Symphony Orchestrh

li>V\\V,[ VVx< BOSTON SYMPHONY ORCHESTRH

^^v f^^

•^-^

PRoGRsnnE

1(20 )| The DURABIUTY of

PIANOS

and the permanence of their tone quality surpass anything that has ever before been obtained, or is possible under any other conditions.

This is due to the Mason & Hamlin system of manufacture, which not only carries substantial and enduring construction to its limit in every detail, but adds a new and vital principle of construction—The Mason & Hamlin Tension Resonator

Catalogue Mailed on Application Old Pianos Taken in Exchange

MASON & HAMLIN COMPANY

Established 1854 SYMPHONY HALL, BOSTON HUNTINGTON (S-MASSACHUSETTS AVENUES Ticket Office, 1492 l„ ,„ TelephonesT»io«t,^«^o i Back Bay j Administration Offices, 3200 J TWENTY-NINTH SEASON, 1909-1910

MAX FIEDLER, Conductor

Programme nf % Twentieth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, APRIL 1 AT 2.30 O'CLOCK

SATURDAY EVENING, APRIL 2 AT 8.00 O'CLOCK

COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A.ELLIS, MANAGER

1493 Mme. TERESA CARRENO On her tour this season will use exclusively

Piano.

THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO

REPRESENTED BY

G. L SCHIRMER & CO., 338 Boylston Street, Boston, Mass.

1494 Boston Symphony Orchestra PERSONNEL

Twenty-ninth Season, 1909-1910

MAX FIEDLER, Conductor

First Violins.

Hess, Willy Roth, O. HofiFmann, J. Krafift, W. Concertmaster. Kuntz, D. Fiedler, E. Theodorowicz, J. Noack, S. Mahn, F. Eichheim, H. Bak, A. Mullaly, J. Strube, G. Rissland, K. Ribarsch, A. Traupe, W.

Second Violins.

Barleben, K. Akeroyd, J. Fiedler, B, Berger, H. Fiiimara, P. Currier, F. Marble, E. Eichler, J.

Tischer-Zeitz, H. Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner. H.

Violas.

F^rir, E. Heindl, H. Rennert, B. Kolster, A. Zahn, F. Gietzen, A. Hoyer, H. Kluge, M. Forster, E. Kautzenbach, W.

Violoncellos.

Wamke, H. Nagel, R. Kautzenbach, A. Belinski, M. Wamke, J. KeUcr, J. Barth, C. Nast, L. Hadley, A. Smalley, R.

Basses.

Keller, K. Agnesy, K. Seydel, T. Ludwig, O. Gerhardt, G. Kunze, M. Huber, E. Schurig, R.

Flutes. Oboes. Clarinets. Bassoons.

Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E, Fox, P. English Horn Bass Clarinet. Contra-Bassoon.

Mueller, F. Stumpf, K. Helleberg, J.

HOSNS. Horns. Trumpets. Trombones. Tuba.

Hess, M. Wendler, G. Kloepfel, L. Hampe, C. Lorenz, O.

Lorbeer, H, Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfield, L. Phair, J. Schumann, C. Merrill, C.

Harp. Tympani. Percussion.

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

Librarian.

SauerquelL J. 1495 ^ iwiM rw M9U\rw m im iw ruMiMnAMMMMMMMMM ^n^^n^Zdl ti

Perfection in Piano Making

THE

Quarter Grancl Style V, m figured Mahogany, price $650

It is but FIVE FEET LONG and in Tonal Proportions a Masterpiece or piano builaing.

It is CliicKering & Sons most recent triumpn, tke exponent of EIGHTY-SEVEN YEARS experience in artistic piano Duilaing, ana the heir

to all tke qualitiea tkat tke name oi its makers implies.

CHICKERING & SONS - PIANOFORTE MAKERS Established 1823

791 TREMONT STREET, Comer Northampton Street, near Mass. Ave. BOSTON

>ai/M«^¥V'tfViAiVwWirw vwwwirw tfvin< iai ia<¥V¥w irw w^ in< mtf m^'i^C^

1496 TWENTY-NINTH SEASON, NINETEEN HUNDRED NINE AND TEN

Twentieth Rehearsal and Concert

FRIDAY AFTERNOON, APRIL U at 2,30 o'clock

SATURDAY EVENING, APRIL 2, at 8 o'clock

PROGRAMME

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

I. Awakening of serene impressions on arriving in the country: Allegro, ma non troppo. II. Scene by the brook-side: Andante molto moto.

III. Jolly gathering of country folk : Allegro. In tempo d' allegro.

Thunder-storm ; Tempest : Allegro. IV. Shepherds' song; Gladsome and thankful feelings after the

storm : Allegretto.

Tschaikowsky Francesca da Rimini," Orchestral Fantasia after Dante, Op. 32

a. Elegie and Musette from the Suite taken from the Incidental Music to Adolf Paul's Tragedy, Sibelius "King Christian II.," Op. 27 b. j Valse triste, Op. 44 ' First time in Boston

Dvordk Overture, "Carnival," Op. 92

There will be an intermission of ten minutes after the Symphony

The doors of the hall will be closed during the performance of each nu7nber on the progratnnte. Those who wish to leave before t^e end of the concert are requested to do so in an interval between the numbers.

City of Boston. Revised Reifulatlon of August 5, 1898.— Chapter 3. relating to th» coverlnii 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 anvseat (herein provided for spectators, it being understood that a low head covering without projection, which docs not obsfruct such view, may be worn. Attest: J. M. GALVIN, City CU»k. 1497 '* GRANDupright" Size 4 feet 6 inches

MAHOGANY CASE- BEAUTIFULLY VENEERED *550 to, %m6^e

THE WORLD'S BEST PIANO is the one piano not only abreast of the times, but today, more than ever, is solely and purely representative of faultless construction, exceptional durability and that tonal sublimity that cannot be successfully imitated or equalled.

C C HARVEY CO. 144 BOYLSTON STREET BOSTON

1498 Symphony No. 6, in F major, "Pastoral," Op. 68. LuDwiG VAN Beethoven. (Born at Bonn,—December i6, 1770; died at Vienna, March 26, 1827.) This symphony "Sinfonia pastorale"—was composed in the country round about Heiligenstadt in the summer of 1808. It was first performed at the Theater an der Wien, Vienna, December 22, 1808. The symphony was described on the program as "A symphony entitled

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

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

TO TEACHERS AND SCHOOLS.

Educational Music in All its Branches.

The Most Representative Music Publishing House in America.

Sole Agents for ENOCH & SONS, London. ENOCH & CO., Paris. ELKIN & CO., London. G. RICORDI & CO.. Milan. E. DOTESIO & CO., Spain. BOOSEY & COMPANY, 9 East Seventeenth Street, NEW YORK CITY. 1499 L. P. Hollander & Co.

Announce that their Spring

IMPORTATIONSof FRENCH MILLINERY

Are now on exhibition

Also a complete assortment of Inexpensive Ready-to-Wear Hats For Ladies, Misses and Children BOYLSTON STREET

EVERY BUSINESS MAN

has some receptacle for valuable papers — an office safe or a vault in his office building. Yet safes are not proof against burglary, and fire will destroy a building, vault and all. A safe-deposit box affords the only absolute pro- tection against fire or flood, burglary, and acci- dental loss. It is easily accessible to the owner, and to him alone. We offer you absolutely modern safe-deposit vaults at our Court Street and Temple Place buildings. One of these is sure to be conveniently accessible, and we cordially invite your inspection of the facilities^'provided.

Old Colony Trust Company

Resources over $70,000,000 COURT STREET TEMPLE PLACE

IfiOO was courting her, and in a strife of words called him "stupid ass!" Hauptmann, who was apparently a sensitive person, forbade Pauline to sing, and she obeyed him. (She married Hauptmann in 1810, blazed as a star at Berlin from 1815 to 1829, sang in Russia and Sweden, and died at Berlin in 1838.) Antonia Campi, born Miklasiewicz (1773), was then asked, but her husband was angry because Miss Milder had been invited first, and he gave a rude refusal. Campi, who died in 1822 at Munich, was not only a remarkable singer: she bore seventeen children, among them four pairs of twins and one trio of triplets, yet was the beauty of her voice in no wise affected. Finally Josephine Kilitzky (born in 1790) was persuaded to sing "Ah, perfido." She was badly frightened when Beethoven led her out, and could not sing a note. Rockel says a cordial was given to her be-

hind the scenes; that it was too strong, and the aria suffered in consequence. Reichardt describes her as a beautiful Bohemian with a beautiful voice. "That the beautiful child trembled more than sang

was to be laid to the terrible cold ; for we shivered in the boxes, although wrapped in furs and cloaks." She was later celebrated for her "dra-

matic colorature." Her voice was at first of only two octaves, said von Ledebur, but all her tones were pure and beautiful, and later she gained upper tones. She sang from 18 13 to 1831 at Berlin, and pleased in many parts, from Fidelio to Arsaces, from Donna Elvira to Fatime in "Abu Hassan." She died, very old, in Berlin. "Ah, perfido," had been composed in 1796 for Josephine Duschek. 'The "Fantasie," for piano, orchestra, and chorus, was Op. 80.

J. F. Reichardt wrote a review of the new works. He named, and incorrectly, the subtitles of the Pastoral Symphony, and added: "Each I number was a very long, complete, developed movement full of lively

CONTENTS

The White Rabbit The Pool of Tears Story by the Mouse The Grand Procession Dance by the Sea The Looking-Glass On the Train Tweedledum and Tweedledee Humpty Dumpty Queen Alice separately) Grades 1 andi2 Published by (Also published ARTHUR P. SCHMlDT.i'"" ^%'.'r."^.r^^°''

1501 — painting and brilliant thoughts and figures; and this, a pastoral sym-j phony, lasted much longer than a whole court concert lasts in Berlin." Of the one in C minor he simply said: "A great, highly-developed, too long symphony. A gentleman next us assured us he had noticed at the rehearsal that the 'cello part alone—and the 'cellists were kept very busy—covered thirty-four pages. It is true that the copyists here understand how to spread out their copy, as the law scriveners do at home." No record of the reception by the audience of the new works has come down to us. Reichardt censured the performance of the Hymn—a Gloria—and the Sanctus, and said that the piano concerto was enormously difficult, but Beethoven played it in an astounding manner and with incredible speed. "He literally sang the Adagio, a masterpiece of beautiful, developed song, with a deep and melancholy feeling that streamed through me also." Count Wilhourski told Ferdi- nand Hiller that he sat alone in an orchestra stall at the performance, and that Beethoven, called out, bowed to him personally, in a half- friendly, half-ironical manner. * * *

The Pastoral was described on the program of 1 808 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.

Shreve, Crump & Low Company. Diamonds, Qems.

Choice Diamond Jewelry.

Latest Fashions in Silverware. Very old Sterliny Silver. Watches. A very fine stock of Gilt and Crystal Clocks.

A beautiful and rare showing of the *' Tiffany Glass" on the fifth floor. Bronzes, Carved Ivories. Fans, Opera Glasses. Finest Stationery.

147 Tremont Street, Boston*

1002 '

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 program- book. The descriptive headings were probably an afterthought. In the sketch-book, which contains sketches for the first movement, is a note: "Characteristic Symphony, The recollections of life in the country." There is also a note: "The hearer is left to find out the situations for himself." * * *

Ries tells us that Beethoven often laughed at the idea of "musical painting," even in the two oratorios of Haydn, whose musical talent he fully appreciated; but that Beethoven often thought of a set and appointed argument when he composed. Beethoven especially dis- claims any attempt at "painting" in this symphony: yet one enthusiastic analyst finds in the music the adventures of some honest citizen of a little town—we believe he locates it in Bavaria—who takes his wife and children with him for a holiday; another hears in a pantheistic trance "all the voices of nature." William Gardiner in 1832 made this singular remark,—singular for the period: "Beethoven, in his 'Pastoral Symphony,' has given us the warm hum of the insects by the side of the babbling brook; and, as our musical enterprise enlarges, noises will be introduced with effect into the modern orchestra that will give a new feature to our grand performances."

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

' ' to anybody to find the Heroic ' Symphony not heroic and the Pastoral

Spring; SHowers Call for light-weight Waterproof Coats. We have them in the latest imported Slip-ons, silk-finish rubber, worsteds and tweeds of every description. Fishing, Camping, and Yacht- ing Goods, Motor Tires and Sundries, etc. We shall welcome your visit to our establishment. IF IT'S WATERPROOF—WE HAVE IT. ENTERPRISE RUBBER CO,

110 Federal Street l^^r^^r^? Boston, Mass. WILLIAM E. BARKER, Prendent and Trtasurer

1503 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 program "to be divined," and against the program determined in advance. "I believe that a composer puts into his work a certain disposition of his soul, a program, but with [the firm belief that the performer and the hearer will know how to understand it. He often gives to his work a general title as an indication ;k 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 program-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

FIRST NATIONAL BANK of BOSTON

FEDERAL, FRANKLIN and CONGRESS STREETS

Capital, Surplus and Profits $5,000,000

Thoroughly Equipped to handle Interest allowed on Trust

all kinds of business. and Inactive accounts. SAFE DEPOSIT VAULTS

With every modern convenience, open from 9 a.m. to 5. p.m. Boxes from l^io per annum upwards.

Special rooms for Ladies and spacious rooms for Trustees

STORAGE VAULTS for SILVERWARE and TRUNKS

1504 BIGELOW, KENNARdD

'Diesfor CRESTS ^CQAT50fARMS, Luncheon and Dinner Cards. Bookplates. WEDDING INVITATIONS.

^11WASHINGTON ST.

1505 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 program-music in the most logical acceptation of the term." * * * Program-music has in a certain sense existed from the early days of music. Dr. Frederick Niecks, in his "Program Music in the Last Four Centuries," begins with the vocal compositions of Jonnequin, Gombert, Josquin Depres, and others. "It was the French school of clavecinists, culminating in FranQois Couperin, that achieved the first artistically satisfactory results in program music." And Niecks quote titles from preceding French lutenists, from Dennis Gaultier, for example. Gaultier died about 1660-70. In the eighteenth century there were many strange achievements, as Dittersdorf's Symphonies, illustrative of certain stories told by Ovid,—"Actseon," "Phaeton," etc.,—with elaborate analyses by J. T. Hermes. The pamphlet of Hermes was recently reprinted. There were both serious and humorous attempts. Thus Johann Kuhnau, who wrote "Bible" sonatas, tells of a sonata he once heard which was entitled "La Medica." "After an illustration of the whines of the patient and of his relations, the running after the doctor, the pouring out of sorrow, there finally came a jig.

Opposite Boston Common

J54 and J55 TREMONT STREET SPRING APPAREL

E. T. Slattery Company invite inspection THEof their styles and merchandise, believing that women who look for style and quality rather than price considerations will appreciate their efforts to place within easy access the very best from both this country and abroad.

Newest Suits Newest Gowns Newest Wraps Newest Gloves Newest Millinery and Opera Accessories

1506 VAN AMRINGE MONUMENTS QUALITY DURABILITY 0RI6INAUTY

MODERATE PRICE

YANAMRINBEQRANrTECa

172 Tremont St., Boston 0pp. Boylston St. Subway Station

1507 " —

' with the motto : The patient is progressing favorably, but has not quite recovered his health.'" Still funnier is the serious symphonic poem by Villa, "The Vision of Brother Martin" (Madrid, March, 1900), "a Psychological Study of Luther, his Doubts and his Plans for Reform." Or what is to be said of Major A. D. Hermann Hutter of Nuremberg, with his "Bismarck" Symphony (1901) in four movements: ''Ex ungue leonem; Patriae inserviendo consumor; Oderint dum metuant; Per aspera ad astra?" And has not Hans Huber written a "Bocklin" Symphony, in which certain pictures of the imaginative Swiss painter are translated into music, Stanford a symphony on pictures by Watts, Rachmaninoff a symphonic poem on Bocklin's picture "The Island of the Dead"? Yet we once smiled at Steibelt's "Britannia, afi Allegorical Overture, describing the Victory over the Dutch Fleet by Admiral Duncan,"

' with its program from ' Adagio : the stillness of the night, the waves of the sea, advice from Captain Trollope" to "Acclamation of the " populace, ' God save the King.' On the other hand, there is a subtle meaning in the speech of Cabaner, as quoted by Mr. George Moore : "To portray silence in music, I should need three brass bands. * * * The following sayings of Beethoven, taken from "Beethoven: The Man and the Artist, as Revealed in his own Words," compiled and annotated by Friedrich Kerst and edited by Mr. H. E- Krehbiel (New York, 1905), may well be quoted here: "I always have a picture in my mind when composing, and follow its lines." This was said in 1815 to Neate and with reference to the "Pastoral." Ries says that Beethoven frequently thought of an object while he was composing, "though he often laughed at musical delineation, and scolded about petty things of the sort." "The description of a picture belongs to the field of painting; in this the poet can count himself more fortunate than my muse, for his terri- tory is not so restricted as mine in this respect, though mine, on the

HOTEL LENOX,^"'"''sre:fs"^"" 3 minutes from Symphony Hall The Unique and Beautiful Rose Garden and Palm Room AHE Boston's Most Popular Restaurants

Tea Is served dally in the Rose Garden from 4.00 to 5.30 Mnalc by BELA NYARY'S HUNGARIAN ORCHESTRA 1508 Oriental Ru^s

At Very Low Prices

Oriental Rugs in the past month have been lower in civilization than in the desert

THIS statement robs advertisement of romance, eliminates all the camels, does not allow time for Persian Satraps to go through the Bank-

ruptcy Courts, and renders unnecessary all wireless

short-cuts to obtain delivery of Bargain Rugs going

astray.

Some months ago, some lines of rugs being low

in our stock, anticipating Spring business, we

cabled commissions to Constantinople. The

rugs were purchased and held for shipment. By

a change in market conditions, we could buy

cheaper in New York, and we are giving our customers the advantage.

We are showing for the first time a lot of selected Oriental Rugs at very low prices

646-658 Washington St, Opposite Boylston St.

Carpets Rugs Upholstwy Wall Paper

1509 other hand, extends into other regions, and my dominion is not easily reached." "Carried too far, all delineation in instrumental music loses in efficiency." This remark is found in a sketch for the "Pastoral."

' ' How happy I am to be able to wander among bushes and herbs, under trees and over rocks; no man can love the country as I love it. Woods, trees, and rocks send back the echo that man desires." "O God! send your glance into beautiful nature and comfort your moody thoughts touching that which must be." To the "Immortal Beloved." "My miserable hearing does not trouble me here [Baden]. In the country it seems as if every tree said to me: 'Holy! holy!' Who can give complete expression to the ecstasy of the woods? Oh, the sweet

! stillness of the woods " (July, 1814.) "When you reach the old ruins, think that Beethoven often paused there; if you wander through the mysterious fir forests, think that Beethoven often poetized, or, as is said, composed there." (In the fall of 1817 to Mme. Streicher, who was taking a cure at Baden.) * * * It has been said that several of the themes in this symphony were taken from Styrian and Carinthian folk-songs.* The symphony, dedicated to Prince von Lobkowitz and Count 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. The more cantabile phrase in the antithesis of the theme assumes later an independent thematic importance. The second theme is in C major, an arpeggio figure, which passes from first violins to second violins, then to 'cellos, double-basses, and wood-wind instruments. The

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

i-. i ± '] ]' KAKASBROS.iNc At4NUFACTU/i£/iS R£TA/LEfiS IfPTREMONT- ST-BOSTON-TEL- OXFORD 48 HIGH-CLASS FURS AT POPULAR PRICES RELIABLE FURS RELIABLE INFORMATION RELIABLE PRICES No Misrepresentation Cold Storage as to values

1610 THE STEINWAY PIANOLA PIANO

;HE appearance of this new instrument is an event of the highest significance in the piano industry. It means, T in the first place, the recognition by the famous house of Steinway & Sons of the artistic pre-eminence of the Pianola among all instruments of its kind, and the recognition by the celebrated ^olian Company, on the other hand, of the IMPORTANT FEATURES OF THE absolutely unique position of STEINWAY PIANOLA PIANO superiority occupied by the The PIANOLA used is the latest model, containinii the followinit im- Steinway Piano. portant features: The Full Scale Roll, playing the entire the piano. The great house of Steinway has for three keyboard of The always important METRO STYLE, generations scrupulously maintained the which oriyinaily helped to ^ive the very highest ideals in everything that PIANOLA its hi({hest standin|{ in the pertains to their art, and it was to be musical world and caused it to he uni- versally preferred to any other Piano- expected that they would not sanction player. the use of any but a perfect type of a The THEMODIST. which hriniJs out player in connection with their pianos. the theme or melody notes clearly and beautifully above the accompaniment, thus overcoming one of the most notice* Great interest therefore centres in the able defects in other PlayeiS. selection of the Pianola by Steinway & The Graduated Accompaniment, pro- Sons as the one piano-player whose vidin|{ a vnrlating background for the musical character entitles it to be incor- main theme of a composition. The new Pedal Device. enahlin|{ porated in Steinway Pianos. even the novice to secure 'the proper effects from the sustaininif pedal of This decision was a logical one, for in the piano. the field of piano-players the leadership The combination tracker - board, playinif both 6S and 88-note music rolls. of the Pianola is incontestable; its pres- The price of the Steinway PIAN- tige is world-wide, and yet everywhere OLA Piano is $1230. Other PIANOLA unrivalled. Pianos $S50 and upwards.

M. STEINERT & SONS CO Steinert Hall, 162 Boylston Street Branches in All the Principal Cities of New England 1511 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 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

International Trust Company MILK. DEVONSHIRE and ARCH STREETS. BOSTON. MASS. INCORPORATED 1879

CAPITAL, $1,000,000.00 SURPLUS (Earned) $4,000,000.00 FREE AND INDEPENDENT and not controlled by any special interests. ITS NEW AND ATTRACTIVE Banking Rooms furnish unexcelleiaccom- modations and facilities for all departments of its business. SPECIAL ACCOMMODATIONS for Ladies' accounts. INTEREST ALLOWED on Deposits subject to Check. Special rates on Time Deposits and Interest-bearing Certificates of Deposit. TRANSACTS A GENERAL BANKING Business, giving special attention to Corporation, Firm and other Business accounts. Discounts commercial paper and makes loans upon approved security. TRUST DEPARTMENT [separate and distinct from its general business] for the acceptance of Trusts under Wills and Instruments of Trust. Acts as Administrator or Executor either solely or jointly with one or more individuals. TRANSFER DEPARTMENT for Transferring and Registering Stocks and Bonds of Railroad and other Corporations, States and Municipalities. NEW SAFE DEPOSIT VAULTS with latest improvements and safeguards. Exclusive accommodations for Ladies. Attractive Reading, Writing and Waiting Rooms. JOHN M. GRAHAM. Prasident FREDERICK AYER. Vice-President HENRY L. JEWETT. Sacratary B. FARNBAM SMITH. Aaalataat S*cr»tat> 1512 :

Chosen by Great Artists The Hardman Grand Piano

New York's Finest Art Product WITH scarcely an exception, the great singers at present visiting America have, for their individual use and enjo}-- ment, chosen the Hardman Grand Piano. In this they are but following the example set them by the most distinguished of their predecessors, for the Hardman Piano has for nearly three- quarters of a century received from all musicians the recognition due to its unrivalled qualities of tone, touch and durability. The many improvements recently incorporated in the Hardman Piano have served to enhance this universal recognition.

The Hardman Piano is made in Three Forms THE HARDMAN GRAND THE HARDMAN UPRIGHT THE HARDMAN AUTOTONE T/ie Piano all can play by Jtaiid or perforated fniisic roll. Terms of purchase are made to meet the convenience of our customers. Highest possible value allowed for your old piano taken in exchange. Send for Handsomely Illustrated Catalogue

Manufactured by HARDMAN. PECK & COMPANY. Established 1842

Represented in Boston by the Colonial Piano Co., 104 Boylston Street

1613 the matter of counting rests, and now playing his F, C, F^, without stopping." The trio of the movement, In tempo d' allegro, F major, 2-4, is a strongly accentuated rustic dance tune, which is developed in fortissimo by the full orchestra. There is a return of the first theme of the scherzo, which is developed as before up to the point when the second theme should enter, and the tempo is accelerated to presto. But the dance is interrupted by a thunder-storm, allegro, F minor, 4-4, which is a piece of free tone-painting. Fourth movement. Allegro, F major, 6-8. There is a clarinet call over a double organ-point. The call is answered by the horn over the same double organ-point, with the addition of a third organ-point. The horn repetition is followed by the first theme, given out by the strings against sustained harmonies in clarinets and bassoons. This theme, based on a figure from the opening clarinet and horn call, is given out three times. This exposition is elaborate. After the climax a subsidiary theme is developed by full orchestra. There is a short transition passage, which leads to an abbreviated repetition of the foregoing development of the first theme. The second theme enters, B-flat major, in clarinets and bassoons. The rest of the movement is hardly anything more than a series of repetitions of what has gone before. It may here be said that some program-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 of this symphony was at a Boston Academy of Music Concert, January 15, 1842. The program included Cherubini's overture, "Les deux Journees" (sic); a song, "The Stormy Petrel," by the Chevalier Neukomm and sung by Mr. Root; an oboe solo, fantasia, "Norma," played by "Signor Ribas"*; and then the first two movements of the "Pastoral" Symphony ended the first part. The program stated that the notes of quail and

* 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.

GLOVE5 may be right and not be Fownes, but they can't be FOWNE5 and not be right.

1514 Therese Hynds Corsets Entirely Custom Made

Measurements and fittings by competent Cor- setieres who have had the benefit of Madam Hynds' personal instruction.

The Corsets are made in New York under Madam Hynds' careful supervision.

Prices, $16.30. $23.00, $40.00 and upwards

We have, for Boston, the exclusive sale of these Corsets.

COLD STORAGE

We receive and store RUGS, FURS and WINTER CLOTH- ING of all kinds for men and women — covering them with insurance against damage by moth or fire. Our charge for the season is 3% on the valuation, but no charge is made of less than a dollar. Please state value of each piece when sending. Goods called for if desired.

R. H. STEARNS & CO.

1515 —

cuckoo are heard in the second movement. Part II. began with the last three movements of the "Pastoral," after which Mr. Wetherby sang a ballad, "When the Flowers of Hope are fading," by Linley, and the overture to "Masaniello," by Caraffa (sic), ended the concert. The program published this Macedonian appeal: "The Academy regret to be obliged to add that without increased patronage the series of concerts they were prepared to give must be discontinued, as the receipts fall far short of the expenses. The hopes entertained of a different result have induced the Academy to persevere thus far, and it will be with great reluctance that they abandon their plan." The concerts were continued, certainly until February 27, 1847. * * *

It is said that, when Beethoven was about to move into an apartment rented for him at Baden, he said to the landlord: "This is all right but where are the trees?" "There are none." " Then I shall not take the house," answered Beethoven. "I like trees better than men." In his note-books are these passages: "On the Kahlenberg, 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 program '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. The first public performance in London was at a concert given for the benefit of Mme. Vaughan, May 27, 181 1. Other first performances: Paris, March 15, 1829, Paris Conservatory; St. Petersburg, March i, 1833; in Spain, in 1866, at Barcelona.

UNIVERSITY TRAVEL Scholarly guidance for the serious traveller. Especial interest in Art, History and Archaeology of Europe and the Orient. Tours in Spring and Summer, including a performance of the Passion Play at Oberammergau, 19 10. Send for our announcement. UNIVERSITY PRINTS 2000 reproductions of master-pieces of sculpture and painting one cent each. Handbooks for the student. Send two-cent stamp for completej catalogue. Telephone. Back Bay 2620

Bureau of University Travel 33 TRINITY PLACE BOSTOI 1516 The Many Moods in Music insure to more people happy, self-forgetting recreation than any other form of entertainment. Endowed -with a tone of infinite variety and imaginative charm, the pleasure of a great and soothing art is trebled In^ the Baldwin Piano. Here is that vibrant mass of tone ready for the musician's stormier impulses; here, too, the subtler fascination of beautifully-colored harmonies; —all things to all natures! If you have been among the thousands to hear the Baldwin under the singing touch of de Pactmann or Pugno its high artistic qualities are known to you. Only unusual forces commanded by a great organization such as The Baldwin Company could develop such qualities. By any equally able economic policy it is practicable tor you 1o know the Baldwin, though you may live far from the centers where its triumphs have been won. We would be pleased to have you see and hear the Baldwin Piano at our store.

GRAND PRIX GRAND PRIZE Paris 1900 St. Louis 1904

40 HUNTINGTON AVENUE BOSTON, MASS.

1517 — —

"Francesca da Rimini," Fantasia after Dante, Op. 32. Peter Iutch Tschaikowsky

(Born at V.otkinsk, in the government of Viatka, Russia, May 10, 1840; died at St. Petersburg, November 6, 1893.)

The score of this fantasia bears for motto Hnes from the fifth canto of Dante's "Inferno." They begin with

Nessun maggior dolore, Che ricordarsi del tempo felice Nella miseria; and they end with the last line of the canto. These verses of Dante are preceded by words in Italian which have thus been Englished:

" Dante ai'rives in the second circle of hell. He sees that here the incontinent are punished, and their punishment is to be tormented continually by the cruelest winds under a dark and gloomy air. Among these tortured ones he recognizes Francesca da Rimini, who tells her story."

The fullest explanation of this fantasia is Dante's story of Francesca. We quote from the translation by John A. Carlyle:

Now begin the doleful notes to reach me ; now am I come where much lamenting strikes me. I am come into a part void of all light, which bellows like the sea in tempest, when it is combated by warring winds. The hellish storm, which never rests, leads the spirits with its sweep; whirling and smiting, it vexes them. When they arrive before the ruin, there the shrieks, the moanings, and the lamentation; there they blaspheme the divine power. I learnt that to such torment were doomed the carnal sinners, who subject reason to

Wall Paper

There is just as much scope for MAKE YOUR individuality in an apartment's decoration APARTMENT as in that of a house. Limitations of YOUR OWN space and absence of natural light may be ^^^^"" largely overcome by the selection of papers of wide perspective and of suitable colors. The suggestions and advice of competent salesmen are an important feature of the ALFRED PEATS service to patrons. Almost any Boston or suburban apartment-house owner is perfectly willing to have tenants call at our store and make selections, to be charged to the owner's account. No harm in asking him. Our importations from the leading manufacturers of England, Germany, France and Japan insure a wide range of the latest designs. The new " cut out " decorations are proving highly popular and our selections are unsurpassed anywhere, while our prices are reasonable. Entire line for 1910 now being exhibited. ALFRED PEATS CO. Leaders of Wall Paper Fashions 118 SUMMER ST.

X518 CHARMING CREATIONS in NEW PARASOLS Just Received from Europe

Dainty Dresdens, Warp Prints, Persian

Effects, Plain Colors, Shaded Borders,

Striped Effects, and scores of other capti-

vating and novel styles are in this beautiful

display. These shovv^ rare and exclusive

designs in fancy handles — no two being

alike.

Prices Range from 7.50 to 50.00

Hundreds of other styles of both foreign

and domestic make in plain and fancy

effects, from 2.25 upwards, are to be

found in our immense assortment.

Jordan Marsh Co. lust. And' as'Jtheir wings bear^along^the starlings, at the cold season, in large and crowded troop; so that blast, the evil spirits. Hither, thither, down, up, it leads them. No hope ever comforts them, not of rest but even of less pain. And as the cranes go chanting their lays, making a long streak of themselves in the air; so I saw the shadows come, uttering wails, borne by that strife of winds. Whereat I said: "Master, who are those people, whom the black air thus lashes?" "The first of these concerning whom thou seekest to know," he then replied, "was Empress of many tongues. With the vice of lu.xury she was so broken, that she made lust and law alike in her decree, to take away the blame she had incurred. She is Semiramis, of whom we read that she succeeded Ninus, and was his spouse She held the land which the Soldan rules. That other is she * who slew herself in love, and broke faith to the ashes of Sichaeus. Next comes luxurious Cleopatra." Helena I saw, for whom .so long a time of ill revolved; and I saw the great Achilles,! who fought at last with love. I saw Paris, Tristan. And more than a thousand shades he shewed to me, and with his finger named them, whom love had parted from our life. After I had heard my teacher name the olden dames and cavaliers, pity conquered me, and I was as if bewildered. I began: "Poet, willingly would I speak with these two that go together, and seem so light upon the wind." And he to me: "Thou shalt see when thej' are nearer to us; and do thou then entreat them by that love, which leads them; and they will come." Soon as the wind bends them to us, I raise my voice: "O wearied souls! come to speak with us, if none denies it." As doves called by desire, with open and steady wings fly through the air to their loved nest, borne by their will; so those spirits issued from the band where Dido is, coming to us through the malignant air. Such was the force of my affectuous cry. "O living creature, gracious and benign! that goest through the black air, visiting us who stained the earth with blood. If the King of the Universe were our friend, we would pray him for thy peace; seeing that thou hast pity of our perverse misfort- une. Of that which it pleases thee to hear and to speak, we will hear and speak with j'ou, whilst the wind, as now, is silent." "The town,! where I was born, sits on the shore where Po descends to rest viih his attendant streams. Love, which is quickly caught in gentle heart, took l;ini with the fair body of which I was bereft; and the manner still afflicts me. Love, which lo no loved one permits excuse from loving, took me so strongly with delight in him, that, as thou seest, even now it leaves me not. Love led us to one death. Caina§ waits for him who quenched our life." These words from them were offered to us.

* Queen Dido.

t Achilles was slain in the Temple of Apollo through the treachery of Paris, for love of whose sister, Polyxena, he had been induced to leave the Grecian camp.—J. A. C. I Ravenna. § Caina, Cain's place in the lowest circle of hell, occupied b> fratricides, etc. —J. A. C. G. SCHIRMER Mii^ WEST STREET

BOSTON, MASS. g'^^^CkS^.^,^^^^^^^ '^^^- ^''^''"^ ^^^ THEORETIOAU WORKS By the Foremost Authorlt}' of Eniiland STEWART MACPHERSON Professor of Harmony and Coiiifositioti at the Royal A cademy, London Practical Harmony. Questions on Harmony, from the "Appen- dix to Practical Harmony." New and revised A concise Treatise with progressive exercises , edition, with Addenda, n, ?o,6o including the Harmonization of Melodies, n. |2. GO !

,^ in with special reference to The • J. PracticalD x< I Harmony.u Form Music« Appendix to , Designs ot Instrumental Music. n, 2.00 A Series of Questions and Progressive Exer- cises intended for the use of students. New Rudiments of Music. edition, with 0.60 and revised edition. n. 1.25 I New and revised Addenda, n. THE TECHNIOLE OF THE MODERN ORCHESTRA By CH. M. WIDOR N. S5.00 A Manual of Practical Instrumentation by the eminent French Composer and Conductor; tianslated by Edward Suddard. 1520 —

After I had heard those wounded souls, I bowed my face, and held it low until the Poet said to me: "What art thou thinking of?" When I answered, I began, "Ah me! what sweet thoughts, what longing led them to the woful pass!" Then I turned again to them; and I spoke, and began: "Francesca, thy torments make me weep with grief and pity. But tell me: in the time of the sweet sighs, by what and how love granted you to know the dubious desires?"

And she to me : "No greater pain than to recall a happy time in wretchedness; and this thy teacher knows. But, if thou hast such desire to learn the first root of our love, I will do like one who weeps and tells. "One day, for pastime, we read of Lancelot,* how love constrained him. We were alone and without all suspicion. Several times that reading urged our eyes to meet, and changed the color of our faces. But one moment alone it was that overcame us. When we read how the fond smile was kissed by such a lover, he, who shall never be divided from me, kissed my mouth all trembling. The book, and he who wrote it, was a Galeotto.f That day we read in it no farther." Whilst the one spirit thus spake, the other wept so, that I fainted with pity, as if I had been dying; and fell, as a dead body falls.

Francesca was the daughter of Guido da Polenta, Lord of Ravenna, and wife of Gianciotto Malatesta, son of the Lord of Rimini. The lover, Paolo, or Polo, Malatesta, was the brother of the husband, who discov- ered their love, and slew them both with his own hand. The story is told at length by Boccaccio in his Commentary, and Leigh Hunt retold the tale in his "Stories from the Italian Poets," Appendix 11. Guido was rude in appearance and a cripple. Paolo was "a handsome man, very pleasant, and of a courteous breeding," and he was pointed out to Francesca as her future husband, so that she put in him her whole affec-

* Lancelot of the Lake, in the old Romances of the Round Table, is described as "the greatest knight of all the world"; and his love for Queen Guenever, or Ginevra, is infinite. Galeotto, Gallehaut, or Sir Gala- had is he who gives such a detailed declaration of Lancelot's love to the Queen; and is to them, in the romance, what the book and its author are here to Francesca and Paolo. —J. A. C. from it t Lander, in his "Pentameron," makes Boccaccio say of this verse: "Any one would imagine that 'Galeotto' was really both the title of the book and the name of the author, neither of which is true. Galeotto, in the 'Tavola Ritonda,' is the person who interchanges the correspondence between Lancilotto and Ginevra. The appellation is now become the generic of all men whose business it is to promote the success of others in illicit love. Dante was stimulated in his satirical vein when he attributed to Francesca a ludicrous expression, which she was very unlikely in her own nature, and greatly more so in her state of suffering, to employ or think of, whirled round as she was incessantly with her lover. Neither was it requisite to say, ' the book was a Galeotto, and so was the author,' when she had said already that a passage in it had seduced her." Ed.

C. SCHIRMER, 35 UNION SQUARE, NEW YORK JUST PUBLISHED SONGS OF THE PEOPLE Vol. 4 Vol. 5 SONGS OF SWEDEN Forty-four French Folk-Son^s and Variants from Canada, Eighty -seven Swedish Folk- and Pop- Normandy, and Brittany ular Songs. Collected and harmonized by JULIEN Collected and edited by Gustav Hagg. TiERSOT. English translationby Henry Grafton English translation by Henry Grafton Chapman. Chapman.

in There is an introductory essay to each of the volumes. The texts are both the original and in English. Each, Paper. Net, $1.00 Cloth, Net, $2.00

1521 MARY GARDEN

One of the world's greatest Sopranos, and noted portrayer of Salome, Melisande, Louise, etc., writes as follows regarding THE KNABE

MIGNONETTE Style H GRAND, 5 feet 2 inches, in Figured Mahogany, price $700-

85 E. 56th Street. Messrs. WM. KNABE & CO., 439 Fifth Avenue, City. Dear Sirs:— In your charming Mignonette Grand I have found the piano which has completely satisfied the demands I put to it in supporting my voice. Such symmetry of form, such adaptability to any space with so great resources of tone, combined with an action that responds to the gentlest touch, make the instrument both rare and inimitable. Sincerely yours,

'€c^cC«

Where others have failed to build a small yet perfect Grand Piano meeting present-day requirements, the House of Knabe, after years of careful research and experiment, has succeeded in producing THE WORLD'S BEST GRAND PIANO

possessing a tone peculiar to and distinctive of all Knabe Pianos.

Its small size makes it particularly adapted to small houses and apartments, at a price but a trifle more than the cost of a high-grade Upright Piano. Convenient terms of purchase will be arranged.

C. C. HARVEY CO. 144 BOYLSTON STREET, BOSTON

1.522 tion, and did not know the deceit until the morning ensuing the marriage, "the which discovery moved her to such disdain, that she became not a whit the less rooted in her love for Paolo." Boccaccio says: "Never-

theless, that it grew to be unlawful I never heard, except in what is written by this author [Dante], and possibly it might so have become; albeit, I take what he says to have been an invention framed on the possibility, rather than anything which he knew of his own knowledge." When Gianciotto struck at Paolo, Francesca ran between them, and the dagger went into her breast, "by which accident, being as one who had loved the lady better than himself, he withdrew the dagger and again struck at Paolo and slew him; and so, leaving them both dead, he has- tily went his way and betook him to his wonted affairs; and the next morning the two lovers, with many tears, were buried together in the same grave." Dante undoubtedly heard the story from his friend, Guido Novello, of Ravenna, who was the son of Francesca's brother, although some have thought that Guido was her father. * * *

This fantasia is scored for three flutes (one interchangeable with piccolo), two oboes, English horn, two clarinets, two bassoons, four horns, two cornets-a-pistons, two trumpets, three trombones, tuba, three kettledrums, big drum, cymbals, gong, harp, strings. It is dedicated to Serge Taneieff. The fantasia begins with an Andante lugubre, that passes, in gradualy rising intensity, to an Allegro vivo, which is the essential point of this section, —the musical picture of those whose punishment is

"To be imprisoned in the viewless winds. And blown with restless violence round about The pendent world." f f TW/^l-Itr/^lVQ Prepared with particular attention to the "^^^^^^^^ **^^^^^*^ requirements of shoppers. I^TNIMFR^ The best foods of the season carefully

^ A TpDIlVJ^ Years of catering for fashionable occasions ^^^^ * 1-j1XH^ VJ ensures menus of taste and proper service.

Ice Creams and Ices Confections Pastries Favors McDONALD-WEBER CO. 156 Tremont Street, Boston, Mass.

Our new catalogue of prices we feel sure will interest you. 1523 The chief theme of lamentation and shudder, on which the first section is built, appears at the very beginning. The movement grows livelier, but the mood is the same. " Pale, tormented, shadowy figures approach ; they increase in number ; orchestral spasm follows spasm; and then there is rest, there is awful silence." The chief theme returns and introduces the Allegro vivo (6-8). From this theme, transformed, presented, by the horns and repeated by the bassoons, a second chief theme is developed, to which in the gradual development a contrapuntal theme of much importance is bound. Both themes, advancing through chromatic progressions and interrupted by tremolo figuration, are repeated in a long-drawn crescendo that bursts in a climax/// with the second chief theme. The important contrapuntal theme reappears in the brass, while the second chief theme descends chromatically to a long-held organ-point on the figure of the initial motive. At last the storm lulls, and the initial theme (horns, cornet, trombones) announces solemnly the approach of Fran- cesca and Paolo. The wood-wind take the theme, and a recitative of strings leads to the second section of the fantasia. Andante cantabile non troppo. After preluding, the clarinet sings a melancholy tune, which is answered by the violins. Mild harmonies bring a return to A minor and

SPECIAL CLEARANCE SALE, at substantial reductions in price, of SOME OF THE CHOICEST BOOKS EVER SHOWN IN BOSTON, is something too important for YOU to miss looking into. ^We are holding such a sale this month and invite you to come and look at books which it is a pleasure and even an educa- tion merely to see. ^They are on the front counters and in the rear balcony.

CHARLES E. LAURIAT CO 385 WASHINGTON ST. Opp. Franklin St.

1524 — the chief theme of this section (oboe, flute), which is now accompanied by strings (pizzicato) and a clarinet in triplets. "This middle section is especially beautiful on account of the original and vaporous accompaniment by three flutes of the chief theme. The contrapuntal motive of the first section enters ('cello) in 12-8, as the thought of remorse, but a delightful melody of the English horn and delicate harp-chords dispel the gloomy thoughts ; and the picture of the two, happy in their all-absorbing, passionate, but disastrous love, is maintained, until the lamenting ghosts re-enter (4-4 largamente, triplets in wind instruments, then in the strings). The lovers vanish in an orchestral storm. The third section is like the first in all important thematic conditions."

Thus in substance is the analysis by the annotator of the Berlin Philharmonic program-books of 1899; but Mrs. Rosa Newmarch's words are perhaps as much to the point: "The two first movements of the fantasia—Andante lugubre and Piu mosso—are clearly intended to illustrate the prose passages from the argument. To the Allegro vivo which succeeds it is difficult to assign a definite connection with the text; but with the clarinet cadenza at the close of this movement and the lovely melody which follows it a melody so entirely characteristic of Tschaikowsky's genius—we seem to hear the spirit- voice of Fran-

£lomtk)OH^ Wedding Cake Boxes

are the embodiment of simplicity and elegance —the most fitting boxes made for the bride's cake. They are beautiful in appearance and cleanly made. Can be furnished in many styles and embossed with monograms. For sale by the Trade or

The Tag Makers 26 Franklin Street, Boston.

1525 cesca herself, from which all the horrors of hell have not taken the sweetness of human love and poignant memory." Leigh Hunt spoke of the episode of Francesca as standing in the In- ferno "like a lily in the mouth of Tartarus"; and this comparison may be applied to Tschaikowsky's melody of Francesca.

Tschaikowsky and his brother were in Paris in December, 1875, and January, 1876, and Peter saw for the first time "Carmen," which he already knew by the piano score. No other modern work, says Modeste, made such a deep impression on him; "never have I seen him so excited after an operatic performance."* He wondered at the marvellous impersonation of the heroine by Galli-Mari^ f This admiration for Bizet's music—an admiration in which Brahms shared—turned him from his purpose early in 1876 of composing an opera. He had hesitated between a libretto, "Ephraim," and one based on Dante's story by a certain Zwanzeff, who prepared it originally for Laroche. The libretto of "Ephraim" was a love story at Pharaoh's court at the time of the exodus of Israel. Neither libretto

* "Carmen" was performed for the first time at the Opera-Comique, Paris, March 3, 1875. tThis great singing actress, who created Mignon as well as Carmen, died September 22, 1905, at her villa near Nice. _ She was born in 1840. Her sisters, Irma-Marie and Paola-Marie, visited Boston with operetta companies.

Three New Volumes of THE MUSICIANS LIBRARY SONGS FROM THE OPERAS FOR SOPRANO. MEZZO-SOPRANO and ALTO Edited by H. E. KREHBIEL

Bound in paper, cloth back $1.50, postpaid. In full cloth, gilt $2.50, postpaid

Like the other volumes in this series from the operas, this collection

contains examples from all the important schools of operatic compo-

sitions, arranged chronologically, from the early

Italian productions down to the present day.

All are given in the original keys, with the original texts and a faithful and singable English version.

The Editor's introduction is elaborate in plan, instructive, and highly entertaining. In authority and influence, Mr. Krehbiel ranks

among the first American critics.

H. E. KREHBIEL OLIVER DITSON COMPANY 150 TREMONT STREET, BOSTON

i5:iG pleased Tschaikowsky, for after he had seen "Carmen" he wished to portray musically characters of flesh and blood, men and women of his own period, and he insisted on a simple and realistic drama. Peter was in Paris in the summer of 1876, and on July 8 he wrote to Modeste that his appetite was good and he again felt strong. "Early this morning I read through the fifth canto of the 'Inferno,' and was

beset by the wish to compose a symphonic poem, ' Francesca da Rimini.'" He wrote from Moscow, October 26: "I have just completed a new composition, the symphonic fantasia on 'Francesca da Rimini.' I have worked on it with love, and I believe that this love has brought with it success. Perhaps Dora's drawing can better portray the wind- storm: here I have not been so wholly successful as I wish. However,

a just judgment of this work is impossible as long as it is not orches- trated, and it has not been played. ... I am now taking daily cold baths. You have no idea how they refresh me. I have never felt so

well. If there is anything new and fresh in ' Francesca,' it is due in the greatest measure to these baths."

On October 30, he wrote Napravnik, asking if the latter would perform at an approaching symphony concert at St. Petersburg the new symphonic poem, "Francesca da Rimini," instead of the dances from his opera "Vakoula,"* which had been announced. "I am now busy with the orchestration, and can finish the score in two or three weeks. It would not have occurred to me to put my new work on your neck, if I had not read that my name was already on the program." The orchestration was completed on November 17, 1877, and the first performance of "Francesca da Rimini" was at Moscow, at a symphony concert of the Russian Music Society, conducted by Nicholas Rubinstein, March 10, 1877.

* This opera, "Vakoula, the Smith," was produced at St. Petersburg, December 6, 1876.

School of Expression

THIRTIETH YEAfi S. S. CUfifiY. Ph.D., Utt.D., President

SPECIAL COURSES in the Arts and uses of the Spoken Word, including correction of Faults of VOICE, SPEECH, and Action. Separate classes of training in Action for opera singers. The Oldest and best Equipped School of the Spoken Word IN THE World For information concerning DIPLOMA COURSES Send for ANNUAL CATALOGU£ Address THE fiEGISTDAfi, 301 Pierce Building, Office hour, 3-4, daily. COPLEY SQUADE. ttOSTON 1527 The first performance in Boston was by the Philharmonic Orchestra, Mr. Listemann conductor, December 31, 1891. The fantasia has been played here at concerts of the Boston Symphony Orchestra, Novem- ber 2, 1895, March 12, 1898, April 5, 1902, December 30, 1905. The fantasia was performed in New York by the Philharmonic Society of that city, December 21, 1878. Other works composed by Tschaikowsky during the season of 1876-77 were the Slav March, Op. 31 (performed November 17, 1876, at Mos-

cow) ; Variations on a rococo theme for violoncello and orchestra, Opr 33; Valse Scherzo for violin and orchestra, Op. 34. Tschaikowsky sketched his Fourth Symphony and two-thirds of his opera, "Eugene Oniegin." * *

The fantasia was very successful at the first performance, and it was repeated that season on March 17 and 22. The work and the performance were highly praised by the Moscow critics.

Tschaikowsky wrote in a letter from Clarens, April 8, 1878, to " Taneieff : I was interested to learn something about ' Francesca. ' Cui himself never found out that the first theme sounds something like a Russian song. I told him that last year. If I had not told him, he would probably not have noticed the resemblance." In July, 1878, he wrote Mrs. von Meek that his pianoforte concerto, "Tempest," MERLIN & SONS

Grand, Inverted Grand AND Interior Player- Pianos

Have taken the front rank among the really artistic pianos by reason of their superb tone quality and the excellence which distinguishes every structural detail.

The Mehlin "Inverted Grand"

is the only "Upright" built on the principle of the Grand. It has the Grand Scale, Sounding Board and Tone.

For Art Catalog and full particulars apply to F. C. HENDERSON Temple Place

1528 "Francesca," and two movements of the Fourth Symphony would be played in August at concerts of Russian music, led by N. Rubinstein, in Paris.* Bilse produced "Francesca" at Berlin in September, 1878, and on the same evening Brahms's Symphony No. 2, which was then new. " Fran- cesca" excited a warm discussion: some of the critics set the composers against each other and took sides. There was glowing praise for "Francesca," but the majority of the critics were hostile. Von Billow wrote Tschaikowsky that he was even more delighted with "Francesca" than with "Romeo and Juliet." When Max Bruch was asked how he liked the fantasia, he answered: "I am much too stupid to judge such a work." Bilse, nothing daunted, repeated "Fran- cesca" the same season. Tschaikowsky appreciated Bilse's courage (see his letter to Mrs. von Meek, February 6, 1879, also his letter to the publisher, Jurgensen, August 15, 1880, in which he said he wished to make— an exception in Bilse's case,—who wished some scores cost- free, "for he has already performed my 'Francesca' twice, and was hissed and hooted for doing it"). * * * Francesca and Paolo have inspired many composers. In some of the operas Francesca sees Paolo before her marriage, and is assured that he is Gianciotto, her betrothed; in others she marries the cripple only after she receives the false tidings that Paolo is dead.

* These four concerts were given at the Trocadero, Paris, in September, 1878. Tschaikowsky was represented by his Pianoforte Concerto in B-flat minor and "Song without Words," No. 2 (played by N. Rubin- stein), his "Tempest," and his Serenade and Waltz for violin (played by Barcewicz).

«-t^^cS^.^>^ m THE ORORIENTAL STORE

360=362 BOYLSTON STREET, BOSTON

Oriental Objects of Art and Utility

WE ARE SPECIALISTS IN: Japanese Carved Ivories Cloisonne Enamels Damascus Brass and Art Lamps and Shades Chinese, Japanese and Indian Silverware Rare Bronzes Antique and Modern Porcelains and Potteries Kimonos and Chinese Embroidered Coats and Skirts Silks Embroidered Hangings Crepe and Silk Novelties Fans Chinese and Japanese Embroidered Bags, Purses. Card Cases, etc. Leather Goods Rich Buckles of Silver, Enamel, Carved Ivory and Precious Stones, our own designs Belts of Silk Embroidery and Leather Ladies' and Gentlemen's Silk Umbrellas in Oriental Mountings Exclusive Drapery Fabrics Neckwear, made up in Vantiue's Silks, Crepes and Brocades— a novelty Large Assortment of Japanese Artihcial Flowers Oriental Jewelry We have materially enlarged our Jewelry Department. Precious stones mounted in accordance with your suggestions. Chinese Jade Necklaces, Bracelets, Brooches and Pendants, Scarf Pins, Rings, etc.

1529 . ,

Operas: "Francesca da Rimini," Strepponi (Padua, 1823); Carlini (Naples, 1825); Mercadante (Madrid, 1828); Quilici (Lucca, 1829); Generali (Venice, 1829); Staffa (Naples, 183 1); Fournier-Gorre (Leg- horn, 1832); Morlacchi (not performed, 1836); Tamburini (Rimini,

1836); Borgatta (Genoa, 1837); Maglioni (Genoa, 1 840) ; Nordal (Linz,

1840) ; Papparlado ( not performed, about 1840) ; Devasini, assisted by Meiners and Giunto Bellini (Milan Conservatory, 1841); Canetti (Vi- cenza, 1843); Brancaccio (Venice, 1844); Zescevich (about 1855); Franchini (Lisbon, 1857); Marcarini (Bologna, 1870); Moscuzza (Malta, 1877); Cagnoni (Turin, 1878); Gotz (Mannheim, 1877, text by composer who died before he had finished the orchestration; the third act was completed by Ernst Frank) ; Ambroise Thomas (Paris, 1882). " Paolo e Francesca," Mancinelli (Bologna, 1907), Rachmaninoff. Then there is the opera, "Les Malatesta," by Morin, a banker (Lyons, 1879). Cantatas: "Francesca da Rimini," Flocchi (about 1800); Zinga- relli (Rome, 1804); Barthe (Paris, 1854); Petillo (1869); Rossi (1869); Taudou (Paris, 1869); Paul Gilson (Brussels, 1895,—a singular and powerful work: first comes the episode in the "Inferno"; there is then a development of the idea, "Love will never separate us"; Francesca, renounces paradise to be with Paolo condemned to eternal flames; the I struggle of the two amorous souls, their debate before Minos, in which] each begs to be the one sacrificed, the intervention of the angel Gabriel,] —these scenes are followed by the triumph of love) Orchestra: Symphonic poem by Bazzini (Turin, 1879); symphonic poem, H. R. Shelley; symphonic prologue by Arthur Footej (Boston, 189 1). See the "Inferno" in Liszt's "Dante" symphony. Music for Plays: "Francesca da Rimini," drama by d' Annunzio,] music by Antonio Scontrino (Rome, 1901); "Paolo and Francesca,"; tragedy by Stephen Phillips, music by Percy Pitt (St. James's Theatre, London, March 6, 1902); "Francesca da Rimini," drama by Marion] Crawford, translated into French by Marcel Schwob, music by Gabriel] Piern^ (Theatre Sarah Bernhardt, Paris, April 22, 1902—Mme. Bern- hardt, Francesca). This list is no doubt incomplete. No one of the operas above men-j tioned had any stage life; but in consequence of the success of d' Annun-

Symphony Tickets 7.50 and up

Opera Tickets I .wO and up Theatre Tickets ^2.00 and ^2.50 Adams CONNELLY & BURKE, House 'Phones, Oxford 942 and 41330

1530 zio's play, in which Duse created the part of Francesca, Cagnoni's opera was revived at Rome in 1902, and, "in spite of some old-fashioned romanticism, the revival had a great success." *

"The rewards of this world to Tschaikowsky were such as would have maintained Mozart for a far longer period than that of his lifetime ; and yet—such is the curse of art—life itself imposed a certain beggary of instinct upon the Russian seer, and he could not do aught but accept the toil of the narrow road. We personally recollect—and it is among the most constant of our expressed reminiscences—the sadness of his face, the inscrutable desire for mystery which seemed to be inscribed thereon, on the occasion of a festival celebration. His life was of unhappiness in thought all compact. The world to him was illuminated by a gray sun- light; and the clouds of life were utterly, irremediably black. His fore- head fell deeply, in a straight line over his eyes, the eyebrows making so long and so narrow a division that in a painting they might almost have been signed ' Hokusai.' Still, the brow was large and powerful; and the inequality of expression between either side of the face almost seemed to indicate the presence of that curious malady most incident to genius, hemicrania. "Tschaikowsky is to the present writer in thought a creature of fate, a man of destiny. He was like one bound by the genii of the ' Arabian

Nights.' He caught up life in one long series of ecstatic moods ; and the ecstasy of death was in its realization that which has most captured the heart of the world. The world, being that one thing which is the conti- nent of our human life, naturally interests itself with the end of life ; and, because the end is as impossible to outstare as the sun itself, any lamentation about the end becomes, for that reason, engrossing and remarkable. Tschaikowsky (with an exquisite utterance that was no less than a sort of summary of his artistic forbears) showed human fear and human helplessness through the leashes of his enormous artistic accomplishment. That he loved life with a painful affection is obvious to any man who cares to read temperament behind a mass of solidly written notes. Even in the 'Suite' of which we have already spoken in these paragraphs, you can guess dimly the answer that lies behind some of

1531 — — the riddles of his questioning. When he most of all plays the zany, there is still behind the game that solemn forefinger pointing to the artist, so far has his counterpart in unknown ; there hides still the who all men of a like kidney that he must preach of futurity, that his thought must run before his time, that he is discontent with his immediate day. "The world naturally cries out against such an one: 'How unreason- able a standpoint! How unproductive a mania! How fruitless an en- deavor! And the world is undoubtedly, from a very business-Hke point of view, entirely correct. Carpe diem is a phrase that is not the sole possession o^ yester-year; an artist, indeed, wrote the words, but followed not bi: oVn gospel, writing as he did for futurity, and even going so far as to proclaim his eternal satisfaction with his everlasting apostasy from his own .'mmortal teaching. So we come back to that doctrine whicr music, perhaps more than any other art, has taught, a doctrine, as old as the Manichees, of which St. Augustine was, in what are called his unregenerate days, intimately convinced,—that a dual element is busy at work with every step of our lives. Hence you have a hurricane of bad waltzes, of infamous polkas, of superlatively degen-

erate schottisches ; hence you have 'Cosi fan Tutte,' 'Alceste,' and ' Parsifal.' The man who shall write a careful and laborious volume on 'Manicheism in Music' will have a most interesting field in which to come to the accomplishment of his labors." Vernon Blackburn, in the Pall Mall Gazette of March 21, 1902.

^LEGiE AND Musette from the Suite made from the Incidental Music to Adolf Paul's Tragedy "King Christian II.," Op. 27. Jean Sibelius (Bom at Tavestehus, Finland, December 8, 1865; now living in Helsingfors.)

This suite was pubUshed in 1899. It consists of four movements:

I, Nocturne; 2, iSlegie et Musette; 3, Serenade; 4, Ballade. Adolf Paul's * tragedy was produced in 1899. The whole suite was played by the Chicago orchestra at Chicago, November 14, 15, 1902. It was played by the Cincinnati orchestra at Cincinnati in the season of 1901-02. The E^legie is composed for strings. Lento assai, B major, 4-4. A section for strings in harmony alternates with a solo for violoncellos.

• Adolf Paul was born of Swedish parents at Bromo, Sweden, January 6, 1863. He was educated in Finland and he studied music in Germany. Since rSSg he has lived in Berlin and been correspondent of Finnish and Swedish journals. He has written several novels and several plays. The first of these plays was "Alte Sunden" (Berlin, 1893).

CAF£V£:iVDI. Mrs. Mabel Mann Jordan, For Ladl«s aod Gantlemen. Pupil of StLVBSTRi, Naples, Italy. 56 WESTLAND AVENUE Three minutes walk from this hall. TEACHER OF Luncheon, from 12 to 3, 35c. Table d'Hote, from 5.30 to 8 p.m., 50c. MANDOLIN, GUITAR, and BANJO Sunday Table d'Hote, 50c., from 12 to 8 p.m. 78 Huntington Avenue, Boston Italian Restanrant Da CarpU & Farrart. Prop*. SUITE 2 Telephone 33J1-3 Back Bay 1532 Mrs. Avonia Bonncy Lichfield

(60 BAY STATE ROAD. BOSTON)

Voice Master of Grand Opera

Italian, French and English

With Dramatic Action

According to the method of the old Italian masters of singing. A pupil of the

last of these masters, Gerli, of Milan

1533 —

The Musette is scored for two clarinets, two bassoons, and strings.

Vivace, A-flat major, 2-2. In the first part there is a tune for clarinets over a drone of bassoons and muted strings. The second part, F minor, contains contrasted melodies for clarinets and bassoons.

The first part is repeated in a modified form. "Musette" in French is a diminutive of the old French "muse," meaning "song." It was the name given to an instrument of the bagpipe family, consisting of two pipes or reeds and a drone; it was supplied with wind from a leathern reservoir. It was the name given to a small oboe without keys.

The term is also applied to an air of moderato tempo and simple character, such as might come from the instrument itself. This air has generally a pedal bass, which answers to the drone. Pastoral dances, also called musettes, were arranged %o these airs, and they were popular in the time of lyouis XIV. and Louis XV. Excellent examples of musettes are to be found in operas by Dalayrac, Destouches, and in the English suites by Bach.

The musette, the dance, originated, it is said, in the mountains of

Clermont-Ferrand, and it took its name from the instrument which was played for it. The dance was a sort of bourree of Auvergne, and it is still danced in Paris by coal-men and water-carriers on Sundays in wine-shops. One of these dance and wine shops, in the Place Maubert, displayed the sign Bal-Musette until 1891, when the building was torn down to make way for the extension of a street. The musette is danced in Paris with the utmost decorum; the dancers take pleasure in footing it to the music of their own country, and they often sing the old refrain : Pour bien dan^a Vivent les Auvergnats.

HENRY T. FINCK'S RESTAURANT SUCCESS in MUSIC J AND HOW IT IS WON SIIOQSHAN With a Chapter by Paderewski on t J " Tempo Rubato " $2.00 net; postpaid, $2.20 CARUSO SEMBRICH EAMES KREISLER PRIVATE DINING RENAUD JEAN DE RESZKE WULLNER FARRAR ROOM FOR SPECIAL aud many others tell of the secrets of their PARTIES. ORCHESTRA success in this book. Mr. Finck discusses all the problems connected with a musical career and gives practical advice as to how to study, where to study, how to get en- ^ I gagements, managers, etc. HUNTINGTON AVE.^ " It is really wonderful, so true, so interests f24h3 ing, so fearless."—Lillian Nordica. 1 1 m Li ! ftl I k U i Charles Scribner's Sons CLOSE TO SYMPHONY & HORTICULTURAL HALLS. 153 Fifth Avenue New York

1534 They stamp vigorously and rigidly in time. The ancient musette was in two time with an organ-point at the end of each reprise, which was marked by a stamp of the foot. For the description of an earlier "Bal de la Musette" of the same general character see Delvau's "Les Cytheres Parisiennes," pp. 48, 49 (Paris, 1864). A fresco showed a huge fellow seated sub tegmine fagi in his shirt-sleeves, capped with a red fez and playing the musette. Delvau thus apostrophized the rude but decorous dancers: "O descendants of Vercing^torix ! You make noise, but not scandal. I do not love you, but I hold you in high esteem." We are far from the garlanded shepherdesses dancing the musette to the shepherd's pipe, far from the court dames playing the part of shepherdesses, far from Watteau's pictures. In French slang "musette" means the voice; also the bag of oats which is attached to a horse's head; the bag in which the beasts often find only wind, as in the bag of the bagpipe. "Couper la musette" is the same as "to shut one up." " Jouer de la musette" is "to drink," probably because wine was once kept in skins, and those who drank from them were apparently playing the bagpipe. *

Historians differ in their estimate of Christian II., King of Denmark,

Sweden, and Norway from 15 12 to 1525. By some he is called "the

tyrant," "the cruel"; by others he is regarded as a friend of the people at large and the institutor of reforms. He was born in 1481, and he died in 1559. In 1520 he put to death a great number of the Swedish nobility (the "Stockholm Blood Bath") and provoked the revolution of which Gustavus Vasa was the promoter. Christian was deposed in Denmark by the aristocrats and the clergy on account of his reforms. He wandered for nine years. Obtaining help from his brother-in-law, Charles V., he invaded Norway in 1531. Betrayed, and taken prisoner

STOKES' ENCYCLOPEDIA OF MUSIC AND MUSICIANS

Revised and Enlarged to 1909-1910

BY L. J. DE BEKKER A handy one -volume work containing information of every nature on music and musicians. Includes: Articles on all important Symphony Orchestras. Biographies of Great Conductors, Composers, and Musicians. Complete lists of works of great composers. Lucid articles on musical theory. Explanation of instruments.

Stories of all great operas, with titles of principal numbers,— full and recent data regarding academies, publishers, etc., etc. Mxcelleut articles on chamber music organizations dealer's or Cloth, 8 vo, $300 net ; postpaid, $j.2j ; at your FREDERICK A. STOKES COMPANY PUBLISHERS 333 Fourth AvENUH NEW YORK 1535 by Frederick I. of Denmark, he was kept in captivity until his death. As a monarch, he founded schools, instituted a postal service, put an end to the sale of serfs. His love for his mistress Dyveke has been celebrated by dramatists and poets. She was born at Amsterdam in

1 49 1, and she died in 15 17, probably of poison administered to her, Torben Oxe, who had been refused by her, was accused of the assassina- tion and executed. It is said that Christian was influenced greatly by Dyveke's mother, Sigbrit Willumsdatter. See the dramas of H. Marg- graff and L. Scheper.

VaIvSE Triste from the Incidental Music to Arvid JarnefeivT's

Drama "Kuolema" ("Death"), Op. 44 . . . Jean Sibelius

(Born at Tavestehus, Finland, December 8, 1865; now living in Helsingfors.)

This waltz, published in 1904, is scored for flute, clarinet, two horns, kettledrum in D and the usual strings. According to the opus number, it follows immediately Sibelius's Second Symphony. * This little piece from the incidental music to Arvid Jarnefelt's drama "Kuolema" ("Death") portrays a dying mother in her last delirium. "It is night. The woman's son, wearied by watching over

* Arvid Jarnefelt, a brother-in-law of Sibelius, was born at St. Petersburg in i86i. He has written several novels, some of them realistic in description of life and manners; the later ones full of "Tolstoiismus." Jarnefelt gave up the law to become first a blacksmith and then an agriculturist.

Torrey, Bright & Capen Co.

SOLE IMPORTERS OF ENGLISH WILTON and ENGLISH BRUSSELS CARPETS

^Famous for their high quality and individuality of designs and colors. Every requirement of the most critical can be met in our showing of English goods. Special patterns, etc., can also be woven in these goods in comparatively small quantities. The prices are very reasonable. ^A complete showing of Oriental Rugs, Imported and Domestic Carpets, Linoleums, Mattings, etc. I 348-350 WASHINGTON STREET BOSTON, MASS. 1536 i Candies,Cocoa&Chocolates Are acknowledged the best the world over.

Only the highest grades of materials, tested by our chemists, are allowed to enter into the same, and the blending is supervised by experts*

What with careful workmanship, as well as scrupulous cleanliness in our Plant, it is not surprising that

Her First Choice, Her Last Choice, and Her Choice at all times

is the Unequalled Matchless

1537 her, has fallen asleep. The room becomes suffused with a reddish light. Music is heard in the distance which sounds nearer and louder with the increasing light, and at last it becomes a waltz melody. The mother awakes, leaves her bed and, clothed in a gown that looks like a white ball dress, moves about lightly and noiselessly while in the waltz measure she beckons on all sides. To her beckoning appear men and women in couples. She mingles in these dances, and endeavors to fasten the eyes of the dancers on her, but they seem to avoid her. Her strength gives way; she sinks exhausted. The music stops, the reddish shimmer disappears and with it the dancers. Once more she summons all her strength and again with lively beckonings invites to the dance. Again the music sounds; again the dancing pairs are seen.

There is mad dancing, and when the wildness is at its height, there is a knock on the door. The door opens—the mothei; shrieks —she stands as one frozen—the apparitions vanish—the music is still —through the door enters— Death." Lento—A tempo. After the waltz movement and a short Lento assai, four violins (soli) bring the end in G minor.

ENTR'ACTE. RICHARD STRAUSS.

(From the Daily Telegraph, London, March 12, 1910.)

Strauss is once more in our midst, visiting the scene of many a triumph,—London. The time is propitious, then, to take a glance at him. Only the other day it was solemnly written down (in that amiable spirit of compromise so dear to the hearts of some) that we are far too close to Richard Strauss to "place" him in his just and lawful position among the greater gods of music. Probably the same remark will continue to be made for many a long day to come, since compromise is the order of the day. But for the majority of younger critics,

amateur music-lovers as well as professional, his place is as definite

as Beethoven's in their opinion, and in their estimation there is no room whatever for compromise. Indeed, for many of them, those of

OPERA THEATRE BALL SOCIETY HAIR DRESSING By 15 Expert Marcel Wavers 21225/ EntfaiicnBents bookedt made by ** Phona " or Mali. „. ._-r Oxford

Send for Free Circulars Dr. RUDOLPH MERTIN, IllC. and Price List. 564 Washington Street, Opp. Adams House.

1.53S "CHOISA" CEYLON TEA

Pure

Rich Fragrant

One-pound canisters 60 cents

Half-pound canisters 35 cents

Packed in parchment-lined one-pound and half-pound canisters

We invite comparison witli otlier Teas of similar price

®. ®. i>ik;iioe: oo.

^'"•** BROOKLINE Coptey"square^"" ! BOSTON Corner''* I

1539 —

tender years, the matter was settled once and for all when "Elektra" was heard. Whether they liked that amazing thing or whether they detested it, they liked it or detested it with the whole of their young and ardent souls. No compromise for them. Further, there is little room for doubt in the minds of many who have seen several performances at Covent Garden that even the few members of the vast audi- ences that have attended each performance who frankly do not grasp the whole of the drama's true inwardness have been moved beyond measure by the work. They, the most callous, the most flinty, the most solemn and serious upholders of tradition, of artistic decorum of the mid-Victorian type, of the "three B's of music"—they one and all have been stirred by an emotion hitherto perhaps unsuspected by them. Even that amiable scoffer who was overheard to say in the lobby after the first performance of "Elektra" that he was going home to play over the common chord of C major as a refreshment was clearly moved, albeit, had he had ears to hear, he would have noted that even Strauss is not averse from the use of that refreshing chord, since it happens perhaps of malice prepense—to be the last chord to ring in one's ears in the score.

Countless stories came across the seas after the first American production of "Elektra." We heard of prima donnas fainting with fear- ful punctiliousness after each performance; of the composer raising serious objection at a rehearsal because he had actually heard the tones of a human voice in its agony ringing over (or through) his hundred and thirty or forty instruments; of the pretty wit of him who said, "Richard Strauss: if we must have a Richard, let him be Wag- ner; if Strauss, then give us Johann." Then again a critical wag on our side the Channel spoke of the breaking of heads in connection with the "Elektra" performances because of whole houses being di-

FRENCH II^^I'IA^ D A n IT C GERMAN D U U l\ 9 SPANISH AND PERIODICALS SPRING, 1910 Deutschman Co. are now prepared RIHER & FLEBBE to show the latest effects in Spring styles. We are offering a large se- Formerly C. A. KOEHLER & CO. lection of newest and best imported Tel. Oxford 171 Lawrence Building 24-25 materials. Also linens at moderate 149A TREMONT STREET, BOSTON prices. The latest improved Riding and Hunting Skirt combined, assuring absolute safety, from Scott, of London, West. Made by Mr. Deutschman. Refer by permission toNoyes Bros., Boston. DEUTSCHMAN CO. 486 Boylston Street, BOSTON 2 St. James Ave. Cor. CITY In Block of Brunswick Hotel Berkeley St. SPRING OPENING vided against— themselves by that stupendous thing. Emotion—like the roses "all the way"—emotion stirred as nought has stirred them, for or against, since the early days of what used to be called the Wagner bubble. Rightly or wrongly, Strauss has unquestionably moved his hearers to an extent in many cases hitherto deemed impossible. He has stirred some by the beauty of his work; others by the stupendous "bigness" of his ideas; others again by his abnormal means of expression. The point is that Strauss has stirred the emotions of the multitude beyond practically all previous experience. Folk have not only expressed their views with unusual violence and brilliance of rhetoric, for or against him and his methods, but most certainly the majority of them have been at the pains to think the matter out for themselves—which, perhaps, is the most amazing of all the amazing matters connected

v\dth Strauss in his latest development. Is it, then, a practical im-

possibility, is it, if the facts be faced fairly and squarely, without prejudice, without cant and hypocrisy, a matter of even serious difficulty, to place a man who has achieved all this and more in his lawful position among the greater gods?

A serious difficulty lies, no doubt, in the ridding of the mind of all prejudice, however well-disposed one may be to the making of the

attempt. Such silly prej.udice as is implied by the statement referred to above, of him who would seek to wipe off from his memory tablets the whole (for him) evil influence of "Elektra" by the simple process of playing repeatedly the chord of C major reflects, of course, only upon him who made the statement. Personally, I prefer the attitude of the amateur critic—a man, by the way, thoroughly well qualified by knowledge and a lifelong experience to form an opinion—who, refus- ing to read a single word of all that had been written upon and around the subject of "Elektra" until he had been able to form his own opinion after hearing the work, said honestly and fearlessly that since he first witnessed a performance of "Parsifal" in Bayreuth he had not been so deeply moved as by "Elektra." It may be that herein is an

The Berlitz School of Lan^ua^es BOSTON, 13a BOYLSTON STREET Nkw Yobk. Madison Square Paeis, 31 Boulevard des ItalienR BaooKLYN, 218 Livingston Street. London, 321 Oxford Street Philadelphia, I6th and Chestnut Streets Beklin, 123 Leipziger Strasse Chicago, Auditorium Rome, 114 Via Nazionale St. Louis. Lindell Boul'd, cor. Grand Ave. Madrid, 9 Preciados Washington, 723 I4th St., NW. St. Petersburg. 6 Nevsky Prospect Baltimore, 14 West Franklin Street Vienna, Graben 13 And over 300 other branches in the leading cities of America and Europe QRAND PRIZES AT ALL RECENT EXPOSITIONS Lessons may be transferred from one to any other Berlitz School. Pupils speak and hear the new language exclusively from the beginning. Lessons at school or residence, in classes or privately, day or evening. Best native teachers. Rates moderate. TRIAL LESSON FREE 1541 — example of prejudice on my side, since obv'iously I prefer the opinion of him whose leanings are towards the virtue I flatter myself I also possess. But in any case the one is an honest expression of an opinion formed with all possible care, the other was a mere cheap gibe of a class that works an infinity of harm when uttered by a person who may happen to be vested with some authority. The one was open- minded; the other wilfully perverse. At the present time there is an egregious tale going the round it has been revived by the success of "Elektra, " for it first was heard in the days of the Symphonia Domestica—to the effect that Strauss is now composing, as it were, with his tongue in his cheek, that he is entirely insincere, and that his one object is to startle. Indeed, one biographer has actually gone the length of saying that "at this point (about the time of the creation of 'Tod und Verklarung') the composer seems to have fully realized the fact that his eccentricities of style were a great attraction to the public, and to have considered it his duty to startle his hearers with some new piece of independence (not to say impertinence) with each successive production." I tremble to think what that writer's opinion—or his expression of it—of "Elek- tra" may be. Further, this amiable biographer adds that "it is, of course, to soon to guess what Strauss's position among the musicians of the world may ultimately be ; while he is still young enough to admit that his main object is to shock and startle, he is not too old to change his convictions, as he has already changed them once before." Is it conceivable that this kind of thing is sincerely meant? If Strauss is insincere in his expression, if, in the language of the old jingle, "he only does it to annoy, because he knows it teases," is it not a hard, concrete fact that his "tongue has been in his cheek," that he has been similarly insincere any time during these last twenty years? Rightly or wrongly, Strauss has remained true to himself, and his music of to-day, whether we like it or loathe it, is the utterance of a mind that has developed logically, if quite independently. More, it is the expression of the man's own time. Can the same be said of any other "great" composer of to-day? Assuredly, Strauss's seat with the mighty is clearly marked with his own name.

88 ELIAS HOWE CO., court street, Boston OLD VIOLINS VIOLAS. 'CELLOS, BASSES Over 600 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 1S42 — ARNE.

(From the London Times, March 12, 1910.)

The fact that Thomas Augustine Arne was bom on March 12 ex- actly two hundred years ago is likely to leave most people comparatively cold. It may seem strange that the man who has been called "the most thoroughly national of all our song writers," and whose songs were said "to have formed an era in English music," should be known by a bare handful of tunes. But the fact is music cannot survive for many generations, even when it is first-rate, unless the conditions under which it was written have survived as well. Bach's organ fugues will live as long as there are organs left in the world to play upon. Handel's oratorios will only perish in the ruins of the Albert Hall. What of Arne? Was he so exotic or are we so progressive that what was composed in London in 1750 cannot be performed in London in 1900? The answer (or part of it) lies in the popular and apparently accurate stories which tell how the little boy secreted a spinet in his bedroom and muffled it with a handkerchief so that he could play upon it at night without disturbing his father the upholsterer, and how in later years he would borrow a livery and stand in the servants' gallery at the opera and was once found by his indignant parent leading a chamber orchestra in the house of a wealthy amateur patron of music. The answer lies here, because both in operatic and in chamber music conditions have very much altered since Ame's day. The wooden spinet has been supplanted by the modern ironclad, the orchestra of four parts has become an orchestra of forty, and the reign of the operatic soprano is over.

It is not only in the theatre and the private house that conditions have altered. The public gardens have changed, too. In place of Vauxhall, Ranelagh, and Marylebone Gardens, for which so many of Arne's songs were composed, we have Earl's-court, the Ballad Con- certs, and the music-halls. One institution of his day—the Cathedral THE HENRY F. MILLER CRAND-UPRICHT and PLAYER -PIANOS We admit of absolutely no compromise with anything that savors of mediocrity in materials, workmanship, or the more subtle factors which differentiate the piano for the artist and the musician from the thousands of pianos made after purely commercial ideals. Henry F. Miller & Sons Piano Co. 308 BoyUton Street 1543 has, like most other ecclesiastical matters, remained more or less sta- tionary; but, while Greene and Boyce and other contemporaries of Arne (Boyce was born in the same year) were enriching English music with some of its noblest features, Arne himself does not appear to Jiave written a single anthem or even a hymn-tune, although for a long time musical historians credited him, on no evidence whatever, with a certain number of Church compositions. A well-known i8th century divine took this omission of Arne's to heart, for, anxious that the Devil should not have all the best tunes, he took "Rule, Britannia," " and fitted a sacred text to it. When Jesus first at heaven's command" it begins, and the refrain runs, "Hail Immanuel, Immanuel we'll adore, and sound His fame from shore to shore." Although the conditions under which chamber music was written have considerably altered, some of Arne's chamber compositions will still stand the test of, at any rate, private performance. The organ concertos and orchestral overtures may not be interesting, but the sonatas or lessons for the harpsichord contain movements which still' sound agreeable to ears that care to listen to music without being shat- tered. They are mostly written in simple binary form, often in only] two parts; they make no pretence to the grand style, and, comparec with the sonatas of Domenico Scarlatti, they sound thin and evenj trifling; and yet there is an air of engaging simplicity about them which,] combined with their melodiousness, still keeps them fresh and attractive. His other chamber works are vocal, and consist of glees, catches,! and canons, and of that survival of the seventeenth century,—thej vocal cantata. It is no longer the fashion to sing glees, but in thej ancient seats of learning, or even in cosmopolitan London, where en- thusiasts still occasionally collect round a table with pipes and drinks! on either hand and a part-song-book before them, the name of Arnel

Mile. ALARY JacobThoma&Sonl Berkeley Building, 420 Boylston St. Violin Makers and Importers] Repairers to the Boston Symphony Orchestra Agents for the SILVESTRE & MAU- COTEL Tested Violin Strings MANICURE SHAMPOOER (Extra and Tricolcre) Agents for the C. F. ALBERT Pal. Triple-covered, wound Violin, HAIR WORK A SPECIALTY Viola, and 'Cello Strings

FACIAL. SCALP, and NECK Large Assortments of MASSAGE VIOLINS, 'CELLOS, AND BOWS! SILK PLUSH VIOLIN CASES. ONDULATION MARCEL Rosin, Strings, and Sundries Perfumery Shell Ornaments 47 Winter Street, Boston, Mass.

Telcphon* Back Bay 3330 TelaphoM 3033>3 Oxford 1544 is still cherished. "The Family Quarrel," "The Street Intrigue" ("Hark you, my dear, come hither, afford me a moment's delay; where would you run, say whither, shall you and I go to the play?") "Good neighbors, be quiet," and "Buzz, quoth the fly" are characteristic of Arne in his lighter vein, and a good example of his more serious style will be found in "Come, shepherds, we'll follow the hearse," written on the death of the poet Shenstone. He added instrumental parts to some of his catches and glees, in order to make them suitable for performance at Ranelagh or at Vauxhall Gardens, to which he was appointed composer in 1745. The vocal cantatas vary very much in interest. "The School of Anacreon" is a very fair specimen of the composer in his pompously jovial manner, which, however, he could not prevent from quickly lapsing into the ridiculous. He is better when he has something pastoral to set, and two beautiful examples of this style are the airs, "Go, gentle gales," from the cantata called "The Morning," and "The Stream that glides in murmurs by," from "Cymon and Iphigeneia." For Arne was a master in songs of this kind. In the incidental music to "As You Like It," "The Tempest," and an adaptation of Milton's "Comus," in "The agreeable musical choice," "Summer Amusement," "Vocal Melody," and other similar collections, and in

SOLOV-HINDS COMPANY 278 BOYLSTON ST., BOSTON TAILORED SUITS AND GOWNS EVENING GOWNS A SPECIALTY

piodels from Reading garis Rouses

special Line of French Imported Model Corsets

,...,,,.. . -1 !,, -JM-T mi 11. r 1545 — all the numerous operas which he wrote, it is always in the open-air, pastoral songs that he excels. There is a spontaneity about them which makes an immediate appeal; when you hear thern, you seem to breathe a sort of morning sunshine. In "The soldier tired of war's alarms" and his other military songs the spontaneity has nearly vanished; they are self-conscious with the self-consciousness of the raw recruit, and are almost as tiresome as the majority of the Bacchanalian songs which generally have an air of trying to look more drunk than they really are. But in songs like "Thou soft-flowing Avon," "O for music's pleasing strain," "Despairing beside a clear stream," or "Water parted" (which is classed in "She Stoops to Conquer" with the minuet in Handel's "Ariadne" as "the very genteelest of tunes"), and in the incidental songs to the plays already mentioned we shall find music which, however familiar we may become with it, never loses its freshness. Writing of the music to "Comus, " Burney says:

He introduced a light, airy, original, and pleasing melody, wholly different from that of Purcell or Handel, whom all English composers had either pillaged or imitated.

Burney also says that Arne was never a close imitator of Handel, though he points out analogies between passages in "Comus" and passages in Handel's "Parnasso in Festa." There can be little doubt in face of this and other evidence that he was not only indirectly influenced by Handel and the Italian school, but that he actually followed Handel's own example in appropriating what he wanted. His attitude towards Handel may also be illustrated by the fact that he and his father gave a pirated performance of "Acis and Galatea," and that he thought it worth while to compose a long and elaborate parody of "Alexander's Feast." But for Handel's undisputed reign

SOCIAL & REQUIREMENTS 603 Boylston street, Boston, Mass. 3eib(cr TELEPHONE, BACK BAY 409 Interior decorating. Advice in selection Upright and piANOS of wall papers, draperies, rugs and carpets. Expert trunk packers by the day HIGHEST TYPE OF EXCELLENCE or hour. Entertainments. Receptions, Boston Agents dances, card parties, children's parties. Entertaining -talent provided when The Tel - Electric Co. desired. Plays managed and coached. 405 BoyIs ton Street Lectures and story telling. 1546 in these islands Arne might possibly have written more than two oratorios. It is just as well, perhaps, that he did not, for "Abel" has only one tune really worth preserving,—the beautiful melody known as "The Hymn of Eve," which immediately became popular, and "Judith" (in which female voices in place of boys' were introduced into the choruses for the first time in England) has little in it that one

would care to hear beyond the air "Sleep, gentle cherub." There is

nothing ecclesiastical in the style of these two works, which, if they had different words, would sound like any of his operas. In both oratorios and operas the factor conditioning the style as well as the structure of

the music was the singer. That alone is not sufficient to make a re-

vival of them impossible at the present day, for operas are still mounted to suit the caprice of a popular singer. We do demand, however, in works of this sort that there shall be something in the place of what we now regard as essential to real opera. We can endure a string of songs,

if only there is striking beauty in them and contrast and character, such as we find, for instance, in the operas of Handel. In Arne's

operas there is too much monotony to make even an act endurable. The real way to enjoy them is to take the best of the songs from their setting and have them sung by clear, flexible, coloratura singers (if we can find them) who understand something of the traditions which prevailed at the times the songs were written. Arne was steeped in these traditions. He himself taught singing at an early age, his wife was a pupil of Geminiani and a fine singer, known for her E in alt, and his sister Susanna Maria became famous as the wife of Theophilus, son of Colley Gibber, and obtained a great reputation in tragic parts. It was she who sang the contralto solos in "The Messiah" when it was first performed in 1742 at Dublin, for the Arnes, like Handel, were attracted to Ireland, and it was here Evening Cloaks AND Smocked Dresses

established t Our evening cloaks of Libertv Velveteen IT Our Smocked Gowns have an are beautiful and practical for the cold reputation for simple grace and elegance. weather. Very warm and rich in appear- Made with smocking around the neck and ance. at the waist line, skirt in walking length or , , t Lined throughout with silk and made long long for house wear, neck cut hign or to be with guimpe. to cover the entire gown. Sleeves loose, so worn . or of that the garment slips on easily. Inner t These are in soft silks and satms, any materials. sleeves for extra warmth if desired. the season's new soft W« h«v» receotly Imported a nnmber of n«w nodals. both In EvaalBi Claaka and Saecked Dressea. and aball nake a specialty of tbeoi in tba intiira. DAVIS EAST INDIA HOUSE 373 BOYLSTON STREET. BOSTON 1547 — —

that "Abel" and the operas "Britannia" and "EHza" were produced. But it was the stage and not the concert-hall that claimed the greater part of Arne's activities. Besides writing operas and the incidental music already mentioned he was responsible for a garbled version of Purcell's "King Arthur." Arne's attitude towards Purcell may be gathered from his correspondence with Garrick about the proposed production. In one of his letters he says:

The following song and chorus, "Come if you dare, our trumpets sound," is, in

Purcell, tolerable ; but so very short of that intrepidity and spirited defiance pointed at by Dryden's words and sentiments, that I think you have only to hear what I have composed on the occasion to make you immediately reject the other. The air "Let not a moon-born elf mislead you" is, after the two first bars of Purcell, very bad. Hear mine.

He was not allowed by Garrick to have his way altogether, but he succeeded nevertheless in doing a good deal of damage by rejecting some of Purcell's airs and pulling others about, and, although "Come if you dare" had to stand in Purcell's setting, he managed to emascu- late it by eliminating the trumpet and drum parts. His operas, with one exception, all look very much alike. Vigorous bustling airs alternate with others that are quiet and pastoral, and practically all are constructed on the same formula. There is little attempt at careful declamation of the words, and the difference between his point of view in setting English and Lawes's may be meas- ured by comparing the two versions of the "Echo" song in "Comus." The other songs do not correspond, as Milton's words in Arne's version were adapted to suit the poetical requirements of the eighteenth century. He was often, of course, saddled with a ridiculous libretto. Here are two specimens from "The Guardian Outwitted":

One mark of concern Or sign of repentance I cannot discern To soften your sentence. and From assaults on tempting Beauty Timely fly, ye cautious Fair; Join an inward Sense of Duty To an outward modest Air, I

THE PEACOCK INN 335 Boylston Street

LuncKeon Afternoon Tea Dinner

Htfors. 11 to 8 Telephone, Back Bay 21827

1548 — and in "Thomas and Sally, or The Sailor's Return," we find this sort of thing :—

Dorcas, for shame ! how can you be so base Or after this look Thomas in the face?

The music is about on a level with the words. But in the face of what Handel and other composers have done it would be hardly fair to say that he was hampered by his text. Words came very much alike to him, only sometimes he found good tunes for them and sometimes he did not. Besides the songs already singled out for praise, some good examples may be found in the album edited by W. A. Barrett and published— by Messrs. Novello & Co., and one of the most delightful "O come, O come, my dearest," from "The Fall of Phaeton" is printed by Mr. Arkwright in his collection of "Twenty-four Songs from Lawes to Linley," which Messrs. Parker & Son, of Oxford, pub- lish. But there are many others which also deserve to be republished, " and amongst them are two airs from " Artaxerxes, —the one exception mentioned to the general run of his operas,—for here he cast aside his normal style and wrote florid airs "in the Italian manner," which for a long time were made the touchstone of the soprano's capacity. These florid airs, with their interminable "divisions," are exceedingly dull, but the opera contains besides "Water parted" two simple tunes in which we find him at his best. The first of these is "Adieu, thou lovely youth," and still more beautiful is the second, "If e'er the cruel tyrant love," which is constructed from a lovely, sweeping phrase of four bars' length. For it was always when he was simple that he was most successful. Not that he was ever very learned, in spite of going to Eton and being made a Doctor of Music at Oxford; but at times he tried to say more than he meant, and then he was invariably dull. Arne at his worst, or even when he is only tolerably good, may well be left to lie in his dust on the shelf. At his best we can ill afford to neglect him, for he is fresh with the freshness of an English country lane in spring.

DeMeritte School, Inc. Music teaches most exquisitely th* art of development.—D'ISRAELi. 815 BOYLSTON STREET Gives a careful preparation for College and SCHOOL OF the Massachusetts Institute of Technology. Seven classes. A thorough training is given the three lower classes to enable them MDSIC-EDDCATION to meet the work of the high school grade successfully. Pupils admitted at ten years AND of age. ELEMENTARY SCHOOL

Miss ANNIE COOLIDGE RUSTS .sthvear 000 BEACON STREET. BOSTON

FROEBEL SCHOOL OF KINDER- CALVIN BRAINERD CADY GARTEN NORMAL CLASSES Principal Linda A. Ekman Pierce Building, Copley Square, Boston, Mass. Elizabeth Regular two-year course. Post-graduate and non- Ftffk professional course. Every woman should have this Villa Whitney White training, whether she teaches or not. Helen Howamd Whiting 1546 :

"Carnival"* OvBRTURE for Full Orchestra, Op. 92. Anton Dvorak

(Born at Miihlhausen (Nelahozeves), near Kralup, Bohemia, September 8, 1841; died at Prague, May i, 1904.)

The "Carnival" overture is really the second section of Dvorak's triple overture, "Nature, Life, Love." The first of these is known generally in concert-halls as "In der Natur," Op. 91. The third is known as "Othello," Op. 93. These three overtures were written to be performed together. The first performance was at Prague, April 28, 1892, at a concert of public farewell to Dvorak before his journey to America. The composer conducted. The first performance in America was at a concert given October 21, 1892, under the auspices of the National Conservatory of Music of America, at the Music Hall, Fifty-seventh Street and Seventh Avenue, in honor of Dvorak, who then made his first appearance in this country. The solo singers were Mme. de Vere-Sapio and Mr. Emil Fischer. The orchestra was the Metropolitan. Mr. R. H. Warren conducted "Amer-

ica" ; Colonel T. W. Higginson delivered an oration, "Two New Worlds The New World of Columbus and the New World of Music"; Liszt's "•Tasso" was played, conducted by Mr. Seidl; the Triple Overture and a Te Deum (expressly written for the occasion) were performed under

•"Carnival: Originally (according to Tommaseo and Bellini) 'the day preceding; the first of Lent'; com- monly extended to the last three days of the whole week before Lent; in France it comprises Jeudi gras, Dimanche tras, Lundi gras, and Mardi gras, i.e., Thursday before Quinquagesima, Quinquagesima Sunday, Monday, and Shrove Tuesday; in a still wider sense it includes ' the time of entertainments intervening between Twelfth-day and Ash Wednesday." (New English Dictionary, edited by Dr. Murray.) Then there is the Mid-Lent Carnival, a festivity held on the middle Thursday of Lent, to celebrate the fact that the first half of that season is at an end. The word itself is an adaptation of the Italian carnevale, carnovale. "These appear to originate in a Latia carn$m levare or Italian came levare (with infinitive used substantively), meaning, 'the putting away or removal

of flesh (as food).' . . . We must entirely reject the suggestion founded on another sense of levare, to relieve,

' ease, that carnelevarium meant the solace of the flesh {i.e., body) ' before the austerities of Lent. The explana- tions 'farewell flesh, farewell to flesh' (from Latin vale), found already in Florio, and 'down with flesh' (from French aval), belong to the domain of popular etymology." The most famous carnival was that of Venice. John Evelyn made this sour allusion to it in his diary ' (1646): "Shrovetide, when all the world repaire to Venice, to see the folly and madnesse of the Carnevall. Th« poet Gray, writing of a carnival, said: "This carnival lasts only from Christmas to Lent: one half of the lemaiaing part of the year is past in remembering the last, the other in expecting the future Carnival." VOICE CULTURE Absolutely new method, developing the voice so that high tones are sung with same ease as low ones, and all in the same register. Trilling and all coloratura embellishments made possible. Advanced vocal pupils studying for operatic careers, as well as professional singers, wishing to make their services more valuable, should investigate. A few lessons give convincing results. Perfect breath control produced. For further information address ROBERT ALVIN AUGUSTINE ^^6 carnegie hall. Call Wednesdays or Fridays

PHILADELPHIA ICE-CREAM CO. 38 WEST STREET, BOSTON TELEPHONE, OXFORD 582 NEAR TREMONT STWMT 1550 — —— the direction of the composer. The program stated that the Triple Overture had not yet been performed in public. This program also gave a description of the character of tht work. It is said that the scheme of the description was originated by Dvorak himself. The description is at times curiously worded. "This composition, which is a musical expression of the emotions awakened in Dr. Antonin Dvorak by certain aspects of the three great creative forces of the Universe—Nature, Life, and Love—was con- ceived nearly a year ago, while the composer still lived in Bohemia. . . . The three parts of the overture are linked together by a certain under- lying melodic theme. This theme recurs with the insistence of the inevitable personal note marking the reflections of a humble individual, who observes and is moved by the manifold signs of the unchangeable laws of the Universe." The "Carneval" overture, entitled at the first performance at Prague "Bohemian Carnival," and now known simply as "Carnival," was described as follows by the New York program annotator:

" If the first part of the overture suggested ' II Penseroso,' the second, with its sudden revulsion to wild mirth, cannot but call up the same poet's 'L' Allegro,' with its lines to 'Jest and Youthful Jollity.' The dreamer of the afternoon and evening has returned to scenes of human

life, and finds himself drawn into

The busy hum of men When the merry bells ring round And the jolly rebecs sound To many a youth and many a maid* / dancing in spirited Slavonic measures. Cymbals clang, strange instruments clash; and the passionate cry of the violin whirls the dreamer madly into a Bohemian revel. Anon the wild mirth dies away, as if the beholder were following a pair of straying lovers, whom the boisterous gayety of their companions, with clangor of voices and instruments, reach (sic) but dimly. A lyric melody sustained by one violin, the English horn, and some flutes, sets in, and almost uncon- sciously returns to the sweet pastoral theme, like a passing recollection

• Milton's lines are as follows: When the merry bells ring round, And the jocund rebecks sound To many a youth and many a maid.

i:y*B«nc. State street Trust Co.

Corner MASSACHUSETTS AVENUE and BOYLSTON STREET

Is conveniently situated for residents of the Back Bay, Longwood, Jamaica Plain, and Brookline. There are Safe Deposit Va\ilt8 and Storage Vaults at the Branch Office. MAIN OFFICE, »8 STATE STREET 1661 AT THE RED GLOVE SHOP 322 BOYLSTON STREET MISS M. F. FISK

Is having an Opening of Ladies' Waists, made especially for this season of the year when so many are preparing for a trip to the South. They are like all of the pretty things turned out by this house, very attractive —are inthereal Japanese silks, all Colors — the French Crepe that does notreqtiire ironing—Voile and Lingerie —the models are becoming, are in plain as well as more elaborate, and you are invited to see them.

ARE YOU USING THE Foreign Books MUSIC PUPILS YEAR BOOK Foreign Periodicals

It is an aid to both teacher and pupil Tauchnltz's Britlsii Authors Some of its advantages

(1) Each item of the lesson is before the pupil during practice. SCHOENHOF BOOK CO. 128 Trament St., zd door north of WiBter Street Keeping the record will induce the pupil to prac- (2) (Tel., Oxford J38.) tise more regularly.

(3) The teacher can refer at any time to any previous lessoD. Bonad Copies of the (4) Parent* have an opportunity to co-operate with the teacher. Boston Bympbony orcDestra's " The results obtained from their use are simply amazing. I never had such interest shown in PROGRAMME BOOKS ^practising." Price. $1 .75 per dozen 1909-1910 Containing Mr. Philip Hale's analytical and For sale by descriptive notes on all the works performed during season. Orders now being received for delivery after e. W. THOMPSON & CO. May 15. Address C. A. ELLIS A and B PARK STREET. BOSTON. MASS. Prico. $2.00 SYMPHONY HALL

Mrs. J. M. MORRI SON (Exolnalva A^eat for the Wade Corset)

Takes pleasure in announcing that, having secured the services of a first-class corsetiere, she is now prepared to take orders for high grade Custom Corsets

in addition to her regular line of Wade Corsets and Lingerie.

367 BOYLSTON STREET, BOSTON TelepHone, 3142-5 BacR Bay

1652 of the tranquil scenes of nature. But even this seclusion may not last. A band of merry maskers bursts in. The stirring Slavonic theme of the introduction reappears, and the three themes of the second overture, the humorous, the pathetic, and the pastoral, are merged into one, with the humorous in the ascendant, till a reversion changes the order. The whole ends in the same gay A major key, with which it began." The "Carnival" overture was played in Boston for the first time at a concert of the Boston Symphony Orchestra, Mr. Paur conductor,

January 5, 1895; "Nature," at a Symphony Concert, December 7, 1895; "Othello," at a Symphony Concert, February 6, 1897. The "Carnival" is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, one bass tuba, kettledrums, cymbals, tambourine, triangle, harp, strings. The first theme is announced immediately by full orchestra, Allegro, A major, 2-2, and is fully developed. The subsidiary theme in the same key is also of a brilliant character, but it is more concisely stated. The eighth notes of the wood-wind in the last measures of this subsidiary, combined with the first measure of the first theme, furnish material for the transition to the second theme, poco tranquillo, E minor. The violins play this melody over an arpeggio accompaniment, while oboe and clarinet have little counter-figures. This theme is developed by the wood-wind, and violins now supply flowing figures between the phrases. A lesser theme in G major follows, and is worked up till it ends in E major. The first theme returns in the violins against arpeg- gios in wood-wind and harps. A fortissimo leads to a free episode with fresh material. Andantino con moto, G major, 3-8. The English horn repeats over and over again a little pastoral figure, flute and oboe have a graceful melody, and the accompaniment is in high sustained harmonies of muted and divided second violins and violas. The horn gives an answer over tremulous strings. The melody is then developed by various instrumental combinations, until there is a return to the original Allegro, 2-2, now in G minor, and of fragments of the first theme in the violins. The free fantasia is chiefly a working-out of the subsidiaries of the first theme against a new and running counter- theme. There is a climax, and then the key of A major is established. The first theme is developed at greater length than in the first part of the overture. The climax leads to a sonorous return of the theme first heard in G major, but with rhythm somewhat changed. There is a short coda.

fe^lw^ttirl^ infiS to inBfi Srfmottl g-trnt. loaton

1563 ¥ A fUT\/^C! Q'^^^'S^s or Dyes Mens Suits f^YV^ Gloves Overcoats Ties A T "Ep lLi7 A IXJ'TV /^ CJ Cleanses or Dyes Womens Very JLjUj ?T il.lll£JV^»3 Apparel of all kinds Hi^h-class Cleanses and Dyes Laundry LEWANDOS Carpets and Ru^s Cleanses or Dyes Laundering of LEWANDOS Draperies Portieres Shirts Collars T ¥71 "lA/- A IVrV/^C Cleanses Silks Cuffs ShirtwaistsJLIlj fT i\i^lJVj|3 and Satins Underwear Lin- Dyes Faded gerie Tablecloths LEWANDOS Clothes Centerpieces Napkins Doylies LEWANDOS F'e'aX" Sheets Pillow Cases f IJI'lAT' A IVTW^/^C' Cleanses and Household Linens JjHi ff i\lllJV-l>J Laces Is done in the very best T "T^'^A/' Jk TVT\/^€!'^ yes manner possible Jj J_J ?T /% i^ I 1 V^^JH ose With Pure Soap and Water and without Bleaching Powders LEWANDOS BOSTON SHOPS 17 Temple Place 284 Boylston Street

Salem 197 Essex street Lynn 70 Market Street Watertown i Galen Street Cambridge 1274 Massachusetts Avenue Roxbury 2206 Washington Street South Boston 469 A-Broadway

New York Philadelphia Washington Albany Hartford New Haven Bridgeport Worcester Providence Newport BRANCH TELEPHONE EXCHANGES 945 Cambridge 3900 Back Bay ^ 600 South Boston 3901 Back Bay „ 1860 Lynn / Connecting, a allu 555 Oxford \ 1800 Salem Departments 907 Union Providence 556 Oxford ( 1622 Worcester 300 Newton North / 300 Newton North Watertown BUNDLES CALLED FOR AND DELIVERED IN BOSTON AND SUBURBS

Full information by Correspondence for Bundles by Mail or Express "YOU CAN RELY ON LEWANDOS"

1654 Twenty-first Rehearsal and Concert

FRIDAY AFTERNOON, APRIL 8, at 2.30 o'clock

SATURDAY EVENING, APRIL 9, at 8 o'clock

PROGRAMME

Converse . . "Endymion's Narrative" (for full Orchestra), Op. lo

Tschaikowsky . . . Concerto for Violin in D major, Op. 35

Kgar ..... Variations on an original theme, Op. 36 (Organist, Mr. Marshall)

SOLOIST

Mr, FRITZ KREISLER

1555 SONG RECITAL BY Mr. and Mrs. GAINES THURSDAY AFTERNOON, APRIL 21, AT THREE PROGRAM

Duets, Lebens-Genuss Beethoven Duet, Together let us range the Zwist und Suhne Carl Loewe fields Dr. Wm. Boyce a Sweetest love, I a An das Clavier Mo/.art do not go Old English b Youth has a b Friihlingsnacht Schumann happy tread H . Lbhr c Love's Secret c An Belinden Arnold Mendelssohn Granville Bantock d Le Secret G. Faur^ d A Day of Spring Addison Andrews e Priere pour Aimer, la Douleur....H. Fevrier Mr. Gaines Mr. Gaines a Snowflakes Mallinson

b A Charming Song - Gaines a Reigen von Weber c And so I made a Villanelle <- ^^ b Verlust Spohr | Cynl-i Scottc- dJ Sorrowc ( ^ c Vom Kussen H. G. Noren ) d La Pluie Jacques-Dalcroze e On a Spring Morning Haydn Wood e Gavotte from " M anon " Massenet Mrs. Gaines Mrs. Gaines Duet, Heigho! 'Tis love! Gaines STEINWAY PIANO USED Reserved Seats, $1.50, $1.00, 50c. Seats are now on sale at the Hall PIANOFORTE RECITAL BY CARLO BUONAMICI For the Benefit of THE GUILD OF ST. ELIZABETH TUESDAY EVENING, APRIL 12, AT 8.15 PROGRAM Andante con Variazione in F minor Haydn \^a«ntei ^^-^^*^ Au bord d'une source Liszt Quatrieme Nocturne Faur6 Pierrot Scott i Reflets dans I'eau DebussjrJ Les vagues Moszltowskil Nocturne, 27, 2 Op. No. ) j Etudes, Op. 25, No. 6 (in thirds) and No. 3 (F major) l^ . ^nopiniriinnin! 2d Ballade, Op. 38 ( Berceuse I Islamey — Fantaisie Orientale Balakiref STEINWAY PIANO USED Reserved Seats, $1.50 and $1.00. Ticltets are now on sale at t\\6 Hall PIANOFORTE RECITAL BY Mine. Marie von Unschul Coiirt Pianist to Her Majesty, the Queen of Roumania TUESDAY AFTERNOON, APRIL 12, AT 3 O'CLOCK PROGRAM Marche Mignonne Poldini | Sonata quasi 27, una Fantasia, Op. Beethoven Erlking Schubert-Liszt J n. IV.

Scenes from Childhood Schumann Echo Study Paganini-Liszt | Prelude "The Tolling Bell " Chopin HI. j Study, A-flat major a Polonaise, minor MacDowell Chopin E Passpied, from "Le Roi s'amuse," DeliDea b Reverie Debussy Rhapsodie Hongroise No. 13 Liszt STEINWAY PIANO USED Management: Willard Howe of the Concert Bureau of the Von Unschuld University ol Music, Washmgton, D.C. Reserved Seats, $1.50, $1.00, 50 cents. Tickets will go on sale March 21 at Steinert Hall,, or may be ordered by mail or telephone (Oxford 1330). Local Manaiier. RICHARD NEWMANJ 1556 RECITAL BY

Misses NATHALIE and MARJORIE PATTEN Violin and Violoncello

Assisted by Mr. JOHN BEACH (Piano) Mrs. MARY E. PATTEN, Accompanist

FRIDAY EVENING, APRIL 15, at 8 o'clock

Reserved seats, $1.50, $J.OO, 50 cents. On sale at Steiaert and Symphony Halls

CHICKERING HALL

WEDNESDAY EVENING, APRIL 13, AT 8 CHAMBER CONCERT BY The Helen Reynolds Trio HELEN REYNOLDS KATHERINE HALLIDAY MARGARET GORHAM Violin Violoncello Piano SYMPHONY HALL Twentyflfth Season

OPENING NIGHT MONDAY, MAY 2

And Every Evening Except Sunday

8 to 11, Until July 2

^hQ POPS

GRAND ORCHESTRA

Reserved Seats, 50c. and 75c. Admission, 25c. Advance Sale of Tickets opens on Monday, April 25.

Telephone, 1492 Back Bay

1558 . JORDAN HALL

Monday Afternoon, April 1 1, at 3.00 BU50NI Last Pianoforte IVecital

PROGRAMME

BEETHOVEN . Opus 53, "Waldstein"

1 Allegro con brio 2. Intrcduzione—Adagio Molto 3. Rondo— Allegro Moderato— Presto

II. BRAHMS-PAGANINI Variations

III. CHOPIN Sonata, B minor

IV. SCHUBERT-LISZT Erlkonig Au bord d'une Source Sixth Rhapsodic (Edited by Busoni)

Tickets, $1.50, $1.00, and 75c, at Symphony Hall. CHICKERING PIANO USED 1559 EMERSON COLLEGE OE ORATORY

A school with a national reputation. It has a larger number of teachers and students than any similar institution in the United States. The students come from forty States and foreign countries.

Last year seventy graduates were placed in positions ranging from grammar grades to Harvard University. Ten of these were college positions, and more than that number were normal schools. Courses in literature, oratory, dramatic art, physical culture, voice work.

SUMMER SCHOOL, JULY 11 to AUGUST 5

Send for Catalogue to HARRY SEYMOUR ROSS, Dean, Chickering Hall

JORDAN HALL, WEDNESDAY AFTERNOON, APRIL 13

AT 3 RECITAL BY LAURA VAN KURAN, Soprano AND CHARLES ANTHONY, Pianist

Mr. ALFRED DeVOTO, Accompanist J

Tickets, $1.00, at Jordan Hall£Box' Office, and at Herrick's Ticket Agency

1660 SYMPHONY HALL . . . BOSTON

Sunday Evening, April 17, 1910

at 8 o'clock

CONCERT

IN AID OF THE PENSION FUND

OF THE Boston SymphonyOrchestra

MAX FIEDLER, Conductor

SOLOIST Madame MARCELLA SEMBRICH

Tickets on sale at Box Oflfice, Symphony Hall, on and after Friday, April 8, $2,00, $1.50, $1.00.

Mail orders accompanied by check or money order, payable to L. H. Mudgett, Symphony Hall, filled in order of receipt before the opening of the public sale. 1561 SANDERS THEATRE, Cambridge

Boston SymphonyOrchestra

MAX FIEDLER, Conductor

Twenty-ninth Season, 1909-10

EIGHTH CONCERT

Thursday Evening, April 28, 1910

TICKETS, $i.oo, ON SALE AT KENT'S UNIVERSITY BOOK- STORE, HARVARD SQUARE, CAMBRIDGE, AND AT THE DOOR 1562 1563 CLARA TIPPETT, Teacher of Singing,

Assistant, GRACE R. HORNE.

312 Pierce Building, Copley Square.

A CARD to the LADIES of BOSTON and VICINITY

presume that you are thinking where you will WEgo for your next Spring Suit. We undertake to save you all the trouble of looking around. If you will come direct to our factory, we will show you the new Spring Models and let you select your own materials, linings, and trimmings from our stock, of which we have the latest. Will make you a suit to your measure, with as many fittings as necessary to insure entire satisfaction, from $25.00 up, according to materials and linings. Guaranteed perfect fit and workmanship or you need not accept suit. Just think what a relief this is for you. Our factory is one of the cleanest under the inspection of the Consumers' League.

M. J. FREEDMAN & CO. Manufacturers of Cloaks and Suits

17 and 23 Beach Street . BOSTON, MASS. Take Elevator Telephone 2988-3 OxfoTd

MUSICAL INSTRUCTION.

VOCAL INSTRUCTION and SOPRANO SOLOIST. Miss HARRIET S. WHITTIER, Studio, 246 Huntington Avenue.

Portinouth, New Hampshire, Mondayi.

Classes in Sight Reading Miss GAROUNEH. SOUTHARD (EIGHT HANDS). Advanced pupils follow the Symphony proerammei TEACHER OF THE PIANOFORTE. as far as practicable. 165 Huntington Avenue - Boston 1564 PIANISTEand TEACHER.

Mrs. CAROLYN KING BUNT, Hemenway Chambers, BOSTON.

TEACHER OF SINGING.

Hiss GLARA E. HUNGER, Century Building, 177 Huntington Avenue, Boston.

TEACHER OF SINGING. 602 Pierce Building, Miss PRISGILLA WHITE, Copley Square, BOSTON.

Tuesdays and Fridays at Lasell Seminary.

TEACHER OF SINGING. 514 Pierce Building, Miss KATBERINE LINCOLN, Copley Square, Boston. Saturdays and Mondays tn New York. SOLO SOPRANO. Representinii Miss Clara E. Huniier. Address. 254 West 85th.

38 BABCOCK ST., BROOKLINE. TEACHING AT BERTHA GDSHIN6 CHILD, LANG STUDIOS,

6 NEWBURY ST., BOSTON.

PIANIST.

RICHARD PLATT, 23 Steinert Hall . . Boston. Mason & Hamlin Piano.

Pierce Building, Copley Square, Room 703. INSTRUCTION IN THE SAM'L L. STHDLEY, ART OF SINGING. OPERA, ORATORIO, AND SONQ.

1565 Vocal instruction Lamperti method to a limited MUc. AVIGLIANA number of pupils. Oratorios taught in accordance with traditional renderings under Sir Michael Costa, (Royml Italian Opera, Covent Qarden). Maciarren, etc Highest references. Terms on appli- DRAMATIC SOPRANO. cation. Sixteen years of foreign study and professional life Concert, Oratorio. in Grand Opera in Italy and in Opera, Oratorio, and Concert in England, Scotland, etc., hare amply 137 NEWBURY STREET. qualified Mile. Avigliana to prepare her pupils for any position.

Piano, Voice, Violin (and all orchestral The Gflckenberger School of instraments), Theory, Musical Analysis, Analytical Harmony, Composition, Score Music. Reading, Chonis and Orchestral Con- ducting. B. GUCKENBERGER, Director. 30 Huntington Avenue Boston WILLIAM ALDEN PAULL INSTRUCTOR OF VOICE CULTURE, Episcopal Theological School, Brattle Street, Cambridge '^^ Office Hours: \ ^_, Daily except Saturday. Telephone, Cambridge 2Si6-i. P R I VAT E LESSONS BY APPOINTMENT

RECITALS a SPECIALTY. JOHN HERMANN LOUD, Instruction In Ortf an. Harmony and Plans. CONCERT ORGANIST. -Address, 140 Boylston Street, Boston, or 154 Oakleigh Road, Newton. (Fellow of The .Ajnerican Guild of Organists) Telephone 798-4 Newton North

Pianist and Teacher. Miss MARY INGRAHAM, Lan^ Studios, 6 NEWBURY STREET.

ELEANOR FOX-ALLEN, THE APPLETON QUARTET, EDITH LAMPREY-UNDERHILL, KATHLEEN RUSSELL-COOK, RECITALS, CONCERTS, EDITH LOUISE MUNROE. FUNERALS. 28 Warren Ave., Somerville, Hass. Musical Director, Mrs. S. B. FIELD. Telephone 572-6 Somerville

BARITONE SOLOIST AND Mr. LOUIS SCHALK. TEACHER OF SINGING.

Studio, 25 Steinert Hall, Boston.

IS24Chestnnt Street. Philadelphia Mrs. WILLIAM S. NELSON, Mondays and Tbnradays. 588 Main Street. East Orantfe. N.J. Vocal Instruction, Accompanist Wednesdays. 1 East 40th Street. New York Musicales Arranged. Tuesdays and Fridays. 1566 SIXTH YEAR 190e>1910 LOUiS NORMAN CULLIS, INSTRUCTOR IN VOICE PRODUCTHDN. Now receives pupils in singing (either beginners or advanced) at his new studios in Carnegie Hall. Mr. Cullis is a pupil of the Royal College of Music, London, and Bouhy of Paris, and teaches the Old Italian (Nava) Method, for which he is especially equipped, having studied the same under Booby of Paris, and Visetti of London, both of whom were pupils of Nava.

VOCAL INSTRUCTION. Room 420. Pierce Building. EUZABETH GARY LORD. Pupil of Randegger, London. Mme. Baucarde. Florence. Opera Repertoire, M. Juliani, Paris.

Miss Rose Stewart, EDITH LANG, Vocal Instruction. PIANIST.

246 Huntington Avenue. Lane Studios, 6 Newbury Street.

HELEN ALLE/N HUNT, MISS EDITH ROBBINS, CONTRALTO SOLOIST. TEACHED OF PIANO PLAYING. Teacher of Singing. Suite 57, Garrison Hall. No. 514 Pierce Building Boston. Telephone Back Bay 2307.

ANNA ELLIS - DEXTER, ERNEST GOORENGEL, Soloist at New Jerusalem Church, Boston. Cultivation of Art and Individuality in VOCAl INSTRUCTION. PIANOFORTE PLAYING. STUDIOS NEW SYSTEM. Brockton, Mondays and Tuesdays, 55 Centre Street. All Branches of COMPOSITIONi Boston, Wednesdays and Saturdays, 21S Tremont Street, Symphony Chambers, opposite For particulars apply Room 51 Symphony Hall, Boston. toBusinessManager. Providence, Thursda)-s and Fridays, Butler Exchange.

BERTEL Q. WILLARD, Mrs. H. CARLETON SLACK, "BASS, LYRIC SOPRANO. Voice DeTelopment and Breath Control. Concerts. Recitals. Society Hoslcales. Vocal Instrnctor. Harvard University. V'ocal Instruction. 404 Hnntiniiton Chambers Land Studios. 6 Newbury Street. Wednesday and Saturday. Friday Afternoons. At other times by appointment. Tuesday and

MISS GERTRUDE EDMANDS, School of Vocal Instruction Under exclusive social and artistic patronage for the Concert and Oratorio. finish and introduction of yoimg ladies in OPERA ORATORIO CONCERT Vocal Instruction. Hiss ALICE BREEN. Studios The Copley, 18 Huntington Avenue, St. 6 F- Metropolitan Opera House Building, Xew York City and 56 Ir\'ing Place, Brooklyn.

MAY SLEEPER RUGGLES ARTHUR THAYER, (CONTRALTO) Soloist in Boston Concert Trio. Teacher of Singing. Liederheim School of VocaJ Music, AUBURNDALE. MASS. Boston Studio: Pierce Buildixg. Send for Prospectus. 200 HUNTINGTON A\^NUE. 1567 EDWIN Basso COLLEGE, SCHOOL, AND CONSERVATORY N.C. Cantante positions secured for TEACHERS of MUSIC. MABEL and Teacher of SinKine. ORATORY. GYMNASTICS. &c. Also CROCKER BARNES CHURCH engagements for SINGERS. Dramatic Art Pupil of Cliarles Fry, ORGANISTS, and DIRECTORS. London Academy. HENRY C. LAHEE Phone. Oxford 475-1 Sympiiony Cliambers, Boston, opp. Symphony Hall 218 Trkmont Street, Boston

Pianoforte Instraction. Mrs. BERTHA I. KAGAN, German Diction, for Opera, Concert, ARTHUR GERS. and Oratorio Worlt. Formerly pupil Royal Conservatory Giran la«it|i, CInsIt ud Modiri LItiritiri. of Brussels, Belgium, (1897-igoi). Address, 19 Trowbridge Street, Cambridge Also Orifanist and Accompanist. Telephone 2331-1 Cambridge. HUNTINGTON CHAMBERS • BOSTON.

MME. DE BERG-LOFGREN, Miss INEZ DAY, TEACHER OF SINQINQ. The "GARCIA" Method. PIANIST and TEACHER. Teacher of Bettina Freeman and Virginia Pierce, of Boston's new Grand Opera. LANQ STUDIOS, Studio. 13 Westland Avenue, BOSTON, MASS. Telephone, Back Bay 3762-1 6 NEWBURY STREET.

MR. ROBT. N. JOHN GROGAN MANNING, MRS. ROBT. N. LISTER, CONCERT PIANIST. Teacher of Singing, Soprano Soloist. Monday, Wednesday, and Thursday afternoons. Sympiiony Cliambers, opposite Symphony Hall BOSTON. Symphony Chambers, 246 Huntington Ave.

Alice Bates Rice, F. P. Mccormick, Soprano Soloist, Teacher of Sin^in^. TEACHER OF SINQINQ. LANO STUDIOS, 6 NEWBURY STREET. Special training for injured voices. House Address, 41 Commonwealth Avenue, 37 Steinert Hall Annex. Boston. Chestnut Hill.

Mrs. NELLIE EVANS PACKARD. ALBERT M. KANRICH atudio, 218 Tremont Street (Room 308), Boston. Violinist and Musical Director VOCAL INSTRUCTION. The Kanrich Orchestra may be engaged for Con* Dinners, Mrs. Packard is commended by Walker, Randegeer certs, Weddings, Theatricals, Dances, etc. (London), Marchesi, Bouhy, Trabadelo (Pans), Orchestration, Vocal and Band. Leoni (Milan), Vannuccini (Florence), Cotogni, 164 A Tremont Street Franceschetti (Rome).

JOSEPH J. GILBERT, ROSABELLE TEMPLE. Soloist, and Teacher TEACHER OF SINGING of the Flute. MUSICAL LECTURES Suite 2, 40 Batavia St., Boston, Mass. 719 BOYLSrON STREET, BOSTON Tel. conn, with Batavia Chambers. TELEPHONE. 1507 BACK BAV C. B. HAWLEV. niss MABEL ADAMS BENNETT, VOCAL TEACHER '=°""°SX,«, Coach and Accompanist. Correct Tone Production. Breathing and interpre- tation. Special Training for Church Choir, Concert Opera and Repertoire. and Oratorio. Four years accompanist for M. Giraudet of Paris. Organist Madison Avenue M. E. Church. Season of 1908-09 in New York, with FrSulein Morena Studio, 35 West 42nd Street, New York City. of the Metropolitan Opera Co., and Victor Maurel. Philadelphia Studio, 1524 Chestnut Street. Room 1004 Tuesdays and Fridays TRINITY COURT, DARTMOUTH STREET. Telephone 1568 THE

]!}i\im>mi

Used exclusively in

PIANOS accomplishes what has never before been accompHshed in a piano — it permanently preserves the crown or arch of the sounding board and makes the tone of the piano indestructible. Not only this, but by putting a tension on the sounding board it gives greater vitality and responsiveness to the vibrations of the strings, and a distinguishing and superior character to the tone of the piano.

A demonstration of the function of this invention will gladly be given at our warerooms.

Catalogue Mailed on Application Old Pianos Taken in Exchange

MASON & HAMLIN COMPANY Established 1854

0pp. Inst. Technology 492-494 Boylston Street THE STEINWAY

is to-day the only high-grade piano in the United States which is made and controlled by the direct descendants of

its original founder.

All the rest have been forced to seek the alliance or amalgamation with manufacturers of cheap commercial pianos.

Thus time-honored names have become mere trade -marks, lacking every vestige of individuality.

Able to pursue its lofty ideals im- fettered by commercial exigencies, the house of Steinway & Sons has exerted all its energies in but one direction, with the flattering result that to-day the ~ Steinway is proclaimed everywhere —

THE STANDARD PIANO OF THE WORLD

THE STEINWAY REPRESENTATIVES IN BOSTON ARE THE M. STEINERT & SONS COMPANY

of 162 Boylston Street