MECHANICS HALL . . WORCESTER
Twenty-eighth Season, I908-J909
Ionian ^ptpfjmuj GDrdf^fra
MAX FIEDLER, Conductor
ffrogramm? of a?*
Third and Last Concert
WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE
TUESDAY EVENING, APRIL 20
AT 8. J 5 PRECISELY
COPYRIGHT, 1908, BY C. A. ELLIS MANAGER PUBLISHED BY C. A. ELLIS, Mme. CECILE CHAMINADE The World's Greatest Woman Composer
Mme. TERESA CARRENO The World's Greatest Woman Pianist
Mme. LILLIAN NORDICA The World's Greatest Woman Singer
USE
^^ Piano.
THE JOHN CHURCH CO., 37 West 3*d Street New York City
REPRESENTED BY
THE JOHN CHURCH CO., 37 West 32d Street, New York City Boston Symphony Orchestra PERSONNEL
TWENTY-EIOHTH SEASON, 1908-1909
MAX 1FIEDLER, Conductor
First Violins. Hess, Willy Roth, O. Hoffmann, J, Krafft, W. Concert-master. Kuntz, D. Fiedler, E. Theodorowicz, J. Noach, 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. Fiumara, P. Currier, F. Marble, E. Eichler, J. Tischer-Zeitz, H. Kuntz, A, Goldstein, H. Goldstein, S. Kurth, R. Werner, H.
Violas.
Fenr, E. Heindl, H. Zahn, F. Kolster, A. Krauss, H. Scheurer, K. Hoyer, H. Kluge, M. Sauer, G. Gietzen, A. Violoncellos.
Warnke, H. Nagel, R. Barth, C. Loeffler, K Warnke, J. Keller, J. Kautzenbach, A. 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.
Horns. Horns. Trumpets. Trombones. Tuba, Hess, M. Schmid, K. Kloepfel, L. Hampe, C Lorenz, O Lorbeer, H. Gebhardt, W. Mann, J. Mausebach, A. Hain, F. Hackebarth, A. Heim, G. Kenfiekl, L. Merrill, Phair, J. Schumann, C. C. Harp. Tympani. Percussion.
Schuecker, H, Rettberg, A. Dworak, J. Senia, T. Kandler, F. Ludwig, C. Burkhardt, H.
Librarian,
Sauerquell, J.
3 Qfot affitcttmttg l$imxo f^&0:
Bears a name which has become known to purchasers as representing the highest possible value produced in the piano industry.
It has been associated with all that is highest and best in piano making since 1823.
Its name is the hall mark of piano worth and is a guarantee to the purchaser that in the instrument bearing it, is incorporated the highest artistic value possible. CHICKERING & SONS PIANOFORTE MAKERS
Established 1833
791 TREMONT STREET
BOSTON, U. S. A.
REPRESENTED IN WORCESTER BY fc S. R. LELAND & SON Boston A MECHANICS HALL, Symphony ft Worcester.
OtrhACf f*Q ' Twenty-eighth Season, J908-1909.
MAX FIEDLER, Conductor.
THIRD AND LAST CONCERT,
TUESDAY EVENING, APRIL 20,
AT 8.15 PRECISELY.
PROGRAMME.
" Weber .... Overture to the Opera " Der Freischutz
Bruch . Concerto No. 3, for Violin and Orchestra, Op. 58
I. Allegro energico. II. Adagio. III. Finale: Allegro molto.
" Wagner Prelude to " Lohengrin
" " Wagner . Overture to The Flying Dutchman
" Stir of the Forest") Wagner • Waldweben" ("Life and from " Siegfried," Act II.
of the Wagner • . Funeral Music from "Dusk Gods"
of the Valkyries Wagner • Ride
SOLOIST,
Professor WILLY HESS.
There will be aa intermission of ten minutes after the concerto.
5 e Always tbe Kiabe
m3&s£Mr BALTIMORE NEW YORK WASHINGTON Represented in Worcester by MARCELLUS ROPER CO, Overture, ''Dim Freischutz" .... Carl Maria von Weber (Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826.) "Der Freischutz," a romantic opera in three acts, book by Friedrich Kind, music by Weber, was first performed at Berlin, June 18, 1821. The cast was as follows: Agathe, Caroline Seidler; Aennchen, Johanna Eumke; Brautjungfer, Henriette Reinwald; Max, Heinrich Stumer; Ottaker, Gottlieb Rebenstein; Kuno, Carl Wauer; Caspar, Heinrich Blume; Eremit, Georg Gern; Kilian, August Wiedemann; Samiel, Hillebrand. It was the first opera performed in the new theatre, Schauspielhaus, erected by Schinkel in 1 819-21, to replace the original building, which was burned down in 181 7. Weber wrote in his diary that the opera was received with "incredible enthusiasm; Overture and Folk-song were encored; fourteen out of seventeen music-pieces were stormily applauded. Everything went exceedingly well, and was sung con amove. I was called before the curtain and took Mad. (sic) Seidler and Mile, (sic) Eunike with me, as I could not get hold of the others. Verses and wreaths came flying. 'Soli Deo Gloria." Some of these verses were malicious, and reflected on Spontini, much to Weber's distress. Weber began work on the overture February 22, 1820; and May 13 he noted in his diary: "Overture of 'Die Jagersbraut' finished, and with it the whole opera. God be praised, and to Him alone be the glory." ("Die Jagersbraut" was the original title of the opera, and it was kept until into the year 1820, when Weber changed it to "Der Freischutz" at the advice of Count Bruhl, Intendant of the Berlin Court theatres.) Weber heard the music for the first time at a rehearsal of the Dresden orchestra, June 10, 1820, and this was the first music of the opera that he heard. The first public performance of the overture was at Copenhagen, October 8, 1820. Weber was making a tour through North Germany and Denmark. The second performance was at Brunswick, October 31, 1820. And, before the performance of the opera itself, the overture was played for the third time at Dresden, December 18, 1820, at a con- cert given by Weber's friend, Heinrich Joseph Barmann, the brilliant SONGS WORTH SINGING KING FISHER BLUE by Amy Woodforde-Finden. 2 Keys . Price, 60c. 1 LOVE ME by F. P. Tosti. 3 Keys . 60c ' I HEAR YOU CALLING ME by C. Marshall. 3 Keys . 60c. 1 O, FRAGRANT MIGNONETTE by Laura Lemon. 4 Keys . 60c. TWO SONGS OF ITALY by H Bath. 2 Keys ' 60c. 4 A THOUGHT by Chas. J. Roberts. 2 Keys 60c BELL AT SEA by Stephen Adams. 3 Keys .... 60c. 1 B00SEY & COMPANY, Publishers, 9 East Seventeenth Street NEW YORK 7 CARUSOMr. ENRICO has selected for his personal use the Hardman Piano This adds one more proof of its musical superiority and of the preference given it by the greatest artists. Mr. Caruso, like many other great artists, examines with special care the latest products of the leading piano manufacturers with the view of selecting the best for his personal use. It is, therefore, of keen interest to the in- tending purchasers of pianos to know that so remarkable a musician and expert a judge as Mr. Caruso has adopted for such personal use the Hardman Piano. Hardman, Peck & Company ESTABLISHED 1842 138 Fifth Avenue, New York 524 Fulton Street, Brooklyn Represented in Worcester by F. J. CHARRON & SON, 43 Park Street clarinetist and the grandfather of Mr. Carl Baermann, of Boston. The performance at Brunswick inspired a favorable review published in the leading music journal of Leipsic. The overture was therein described as "a most important work of art, which displays the fantasy and genius of a bold speaker of the prologue." Max von Weber tells us that his father's overture brought Barmann money, but no glory; for the attention of the audience was fixed on the new work, and the virtuoso was applauded as by absent-minded hearers, although he blew in most artistic fashion. He also says that the themes of the overture were not readily grasped, that the novelty of the orchestration dis- concerted the conservative and elderly of the audience, and that applause at the end was without heart on account of the surprise and perplexity of those who were well disposed toward the composer. F. W. Jahns, on the other hand, says the applause was so great that the overture was played the second time. And here it may be stated that Max von Weber speaks as though this performance were the first, and does not mention those at Copenhagen and Brunswick. But see "Carl Maria von Weber in seinem Werken," by F. W. Jahns (Berlin, 1871, pp. 318, 319). We have mentioned the success of this overture at Berlin, when it was played as the prelude to the opera and under Weber's direction, a success that dumfounded the followers of Spontini, and settled the future of German opera in the capital. And so, wherever the overture was played, the effect was overwhelming, —as in London, where the opera was first performed in English, July "2 2 (?), 1824, at the English opera house. W. T. Parke wrote: "The music of this opera is such a continued display of science, taste, and melody as to justify any praises bestowed on it. The overture embraces most of the subjects of the airs in the opera, ingeniously interwoven with each other, and is quite original. The grandeur of some passages and the finely con- trasted simplicity of others produced an effect which was irresistible. It was vehemently encored." It is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, and strings. * * * The first performance of "Der Freischutz" in the United States was an English version produced at the Park Theatre, New York, March 2,* 1825. The chief singers were Miss Kelly, Mrs. de Luce, Woodhull, and Clarke. Miss Lydia Kelly was a niece of Michael Stage" * T. Allston Brown gives March 12, 1825, in his "History of the New York (1903). MR. HARRY C. MULLETT Teacher of the PIANOFORTE STUDIO, ROOM 21, KNOWLES BUILDING 518 MAIN STREET 9 ; New Q!9fancl , Conservatory of MUSIC GEORGE W. CHADWICK, Director Htintington Avenue, Boston* Mass. FVERV DEPARTMENT UNDER SPECIAL MASTERS CLASS OR PRIVATE INSTRUCTION recitals, the opportunities The free privileges of lectures, concerts, and before audiences, and the daily associa- of ensemble practice and appearing student. tions are invaluable advantages to the music VOCAL DEPARTMENT for a career as The Vocal Course is designed to equip the student granted accordingly. This soloist or teacher, or both, and diplomas are Diction (Italian, French, course includes the following branches: Voice; course for vocalists), Italian, French, German German) ; Languages (special (intermediate and Solfeggio (special course for vocalists); Sight Reading (Episcopal advanced); Vocal Chamber Music, a cappella, Choir Practice Accompanying, Sight Read- service, etc.), Chorus ; Pianoforte, Technique, for vocalists), Theory ing, Transposition; Theory; Harmony (special course Chorus. (general); History (musical); Normal (lectures and teaching); The Normal Department of the Vocal School is designed to furnish effective, the best possible training for teaching. The plan is original and and gives a wide experience in both theory and practice. Pupils received for a single subject as well as for full courses FOR PARTICULARS AND YEAR BOOK ADDRESS RALPH L. FLANDERS, Manager 10 Kelly, singer and the author of the amusing Memoirs. She is described as "rather masculine in appearance." Her costumes were distin- guished for "richness and elegance.'" She had "never-failing animal spirits, good humor, and vivacity." She married a French baron, who left her as soon as she failed to be a profitable investment. The opera was announced as in rehearsal by a company of which Charles E. Horn and Mrs. Edward Knight were the chief singers in the Boston newspapers of December 17, 1827, but the opera, or rather an English adaptation of it, was performed here for the first time at the Boston Theatre, February 19, 1828, when Mr. Finn was announced as Caspar, and Mrs. Bernard as Linda. Especial attention was called to the Wolf's Glen and the fireworks prepared by Mr. Broad, and for some time the scene of the Wolf's Glen was a favorite feature of a miscellaneous theatrical entertainment. The overture was played as early as February 7, 1828, and it was at first advertised as by "Carlo" von Weber. The first performance in Boston in German was on May 6, 1864, when the chief singers were Mmes. Frederici and Canissa and Messrs. Habei- mann and Graff. Third Concerto for Vioun with Orchestral Accompaniment, Op. 58 Max Bruch (Born at Cologne, January 6, 1838; now living at Friedenau, Berlin.) This concerto, dedicated to Josef Joachim, was played for the first time at a concert given in honor of the composer at Diisseldorf , May 31, 1 89 1. Joachim was the violinist. The programme was made up of works by Bruch: selections from "Das Lied von der Glocke," "Frithjof," and "Achilleus"; the whole of "Das Feuerkreuz." Miss Wallv Schauseil and Max Buttner were the chief singers. Worcester County Music School REMOVED To more commodious quarters in the DAY BUILDING 4 WALNUT STREET With frontage of over 70 feet Elevators at 4 Walnut Street and 306 Main Street Pupils received at any time during school year, term beginning with their first lesson Send for circular EDWARD L. SUMNER, Director WORCESTER, MASS. m . , ( School 5014 Telephones . j Hougel552 3 11 : ; Joachim played the concerto in Berlin at a Philharmonic Concert, November 9, 1891, and at Hamburg and Frankfort-on-the-Main, in the same year. Sarasate played it in London for the first time, October it in at 17, 1 89 1 ; and Heermann played 1891 Wiirzburg. The first performance of the concerto in the United States was at a concert of the Symphony Society led by Walter Damrosch at New York, February 6, 1892, when Miss Geraldine Morgan was the violinist. The concerto was played at a concert of the Philharmonic Society of New York by Mme. Camilla Urso, February 13, 1892. Miss Geraldine Morgan played the concerto at a concert of the Boston Symphonv Orchestra in Philadelphia, February 8, 1892. The first performance in Boston was at a concert of the Boston Symphony Orchestra, Mr. Nikisch, conductor, March 5, 1892. Mme. Camilla Urso was the violinist. The concerto was published in 1892. The accompaniment is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, and strings. I. Allegro energico, D minor, 4-4. There is an orchestral intro- duction in which the strongly rhythmed first theme and another sturdv motive (largamente) are introduced. The solo violin after a cadenza takes up the energetic first theme, then the sturdy theme and a third, a more melodious and expressive cantilena. This material is used at great length. Portions of the themes are interwoven, and they are developed into essential elements of the solo part. II. Adagio, B-flat major, 6-8. The solo violin preludes to a slight accompaniment. The chief theme, a tender melody, is sung by orches- For Classes, Husical Clubs, and the Home Student Outlines of Music History By Clarence G. Hamilton Illustrated PRICE, $1 .50, postpaid We select the following from a large number of Press Notices as voicing the spirit of all This book of Hamilton's is in the Music Students Library and it is certainly one of the best things in its line that has been recently produced. It is short, concise, and at the same time comprehensive. It is a book that every student of music should have in his library.— The Musical Courier. '* Outlines of Music History " is one of the Music Students Library of which twenty volumes have so far been published. Send for a descriptive list The following Schools and Colleges have adopted Hamilton's OUTLINES OF MUSIC HISTORY as a text-book: Brown Univer- sity, Providence. R.I.; Northwestern Uni- versity School of Music, Evanston, JU. Wellesley College, Welleslev, Mass. ; Vassar College, Poughkeepsie, N.Y.; Mount Hol- yoke Seminary, South Hadley, Mass. ; Dana *^ Hall School, Wellesley, Mass.; American „, Conservatory of Music, Chicago, 111.; Bre- CLARENCE G. HAMILTON, Lecturer and Asso- Professor of nau College, Gainesville, Ga. ; High School. ^^ Music, Wellesley College, San Diego, Cat. Wellesley, Mass. OLIVER DITSON COMPANY. BOSTON For sale at all Music Stores 12 . — tral violins. The solo violin takes up this melody. The second motive, not unlike a chant, is played by strings, then by wood-wind instruments, and is embroidered by the solo violin. There are changes of tonality and a return to the first subject. III. Finale. Allegro molto, 3-4. Introductory measures in D minor have a nimble dancing theme for solo violin that is used liberally in the main body of the movement. The chief theme of a heroic char- acter is announced by the solo violin. The song theme, also for solo violin, is opposed to the dance theme. F major. Song theme in orchestra is embroidered by the solo instru- ment. The coda is based on foregoing thematic material, and there is a brilliant close in D major. * * * The following compositions by Max Bruch have been played in Boston at concerts of the Boston Symphonv Orchestra* Symphony No. 3, in B (MSS.), March 3, 1883 (first time in Boston). Prelude to "Loreley": December 16, 1882; November 17, 1883. Concerto for violin and orchestra, No. 1, G minor: October 21, 1882 (Louis Schmidt, Jr.); November 28, 1885 (C. M. Loeffler) ; March 5, 1887, Maud Powell); January 21, 1893 (Henri Marteau); April J 3> l8 95 (I- Schnitzler); November 12, 1904 (Willy Hess). Concerto for violin and orchestra, No. 2, D minor, Op. 44: Adagio from it (first time), December 20, 1884 (C. M. Loeffler); whole con- certo, March 2, 1889 (Otto Roth); December 3, 1904 (Eugene Ysaye). .Concerto for violin and orchestra, No. 3, Op. : March 5, 1891 (Camilla Urso) ; November 21, 1908 (Willy Hess). Scottish Fantasie for violin and orchestra, Op. 46: November 24, first time (C. M. Loeffler) January 11, (Timothee Ada- 1888, ; 1896 mowski) ; February 4, 1899 (Timothee Adamowski) ; November 28, 1903 (Alexander Birnbaum). Serenade in A minor for violin and orchestra, Op. 75, February 11, 1905 (Marie Nichols). Romanza for violin and orchestra, Op. 42, February 17, 1894 (C. M. Loeffler) Mr. M. H. HANSON, CARNEGIE HALL, NEW YORK, begs to an- nounce that DR. LUDWIG WULLNER The Great Liedersinger And his accompanist ^ y BOS will again be in America in November, 1909— April, 1910. The success of Dr. WULLNER' S tour has been phenomenal; and as over 30 dates have already been booked for next season, applications for dates should be made forthwith. Remaining 1909 dates: March 23, April 4, German Theatre, New York. , ROSMER in ROSMERSHOLM, and HEROD in SALOME. Dr. WULLNER appeared 1908-9 with Boston Symphony Orchestra. New York Symphony Orchestra. Phila. Symphony Orchestra. Volpe' (N.Y.) Symphony Orchestra. 13 . . "Kol Nidrei "|forMoloncello and orchestra, Op. 47: November 16, 1889 (LeojSchulz) ; March 24, 1894 (Leo Schulz). "Odysseus," Op. 41: Scene and air, "Thou far-darting; sun," October 22, 1881 (Annie Louise Cary), the first concert and the first soloist; April 23, 1904 (Marguerite Hall); January 7, 1905 (Muriel Foster) "Odysseus," Op. 41: Scene: "Penelope weaving," January 12, 1884 (Louise Rollwagen). "Achilles," Op. 50: Aria, December 10, 1887 (Gertrude Edmands). "Achilles," Op. 50: Andromache's Lament, February 27, 1904 (Ernestine Schumann-Heink) Prelude to the Opera "Lohengrin." Richard Wagner (Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) The Prelude is the development and working out of the Sangreal motive. Berlioz described the composition as a gradual crescendo leading to a shorter decrescendo. "Like the hero's career in the opera," says Mr. Apthorp, "it begins, as it were, in the clouds, then gradually descends farther and farther until it embraces all the low- est tones of the orchestra, and then returns to the clouds again. Its single theme is developed in free polyphony by various successive groups of instruments, each of which groups proceeds with free counter- thematic work as the next group enters with the theme. First we have the violins piano in their higher register; then come the flutes, oboes and clarinets; then the violas, 'cellos, horns, bassoons, and double basses; lastly the trumpets, trombones, and tuba fortissimo; then comes the decrescendo, ending pianissimo in the high violins and flutes." The Prelude is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, four horns, three trumpets, three trombones, bass tuba, a set of three kettle drums, cymbals, four solo violins, and the usual strings. * Institute of musical Art Of the City of New York Endowed and Incorporated FRANK DAMROSCH, Director 53 Fifth Avenue Corner 12th Street An advanced school of music in all branches for talented students. Catalogue by mail. 14 Liszt described the Prelude as "a sort of magic formula which, like a mysterious initiation, prepares our souls for the sight of unaccus- tomed things, and of a higher signification than that of our terrestrial life." Wagner's own explanation has been translated into English as fol- lows :— "Love seemed to have vanished from a world of hatred and quar- relling ; as a lawgiver she was no longer to be found among the com- munities of men. Emancipating itself from barren care for gain and possession, the sole arbiter of all worldly intercourse, the human heart's unquenchable love-longing again at length craved to appease a want, which, the more warmly and intensely it made itself felt under the pressure of reality, was the less easy to satisfy, on account of this very reality. It was beyond the confines of the actual world that man's ecstatic imaginative power fixed the source as well as the out- flow of this incomprehensible impulse of love, and from the desire of a comforting sensuous conception of this supersensuous idea invested it with a wonderful form, which, under the name of the 'Holy Grail,' though conceived as actually existing, yet unapproachably far off, was believed in, longed for, and sought for. The Holy Grail was the costly vessel out of which, at the Last Supper, our Saviour drank with His disciples, and in which His blood was received when out of love for His brethren He suffered upon the cross, and which till this day has been preserved with lively zeal as the source of undying love; albeit, at one time this cup of salvation was taken away from unworthy mankind, but at length was brought back again from the heights of heaven by a band of angels, and delivered into the keeping of fer- vently loving, solitary men, who, wondrously strengthened and blessed by its presence, and purified in heart, were consecrated as the earthly champions of eternal love. "This miraculous delivery of the Holy Grail, escorted by an angelic host, and the handing of it over into the custody of highly favored men, was selected by the author of 'Lohengrin,' a knight of the Grail, for the introduction of his drama, as the subject to be musically por- trayed; just as here, for the sake of explanation, he may be allowed ANNOUNCEMENT EXTRAORDINARY Farewell American Concert Tour Mme. Marcella Sembrich OCTOBER, 1909— MAY. 1910 I TOUR NOW BOOKING IMMEDIATE APPLICATION FOR DATES NECESSARY Sole Management of LOUDON CHARLTON - CARNEGIE HALL, NEW YORK 15 to bring it forward as an object for the mental receptive power of his hearers. "To the enraptured look of the highest celestial longing for love, the clearest blue atmosphere of heaven at first seems to condense itself into a wonderful, scarcely perceptible but magically pleasing precision the wonder-working angelic vision ; with gradually increasing host is delineated in infinitely delicate lines as, conveying the holy vessel (the Grail) in its midst, it insensibly descends from the blazing heights of heaven. As the vision grows more and more distinct, as it hovers over the surface of the earth, a narcotic fragrant odor issues from its midst; entrancing vapors well up from it like golden clouds, and overpower the sense of the astonished gazer, who, from the lowest depths of his palpitating heart, feels himself wonderfully urged to holy emotions. "Now throbs the heart with the pain of ecstasy, now with the heavenly joy which agitates the breast of the beholder; with irre- sistible might all the repressed germs of love rise up in it, stimulate4 to a wondrous growth by the vivifying magic of the vision; however much it can expand, it will break at last with vehement longing, impelled to self-sacrifice and toward an ultimate dissolving revels again in the supremest bliss as, imparting comfort the nearer it ap- proaches, the divine vision reveals itself to our entranced senses, and when at last the holy vessel shows itself in the marvel of undraped reality, and clearly revealed to him to whom it is vouchsafed to behold it, as the Holy Grail, which from out of its divine contents spreads broadcast the sunbeams of highest love, like the lights of a heavenly fire that stirs all hearts with the heat of the flame of its everlasting glow, the beholder's brain reels—he falls down in a state of adoring annihilation. Yet upon him who is thus lost in love's rapture the Grail pours down its blessing, with which it designates him as its chosen knight; the blazing flames subside into an ever-decreasing brightness which now, like a gasp of breath of the most unspeakable joy and emotion, spreads itself over the surface of the earth and fills the breast of him who adores with a blessedness of which he had no foreboding. With chaste rejoicing, and smilingly looking down, the C. SCHIRMER, 35 UNION SQUARE, NEW YORK JUST PUBLISHED COLLECTION OF CONCERT OVERTURES FOR PIANO, FOUR HANDS Edited and Fingered by LOUIS OESTERLE Two volumes, each $2.00. In cloth, each $3.00 VOL. I. VOL. II. Berlioz .... Camaval Romain Benoit .... Charlotte Corday Goidmark Sakuntala .... Brahms . . Akademische Fest-ouvertiire Massenet Phedre Gade . . . Nachklange von Ossian Tschaikowsky Hamlet Litolff Robespierre Tschaikowsky . . Romeo et Juliette Reinecke Dame Kobold Wagner . . . Eine Faust Ouvertiire Tschaikowsky . 1812. Ouverture-Solennelle The most unique collection. It embraces the most representative orchestral concert-overtures, independent and individual tonal poems, not intended to serve as introductions preceding the operas, but complete each in itself. They are emphatically recital pieces, not easy even in this four-hand arrangement. An adequate and convenient fingering is provided. 16 Paderewski uses and pre- fers the WEBER Piano. Paderewski himself de- scribes the WEBER Piano as Ci a perfect medium for my art" The Weber Piano Company . AEOLIAN HALL, 362 Tilth Avenue, near 34th Street NEW YORK 17 angelic host mounts again to heaven's heights; the source of love, which had dried up upon the earth, has been brought by them to the world again—the Grail they have left in the custody of pure-minded men, in whose hands its contents overflow as a source of blessing, and the angelic host vanishes in the glorious light of heaven's blue sky, as, before, it thence came down." The Prelude was last played at one of these concerts May i, 1897. Overture to "The Flying Dutchman" .... Richard Wagner (Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.) The overture is scored for one piccolo, two flutes, two oboes, one English horn, two clarinets, four horns, two bassoons, two trumpets, three trombones, one bass tuba, kettledrums, harp, strings. It opens Allegro con brio in D minor, 6-4, with an empty fifth, against which horns and bassoons give out the Flying Dutchman motive. There is a stormy development, through which this motive is kept sounding in the brass. There is a hint at the first theme of the main body of the overture, an arpeggio figure in the strings, taken from the accompaniment of one of the movements in the Dutchman's first air in act i. This storm section over, there is an episodic Andante in F major, in which wind instruments give out phrases from Senta's Ballad of the Flying Dutchman (act ii.). The episode leads directly to the main body of the overture, Allegro con brio in D minor, 6-4, which begins with the first theme. This theme is developed at great length with chromatic passages taken from Senta's Ballad. The Flying Dutch- man theme comes in episodically in the brass from time to time. The subsidiary theme in F major is taken from the sailors' chorus, "Steuer- mann, lass' die Wacht!" (act iii.). The second theme, the phrase from Senta's Ballad already heard in the Andante episode, enters ft in the full orchestra, F maior, and is worked up brilliantly with fragments of the first theme. The Flying Dutchman motive reappears ft in the trombones. The coda begins in D major, 2-2. A few rising arpeggio BROWN'S BROWN'S CAMPHORATED BRONCHIAL SAPONACEOUS TROCHES DENTIFRICE Are recognized throughout the world as a staple cough remedy. 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The ballad is the thematic germ of the whole opera, and it should be remembered that Wagner felt inclined to call the opera itself a dramatic ballad. "Der Fliegende Hollander," opera in three acts, was performed for the first time at the Court Opera House, Dresden, January 2, 1843. ; the Dutch- The cast was as follows : Senta, Mme. Schroeder-Devrient man, Michael Wachter; Daland, Karl Risse; Erik, Reinhold; Mary, Mrs. Wachter; the steersman, Bielezizky. Wagner conducted. The first performances in America was in Italian, "II Vascello Fan- tasma," at Philadelphia November 8, 1876, by Mme. Pappenheim's Company. The first performance in Boston was in English at the Globe Theatre, March 14, 1877: Senta, Clara Louise Kellogg; Eric, Joseph Maas; Daland, George A. Conly; the steersman, C. H. Turner; Mary, Marie Lancaster; Vanderdecken, the Dutchman, William Carleton. * * * It was undoubtedly due to the dramatic genius of Mme. Wilhelmine Schroder-Devrient (1804-60) that a poor performance was turned the first night into an apparent triumph. It is said that in the part of Senta she surpassed herself in originality; but Wagner wrote to Fischer in 1852 that this performance was a bad one. "When I recall what an extremely clumsy and wooden setting of 'The Flying Dutch- man ' the imaginative Dresden machinist Hanel gave on his magnificent stage, I am seized even now with an after-attack of rage. Messrs. Wachter's and Risse's genial and energetic efforts are also faithfully stored up in my memory." It's a FOWNES That's all you need to know GLOVEabout a 20 If you want the Best CoCOa and Chocolate in the World insist on gettin 21 — Wagner wished Senta to be portrayed as "an altogether robust Northern maid, thoroughly naive in her apparent sentimen tality." He wrote: "Only in the heart of an entirely naive girl surrounded by the idiosyncrasies of Northern nature could impressions such as those of the ballad of the 'Flying Dutchman' and the picture of the pallid seaman call forth so wondrous strong a bent, as the impulse to redeem the doomed: with her this takes the outward form of an active monomania such, indeed, as can only be found in quite naive natures. We have been told of Norwegian maids of such a force of feeling that death has come upon them through a sudden rigor of the heart. Much in this wise may it go, with the seeming 'morbid- ness' of pallid Senta." * * * Wagner revised the score in 1852. "Only where it was purely superfluous have I struck out some of the brass, here and there given it a somewhat more human tone, and only thoroughly overhauled the coda of the overture. I remember that it was just this coda which always annoyed me at the performances; now I think it will answer to my original intention." In another letter he says that he "con- siderably remodelled the overture (especially the concluding section)." "Waldweben," from "Siegfried," Act II., Scene 2. Richard Wagner (Born at Leipsic, May 22, 181 3; died at Venice, February 13, 1883.) This piece was arranged by Wagner for concert use from parts of the scene before Fafner's cave in the second act of "Siegfried." He gave it the title "Waldweben" (Life and Stir of the Forest). The piece is free in form. It is scored for two flutes (one interchangeable with piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, kettledrums, triangle, strings. Mr. George Bernard Shaw's description of the scene, from "The Perfect Wagnerite" (London, 1898), may serve here as commentary: "Mimmy * makes a final attempt to frighten Siegfried by discoursing of the dragon's terrible jaws, poisonous breath, corrosive spittle, and deadly, stinging tail. Siegfried is not interested in the tail: he wants to know whether the dragon has a heart, being confident of his ability to stick Nothung into it if he exists. Reassured on this point, he drives Mimmy away, and stretches himself under the trees, listening The spelling of the names of certain characters of the "Ring" is of Mr. Shaw's invention DODGE HALL Odd Fellows' Building, 674 Main Street Patrons of this hall testify that it is one of the best appointed modern halls in Worcester, and thoroughly equipped with PROTECTION AGAINST FIRE Your patronage of this hall for musicales, recitals, entertainments, and dances is solicited. The building is open for public inspection daily. Telephone, No. 4330 22 to the morning chatter of the birds. One of them has a great deal to say to him, but he cannot understand it; and, after vainly trying to carry on the conversation with a reed which he cuts, he takes to enter- taining the bird with tunes on his horn, asking it to send him a lov- ing mate, such as all the other creatures of the forest have. His tunes wake up the dragon, and Siegfried makes merry over the grim mate the bird has sent him. Fafnir is highly scandalized by the irrever- ence of the young Bakoonin. He loses his temper ; fights; and is forth- with slain, to his own great astonishment. In such conflicts one learns to interpret the messages of Nature a little. When Siegfried, stung by the dragon's vitriolic blood, pops his finger into his mouth and tastes it, he understands what the bird is saying to him, and, instructed by it concerning the treasures within his reach, goes into the cave to secure the gold, the ring, and the wishing cap. Then Mimmy returns and is confronted by Alberic. The two quarrel furiously over the sharing of the booty they have not yet secured, until Siegfried comes from the cave with the ring and the helmet, not much impressed by the heap of gold, and disappointed because he has not yet learned to fear. He has, however, learnt to read the thoughts of such a creature as poor Mimmy, who, intending to overwhelm him with flattery and fondness, only succeeds in making such a self-revelation of murder- ous envy that Siegfried smites him with Nothung and slays him, to the keen satisfaction of the hidden Alberic. Caring nothing for the gold, which he leaves to the care of the slain, disappointed in his fancy for learning fear, and longing for a mate, he casts himself wearily down, and again appeals to his friend the bird, who tells him of a woman sleeping on a mountain peak within a fortress of fire that only the fearless can penetrate. Siegfried is up in a moment with all the tumult :v]«3j r-^i n&fin ^fe:,":^^^^^^^^| Sceto CALIFORNIA Via WASHINGTON-SUNSET ROUTE Cars. High Class Dining, Club, Sleeping and Observation without change from Washington. Jurist Sleeping Cars, Personally Conducted, Berth $8.50 OFFICES* Ba"imOT '" Washing St ' ^ BOSTON, 170 and M.1 ^J'SSS'E E&ZS^W&m&SSSZS. WASH^dfON^S .«h St. 90S F St. of spring in his veins, and follows the flight of the bird as it pilots him to the fiery mountain." Siegfried looks after the departing Mime; the tree-tops begin to rustle; and the "Forest Stir" begins, first in D minor, then in B major. Siegfried falls a-dreaming; he knows that Mime is not his father, and in the orchestra the VoLSUNG-motive appears, slow, 6-8, now in the clarinets and now in the bassoons and horns. He dreams of his mother: the LovE-LiFK-motive, same time and tempo, in 'cellos, violas, and double-basses, then in all the strings, later in horns and bassoons. She was a mortal woman, hence the FR^iA-motive, C major, 3-4, solo violin over arpeggios in muted strings. The rustling of the forest grows stronger, and the BiRD-SoNG-motive enters, B major, 3-4, 9-8, in oboe, flute, clarinet, and other wind instruments. Now follow in the music drama the Fafner scene, and the scenes between Alberich and Mime, and Mime and Siegfried, and the scene of Mime's death. There is no reference to these scenes in the concert- piece. Again the rustling and again the bird's song, and in the closing Vivace enter the FiRB-motive, the SiEGFRiBD-motive, the Slumber- motive, and the BiRD-SoNG-motive. The first performance of "Siegfried" was at Bayreuth, August 16, 1876. The cast was as follows: the Wanderer, Betz; Siegfried, Unger; Alberich, Hill; Mime, Schlosser; Fafner, von Reichenberg; Briinn- hilde, Materna; Erda, Luise Jaide; Forest Bird, Lilli Lehmann. HOTEL RENNERT BALTIMORE, MD. Within one square of the shopping dis- trict. The standard hotel of the South. The cuisine of this hotel has made Maryland cooking famous. The only hotel in the world where the Chesapeake Bay products, Fish, Oysters, Terrapin, and Canvas-back Duck, are prepared in their perfection. MODERN IN EVERY DEPARTMENT EUROPEAN PLAN Rooms, $1.50 per day and upwards Fire-proof building 24 — — The first performance in Boston was at the Boston Theatre, April 3, 1889, with this cast: the Wanderer, Fischer; Siegfried, Alvary; Alberich, Beck; Mime, Sedlmayer; Fafner, Weiss; Briinnhilde, Lilli Lehmann; Forest Bird, Sophie Traubmann. Siegfried's Funeral Music, from "Dusk of the Gods," Act III., Scene 2 . . Richard Wagner This music is not a funeral march. It has nothing to do with the last rites and ceremonies paid Siegfried. It is a collection of prominent kit-motive which are associated with the hero or with the Volsung race. These motives are named by Mr. W. F. Apthorp in the following order : "I. The Volsung Motive (slow and solemn in horns and tubas, repeated by clarinets and bassoons). "II. The Death-Motive (crashing C minor chords in brass, strings, and kettledrums, interspersed with running passages in triplets in the lower strings). "III. The Motive of the Volsungs' Heroism (slow and stately, in tubas and horns). ' * ' IV. The Motive of Sympathy (worked up in imitation in wood- wind and horns), merging soon into: "V. The 1/dvE-MotivE (in the oboe). "(The bass under these last two motives is a further development of the Volsung-Motive, which is carried on for five measures more in the double basses, bass-clarinet, bassoons, and bass and contra bass- tubas, against the running triplet figure from the Death-Motive in the violins.) "VI. The Sword-Motive (in the trumpet). "VII. The Motive of Glorification in Death (the crashing chords of the Death-Motive in the major mode; the full orchestra). * Siegmund and Sieglinde (Siegfried's father and mother) in the first scene of Die Walkiire. IT WILL PAY IOD IF 7 IOD WANT A ROUND THE WORLD FineViolin IN to send for our latest TWELVE MONTHS catalog and special Remarkable THE this year's purchases. Our list of Itinerary; collection is the only one of Departure August OLLVER importance in America and 5th, $4,850 TOURS comprises well-conditioned and Seven Months Tour in October, c OMPANY authenticated specimens of Stra- $2,750 divarius, Guarnerius and other (The Best in Travel) masters. famous Write for details and booklet. Early appli- HEALY cation necessary. LYON & 420 Boylston Street, Boston. No. 1. ADAMS ST., - CHICAGO 25 CLEANSING OF FINE* GOWNS AND FROCKS WRAPS and GARMENTS HIGH CLASS WORK Also DYEING and CLEANSING of All Kinds of Clothing Portieres Draperies Blankets Lace Curtains Rugs Silks Satins Woolens Gloves Ostrich Feathers Real Laces by LEWANDOS 1829-1909 Americas Greatest Cleansers and Dyers Worcester Shop 3 Pleasant Street Telephone 1622 DELIVERIES BY OUR OWN MOTORS AND CARTS LEWANDOS NEW YORK SHOP 557 FIFTH AVENUE Also Boston Philadelphia Washington Albany Providence Newport Hartford New Haven Bridgeport Lynn Cambridge Roxbury and Watertown 26 - "VIII The Siegfried-Motive (in the horns and bass-trumpet- afterwards in the trumpets). * ' " lX h( M°TIVH of . Siegfried the Hero (a : . rhythmic modifica- tionf of/ ( J , Siegfried's horn-call/ in all the brass). h Brunnhii.de-Motive (in the "™ u t clarinet and English-horn). Ut all these the only one which keeps constantly recurring in one form or another is the Death-Motive, either in its original minor shape ° r m the ma r mode ' ,?~f J° as the 'Motive of Glorification in Death This music on Siegfried's death comes to no definite close in the drama itself, but merges gradually into the third, and final scene of the act, which ends with Brunnhilde's dying speech over the hero's remains, her self-immolation, and the mystic shadowing forth of Rag- narok, or the Dusk of the Gods {Gotterdammerung), from which the drama takes its name. " * "Dusk of the Gods" was performed for the first time at the Festival Theatre m Bayreuth, August 17, 1876. The cast was as follows- Siegfried, Georg Unger; Gunther, Eugen Gura; Hagen, Gustav Siehr; Albench, Carl Hill; Brunnhilde, Amalia Friedrich-Materna ; Waltraute, Luise Jaide; The Three Norns, Johanna Jachmann-Wagner, Josephine Scheffsky, Friedericke Gnin; The Rhine Daughters, Lilli Leh- mann, Marie Lehmann, Minna Lammert. Hans Richter conducted. The first performance in America was at the Metropolitan Opera House, New York, January 25, 1888. Siegfried, Albert Niemann; Gunther, Adolf Robinson; Hagen, Emil Fischer; Alberich, Rudolph von Milde; Brunnhilde, Lilli Lehmann; Gutrune, Auguste Seidl- Kraus; Woglinde, Sophie Traubmann, Wellgunde, Marianne Brandt Flosshilde, Louise Meisslinger (the Three Rhine Maidens). Anton Seidl conducted. The Waltraute and Norn scenes were omitted. They were first given at the Metropolitan, January 24, 1899. Mme. Schumann-Heink was then the Waltraute, also one of the Norns. The other Norns were Olga Pevny and Louise Meisslinger. The first performance in Boston was at the Boston Theatre on April 5, 1889. The cast was as follows: Siegfried, Paul Kalisch; Gunther, Joseph Beck; Hagen, Emil Fischer; Brunnhilde, Lilli Lehmann; Gutrune, Louise Meisslinger; The Rhine Daughters, Sophie Traub- mann, Felicie Kaschoska, Hedwig Reil. Anton Seidl conducted. The original text of "Gotterdammerung" was written in 1848, and the title was "Siegfrieds Tod." This text was remodelled before 1855. The score was completed in 1874. This funeral march music entitled "Siegfried's Death" was played in Boston by Theodore Thomas' orchestra February 19, 1877. * See towards the end of the notice of "Brunnhilde's dying speech." Miss ANNIE COOLIDGE DUST'S , 7 th Yea, The Boston Symphony Orchestra Programme FROEBEL SCHOOL OF KINDER- For the twenty-four Boston concerts, with Historical and Descriptive Notes by Philip Hale. Bound GARTEN NORMAL GLASSES copies of the Programme for the entire season can be had at $2.00 by applying before the last concert. Pierce Building, Copley Square, Boston, Mass. Address all communications to Regular two-year course. Post-graduate and non- professional course. Every woman should have this F. R. COMEE, training, whether she teaches or not. Symphony Hall, Boston. 27 The Ride of the Valkyries from "The Valkyrie," Act III., Richard Wagner Scene i • • mountain top. A pine wood is The scene is the summit of a rocky cave; above this the rock on the right. On the left is an entrance to a open at the back. Clouds rises the highest. The view is wholly few Valkyries — now and then fly by, as though driven by a storm. A dressed in full in "The Ring" they are daughters of Wotan and Erda,— armor, await their sisters, who come through the air on horseback, bring- to carry to ing slain warriors; for it is the mission of the Valkyries Walhalla the dead bodies of heroes fallen in battle, and these heroes will be the protectors of the gods. In the old Icelandic mythology, "numerous virgins are in Valhalla, the paradise of heroes. Their business is to wait upon them, and they are called Valkyrior. Odin also employs them to choose in battle those who are to perish, and to make the victory incline to whatever side he pleases." In the Prose Edda they are described as servants in Valhalla. It is their duty to bear in the drink and take care of the drinking-horns and whatever belongs to the table. "They are called Valkyrjor. Odin sends them to every field of battle, to make choice of those who are to be slain, and to sway the victory." They are named in the "Grfmnis-mal" (Grimnir's Lay) Hrist, Mist, Skeggold, Skogul, Hildur, Thrudur, Hlokk, Herfjotur, Goll, Geirolul, Randgrid, Rad- grid, and Reginleif. THE LENOX HOTEL Boylston and Exeter Streets, BOSTON. most comfortable and con- nHEvenient hotel in Boston. Easy access to theatres, shopping districts and railroad stations. Beautifully and cosily appointed, with an atmosphere of refinement, and cuisine unexcelled. Located in the exclusive Back Bay District. Here will be found every convenience for transient as well as the permanent guest. 250 rooms, singly or en suite. Fireproof. Under the Management of Ainslie & Grabow Company 28 . PADEREWSKI FUND FOR AMERICAN COMPOSERS COMPETITION OF 1909 The following prizes are offered for the current year for the best compositions submitted by American composers : 1 One thousand dollars for a Symphony or Symphonic Poem for full Orchestra. 2. Five hundred dollars for a Concert Piece for Chorus and Orchestra, with or without solo voice parts. 3. Five hundred dollars for a String Quartet, or for a Quartet for Piano and Strings, or a Quintet or Sextet for any combination of instruments. The term "American Composers'' is restricted to those born in the United States of America. The compositions offered for prizes are to be submitted on or before September i, 1909, and will be passed upon by the Judges appointed by the Trustees, namely: — Messrs. B. J. Lang, G. W Chadwick and Horatio Parker. The decision of a majority of the Board of Judges is to be bind- ing on all parties concerned. The compositions are to be sent anonymously, and the name of the composer is to be contained in a sealed envelope, forwarded with the composition. Illegible manuscripts will not be considered. No composition shall be eligible for a prize which has been pub- lished, or which has been performed in public or private. The compositions sent will remain the property of the com- posers, and will be returned to them at the end of the competition, if so requested by them. All communications in reference to the competition should be addressed to JOHN A. LOUD, Secretary, 6 Newbury Street, Boston, Mass. 20 —: In "Dusk of the Gods" they are named Briinnhilde, Gerhilde, Ort- linde, Waltraute, Schwertleite, Helmwige, Siegrune, Grimgerde, Ross- weisse. Wagner made the arrangement of this excerpt for concert use. It is in B minor, Lebhaft (lively), 9-8, and is based on the theme which suggests the bold and energetic flight of the Valkyries speeding their horses through the air. * * Wagner sketched the plot of the "Ring" as early as 1848. He wrote Uhlig in 1852: "The introductory evening is really a complete drama, quite rich in action; I have finished fully half of it. 'Die Walkiire' entirely." In August, 1854, he was at work on the sketch of the score of "Die Walkiire," and the sketch was finished in December. In February, 1855, he had almost finished the scoring of Act I. when he was called to conduct a season of Philharmonic Concerts at London. He began work again on the Seelisberg, near Zurich, but he was sick and his wife was sick, and he was worried beyond endurance. He wrote Liszt "'The Walkiire' I have now with difficulty completed to the middle, including a clear copy. Now I have been kept from work for eight days by illness ; if this thing continues, I shall soon despair of ever elaborating my sketches and completing the score." He sent the first two acts to Liszt on October 3, 1855, and said: "This representation on paper will probably be the only one which I shall ever achieve with this work, for which reason I linger over the copying with satisfaction." Liszt immediately answered: "Dearest Richard, you are truly a divine man! . . . When we meet, more about your magnificent, marvellous work." And the Princess von Wittgenstein assured Wagner that she had wept tears of sensibility, "bitter tears over the scene between Sieg- mund and Sieglinde! That is beautiful, like eternity, like earth and heaven." The last act was finished in April, 1856. Wagner wrote Liszt: "I am extremely eager to know how the last act will affect you; for beside you I have no one to whom it would be worth while to communicate this. It has turned out well—is probably the best I have so far written. A terrific storm—of elements and of hearts which gradually calms down to Briinnhilde's magic sleep." "Die Walkiire" was performed for the first time, and against the wish of the composer, at the Royal Court Theatre, Munich, June 26, 1870, when the cast was as follows: Siegmund, Heinrich Vogl; Hunding, Bausewein; Wotan, August Kindermann; Sieglinde, Teresa Vogl; Ute&er&eim ikfjool of Votai Jflusic Ten miles from Boston, AUBURNDALE, MASS. Five miles from Wellesley, Mrs. MAY SLEEPER RUGGLES, Principal Contralto and Voice Teacher, Boston, Studio 602 Pierce Building, Copley Square Studio Telephone, Back Bay 4176-2. Uederbeim Telephone, Newton West 373-4 LIEDERHEIM offers a unique plan for education of SINGERS ; a congenial HOME, and SAFE school for young ladies ; limited numbers ; personal guidance ; unusual musical opportunities ; strong Advisory Board of eminent musicians and educators. Send for PROSPECTUS which defines LIEDERHEIM'S advantages. Write as your desires and arrange for interview. LIEDERHEIM will satisfy you, 30 Briinnhilde, Miss Stehele; Fricka, Miss Kaufmann. Wtillner conducted. The performance was a poor one. Ludwig II. was impatient to hear the music drama, and Wagner, disgusted at the premature performance of "Das Rheingold" a year before at Munich (September 22, 1869) would have nothing to say about the interpretation. The first authorized performance of "Die Walkure" was at the Festival Theatre at Bayreuth August 14, 1876, when the cast was as follows: Siegmund, Albert Niemann; Hunding, Joseph Niering; Wotan, Franz Betz; Sieglinde, Josephine Scheffsky; Fricka, Fried- ericke Gruen; Briinnhilde, Amelia Friedrich-Materna. The first performance in America was at the Academy of Music, New York, April 2, 1877: Siegmund, Bischoff; Hunding, Blum; Wotan, Preusser; Sieglinde, Pauline Canissa; Fricka, Mme. Listner; Briinnhilde, Mme. Pappenheim. Adolf Neuendorff conducted. The first performance in Boston was at the Boston Theatre, April 16, 1877, with Eugenie Pappenheim as Briinnhilde, Pauline Canissa as Sieglinde, Miss Grimmenger as Fricka, A. Bischoff as Siegmund, Felix Preusser as Wotan, A. Blum as Hunding. Adolf Neuendorff con- ducted. "Wotan's Farewell and the Fire Charm" was first performed in Boston from manuscript at a Thomas Concert, January 20, 1875. Franz Remmertz was the Wotan. "The Ride of the Valkyries" was performed in Boston by Theodore Thomas' orchestra as early as December 6, 1872. WORCESTER MUSIC TEACHERS' DIRECTORY. BARITONE. singing. FRANK EDWIN MUZZY, - teacher of Pierce Building, Copley Square, Boston. In Worcester, Mondays, Knowles Building. PIANISTE and TEACHER. Hemenway Chambers, Mrs. CAROLYN KING HUNT, BOSTON. 341 Day Building, Worcester. Friday Afternoons and Saturdays. VOICE CULTURE. CAROLINE WOODS MU WfiLL, Jean de Reszke Method. 68 Knowles Building, 518 Main Street. Musical Director of Worcester Theatre. Teachef of VioIin- DANIEL SILVESTER, Studio t Room 59, 5 J 8 Main Street. Telephone 285 \- *. 31 MUSICAL INSTRUCTION. TEACHER OF SINGING. Miss CLARA E. MUNGER, NEW CENTURY BUILDING, 177 Huntington Avenue, Boston. TENOR- BARITONE. Pupil of Professor Jachman-Wagner, Berlin, and Professor Galliera, Milan, Italy. Training and Finishing of Voice. KARL DOERING School for Grand Opera and Oratorio. STEINERT HALL, ROOM 27. Open Monday, October 12. Send for new Prospectus. TEACHER OF SINGING. 602 Pierce Building, Miss PRISCILLA WHITE, Copley Square, BOSTON. Tuesdays and Fridays at Lasell Seminary. TEACHER of SINGING. E. PRESSON MILLER, 1013 Carnegie Hall, NEW YORK. Telephone, 1359 ColumbtM. Tenor Soloist and Teacher. CLARENCE B. SHIRLEY, Concert and Oratorio. Studio, Huntington Chambers, Boston. HELEN ALLE/NI HUNT, BOSTON MUSICAL BUREAU. Established 1899. CONTRALTO SOLOIST. 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