonor and lifelong exile in case of failure, he besought Ingeborg to go with him; she refused, although her heart was well-nigh breaking; he then gave her the arm-ring. She married the aged King Ring to bring back

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1162 — peace to the land, and when on the nuptial-day, in the temple of Balder, Helga, her brother, espied the arm-ring, in anger he snatched it from her, and clasped it on the god's image. Frithjof went to the temple when he learned Ingeborg's fate, and addressed the god:

"Pale Balder, thee I mean no harm: Frown not on me and chide; The ring thou bearest on thy arm Was stolen from my bride."

The image toppled and fell upon the pyre.

All now is lost. Red through the hall, The chanticleer takes flight;* Upon the highest roof of all He flaps and crows for fight. * * *

* "When Ragnarock, the twilight of the gods, begins, the blood-red cock (hane) Fjalar, of Hel- haim, crows loud and shrilly, at the very same time that the black-red cock Gullincambi crows in Walhalla to announce the beginning of the fight between the Asa-gods and Lok3's offspring. The flying of the fiery-red cock is therefore here meant as a challenge of the bitter strife of the elements." (Note by Leopold Hamel in his English version of the saga. London, 1874.) But is it necessary to hark back to this early mythology? A Danish proverb making allusion to the fiery crest transforms it into a symbol of flames, of conflagration. Woe to the peasant who sees the "red cock" perched on the roof of his cottage: "Der roden Hane galer over Taget" (the red cock sings on the roof) : the house is on fire. The Germans have long had a like saying. It was used by Hans Sachs: "Der rote Han auf's Dach setzen" (to put the red cock on the roof). The sense of the French saying, "Le coq rouge chant sur le toit," is known also in the Netherlands. See the striking tale, "Le Coq Rouge," in Georges Eekhoud's " Mes Communions" (Brussels, 1895).

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1164 — s;

The Frith j of saga has been the cause of much music:

Operas: "Frithjof," music by Tschirch (some say Stettin, 1852; others say it was not produced); "Frithjof," book by Schlieben, music b}r Gervais (Konigsberg, 1855); "Frithjof," book by Anna von Moor, music by Ed. Ringler (Nuremberg, January 10, 1882); "Frithjof," book r bj Peter Lohmann, music by Gobel (about 1860, not produced) ; "Frith- jof," book by K. E. Hopffer, music by B. L. Hopffer (Berlin, 1871); "Ingeborg," book by Peter Lohmann, music by P. Geisler (Bremen,

1884) ; "Frithjof," book and music by Heinrich Zollner (Cologne, 1884) "Frithiof and Ingeborg," book by Anna C. Wallberg, music by Chas. F. Hanson (Worcester, Mass., December 8, 1898). Cantatas: Max Bruch's "Scenes from the Frithjof Saga" (Aix-la- Chapelle, November 20, 1864), Boston Apollo Club, Miss Hattie Louise Sims and John F. Winch, February 4, 1881; "Frithjof," K. A. Mangold (Darmstadt, January 13, 1868). Symphony: "Frithjof," Heinrich Hofmann (Adagio and Scherzo played in Boston by Theodore Thomas's orchestra, November 13, 1876). There are many songs from Tegner's version of the saga for chorus or solo voice. Among the early ones are those by Crusell, the Countess Hedda Wrangel, P. C. Boman, Adolf Sandberg, S. M. Zanders, Caro- line Ridderstolpe, Joseph Panny, Silcher, G. Stephens. The translation of Tegner's poem into English by Stephens includes thirteen airs by Crusell, Stephens, and the Countess Mathilde Montgomery, now Gyllenhaal of Stockholm,—"Frithjof at Chess," " Frithjof Bliss," "Ingeborg's Lament," etc.

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1166 .

Twearly-seooinidl Programme

FRIDAY AFTERNOON, APRIL 18, at 2.30 o'clock

SATURDAY EVENING, APRIL 19, at 8.00 o'clock

Franck Symphony in D minor (Repeated by request)

I. Lento; Allegro non troppo. • II. Allegretto. III. Allegro non troppo.

Laparra "UneDimanche Basque" ("A Basque Sunday")> Poem on Four Popular Verses for Orchestra with Pianoforte (First performance)

I. Vers l'Eglise ("Towards the Church"). II. Au jeu de Pelote ("The Pelote Game"). III. Devant une Maison Blanche ("In Front of a White House"). IV. A la Fete ("At the Fair")

Glinka "Kamarinskaya" Fantasy for Orchestra on two Russian Folk-songs

Weber Overture to "Der Freischiitz"

SOLOIST RAOUL LAPARRA

There will be an intermission of ten minutes after the symphony

MASON & HAMLIN PIANO USED

Tickets, $2.50, $2.00, $1 .50, $1.00, no war tax. Now on sale at Box Office.

The works to be played at these concerts may be seen in the Allen A. Brown Music Collection- of the Boston Public Library one week before the concert.

1167 will give a PIANO RECITAL

on Tuesday Afternoon, April 22, at 3.00 o'clock

French Suite V • • • • Bach Sonata, Op. 53 (1st movement) Beethoven

Ballade, F major; Mazurka, D-flat; ) Chooin Mazurka, G-sharp minor; Barcarolle ) Prelude, A minor; La danse de Puck Debussy- Sphinx; Lotus Land; Valse Caprice Cyril Scott Liszt Dance of the Gnomes; Forest Rustlings; Etude (La chasse) . .

MASON & HAMLIN PIANO

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1168