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, - Ticket Office, 1492 , „ Telephones^ i [^Back Bay j Administration Offices. 3200 ( TWENTY-NINTH SEASON, 1909-1910

MAX FIEDLER, Conductor

Programme af tijp Twenty-fourth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, APRIL 29 AT 2.30 O'CLOCK

SATURDAY EVENING, APRIL 30 AT 8.00 O'CLOCK

C/

COPYRIGHT, 1909, BY C. A. ELLIS

PUBLISHED BY C. A.ELLIS, MANAGER

1797 Mme. TERESA CARRENO On her tour this season will use exclusively

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Twenty- fourth Rehearsal and Concert

FRIDAY AFTERNOON, APRIL 29, at 2.30 o'clock

SATURDAY EVENING, APRIL 30, at 8 o'clock

PROGRAMME

Beethoven .... Symphony No. i, in C major, Op. 21

I. Adagio molto ; Allegro con brio. II. Andante cantabile con moto. III. Menuetto: Allegro molto e vivace; Trio. IV. Finale: Adagio; Allegro molto e vivace.

Beethoven . . Symphony No. g, with Final Chorus on Schiller's "Ode to Joy," Op. 125

I. Allegro, ma non troppo, un poco maestoso. II. Molto vivace: Presto. III. Adagio molto e cantabile. IV. Presto. Allegro assai. ^ Presto. Baritone Recitative.

Quartet and Chorus : Allegro assai. Tenor Solo and Chorus: Allegro assai vivace, alia marcia' Chorus: Allegro assai. Chorus: Andante maestoso. Adagio, ma non troppo, ma divoto. Allegro energico, sempre ben marcato. Quartet and Chorus: Allegro ma non tanto: Prestissimo.

SOLOISTS Mrs. MARY HISSEM DE MOSS, Soprano Miss MARGARET KEYES, Contralto Mr. BERRICK VON NORDEN, Tenor Mr. FREDERICK WELD, Bass And the CHORUS OF THE CEQLIA SOCIETY

There will be an intermissioa of ten minutes before the Ninth symphony

The doors of the hall will he closed during tJie performance of each number on the programtne. Those who wish to leave before the end of the concert are requested to do so in an interval be- tween the nu7nbers.

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1802 —

Symphony No. i, in C major, Op. 21 Ludwig van Beethoven

(Born al Bonn, December 16 (?), 1770; died at Vienna, March 26, 1827.)

Beethoven had composed two works for orchestra before the completion and performance of his first season,—the Concerto for pianoforte and orchestra, Op. 15 (1796); the Concerto for pianoforte and orchestra, Op. 19 (1794-95). It is probable that Beethoven meditated a symphony in C minor. There are sketches for the first movement. Nottebohm, studying them, came to the conclusion that Beethoven worked on this symphony in 1794 or early in 1795. He then abandoned it and composed the one in C major. Whether he used material designed for the abandoned one in C minor, or invented fresh material, this is certain: that the concert at which the Symphony in C major was played for the first time was announced in the Wiener Zeitung, March 26, 1800. It should be observed, however, that one of the phrases in the sketches for the earlier symphony bears a close resemblance to the opening phrase of the allegro molto in the Finale of the one in C major.

It is thought that Beethoven composed a few symphonies in Bonn, and one of these supposed symphonies was found and played in Ger- many last season. The first performance was at a concert given by Beethoven at the

National Court Theatre, "next the Burg," Vienna, of April 2, 1800. The program was a formidable one:

1. Grand symphony by the late Chapelmaster Mozart. 2. Aria from Haydn's "Creation," sung by Miss Saal.* 3. A grand concerto for pianoforte, played and composed by Beethoven.

* Miss Saal was the daughter of a bass, Ignaz Saal, a Bavarian, who was a favorite operatic singer at Vienna. She was the first to sing the soprano parts in Haydn's "Creation" and "Seasons." In 1801 she was engaged as a member of the National Opera Company, with a salary of fifteen hundred florins. She married in 1805, and left the stage. The picture of her made early in the nineteenth century is said to be unflattering to the verge of caricature.

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1804 4- A septet for four strings and three wind instruments, composed by Beethoven and dedicated to her Majesty the Empress, and played by Messrs. Schitppanzigh, Schreiber, Schindlecker, Bar, Nickel, Matauschek, and Dietzel. 5. A duet from Haydn's "Creation," sung by Mr. and Miss Saal. 6. Improvisation by Beethoven on Haydn's "Emperor's Hymn." 7. A new grand symphony for full orchestra by Beethoven.

The concert began at 6.30 p.m. The prices of admission were not raised. It was the first concert given in Vienna by Beethoven for his own benefit. A correspondent of the Allgemeine Musikalische Zeitung

(October 15, 1800) gave curious information concerning the perform-

ance. It is not known which concerto Beethoven played; but the cor-

respondent said it contained many beauties, "especially in the first two movements." The septet, he added, was written "with much taste "and sentiment." Beethoven improvised in masterly fashion. "At the end a symphony composed by him was performed. It contains much art, and the ideas are abundant and original, but the wind instruments

are used far too much; so that the music is more for a band of wind instruments than an orchestra." The performance suffered on account of the conductor, Paul Wranitzky.* The orchestra men disliked him, and took no pains under his direction. Furthermore, they thought Beethoven's music too difficult. "In accompaniment they did not take the trouble to pay attention to the solo player; and there was not a trace of delicacy or of yielding to his emotional desires. In the second movement of the symphony they took the matter so easily that there was no spirit, in spite of the conductor, especially in the

performance of the wind instruments. . . . What marked effect, then, can even the most excellent compositions make?" The septet gained

* Paul Wranitzky (or Wraniczky), violinist, composer, conductor, was born at Neureisch, in Moravia, in 1756; and he died September 28, 1808, as conductor of the German Opera and Court Theatre at Vienna. He was a fertile composer of operas, symphonies, chamber music.

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1805 quickly such popularity that it nettled the composer, who frequently said in after-years that he could not endure the work. The symphony soon became known throughout Germany. The parts were published in 1 80 1, and dedicated to Baron von Swieten. The score appeared in 1820, and, published by Simrock, it was thus entitled: " I ""^ Grande Simphonie en Ut Majeur (C dur) de Louis van Beethoven. (Buvre XXI. Partition. Prix 9 francs. Bonn et Cologne chez N. Simrock. 1953." Beethoven offered to the publisher Hofmeister the Septet,

Op. 30, the Pianoforte Concerto, Op. 19, the Pianoforte Sonata, Op. 22, and the symphony, for seventy ducats, about one hundred and forty dollars, and he offered the symphony alone for about fifty dollars. He wrote to the publisher: "You will perhaps be astonished, that I make no difference between a sonata, a septet, and a symphony, but

I make none, because I think that a symphony will not sell so well as a sonata, although it should surely be worth more."

The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, and strings.

I. Introduction: Adagio molto, C major, 4-4. Allegro con brio,

C major, 4-4. . The adagio begins in an unexpected fashion with the chord of the dominant seventh in F major, attacked strongly and followed by the chord of F major. The second measure is in the key

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J 47 Tremont Street^ Boston. 180« of C major, but the third modulates directly to G major. The tonality of the movement is at last established, and the introduction soon leads to the main body of the movement. II. Andante cantabile con moto, F major, 3-8. The first theme, played by the second violins, is used for canonic imitation. A second theme is played by the strings, as in response to the first. III. Menuetto: Allegro molto e vivace, C major, 3-4. Oulibicheff says that Beethoven, in order to reveal himself, waited for the minuet. "The rhythmic movement is changed into that of a scherzo after the manner instituted by the composer in his first sonatas." It begins with a scale in G, and the rhythm is like unto that of the scherzo of the Seventh Symphony. A second phrase, which modulates into B-flat minor, follows immediately, and soon brings the repetition of the first theme, this time for full orchestra. The trio was certainly original at the period. Wind instruments give repeatedly the chord of C major. Violins reply with a rapid figure. This dialogue lasts for several measures; it is repeated; then there is a new dialogue between the same groups, but in the tonality of the dominant. IV. Finale: there is a very short introduction, adagio, C major, 2-4. The first theme of the following allegro molto e vivace, C major, 2-4, is reproduced almost exactly from the sketch of 1795 that has already been mentioned. The symphony was played in Boston in the season of 1840-41. The last performance at a concert of the Boston Symphony Orches- tra in Boston was on April 18, 1908.

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1807 Symphony in D minor, No. 9, with Final Chorus on Schiu.er's "Ode to Joy," Op. 125 Ludwig van Beethoven

(Bom at Bonn, December 16 (?), 1770; died at Vienna. March 26, 1827.)

This symphony, for which sketches were made as early as 18 15, was completed about February, 1824. The first performance was in the Karthnerthortheater, Vienna, May 7, 1824. The solo singers were Mmes. Henriette Sontag and Karoline Unger, Anton Haitzinger, and J. Seipelt. The Musikverein assisted in the performance. Ignaz Schuppanzigh was the concertmaster, and Michael Umlauf con- ducted. The first performance in the United States was at a concert of the Philharmonic Society of New York, a festival concert at Castle Garden, May 20, 1846. The quartet was made up of Mme. Otto, Mrs. Boulard, Mr. Munson, Mr. Mayer. George lyoder conducted. The first performance in Boston was at a concert of the Germania Musical Society, assisted by members of the Handel and Haydn So- ciety, February 5, 1853, when the solo singers were Anna Stone, Miss

S. Humphrey, J. H. Low, Thomas Ball. The program also in- cluded Mozart's overture to "The Magic Flute"; Viotti's Concerto, B minor, No. 24, for Violin (Camilla Urso) ; and Mendelssohn's Con- certo, D minor, for Piano, Op. 40 (Alfred Jaell). Carl Bergmann con- ducted. The symphony was repeated at a farewell concert of the

Germania Musical Society, April 2, 1853, with the same solo singers.

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1800 The symphony, dedicated to Friedrich Wilhelm III., King of Prussia, is scored for one piccolo, two flutes, two oboes, two clarinets, two bas- soons, one double-bassoon, four horns, two trumpets, three trombones, kettledrums, bass drum, triangle, cymbals, and the usual strings. The first movement. Allegro, ma non troppo, un poco maestoso, D minor, 2-4, begins with a "soft rustling on the fifth A-E (second vio- lins, violoncellos, horns) , while the first violins, violas, and double- basses repeat hurriedly a scrap of the chief theme of the movement. The full orchestra, after sixteen measures, gives out this theme, fortis- simo, in unison and octaves, in D minor. After this theme has been fully exposed, the fifths and fragments return and are followed by an- other exposition of the theme, this time in B-flat major. Although the movement, as a whole, is strictly in the sonata form, the plan of its first part—and consequently of its third part also—is new. The regular subdivisions of a symphonic first part—first theme, second theme, theme, and conclusion theme, with their respective subdivisions—are nowhere to be recognized; in their stead we find a continuous melodic development which takes up the whole of the first part of the move- ment. To be sure, this long, continuous development divides itself up into several distinct periods—eight in number—each one of which periods is recognizable as a separate theme. But there is no such contrast in character between these eight themes as one finds, say,

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1811 between the energetic first theme, the cantabile second theme, and the passage work subsidiaries in most symphonic first movements; neither are the separate themes very distinctly rounded oflF and melodically complete in themselves. One flows into the other so naturally, each successive one growing out of the preceding one, that with all their difference in melodic and expressive character they appear to be but successive sections of one great melodic development." * There is a long and elaborate free fantasia. The third part begins fortissimo in the full orchestra with a return of the chief theme in D minor, but instead of the introductory fifth there is now a major chord of the sixth.

The development is a regular repetition of the first part with the cus- tomary differences of tonality. The coda is long and elaborate. The peroration, based on a variant of a portion of the chief theme, brings the end in D minor. The second movement, Molto vivace, D minor, 3-4, is in fact a scherzo, although it is not so named in tlie score. It is built on three leading themes, and the peculiar rhythm of the "dotted triplet" is maintained either in the melody or in the accompaniment, A short introduction marks this rhythm. After two measures of silence, the first theme, a subject treated in a fugued manner, is announced by the second violins. The second theme is a more legato melody given to wind instruments, while the strings keep up the triplet rhythm. The third is a bolder one given to wind instruments against an organ-point for strings with the characteristic rhythm. In the working-out there are changes from "the rhythm of four beats" to "the rhythm of three beats." The trio is a presto, D major, 2-2, on a theme which has some resemblance to that of the finale, and there is a singular little counter- theme. This trio is developed at great length. The Scherzo and the

* From Mr. W. F. Apthorp's Notes published in the Program Book of the Boston Symphony Orches- tra, April 28, 1900, pp. 919, 920.

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1813 trio are both repeated twice in alternation with each other. Berhoz wrote of this movement: "It is especially by rhythmic means that Beethoven has known how to spread so much interest over this charm- ing bit of badinage: the theme is so full of vivacity, when it presents itself with its fugued response after four measures, it sparkles with verve afterwards when the response, appearing a measure sooner, sketches out a ternary rhythm instead of the binary rhythm adopted at first. The middle of the Scherzo is taken up with a presto with two beats to the measure of a thoroughly countrified joviality, the theme of which unfolds itself on an intermediate organ-point, now on the tonic, now on the dominant, with the accompaniment of a counter-theme which harmonizes equally well with both held notes, tonic and domi- nant. This melody is brought back at last by a phrase on the oboe, of ravishing freshness, which, after swaying to and fro for a while on the chord of the dominant major 9th of D, blossoms out in the key of F natural in a way that is as graceful as it is unexpected. One finds here a reflection of those tender impressions so dear to Beethoven, that are called up by the sight of calm, smiling Nature, the purity o^ the air, the first beams of a spring sunrise." The third movement. Adagio molto e cantabile, B-flat major, 4-4, has been described as "a double theme with variations." To quote Berlioz again: "In the Adagio cantabile the principleof unity isso little observed that one might see two distinct movements in it rather than one. After the first melody in B-flat major and 4-4 time comes an- other absolutely difl"erent melody in D major and 3-4 time. The first theme, slightly altered and varied by the first violins, makes a new appearance in the original key, to bring back the melody in 3-4 time once more, without alteration or variation, but in the key of G major;

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musical character entitles it to be incor- main theme of a composition. The new Pedal Device. enablln|{ porated in Steinway Pianos. even the novice to secure the proper effects from the sustainin|( pedal of This decision was a logical one, for in the piano. the field of piano-players the leadership The combination tracker • board, playinii both 63 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 $1250. Other PIANOLA unrivalled. Pianos $550 and upwards.

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Branches in All the Principal Cities of New England 1815 after which the first theme establishes itself definitely, and does not permit the rival phrase to share with it the listener's attention an> more. One must hear this marvellous Adagio several times to accus- tom one's self wholly to so singular an arrangement. As for the beaut)' of all these melodies, the infinite grace of the ornaments with which they are covered, the feelings of melancholy tenderness, passionate faintness, dreamy religiosity they express, if my prose could only give an approximate idea of them, music would have found a rival in written speech such as the greatest of poets himself would never succeed in pitting against her. It is an immense work, and when you have en- tered into its mighty charm, you can only reply to the criticism re- proaching the composer for his violation of the law of unity: so much the worse for the law!" After two introductory measures, the strings sing the first theme. The final measure of each successive phrase is repeated by clarinets, bassoons, and horns, which, after the fourth phrase, add a sort of coda. There is a modulation to D major, and the second theme is given out. Andante moderato, 3-4, at first by sec- ond violins and violas. Mr. Apthorp says: "Nothing could be in stronger contrast than these two themes: the first all profound senti- ment, the most expresisive melody in all Beethoven's orchestral writ- ing; the second graceful, moodily serene and beautiful, but wholly

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1817 — without the emotional depth of the other. And what is strangest of all is that these two themes have absolutely nothing to do with each other; they are not only entirely different in mood, but there is no musical connection discoverable between them, to explain their jux- taposition; all we can say is that the first dies away to make place for the second, and that the second dies away^ without any real cadence, but with a sudden modulation back to B-flat major, to make way for a return of the first." The return to the first tempo brings in the first variation of the first theme, a florid one for first violins. There is a modulation to G major. The Andante moderato returns, and the second theme is repeated, now by flute, oboe, and- bassoons. The modula- tion is to E-flat major and the Adagio. There is a second variation, a contrapuntal one, of the first theme, for wind instruments. The third variation (Lo stesso tempo, 12-8) is in B-flat major, and wood- wind instruments sing the theme, while the violins have a more elab- orate variation than before. The Coda is announced by imperious calls of the orchestra, E-flat major, answered by contrapuntal imita- tions on the opening figure of the first theme in E-flat minor. There is a development of the first theme in B-flat major. The call is again heard, minor harmonies answer, and there is again melodious develop- ment of the first theme to the end of the movement. The Finale begins with several orchestral sections. Presto, D minor, 3-4, a stormy blast for wind instruments and kettledrums. A phrase "in the manner of a recitative but in tempo"—for violoncellos and double-basses follows. Again the furious orchestral blast. The or- chestra attempts to play the first eight measures of the first movement, but "the basses come in with their recitative, as if to say sternly: 'No! this will not do!'" The orchestra fares no better with a few measures of the Scherzo, but the basses will not have it. "The orchestra makes

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another attempt, this time with the opening measures of the Adagio; the basses seem mollified for a moment, but soon rise once more in in- dignant protest. The wood-wind then suggests the theme of Schiller's 'Ode to Joy'; the basses spring up to accept it in joyous recitative, and immediately proceed to hum it over, as it were, to themselves. " * This theme, Allegro assai in D major (4-4 time), is of a simple folk-

song character. It is first sung by violoncellos and double-basses; it

is then developed contrapuntally, first for three voices, then for four.

The theme is at last played in plain harmony by the whole orchestra.

There is development, and there is a reminiscence of one of the themes

in the first movement. The savage gust, Presto, is repeated by full orchestra. The attack contains every degree of the scale of D minor. The baritone then enters with this recitative accompanied by the

orchestra : O brothers, those sad tones no longer! Rather raise we now together our voices, And joyful be our song If

The Finale now becomes a set of variations for quartet, chorus, and orchestra on two themes; the first, known as the Joy theme, has al- ready been sung by the violoncellos and double-basses; the second comes in later, and is first given out in unison by tenors, basses, and the third trombone to the words: "Oh, then love ye one another. Wel- come all the race of man!" which hardly translates Schiller's "Seid umschlungen, Millionen! Diesen Kuss der ganzen Welt!" Allegro assai, D major, 4-4. The baritone, with the encouragement of the basses of the choruses at the beginning, sings the first theme, accompanied by strings pizzicati, and contrapuntal parts for oboe and

* From Mr. Apthorp's Notes. 1 1 give here the English text used, with a few slight verbar changes for the benefit of the singers, at this concert. Mr. Apthorp's literal translation of Schiller's ode is printed later in the course of this article. UNIVERSITY TRAVEL

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1821 ; ! — — clarinet. The second phrase of the theme is repeated by the chorus, altos, tenors, and basses, with full orchestra (without trombones) :—

Joy, thou star from heaven appearing, Daughter from Elysium We approach thy light so cheering, To thy altar now we come.

Thou hast power to bind together What the world would rend apart. And, where'er thy light wing flutters, Love and peace are in the heart.

After four orchestral measures the quartet has the same theme in four-part harmony. The full chorus repeats the second phrase:

He who loyal friend possesses, Loving with fidelity He who faithful wife caresses, Let him join our jubilee!

If he but one other only In the world can call his own. But, if no one e'er hath loved him, Leave him weeping and alone.

There is again a short orchestral ritornello. The quartet now sings a figural variation on the theme. The chorus repeats the second phrase as before: —

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1823 — ! Happiness alPe'er are taking From our Mother Nature's breast; And the fount is ever flowing, Good and wicked all are blest.

And her ever fond devotion No return of aught demands; E'en the worm has joy of motion, Front of God the seraph stands.

The words "Front of God the seraph stands" are repeated in massive chords. There is a sudden jump from the chord of A major to the dominant chord of B-flat major. Allegro assai vivace, alia Marcia, B-flat major, 6-8. This variation is a march movement for wind instruments. The strings enter softly between the phrases. After a while the tenor sings, while the march is going on: Joyful as the brightness shininf From the sun in heaven on hifh, Joyful, now no more repining. Brothers, victory is nigh

The male chorus comes in toward the end. There is a long, contra- puntal working out of the theme, in the shape assumed in the preceding march. The development is more and more stormy, until there are quiet hints from wood-wind instruments at the theme in its original form—in B major, in B minor, D major. The full chorus then repeats the theme in its original form, in four-part harmony. Wind instru- ments double the voices, and the strings have brilliant figuration.

Joy, thou star from heaven appearing, Daughter from Elysium! We approach thy light so cheering, To thy altar now we come.

Thou hast power to bind together What the world would rend apart; And, where'er thy light wing flutters. Love and peace are in the heart.

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Andante maestoso, G major, 3-2 (changing later to Adagio ma non troppo, ma divoto, G minor) :

Oh, then love ye one another, Welcome all the race of man Brothers, high above yon span Dwells a kind and loving Father.

Then ye millions, kneel, and, praying, Fear the Maker of the world. In the heavens his sceptre swaying, See the angels him obeying.

The ending is on the dominant seventh of D major. Allegro energico, sempre ben marcato, D major, 6-4. The chorus, with figuration in the orchestra, sings a fugue on two subjects. The leading subject is the first theme ("Joy, thou star from heaven appear- ing"). The counter-subject is the second theme ("Oh, then love ye one another"). Free choral development comes afterward. Allegro ma non tanto, D major, 2-2. To quote Mr. Apthorp: "The orchestra now takes up the first theme in nimble diminution (eighth notes instead of quarters) and canonical imitation, and the solo quartet, later the chorus also, proceeds to new dithyrambic developments upon

the same. The text is again the first stanza of the Ode. This almost

madly joyous impetuosity is twice interrupted by a few measures of Poco Adagio; the first time, for the full chorus; the second time, as an extended polyphonic cadenza for the solo quartet, in B major. Eight

transitional measures of Poco allegro, stringendo il tempo, sempre piii allegro lead to the closing section. Prestissimo in D major (2-2) time, in which the chorus goes stark mad with joy on the second theme, in diminution, and some figures borrowed from the preceding section.

It is like wild shouting and tossing up of hats! In the concluding ritornello the orchestra brings in the first theme once more, in its

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C. C. HARVEY CO. 144 BOYLSTON STREET 1826 ! —! ! ; ; ! ; ! , original shape and in diminution at the same time. As if the composer and every one else had lost their heads with jubilatiota, the wood-wind closes with an authentic cadence (from dominant to tonic) long after the strings and the other wind instruments have finished their cadence and got firmly settled on the tonic!" * * * Schiller's text and Mr. Apthorp's Hteral translation into English are here put side by side:

Freude, schoner Gotterfunken, Joy, beautiful spark of the gods, Tochter aus Elysium daughter from Elysium, Wir betreten feuer-trunken, we, fire-drunk, enter Himmlische, dein Heiligthum thy sanctuary, thou heavenly one Deine Zauber binden wieder, Thy magic binds together again Was die Mode streng getheilt; what Fashion has sternly sundered Alle Menschen warden Briider, all men become brothers Wo dein sanfter FlUgel weilt. where thy mild wing sways.

Wem der grosse Wurf gelungen, He who has won the great throw Eines Freundes Freund zu sein, of being the friend of a friend, Wer ein holdes Weib errungen, he who has won a sweet wife, Mische seinen Jubel ein let him mingle his rejoicing (with ours) Ja, wer auch nur eine Seele Yes, he who calls but a single soul Sein nennt auf dem Erdennmd! his own on the whole earth Und wer's nie gekonnt, der stehle and he who has not been able to do this, Weinend sich aus diesem Bund let him steal away weeping from this bond.

Freude trinken alle Wesen All beings drink joy An den Briisten der Natur; at Nature's breasts; Alle Guten, alle Bosen all good ones and all wicked Folgen ihrer Rosenspur. follow her rosy foot-prints. Kiisse gab sie uns und Reben, She gave us kisses, and the vine, Einen Freund gepriift im Tod; a friend proved in death Wollust ward dem Wurm gegeben, volup tuous pleasure was given to the worm Und der Cherub steht vor Gott. and the Cherub stands before God.

Froh, wie seine Sonnen fliegen Glad, as His suns fly Durch des Himmels pracht'gen Plan, through the gorgeous plain of heaven, Laufet, Briider, eure Bahn, run, brothers, run your path, Freudig, wie ein Held zum Siegen. joyfully, like a hero to victory.

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Seid umschlungen, Millionen Embrace one another, ye millions ! Diesen Kuss der ganzen Welt! this kiss to the whole world Briider! iiber'm Sternenzelt Brothers, above the starry tent Muss ein lieber Vater wohnen. must dwell a dear Father. Ihr stiirzt nieder, Millionen ? Ye throw yourselves down, ye millions? Ahnest du den Schopfer, Welt? Hast thou an inkling of thy Creator, O world ? Such' ihn uber'm Sternenzelt! Seek Him above the starry tent! TTeber Stern en muss er wohnen. Above stars must He dwell. * * *

In 1 817 there was correspondence between the Philharmonic Society of London and Beethoven with reference to the latter visiting England. George Hogarth in "The Philharmonic Society" (London, 1862) writes: "An offer was made to him of 300 guineas in consideration of his coming to London and superintending the production of two sym- phonies to be composed by him for the Society. In answer he de- manded 400 guineas, 150 to be paid in advance." One hundred guineas were for travelling expenses. "It appears from a minute of

the Directors in August, 18 17, that the previous offer was then repeated, but the arrangement was not carried into effect, Beethoven having ultimately abandoned the intention which he at one time entertained of visiting this country" (p. 18).

We read in Hogarth's history (p. 31) apropos of the first perform- ance in England of the Ninth Symphony, March 21, 1825, when the

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1828 program read: "New Grand Characteristic Sinfonia, Ms. with vocal finale, the principal parts to be sung by Madame Caradori, Miss Goodall, Mr. Vaughan, and Mr. Phillips; composed expressly for this Society"; "The composition of this Symphony was the result of a meeting of the Directors on the loth of November, 1822, at which it was resolved to offer Beethoven fifty pounds for a Ms. symphony, it being stipulated that it should be delivered during the month of March following, and that the composer should be at liberty to dispose of it at the expiration of eighteen months after its receipt. The money was immediately ad- vanced, but the Symphony was not received till long past the stipulated

not, till after it time— indeed, had been performed at Vienna. . . . The remuneration, therefore, received by him from the Philharmonic So- ciety was not only adequate, but ample, considering that the symphony had not only been performed, but published in score at Vienna, before the Society had it in their power to make any use of it." It should also be remembered that the Philharmonic Society at a meeting held on February 28, 1827, unanimously resolved "that the sum of ^100 be sent, through the hands of Mr. Moscheles, to some con- fidential friend of Beethoven, to be applied to his comforts and neces- sities during his illness." Beethoven, whose sufferings, according to Hogarth, were "aggravated by the fear of impending destitution which

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1829 haunted his mind," had applied through Stumpf, a harp manufacturer in London, and Moscheles to the Philharmonic Society, requesting the society to give a concert for his benefit. He also wrote to Sir George Smart. The Philharmonic Society sent the £ioo immediately, and Beethoven wrote, eight days before his death to Moscheles, thanking the society, hoping that the concert would not be abandoned, but that the ^loo should be deducted from the profits. But in the copy of this letter published in Dr. Kalischer's critical edition of Beethoven's letters (1909) there is no allusion whatever to this proposed deduction (Vol. II., p. 472). In the letter Beethoven expressed his emotion and heart- felt thanks. "Tell these worthy men that, if God restores me to health, I shall try practically to show my gratitude by works, and that I leave it to the Society to choose what I shall write for them. A whole sketched symphony (the loth) is in my desk, also a new overture, or even something else. As regards the concert which the Philhar- monic Society has resolved on giving for my benefit, I beg the Society not to give up this intention. In short, I shall try to fulfil every wish expressed by the Society, and never have I undertaken a work with such ardor as will now be displayed. May it only please God to re- store me soon again to health, and then I shall prove to those magnani- mous Englishmen that I know how to value their sympathy to me

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1830 in my sad condition, . . , The metronomized Ninth Symphony please hand to the Philharmonic Society. Enclosed find the markings." This letter differs materially from the one published by Hogarth. Why did Beethoven dedicate the symphony to the King of Prussia, and why did he allow the first performance to be in Vienna after he had made an agreement with the Philharmonic Society of London, and received his fee? These questions have not been answered. There is another singular thing about the Symphony. Hogarth says the sum oi ;^50 was "immediately" advanced. The directors voted this sum November lo, 1822; but there is a receipt in the British Museum signed by Beethoven and dated April 27, 1824, acknowledging the re- ceipt of ^50 for the symphony composed for the Philharmonic Society. Beethoven wrote to the Archduke Rudolph in the summer of 1823: "I am now writing a new symphony for England for the Philharmonic Society, and I hope to complete it within a fortnight. I cannot strain my eyes for long at a time." He wrote to Ries about the symphony,

September 5, 1823: "You can safely reckon on its soon being in Lon- don. My poverty compels me to write, otherwise I would not accept anything from the Philharmonic Society. I must therefore wait until the fee for the symphony has been sent to me. But to give proof of my love towards and confidence in this Society, I have already sent off the new—overture." This overture was "The Dedication of the House," Op. 124. It would seem, then, that Beethoven had forgiven the— Philharmonic Society for its characterization of the three overtures "The Ruins of Athens," "King Stephen," and "Zur Namensfeier, " delivered in 1815, as "unworthy" of the composer. For these overtures Beethoven re- ceived 75 guineas. In April, 18 19, he wrote that the "almost failure" of the three in London vexed him. "The fate they met with at the

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Philharmonic Society is inconceivable to me." In 1823, he asked Ries to "drive as good a bargain" as he could with the society for the "new overture." Beethoven dedicated his symphony to the King of Prussia, and wrote to him early in October, 1826: "The gracious permission of your Majesty to dedicate to you, in all humility the present work, affords me great happiness. Your Majesty is not only the father of your subjects, but also the patron of arts and sciences; so much the more, therefore, must your gracious permission rejoice me, as I am myself fortunate enough to count myself, as a citizen of Bonn, amongst your subjects.

I beg your Majesty to accept this work as a trifling token of the high esteem which I entertain for your virtues." The king answered, November 25: "Recognizing the value of your compositions, I was much pleased at receiving the new work which you have sent me. I thank you for this gift, and send you the enclosed diamond ring as a token of my sincere esteem." The ring, sent probably to Prince Hatz- feld, finally came into Beethoven's possession. The gem was not a diamond, but a reddish stone, valued by the court jeweller at 300 florins in paper money. In a letter to the Schotts, the publishers, early in 1826, Beethoven wrote: "With regard to the dedication of the Sym- phony, I will let you know my decision before long; it was settled to

dedicate it to the Tsar Alexander; but circumstances have occurred which cause this delay." A word about the reason of the first performance in Vienna. Beethoven wrote January 23, 1824, to the directors of the " Gesellschaf der Musikfreunde " at Vienna, asking whether the society could make use of some works by him, among them "a new symphony." Receiv- ing no encouragement, he turned to the General Intendant, Count von Briihl, at Berlin, to arrange a performance of the new works there. A group of Viennese amateurs and musicians then addressed him, begging him to have regard for the honor of the city, and not permit his "new masterpieces to leave the city of their birth." The address, which referred to the neglect of German music and the interest in foreigners,—Rossini then was the favorite composer, —was signed by thirty or more. Beethoven was greatly pleased by the compliment,

and arrangements were made for the concert of May 7. * * *

The sketch of the chief theme of the first movement of the Ninth

Symphony is found in one of Beethoven's note books of 18 16, and the chief theme of the Scherzo, intended then as a fugue for a symphony

in B-flat major, is in a note book of 18 15. He was then at work on the sonata, Op. 106, which was not completed until March, 1819. After the completion of the sonata, he worked until 1822 on the "Missa Solemnis." 1832 —

His notes in 1817-18 were of a general nature, or with regard to the first movement about which he was for a long time uncertain, for he hesitated about the form of the beginning of this movement. In 1822 measures which he evidently intended for the scherzo bear a close resemblance to the trio of the scherzo in the Second Symphony. According to the sketch books, he meditated two symphonies: one for England was to be purely instrumental; the other was the "Sinfonie allemand," "either with variations after the chorus when it entered, or without variations; the finale with Turkish music" that

is, triangle, cymbals, and bass drum—" and choral song." His work was interrupted by the composition of the thirty-three variations for piano- forte on a w?ltz by Diabelli, Op. 120. The first movement of the symphony occupied Beethoven till the middle of 1823. His plan en- larged itself as he worked. The second movement, Nottebohm tells us, was finished before the third, and the third before the fourth. The second was definitely planned about 1823. Beethoven wrote that the presto (Scherzo) should begin "immediately," without introduction, and he took again the theme of 18 15-17. The trio was changed only slightly afterward. The plan of the scherzo was determined about October, 1822. He first found the trio. The theme was written in A, then in D, and there was an indication "alia minuetto." There was a variation in G for the violin. The first theme of the Adagio was found in May-June of 1823.

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When Beethoven returned to Vienna in the fall of 1823, the symphony was practically finished with the exception of the finale with chorus. The idea of adding a chorus must have come to him in the course of his work, for there are sketches made in June or July, 1823, which are of a purely instrumental nature. These sketches were used for the string quartet in A minor, Op. 132. Even at Bonn, in 1792, he had thought of putting music to Schiller's Ode to Joy. The Fantasia for pianoforte, orchestra, and chorus. Op. 80 (about 1800), contains the germ of his first theme in the finale of the Ninth. This melody is found in a folk-song:

Freu dich sehr, o meine Seele, Und vergiss all Noth und Qual.

Wasielewski traces the "Joy" theme to Beethoven's song, "Kleine Bliimen, kleine Blatter" (1810). There are hints in a sketch book of 1798, 1814-15. In 1822 there was a sketch in ternary rhythm. After Beethoven had composed the vocal and instrumental varia- tions, he had much difficulty in finding the music for the recitative. He cudgelled his brains to find a suitable introduction of the ode. Schindler tells how joyful Beethoven was when he at last succeeded, how he cried out, "I have it, I have it." The symphony was completed about February, 1824. Beethoven had thought of it for eight years. Six years and a half passed after the first sketches of the first movement. If these preparatory sketches are not reckoned, the composition occupied Beethoven about a year. * * *

The program of the concert. May 7, 1824, was as follows: Over- ture, "Dedication of the House," Op. 124; "Three Grand Hymns for solo voices and chorus,"—these were the "Kyrie," "Credo," and "Agnus Dei " of the "Missa Solemnis," for the head of police, Sed- lintsky, obedient to the Archbishop of Vienna, had forbidden the titles of portions of a mass on a theatre program; the Ninth Symphony. The rehearsals were laborious, and the solo singers had great diffi- culty in learning their parts. Mmes. Sontag and linger begged

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1834 Beethoven to make changes in their music. Beethoven smiled, but was obdurate. He said that they had been spoiled by ItaHan music. The gentle Mme. Sontag answered, "Continue, then, to torture us!" The success of the symphony was immediate and immense. When the drums alone beat the scherzo motive, the audience applauded so that the orchestra could not be heard. At the end the enthusiasm was frenetic. Mme. Unger led Beethoven to the edge of the stage that he might see the crowd waving hats and handkerchiefs. He bowed and was very calm. According to an eye-witness, Mme. Grebner, who had sung in the chorus, and lived afterward at Brussels where Mr. Felix Weingartner talked "with her some years ago, Beethoven sat in the middle of the orchestra and followed the score. The success was unprecedented, but the net pecuniary result was the sum of about sixty dollars. Beethoven was incensed, and some days after accused Schind- ler and Duport of having swindled him. They were dining at a res- taurant with others. Umlauf and Schuppanzigh tried to convince Beethoven that his charge was absurd, for his nephew Carl and his brother Johann had watched the cashiers. Beethoven persisted, and Schindler, Umlauf, and Schuppanzigh left the table. Beethoven soon afterward wrote an outrageous letter to his secretary. Duport, however, organized another concert. May 23, 1874, for the performance of the symphony and other works,—Rossini's "Di tanti palpiti" was sung by David,—undertook all the expenses, and guaran- teed the composer the sum of five hundred florins, about one hundred dollars. Duport lost money, for the concert was at noon, an incon- venient hour. In the spring of 1824, Beethoven offered the symphony to Probst, of Leipsic, for publication, for six hundred florins. Later he wrote to the Schotts at Mayence, and named the same sum. The first performance outside of Austria was at Frankfort-on-the- Main, April i, 1825. The first performance at the Gewandhaus, Leip- sic, was on March 6, 1826; at London, March 21, 1825; at Berlin,

November 27, 1826; at Paris, March 27, 1831 ; at St. Petersburg, March 7, 1836; at Moscow, March i, 1863; at Brussels, April 27, 1874. Biilow led the first three parts at Milan in 1870, but the first performance of

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the whole symphony in Italy was at Milan, April i8, 1878. The first performance in Spain was at Madrid in 1878. *

The Ninth Symphony has been performed at concerts of the Boston Symphony Orchestra given in Boston: 1882, March 11. Singers, Mrs. Humphrey-Allen, Miss Mary H. How, Charles R. Adams, V. Cirillo. 1883, March 31. Miss Katherine Van Arnheim, Miss Gertrude Edmands, Jules Jordan, V. Cirillo. 1884, March 22. Mrs. Georg Henschel, Miss Louise Rollwagen, Theodore J. Toedt, Max Heinrich. 1886, March 27. Mme. Fursch-Madi, Miss Mary H. How, Theodore J. Toedt, Carl E. Martin. 1888, April 28. Mme. Kalisch-Lehmann, Miss Louise Meisslinger, Paul Kalisch, Emil Fischer.

1892, December 17. Miss Priscilla White, Louisa Leimer, William J. Winch, Heinrich Meyn. 1894, March 17. Adagio and Scherzo. 1897, April 24. Movements L, H., HI. 1898, March 5. Movements L, II., III. 1899, April 29. Mme. Clementine de Vere-Sapio, Miss Gertrude May Stein, Evan Williams, Ericcson Bushnell. 1900, April 28. Mme. de Vere-Sapio, Miss Gertrude May Stein, Ben Davies, Herbert Witherspoon. 1909, May I. Miss Laura Combs, Mme. Gertrude May Stein, Theodore Van Yorx, Myron W. Whitney, Jr. Chorus of the Cecilia. The Ninth Symphony was performed at a concert in aid of the Pen- sion Fund of the Boston Symphony Orchestra, April 13, 1904, with the assistance of the Handel and Haydn Society and Mme. Kileski- Bradbury, Miss Pauline Woltmann, Theodore Van Yorx, and Myron W. Whitney, Jr. There have been other performances in Boston, as those at concerts in Music Hall led by Carl Zerrahn, March 26 and April 2, 1859 (Mrs. Harwood, Miss J. Twichell, Messrs. Adams and Powers). Harvard Musical Association, April 12, 1867, for the benefit of the

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be able to claim this would indeed be a proud distinction, if there were no exception, and if there were not others who were entitled to make the same claim. It is further asserted in the same adver- tisement, that "All the rest have been forced to seek the alliance or amalgamation with manufacturers of cheap com- mercial pianos, etc., etc.," but there are also exceptions to this claim. The business of manufacturing the ilenrp JF. ililler ^iano was estabHshed nearly a half-century ago by its founder, and since then has always been UNDER ONE CONTINUOUS MANAGEMENT, THAT OF ITS FOUNDER, SONS, AND GRANDSON, and at the present time is not allied or amalga- mated with any other manufacturers, either of cheap commercial pianos or those of any other grade. The Miller house is also a further exception to the rule in that it has not been obliged to look to other manufacturers for a player mechanism to install in its player piano, as it has been successful in ORIGINATING AND MANUFACTUR- ING IN ITS OWN FACTORY (equipped with special machin- ery), A PLAYER MECHANISM representing the work of its own experts in player mechanism and piano manufacturing, all under the supervision of its own experts, including both virtuoso pianists and players of the player piano. It has been the aim in manu- facturing the

l^tntv JF. iWiller ^laper ^iano to give the public not only as perfect a piano as can be made, but to build into that piano as perfect a player mechanism as the world has ever seen. m^ fpitr^JF. MxiUr Sc BaiXB flann (Ha. HAS SUCCESS- FULLY DONE THIS, again making this house practically an exception to the entire piano trade, thus accomplishing the development of its own lofty ideals unfettered by commercial exigencies. ilenrp JF. jHiller & ^om ^iano Co. 395 BOYLSTON STREET BOSTON

1837 \

orchestra (Mrs. H. M. Smith, Mrs. J. S. Gary, James Whitney, J. F. Rudolphsen); December 19, 1870, with the Handel and Haydn Society (Mrs. H. M. Smith, Mrs. C. A. Barry, William J. Winch, J. F. Ru-

dolphsen) . Theodore Thomas's concerts, December 30, 1874 (Mrs. H. M. Smith, Miss Cranch, Emma William J. Winch, Franz Remmertz) ; March 15, (Mrs. 1876 H. M. Smith, Mrs. Flora E. Barry, William J. Winch, Franz Remmertz); January 10, 1871, the Adagio; December 9, 1871, Scherzo and Adagio. Handel and Haydn Society, May 8, 1868 (Mme. Parepa-Rosa, Miss Adelaide Phillips, George Simpson, J. F. Rudolphsen); May 12, 1871 (Mrs. H. M. Smith, Miss Antoinette Sterling, William H. Cummings, J. F. Rudolphsen); May 6, 1874 (Mrs. H. M. Smith, Miss Annie Louise Gary, Nelson Varley, J. F. Rudolphsen); May 6, 1880 (Miss Emma Thursby, Miss Annie Louise Gary, Charles R, Adams, G. W. Dudley). The first three movements of the symphony were performed at the Beethoven Festival for the inauguration of Grawford's statue of Beethoven in Music Hall, March i, 1856.

WORKS PERFORMED AT THE SYMPHONY CONCERTS DURING THE SEASON OF 1909-1910.

Works marked with a double asterisk were performed for the first time in Boston. Works marked with an asterisk were performed for the first time at these concerts. Works marked with a dagger were performed for the first time anywhere. Artists marked with an asterisk appeared at these concerts for the first time. Artists marked with a double asterisk appeared for the first time in Boston. Artists marked with a dagger are members of the Boston Symphony Orchestra. PAGE Bach: Pastorale from the Christmas Oratorio, December 25, 1909 727 BanTock: "The Pierrot of the Minute," a comedy overture to a ** Dramatic Phantasy of Ernest Dowson, October 23, 1909 167 FLETCHER J RESTAURANT 5 MUSIC METHOD t StiOOSHAN J

The aim of the Fletcher Music Method is to reduce the difficulty which the study of Music causes to children, and to give a fundamental, systematic and logical Musical Education in a way that shall PRIVATE DINING be thorough, natural and pleasurable, and thus make it possible for Music to exercise a three-fold power ROOM FOR SPECIAL and develop the child physically, mentally, and artistically. PARTIES. ORCHESTRA

MISS CAROLINE PRICE whose work has the personal endorsement of Mrs. FLETCHEB-COPr. the originator of the CHICKERING HALL BLDO. FletcherSystem, isnow organizing her autumn classes. \ f INCLOSE For further information apply at her studio, 319 TO SYMPHONY L-' MARLBORO STREET, BOSTON. Wednesdays \ HORTICULTURAL HALLS./ from 9-13 neon, or write for particulars to th« same •MreM. 1888 Beethoven: Symphony, C major, No. i. Op. 21, April 30, 1910, 1803 Symphony, B-flat major, No. 4, Op. 60, December 25, 1909 . 740 " Symphony, F major, Pastoral," No. 6, Op. 68, April 2, 1910, 1499 Symphony, F major. No. 8, Op. 93, October 23, 1909 .... 208 S3Tnphony, D minor. No. 9, Op. 125, April 30, 1910 (Mmes. HissEM DE Moss, Keyes; Messrs. von Norden, Weld;

Chorus of the Cecilia Society) 1 808 Overture, "Dedication of the House," Op. 124, October 9, 1909 7 Concerto for pianoforte, H-flat major, No. 5, Op. 73 (Fer- Ruccio BusoNi), March 12, 1910 1377 Scene and Aria, "Ah! Perfido!" Op. 65 (Tilly Koenen *),

January i, 1910 • 818 Berlioz: Overture to "Rob Roy," ** January 22, 1910 .... 967 Overture to the Opera "Benvenuto Cellini," Op. 23, Feb- ruary 19, 1910 1240 BizET: Suite No. i, from the music to Alphonse Daudet's play "L'Arlesienne," December 25, 1909 772 Brahms: Symphony, D major. No. 2, Op. 73, October 9, 1909, 14

Symphony, E minor. No. 4, Op. 98, March 12, 1910 . . . 1347 Tragic Overture, Op. 81, December 18, 1909 647 Menuetto from the Serenade No. i, D major. Op. 11, Janu- ary I, 1910 826 Concerto, A minor, for violin and violoncello with orchestra, Op. 102 (Willy Hess f and Alwin Schroeder), Janu- ary 22, 1910 * 992 Song, "Die Nachtigall," Op. 46, No. 4 (Marcella Sem- - brich), * March 19, 1910 1472 Song, "Sapphic Ode," Op. 94, No. 4, orchestration by Fred'k Stock (Louise Homer), * October 9, 1909 56

Bruckner: Symphony, H major. No. 7, February 12, 1910 . . Saig Chadwick: Sinfonietta, D major (in four movements), for orchestra, * February 12, 1910 1165 Cherub iNi: Overture to the Opera "Les Abencerages," October 30, 1909 247

STOKES' ENCYCLOPEDIA OF MUSIC AND MUSICIANS

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.' dealer's or Cloth, 8 vo, $j.oo net ; postpaid, $J.2S at your FREDERICK A. STOKES COMPANY PUBLISHERS SJ3 Fow«th Avbnub NEW YORK i8te Converse: " Endymion's Narrative, " Romance for orchestra, Op. lo, April 9, 1910 1575 Debussy: Azael's Recitative, "These Joyous Airs," and Aria, " O Time that is no more," from the Lyric Scene, "The Prodigal Son," sung in French (Geraldine Farrar *), * November 6, 1909 368 Deuus: "Paris: A Night Piece (The Song of a Great City)," for full orchestra, ** November 27, 1909 512

DucASSE: Suite Fran§aise, D major, *'*' April 16, 19 10 . . . . 1698 Dvorak: Overture, "Carnival," Op. 92, April 2, 1910 .... 1550 Concerto for violin, A minor; Op. (Mischa El,man) 53 , Janu- ary 8, 1910 900

Elgar: Symphony, A-flat major. Op. 55, January 8, 1910 . . . 887

Variations on an Original Theme, Op. 36, April 9, 1910 . . 1624 Fiedler: Song, "Die Musikantin," with orchestra, Op. 5, No. i (Tilly Koenen *), * January i, 1910 837 Song, "Wiegenlied," with piano. Op. 8, No. i (MarcELLA Sembrich), * March 19, 1910 1475 Franck: Symphony, D minor, January 29,1910 1050 Goldmark: "Rustic Wedding " Symphony, E-flat major, No. i, Op. 26, November 20, 1909 407 Gounod: Stanzas of Sappho from the Opera "Sapho," sung in French (Ernestine Schumann-Heink), December 4,

1909 ^- • 613 Graun: "Singt dem gottlichen Propheten," from " Der Tod Jesu" (Marcella Sembrich), March 19, 1910 .... 1462

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" GRfeTRY : Air of Lucette, I know not whether my Sister loves," from "Silvain" (Geraldine Farrar *), * November 6, 1909 354 Grieg: Three movements (i, 3, 4) from Suite No. 2, Op. 55, and the whole of Suite No. i, Op. 46 (orchestral suites from the music to Ibsen's "Peer Gynt"), October 16, 1909 ••.•; 130 ** Halm: Symphony in D minor for string orchestra, April 23, 1910 1727 Handel: Concerto for oboe and Strings (Georges Longy f), December 4, 1909 610 Haydn: Symphony in G major, "Oxford" (Peters No. 9), Feb- ruary 19, 1910 1 195 d'Indy: Symphony, B-flat major. No. 2, Op. 57, November 6, 1909; (by request) December 4, 1909 327,567 Joachim: Concerto (in the Hungarian manner) for violin and

orchestra, Op. 11 (Willy Hess f). October 23, 1909 . . 182 lyiszT: A Faust Symphony in three Character Pictures (after Goethe), male choir from the Apollo Club, James H. Rattigan, tenor, April 16, 1910 165 "The lyoreley" (lyOUiSE HomEr), with orchestra, October 9, 1909 50 LoefflER: "The Devil's Villanelle," fantasia for orchestra and

organ (after Rollinat's poem), Op. 9, January 8, 1910 . 928 Mendelssohn: Overture, Notturno, Scherzo, and Wedding March from music to "A Midsummer Night's Dream," Op. 61, April 23, 1910 1772 Mozart: Symphony, E-flat major (K. 543), November 27, 1909, 487 Overture to the Opera "The Magic Flute," March 19, 1910, 1465 Concerto, E-flat major, for two pianofortes (K. 365) (Ernest HuTCHESON and Harold Randolph), February 19, 1910 .... 1212 "Deh vieni," with preceding Recitative from "Le Nozze di * Figaro" (MarceLLA Sembrich), March 19, i9io\. . 1455 Recitative, "Now, Vitellia!" and Rondo, "Never shall Hymen," from "Titus," sung in Italian (Ernestine ~. Schumann-Heink), December 4, 1909 . 591 Rachmaninoff: "The Island of the Dead," symphonic poem to Bocklin's picture. Op. 29 (conducted by the composer), ** December 18, 1909; by request (conducted by Mr. Fiedler), February 19, 1910 656, 1216 Second Concerto for pianoforte with orchestra. Op. 18 ** (Sergei Rachmaninoff*), December 18, 1909 . . 671

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1848 RkgeR: Symphonic Prologue to a Tragedy, Op. 108, ** October 16, 1909 87

RiMSKY-KoRSAKOFF : Caprice on Spanish Themes, Op. 34, Jan- uary I, 1910 843 Rubinstein: Concerto, D minor, No. 4, for pianoforte and orchestra. Op. 70 (Olga Samaroff), November 27, 1909 508 SainT-Saens: Concerto, B minor, forvioHn and orchestra, No. 3, **), Op. 61 (Sylvain NoACK,t November 20, 1909 . . 416 "The Drummer's Betrothed," Ballad of Victor Hugo, for voice and orchestra. Op. 82 (LouiSE Homer), October 9,

• 1909 • • • 29 Schubert: Overture to "Rosamunde," Op. 26, March 12, 1910, 1399 "The Almighty," Op. 79, No. 2, orchestration by Fred'k Stock (Louise Homer), October 9, 1909 57 Schumann: Symphony, B-fiat major. No. i. Op. 38, March 5, 1910 1290

Symphony, C major. No. 2, Op. 61, October 30, 1909 . . . 254 Overture to "Genoveva," Op. 81, January 29, 1910 .... 1043 Song, "Widmung," Op. 25, No. i (Marcella Sembrich), * March 19, 1910 1473

SiBEUUS: Symphony, D major. No. 2, January I, 1 9 10 807 ' ** "A Saga, ' tone poem for orchestra, Op. 9, March 5, 1910, 1310 Elegie and Musette from Suite "King Christian II.," taken from music to A. Paul's tragedy. Op. 27, ** April 2, 1910 1532 " Valse Triste, Op. 44, from the music to Jarnefelt's Kuolema," ** April 2, 1910 1536 ** Sinding: Rondo Infinito, Op. 42, November 20, 1909 . . . 457 SmETana: Overture to the Opera "The Sold Bride," November 6, 1909 371 Strauss: Symphonia Domestica in one movement, Op. 53, March 19, 1910 1426 Tone Poem, "Don Juan" (after N. Lenau), Op. 20, October 9. 1909 35

GERMAN BOOKSII U U 1% t(J 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 4 CO. lection of newest and best imported Tel. Oxford 171 Lawrence Building 84-25 materials. Also linens at moderate 149 A TREMONT STREET, BOSTON prices. The latest improved Riding and Hunting Skirt combined, assuring ab- solute safety, from Scott, of London, West. Made by Mr. Deutschman. Refer by permission toNoyes Bros., Boston. DEUTSCHMAN CO. 486 Boylston Street, BOSTON In Block of Brunswick Hotel C»'li.rMrS.'/"}ciTY SPRING OPENING 1844 "Tai Eulenspiegel's Merry Pranks, after the Old-fashioned Roguish Manner—in Rondo Form" Op. 28, October 30, 1909 291 Tone poem, "Thus spake Zarathustra" (freely after Friedr. Nietzsche), Op. 30, January 22, 1910 1008 "Don Quixote" (Introduction, Theme with Variations, and Finale), Op. 35, April 23, 1910 1730 "On the Shore of Sorrento," third movement of "From Italy," a symphonic fantasia. Op. 16, March 5, 1910 1314 Song, "Serenade," Op. 17, No. 2 (Marcella Sembrich), March 19, 1910 1475 Song, "Hymnus," Op. 33, No. 3, with orchestra (Tilly KoENEN *), *January i, 1910 835 SXRUBEf: Comedy Overture "Puck," MS., f March 19, 1910 1423 Concerto in E minor for violoncello and orchestra, MS. (Heinrich Warnke t)> t October 30, 1909 268

TscHAiKOWSKY : Symphony, F minor. No. 4, Op. 36, October 16, 1909 92 "Francesca da Rimini," orchestral fantasia after Dante, Op. 32, April 2, 1910 1518 " Overture 1812," Op. 49, March 5, 1910 1322 "Children's Dreams," from "Characteristic" Suite (No. 11), Op. 53, * November 6, 1909 364 Concerto for pianoforte No. i, B-flat minor, Op. 23 (TerESA Carreno), December 25, 1909 755 Concerto, D major, for violin. Op. 35 (Fritz KreislEr), April 9, 1910 1584 Wagner: A "Faust" Overture, March 5, 19 10 1271 March of Homage, December 4, 1909 619 Overture to "Rienzi," November 27, 1909 538 Overture to "The Flying Dutchman," January 29, 1910, 1086 Prelude and Love Death from "Tristan and Isolde," Janu- ary 29, 1910 1067 Prelude to "The Mastersingers of Nuremberg," December 18, 1909 694 "Waldweben" '('Life and Stir of the Forest") from "Sieg- fried," January 29, 1910 1084 Wolf: Song, " Er ist's," with orchestra (Tilly Koenen *), *Jan- pi uary i, 1910 839

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Bach . . . Haydn i *2 Bantock . d'Indy .

'. Beethoven Joachim . . i

Berlioz . Liszt 2

Bizet . . loeffler i Brahms Mendelssohn i Bruckner Mozart 5 Chadwick Rachmaninoff ts

Cherubini Reger . . I

Converse Rimsky-Korsakoff . . I

Debussy . Rubinstein ...... I

Delius . . Saint-Saens . . . . . 2

DUCASSE . Schubert ...... 2

Dvorak . Schumann 4

Elgar . . Sibelius . . • 4 Fiedler Sinding I Franck Smetana I goldmark Strauss 8

Gounod . Strube 2

Graun . . Tschaikowsky 6 Gr^try Wagner 7

Grieg . . Wolf I

Halm . .

Handel . 98

WORKS PERFORMED FOR THE FIRST TIME IN AMERICA.

Bantock: "The Pierrot of the Minute," comedy overture, Oc- tober 23, 1909. Delius: "Paris: A Night Piece," November 27, 1909. DucASSE: Suite Frangaise, April 16, 1910.

Halm: Symphony in D minor for strings, April 23, 1910 . . . 4

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REGER: Symphonic Prologue to a Tragedy, Op. io8, October i6, 1909. SiBEUUS: Valse Triste, Op. 44, April 2, 19 10. Strube: t Concerto in E minor for violoncello and orchestra, MS. (Heinrich Warnke), October 30, 1909 (first per-

formance) . Comedy Overture "Puck," MS., March 19, 1910 (first per- formance)

ORCHESTRAL COMPOSITIONS PERFORMED FOR THE FIRST TIME IN BOSTON. Symphonies. Halm: Symphony in D minor for string orchestra, April 23, 1910 I

Symphonic Poems.

Delius: "Paris: A Night Piece," November 27, 1909. Rachmaninoff: "The Island of the Dead," Op. 29, December 18, 1909. SiBEUUS: "A Saga," Op. 9, March 5, 1909 3

Suites, Variations, etc.

DucASSE: Suite Frangaise, April 16, 19 10. Sibelius: :6legie and Musette from Suite " King Christian II.," Op. 27, April 2, 1910. *Valse Triste from music to " Kuolema," Op. 44, April 2, 1910. Sinding: Rondo Infinito, Op. 42, November 20, 1909 4

Carried forward 8

earlier •This waltz may have been played in this country, but I have found no record of a performance than this date.

THE HENRY F. MILLER CRAND-UPRICHT and PLAYER -PIANOS We admit of absolutely no compromise with anything that savors of mediocrity in materials, workmanship, piano or the more subtle factors which differentiate the of for the artist and the musician from the thousands pianos made after purely commercial ideals. Henry F. Miller 8k Sons Piano Co. 393 BoyUtoa Str««t 18A7 Brought forward Overtures. Bantock: "The Pierrot of the Minute," a comedy overture, October 23, 1909. Beruoz: Overture to "Rob Roy," January 22, 1910. REGEr: Symphonic Prologue to a Tragedy, Op. 108, October 16, 1909.

Strube: t Comedy Overture "Puck," MS., March 19, 1910 . .

Concertos.

Rachmaninoff : Second Concerto for pianoforte with orchestra, Op. 18 (Sergei Rachmaninoff *), December 18, 1909.

Strube : t Concerto in E minor for violoncello and orchestra, MS. (HeinrichWarnke t)> October 30, 1909 2

14

THE FOLLOWING ARTISTS HAVE APPEARED THIS SEASON. PAGE Mr. Ferruccio Busoni, Pianist, March 12, 19 10, Beethoven's Concerto No. 5, E-flat major. Op. 73 (Sketch) .... 1373 Mme. Teresa CarrEno, Pianist, Deecember 25, 1909, Tschai- kowsky's Concerto No. i, B-flat minor. Op. 23 (Sketch), 753 Mr. MiscHA Elman, Violinist, January 8, 19 10, Dvorak's Con- certo, A minor. Op. 53 (Sketch) 896 Miss Geraldine Farrar, * Soprano, November 6, 1909, * Air of Lucette, " I know not whether my Sister loves," from "Silvain"; * Azael's Recitative, "These Joyous Airs" and Aria, "O Time that is no more," from the Lyric Scene, "The Prodigal Son" (Sketch) 354 Mr. Willy HESS,t October 23, 1909, Joachim's Concerto (in the Hungarian manner), Op. 11; January 22, 19 10

Mile. ALARY Jacob Tlioma&SoR Berkeley Building, 420 Boylston St. Violin Makers and Inpirtin Repairers to the Boston Symphony Orchestra Agents for the SILVESTRE & MAU- COTEL Tested Violin Strings MANICURE (Extra and Tricolorc) SHAMPOOER Agents for the C. F. ALBERT Pat. Tripl^covered, wound Violin. HAIR WORK A SPECIALTY Viola, and 'Cello Strings FACIAL. SCALP, and NECK Large Assortments of MASSAGE VIOLINS, 'CELLOS, AND BOWS ONDULATION MARCEL SILK PLUSH VIOLIN CASES, Rosin, Strings, and Sundries Perfumery Shell Ornaments 47 Winter Street, Boston, Mass. Telephone3Bacl4Ba}^320 Telephon0033-2 Oxford 1848 (with Mr. Schroeder), Brahms' Concerto in A minor for vioHn and violoncello, Op. 102 (Sketch) 180, 988 Mrs. Mary Hissem de Moss, Soprano, April 30, 1910, Beet- hoven's Symphony, D minor, No. 9, Op. 125 1801 Mme. Louise Homer, Contralto, October 9, 1909, Saint-Saens' "The Drummer's Betrothed," Ballad of V. Hugo, for voice and orchestra, Op. 82; Liszt's "Loreley"; Brahms'* "Sapphic Ode" (orchestration by Fredk. Stock); Schubert's "The Almighty" (orchestration by Fredk. Stock) (Sketch) 26 Mr. Ernest Hutcheson, Pianist, February 19, 19 10 (with Mr. Randolph), Mozart's Concerto, E-flat major, for two pianofortes (K. 365) (Sketch) 1208 Miss Margaret Keyes,** Contralto, April 30, 19 10, Beethoven's Symphony, D minor, No. 9, Op. 125 1801 Miss Tilly KoEnen,* Contralto, January i, 1910, Beethoven''s Scene and Aria, "Ah! Perfido," Op. 65; songs with or- chestra, Strauss' * "Hymnus," Fiedler's* "Die Musik- antin," Wolf's *"Erist's" (Sketch) 818 Mr. Fritz Kreisler, Violinist, April 9, 1910, Tschaikowsky's Concerto, D major, Op. 35 (Sketch) 1580 Mr. Georges Longy,!* Oboist, December 4, 1909, Handel's Concerto for oboe and strings (Sketch) 598 Mr. Sylvain NoACK,t** Violinist, November 20, 1909, Saint-

Saens' Concerto, B minor. No. 3, Op. 61 (Sketch) . . . 414

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1S49 Mr. Berrick von Norden,* Tenor, April 30, 1910, Beethoven's Symphony, D minor, No. 9, Op. 125 1801 Mr. Sergei Rachmaninoff,* Pianist, Composer, Conductor, December 18, 1909, Rachmaninoff's Second Concerto, Op. 18,** conductor of his "Island of the Dead" ** (Sketch) 650 Mr. Harold Randolph, Pianist, February 19, 1910 (with Mr. Hutcheson), Mozart's Concerto, E-flat major, for two pianofortes (K. 365) (Sketch) 12 10 Mr. James H. Rattigan,* Tenor, April 16, 1910, Liszt's Faust Symphony 1649 Mme. Olga SamarofF, Pianist, November 27, 1909 Rubinstein's Concerto, D minor. No. 4, Op. 70 (Sketch) Tso^ Mr. Alwin Schroeder, Violoncellist, January 22, 19 10 (with Mr. Hess), Brahms' Concerto in A minor for violin and violoncello. Op. 102 (Sketch) 989 Mme. Ernestine Schumann-Heink, Contralto, December 4, 1909, Mozart's "Now, Vitellia!" and Rondo, "Never shall Hymen, "from "Titus"; Gounod's Stanzas of Sap- pho from " Sappho " (Sketch) 588 Mme. Marcella Sembrich, Soprano, March 19, 1910, Mozart's """Deh vieni, " with Recitative from "Le Nozze di Fig- aro"; Graun's "Singt dem gottlichen Propheten" from"Der Tod Jesu"; songs with pianoforte: Brahms' *"Die Nachtigall," Op. 46, No. 4; Schumann's *"Wid- mung," Op. 25, No. i; Fiedler's * "Wiegenlied," Op. 8, No. i; Strauss' "Serenade," Op. 17, No. 2 (Sketch), 1447 Mr. Heinrich Warnke,! Violoncellist, October 30, 1909, Strube's Concerto in E minor for violoncello and orchestra, f MS. (Sketch) 266 Mr. Frederick Weld,** Bass, April 30, 19 10, Beethoven's Sym- phony, D minor. No. 9, Op. 125 1801

* * *

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1850 Sopratios: Miss Farrar,* Mrs. Hissem de Moss, Mme. Sem- brich Contraltos: Mme. Homer, Miss Keyes,** Miss Koenen,* Mme. Schumann-Heink 4 Tenors: Mr. Von Norden,* Mr. Rattigan * 2 ** Bass: Mr. Weld i Pianists: Mr. Busoni, Mme. Carreno, Mr. Hutcheson, Mr. Rach- maninoff,* Mr. Randolph, Mme. Samarofif 6

Violinists: Mr. Elman, Mr. Hess.f Mr. Kreisler, Mr. Noack.f** . ^5 Violoncellists: Mr. Schroeder, Mr. Warnke f 2 Oboist: Mr. Longy f i

24 ENTR'ACTES AND EXCURSIONS. PAGB

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Blackburn, Vernon: Mozart and Palestrina (from the Pa// Afa// Gaze/Ze) . 1231 Brinton, Christian: Arnold Bocklin (from the Critic) 666 CoRBiN, John: Ibsen's "Peer Gynt" (from the New York Sun) 116 Critic, The: Sec Brinton 666 Glasgow Herald: Debussy, The Indefinite 284 George Meredith and Music 271

Glover, J. M.: Incidental Music (from the £>ai/>' Te/egra/)/?, London) . . . . 999 Gr6try, A. E. M.: Concerning his Opera "Silvain" 360 Grimm, The Baron: Gretry's "Silvain" 357 Hale, Philip: Beethoven, the Pianist 1380 Bruckner 1128 Therese Brunsvik and Beethoven 763 Chaconne and Passacaglia 1364 Color and Tonality—Color Audition 1350

Degrees, Musical, at Oxford . 1198 Don Juan in Music 42 Dowson, Ernest 195 Flying Dutchman, Legend of 1092 Graupner, Birth-date of Gottlieb 920 Mme. Landowska's "Musique Ancienne" 422 The Longy Club's Programs 598 The Loreley in Legend and Music 52

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Henderson, William J.: American Opera (from the New York Siin) . . . 1614 Haydn's Place in Music (from the New York Sufi) 1224 Singers and Opera Folk (from the New York Sun) 1388 Wagner's "Ring" in 19 10 (from the New York Sun) 1687 Ibsen, Heinrich: Letter about " Peer Gynt " 136 Kautz, John: Schumann and Bottger 1297

KrEhbiEl, Henry E. : Applause at Oratorio Concerts (from the New York Tribune) 1394 Mansfield, Richard: Synopsis of " Peer Gynt " 128 Marnold, Jean: Cesar Franck io6o

Musical Courier (New York) : Brahms, Elgar, and Newman 1601 See Runciman 531 Musical World (Boston): See Runciman 522

New Music Review (New York) : vSee Spanutli 524 Newman, Ernest: Grenville Bantock (from the Speaker) 188 Strauss' "Don Quixote" 1752 Newmarch, Rosa: Finland and Sibelius 811 Pall Mall Gazette: Elgar and Music Critics 1627 See Blackburn 123 Runciman, Delius: (from the Musical World, Boston) 522 Delius (from the Musical Courier) 531 Spanuth, August: DeXhi^ {horn the. New Music Review) 524 Speaker, The: See Newman, "Grenville Bantock" 188

Sun, The (New York) : See Corbin 116 See Helbig 682, 904 See Henderson 1224, 1388, 1614, 1687

Telegraph, The Daily (London) : Does Music Pay? 1681 Music and Business 13 19 Richard Strauss 1538 What's in a Name? 1619

vSee Glover . 999 Times, The (London): Arne ^ 1543 Chopin ~.^ 1692 Folk-song in the Music Hall 1234

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Uours. 11 to 8 Telephone, Back Bay 21827 1852 In Defence of Transcriptions i^g^ Instrumentation of Bach i^.. Music in the Theatre ii6b Operatic Translations j5q5 Orchestral Balance lo^g Le Snobisme Musical ^22 Street Musicians i^^g Tribune, The (New York) : See Krehbiel 1394 " Zola, Emilb: Daudet's L'Arlesienne " 779

INDEX TO SUNDRY REFERENCES AND FOOT-NOTES.

Biographical (Men): Albery, J., 929; Auer, I,., 1594; Balakireff, M., 858; Bal- ducci, G., 1 241; Belaieff, M. P., 671; Bellamy, 1195; Bocklin, A., 664; Brodsky, A., 1594; Cartellieri, C. A., 1379; Chelard, H., 1445; Chop, M., 514; Clement, E., 1390; Constantin, C., 773; Da Ponte, L., 1455; David(e), G., 1195; Drouet, L., 1773; Duschek, F., 822; Eberl, A., 746; Eloi (or Eli- gius), St., 779; Gerl, F., 1468; Graf, 1199; Graun, K. H., 1465; Graupnei", G., 680, 920; Guiraud, E., 773; Haym, H., 512; Heller, R. (Pallner), 1380; Jackson, J. P., 37; Jaeger, A. J., 1625; Jarnfelt, A., 1536; Jouy, V. J. E. de, 249; Kelly, M., 1195; Kitzler, O., 1138; Kotek, J., 96, 1584; Lenau, N., 36; Levey, R. M., 906; Lewy, R., 1448; Louis, R., 1128; Love, 680; Malzel, J. N., 210; Mayseder, J., 1379; Nietzsche, F., 1008; Otten, G. D., 258; "Paganini Redivivus" (see Levey); Palmer (see Heller); Paul, A., 1532; Ribas, A de, 681, 1514; Ritter, A., 1314; Rokitanzky, V. von, 1448; Rotoli, A., 915; Schack, B., 1468; Schikaneder, E. J., 1465 seq.; Schleinitz, H. C, 1778; Schneider, J. C. F., 1378; Schnorr v. Carolsfeld, 1072; Sechter, S., 1 134; Siboni, G., 213, 1378; Siloti, A., 650; Stengel, W., 1447; Strehlenau (see Lenau); Tschech (Taussig), 376; Vogl, J. M., 58; Wartel, P. F., 61; Weirmiiiller, K., 213; Weissheimer, W., 695; Wranitzky, 1805. Biographical (Women): Aurnhammer, J., 1214; Baroni, L., 1391; Busoni, A. W., 1373; Campi, A., 1501; Cognetti, L., 919; Crouch, A. M., 1195; Duschek, J., 822; Galli-Marie, C, 1526; Gottlieb, A., 1467; Hofer, J., 1467; Janina, O., 911; Kilitzky, J., 1501; Krebs, M., 509; Landowska, W., 422; Mara, G. E., 1398; Marchetti, M., 597; Mercy-Argenteau, L. de, 855; Milder, P. A., 212, 1499; Moke-Pleyel, M. F. D., 976; Moore, Laura, 774; Nordica, L.,

1390; Saal, 1803 ; Sayn-Wittgenstein, C. v., 908; Sessi sisters, 1378; Storace, A. S., 1195, 1458; Ternina, M., 1391; Wagner, J. R., 1273. Musical and Poetic Forms: Alborada, 844; Aubade, 831; Basso continuo, 727; Canon cancrizans, 1200; Carillon, 779; Complainte, 1043; E minor, tonality of, 1350; Fantasy, 1619; Melic Poetry, 619; Minuet in symphony, 500; Musette, 1534; Opera, sacred, 738; Oratorio, 732; Oratorio in operatic form, 736; Parties, 1699; Pictures as suggestive of music, 662, 663, 1655;

DeMeritte School, Inc. Music teaches most exquisitely the art of development.—D'IsRAKLi. 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-EDUCATION to meet the work of the high school grade successfully. Pupils admitted at ten years of age. ELEMENTARY SCHOOL BOSTON Miss ANNIE COOLmGE RUST'S iSthVear eOO BEACON STREET.

FROEBEL SCHOOL OF KINDER- CALVIN BRAINERD CADY GARTEN NORMAL CLASSES Principal Linda A. Ekman Pierce Building, Copley Square, Boston, Mass. Ftffe Regular two-year course. Post-graduate and non- Elizabeth professional course. Every woman should have this Villa Whitney White training, whether she teaches or not. Ublbn Howard Wbivins 1853 Program music, 1503; Runo, Finnish, 816; Serenade, 831; String instnmients, solo, in combination, 995; Suite, 1699; Symphonies, early, 832; Systaltic style, 619; Tonality, influence and characteristics of, 1352; Transcriptions, a defence of, 1764. Dances AND Dancers: Ballet, Tschaikowsky on the, in; Bergomask, 1775; Bos- ton, 1704; Bourree 1699; Chaconne, 1364; Dance form, influence of, 434; Fandango, 846; Lancers, 1704; Minuet, 216, 500, 502, 833, 1701, 1703; Musette, 1534; Passacaglia, 1364; Pavane, 1703; Sarabande, 611; Siciliana, 418, 729; Two-step, 1704; Vienna balls in 1786, 489. Instruments: Basanelli, 674; Basset-horn, 594; Bassoon, 676; Bassoon, double, 676; Bombarde, 674; Carillon, 779; Clavichord, 448; Clavier, 448; Fliigel, 448; Gusslee (or Gusli), 812; Harpsichord, 448; Instrumentation of Bach, 1675; Lyre of Russia, 760; Lyra Tedesca, 760; Musette, 1534; Oboe d'amore,

675,729, 1427, 1698; Oboe da caccia, 675 ; Ophicleide, 1240; Orchestral balance, 1078; Pommer, 674; Schalmei, 673; Tuba, bass, 1240; Zamr-el-Kebyr, 674. Songs and Hymns: "A.BatignolIes," 931; "A la Villette," 931; "X Montpar- nasse," 931; "Qa ira," 932; "Carmagnole, La," 932; Folk-song in the Music Hall, 1234; "Hey tuttie," 967; "II faut s'amuser," 762; "Irish Christening," 762; Marcho dei Rfei, 776; "Marseillaise," 1325; Russian Hymn, 1325; "Scots whahae," 967. Theatre and Opera House: "Abencerages, Les," 247; "Adelasia ed Aleramo," 1379; "Alceste," 675; "Alexandre chez Apelle," 675; "Alfonso und Estrella," " 1399; "Aline," 1379; "Ami Fritz, L', " 781; "Amphitryon," 1204; AtI€- sienne, L', 773; "A Santa Lucia," 377; "Ascanio," 1241; "Benvenuto Cellini," 1241;" "Blue Bird" (Maeterlinck), 1161; "Caleb de Walter Scott," 982; "Cantique des Cantiques" (colored audition,—odors, etc.), 1362; "Carmen," 1526; "Cinna," 596; "Clemenza di Tito," 591; "Dalibor" (in 1909), 379; Daudet's plays, 781; "Debora e Sisera," 1379; Don Juan on the stage, 44; Don Quixote, on the stage, 1749; " Dunducketty's Picnic," 775; "Elektra" (Strauss'), 1540; Endymion in opera, 1579; "Enfant Prodigue, L'" (pantomime), 208—opera, 370; "Eraste" (Gesner's), 359; "Faust" (Beaucourt's), 984; Flying Dutchman on the stage, 1087, 1093; "Foi, La," 999; Genevieve de Brabant on the stage, 1043, 7; "Ghiselle," 1065; "Hulda," 1065; "Konig Christian II.," 1532; "Kuolema," 1536; "Love that kills. The" (see "L'Arl6- sienne"); "Louise," 515; "MacGregor," 972; "Mala Vita," 377; "Meister- singer von Ntirnberg," 694; "Midsummer Night's Dream," 1775, 9; "Nozze di Figaro," 1455, 1459; "Peer Gynt," 116, 128; "Pipe of Desire," 594, 1614; "Poia," 1 616; "Pomone," 675; Prodigal Son on the stage, 370; "Rienzi," 538; "Romeo und Julia auf dem Dorfe," 526, 531; "Rosamunde," 1401; Saint-Saens' music to dramas, 999; Sappho on the stage, 613; "Siegfried," 1085; "Silvain," 354; "Snegourotchka," 851; "Sold Bride, The," 371; "Ta- basco," 1 171; Theatre des Nouveautes, 971; Till Eulenspiegel on the stage, 296; "Trip to Japan" (odors), 1362; "Tristan und Isolde," 1067, 1074; Zoro- aster on the stage, 1017. Legends, Folk-lore, and History: Christian II., 1535; Don Juan, 42; Flying Dutchman, 1089; Loreley, 50; Puck, 1423; Rimini, Francesca da, 1521; Till Eulenspiegel, 292, 7; Zoroaster, 1019. 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. Forfurtherinformation address "^^^ ROBERT ALVIN AUGUSTINE ^^^ ^new^york Call Wednesdays or Fridays PHILADELPHIA ICE-CREAM CO. 38 WEST STREET, BOSTON TELEPHONE, OXFORD 582 NEAR TREMONT STREET "

Critical and Literary: Apthorp, W. F., on Beethoven's "Dedication of the House," 9; translator of Zola, 779; translator of Schiller, 1827; on Beethoven's Ninth Symphony, 1810; Ar^ne P. on Pierrot, 206; Bacha, E., on "Till Eulenspiegel," 299; Barbey d'Aurevilly on dandyism, 39; Baudelaire, "Correspondances," 1354, see also 935, 938, (see A. France); Bayle, P., on Sappho, 618, 619, on Zoroaster, 1019; Beethoven on Handel, 153 1, on pianoforte music and pianists, 1384, on nature, 1508, 15 16 (see Apthorp, Chantevoine, Gerando, Pall Mall Gazette, Reichardt); Berlioz on Beethoven's Fourth Symphony, 748; Black- burn, v., on Tschaikowsky, 1531; Bleuler and Lehmann (colored audition), 1358; Bocklin, music to his pictures, 662; Borodin on Rimsky-Korsakoff, 854; Boughton (R.) and publishers, 1320; Brahms, Herzogenberg and Bruck- ner, II 43 (see Deiters, Dwight, Herbeck, Hanslick, Imbert); Brentano's "Loreley," 52; Brunetiere on the Tristan legend, 1072; Buelow and R. Strauss, 1316, on Tschaikowsky, 759; Castel (colored audition), 1364; Chantavoine, J., Therese Brunsvik, 766; Cherubini (see Martine, Mendelssohn); Chorley, Schumann in England, 1303; Dawson, E., quotations from, 195; Deiters, H., Brahms' Tragic Overture, 647; Delvau, A., on country dances in Paris, 1700; Dwight, J. S., Brahms' Symphony No. 2, 22; on " Meistersinger " Over- ture, 701; Elgar (see Glasgow Herald); Fitzmaurice-Kelly on Don Quixote, 1732; Ford, R., on Asturia, 848; France, A., on Baudelaire, 934, on sym- bolism, 1356; Franck (see d'Indj', Marnold); Gerando, Beethoven and T. Brunsvik, 763; Gill, R., colored vowels and consonants, 1356, 1360; Glas- gow Herald, Elgar's Symphony, 887; Goncourt, M. Rollinat, 935; Gozlan, colors and moods, 1360; Grieg on Ibsen, 139; Grimm, Baron, Marmontel as librettist, 358, Beaumarchais' "Figaro," 1459; Handel (see Beethoven, Hearne); Hanslick, Brahms' Symphony No. 2, 16, Brahms' "Tragic" Over- ture, 647, Serenade No. 1,829, Tschaikowsky's Violin Concerto, 1599; Hayem, Don Juanisme, 39; Hearne, T., Handel at Oxford, 1200; Helbig, N., Caro- line V. Sayn-Wittgenstein, 908, Olga Janina, 911, Luisa Cognetti, 919; Henley, W. E., Byron and Scott's influence on Berlioz and other Romanticists, 980; Herbeck on Brahms, 829; Herzogenberg (see Brahms); Heywood, T., Sappho, 616; Hlavac, Smetana's operas, 376; Hoffmann, E. T. A., Mozart's E-flat major Symphony, 496; Hruby, "Bruckner," 1148; Huysmans, Des Esseintes' color scheme with liquors, 1360; Ibsen, letter to Grieg about "Peer Gynt, 136; Imbert, H., Brahms' Symphony No. 2, 20; d'Indy, Cesar Franck, 1054; Kelly, M., Viennese balls, 489; Krehbiel, H. E., oboes in New York, 680; Kufferath, M., "Meistersinger" Overture, 696; Le Gallienne, R., transla- tion of Isolde's Love Death, 107 1; Liszt on Rimsky-Korsakoff, 855; Mar- nold, J., Cesar Franck, 1060, Rimsky-Korsakoff, 857; Martine, J. D., on "Les Abencerages," 251; Mason, W., Schumann's Symphony No. i, 1306; Matthe- son, J., on the serenade, 832; Mauclair, C, "Religion de la Musique," 924; Mazocchi, how singers were trained, 1392; Melville, H., the awful color white, 1358; Mendelssohn on Cherubini, 252; Metastasio, 597; Niemann, W., Sibelius, 1312; Newman, E., Strauss' Symphonia Domestica, 1438; Pall Mall Gazette, Beethoven and T. Brunsvik, 769, 770; Pudor, H., Rimsky-Kor- sakoff, 856; Reichardt, J. F., Beethoven's Pastoral Symphony, 1501; Richepin, J., Pierrot, 204; Rimbaud, A., colored vowels, 1356; Rimsky-Korsakoff (see Borodin, Liszt, Marnold, Pudor, Tschaikowsky); Riviere, H., Pierrot, 206; Rollinat (see Goncourt, Verlaine); Rowbotham, J. F., Sappho, 617, 619; Rubinstein, A., on oratorios, 738; Runciman, J. F., on Haydn, 1224, on Mozart, 491; Ruskin, J., "Meistersinger" Overture, 701; Sappho (see Bayle, Hey- wood, Rowbotham, Wharton); Schiller, Mme. Duschek, 824; Schumann (see Chorley, Dwight, Mason); Shaw, G. B., Don Juanisme, 39; Sonneck, early concert life in America, 679, 680, 1228; Spazier, the minuet, 502; Suarez de Mendoza, 1358; Swinburne, A. C, "Sapphics," 618; Taneieff, S., on

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367 BOYLSTON STREET. BOSTON Telephone, 3142-5 BacR Bay

1856 ;

Tschaikowsky's Fourth Symphony, 109; Tiersot, J., " Meistersinger " Prelude, 698; Tile, Nietzsche's "Thus spake Zarathustra," 1012; Tschaikowsky on ballet music, iii, on Lalo et al., 1584, on Rimsky-Korsakoff, 849 (see Black- burn, Btilow, Hanslick, Taneieff) ; Verlaine, P., Rollinat, 935; Veuillier, the fandango, 848; Wagner (see Dwight, Ruskin, Tiersot); Weber, CM., Beet- hoven's Symphony No. 4, 751; Wengartner, F., Bruckner, 1155; Wharton, H. T., Sappho, 618; Williams, H. F., oboe and violin symbolized, 1356; Wolf, H., Hanslick and Bruckner, 1141. Miscellaneous: Applause regulated by Nero, 1399; "The Bartered Bride," an erroneous translation, 1606; Biscayan amusements, 1371; Carnival, the word, 1550; Don Quixote, his madness, 1732; Female orchestras, 831; Free- masonry in "The Magic Flute," 1470; "Joya," the word, 849; Meredith on the German literary laugh, 1757; oboe, the spelling of it, 677; oboe in slang, 681; Ponza Islands (Bocklin's "Todteninsel"), 660; Program music, 1503; "Saga" and "Legend," 131 2; Uebermensch, loii; Wagner's first over- tures, 1274; Wagner as a conductor in London, 1286.

Sundry Notes. The concerts in aid of the Pension Fund of the Boston Symphony Orchestra took place in Symphony Hall on November 21, 1909: Goldmark, Overture, "In the Spring"; Mendelssohn, Concerto in E minor for violin (Willy Hess, violinist); Schumann, Concerto in A minor for pianoforte and orchestra (Olga Samaroff, pianist) Wagner, Wotan's Farewell and the Magic Fire Scene from "The Valkyrie"; Wag- ner, "Ride of the Valkyries," from "The Valkyrie"; and on April 17, 1910: Wagner, Prelude to "The Mastersingers of Nuremberg," Prelude to "Lohengrin," Prelude and "Love Death" from "Tristan and Isolde," Prelude to "Parsifal," " Overture to Tannhauser " ; Verdi, "Ernani, involami," from "Ernani" (Mme. Sembrich); Loeffler, "The Devil's Villanelle" (Mr. Marshall, organist); Songs with pianoforte accompaniment sung by Mme. Sembrich (Mr. Frank La Forge, pianist): Brahms, "Wie Melodien zieht es mir"; Schumann, "Auftrage"; Strauss, " Allerseelen Jaques-Dalcroze, "L'oiseau bleu"; La Forge, "To^a Messenger." " ; Mr. Heinrich Warnke t played the solo violoncello part and Mr. Emile Ferir f the solo viola part in the performance of Strauss' " Don Quixote," April 23, 1910. Mr. John P. Marshall was the organist in the performance of Loeffler's "Devil's Villanelle," January 8, 1910, and at the Pension Fund Concert, April 17, 1910; Strauss' "Thus spake Zarathustra," January 22, 1910; Tschaikowsky's Overture, "1812," March 5, 1910; Elgar's Variations on an Original Theme, April 9, 1910; Liszt's "Faust," April 16, 1910. Mr. Frank La Forge was the accompanist of Madame Sembrich at the concert of March 19, 1910, and at the Pension Fund Concert of April 17, 1910. The male chorus of the Apollo Club of Boston took part in the peiformance of Liszt's "Faust" Symphony, April 16, 19 10. The Cecilia Chorus of Boston took part in the performance of Beethoven's Ninth Symphony, April 30, 1910.

Addenda.

Chausson's " Poem of Love and the Sea" (page 610), 861. Bach's Christmas Oratorio in Boston, 861.

Erratum.

. Chadwick's Sinfonietta (1165) 1247.

^^fiWHtely 1002 to 1000 ®rpm0«t ^XxnX, loaton

1867 ¥ 'E^'^iT' A l^'TV^^fl Cleanses or Dyes Mens Suits Gloves Overcoats Ties A T IT^'IAT' A l\I'r\^^C! Cleanses or Dyes Womens IjJLj VV /1l1^UV^3 Apparel of all kinds Cleanses and Dyes SLt"LEWANDOS Carpets and Ru^s Where or Dyes ¥ 1? "lAT" A 1\I1\ #^ d Cleanses Laundering of JL1_J ¥¥ i\i^JLf V-f »3 Draperies Portieres Shirts Collars ¥ 17^ ^AT" A "I\J¥\ /^ CJ Cleanses Silks Cuffs ShirtwaistsIjUi f? i\lHiJV-f»3 and Satins Underwear Lin- ¥ tp "147" A IVrV #^ C Dyes Faded jierie Tablecloths Ijllj TT i\ilUv/»3 Clothes Centerpieces T ¥j1¥A7' A 1VT¥\/^C! Cleanses Napkins Doylies Ijlli ¥T i\i^iJ VfiJ Feathers Sheets Pillow Cases J i:^"147" A TVTT^/^ Q^leanses and Household Linens JjHj Kjf iVlUJLf V/»3 Laces Is done in the very best T ¥7^'^A7" A lVT\^~^CDy** manner possible IjJlJ vT i\l^U V^lJHose With Pure Soap and Water ¥ ¥r\i/" y4 TVl^^^^ and without Bleaching Powders Jjl-J IW i\l^ JJv-f»J BOSTON SHOPS 17 Temple Place 284 Boylston Street

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

1858

STEI1TEI?,T H^XjXj

jfajr-Buonamici ^cfjool OF

IJianoforte fllaginfl

FELIX FOX } ^^''^ctors CARLO BUONAMICI ^

Courses in Pianoforte, Sight-Playing, Harmony, Counterpoint, Composition, History of Music.

SUMMER SESSIONS

Open June Sixth

Pupils may enter at any time

SPECIAL COURSES for TEACHERS

SEASON 1910-11

Fall Term opens September 26

For further information, address THE REGISTRAR, Fox-Buonamici School,

Steinert Hall, Boston, Mass. I860 THE SMALLEY TRIO

Miss EDITH THOMPSON, Pianoforte

Mr. WILLIAM KRAFFT, Violin Of the Boston Sjmiphony Orchestra

Mr. RALPH SMALLEY, Violoncello Of the Boston Symphony Orchestra

Dates now booking for Fourth Season, 1910-11

Management, L. H. MUDGETT Symphony Hall, Boston

MASON & HAMLIN PIANO USED

CHICKERING HALL

Tuesday Evening, May 17, at 8.15 STERLING DOAK-RICE

Assisted by

The Boston Festival Orchestral Club

presents

-THE HAPPY PRINCE" A story by Oscar Wilde Incidental music by Liza Lehman

(First public presentation in America)

"KING ROBERT OF SICILY" Henry W. Longfellow M»wc by Rossetter G. Cole

Tickets, $1.50, $L00 and 75 cents, on sale at the Hall 1861 SYMPHONY HALL

Every Evening, Excepting Sunday, from May 2 to July 2

Twentyflfth Season. 1910 ^he POPS

Conductors GUSTAV STRUBE ANDRE MAQUARRE

OPENING NIGHT MONDAY, MAY 2, at 8 o'clock

PROGRAMME

MARCH, "The Comet" (new) Strube

OVERTURE, "Masaniello" . . ; Auber WALTZ, "Du und Du" Strauss SELECTION, "Carmen" Bizet OVERTURE, "Rienzi" Wagner "MEDITATION," from "Thais" Massenet

(Solo Violin, Mr. J. Hoffmann) HUMORESQUE Dvorak SELECTION, "Samson and Delila" Saint-Saens

BALLET MUSIC from "La Gioconda" ...... Ponchielli SELECTION, "The Midnight Sons" Hubbell WALTZ, from "The Chocolate Soldier" ...... Strauss MARCH, "Kaiser Friedrich" Friedemann GUSTAV STRUBE, Conductor

Reserved Seats, 50c. and 75c. Admission, 25c. Advance Sale of Tickets opens on Monday, April 25, Telephone, 1492 Back Bay 1863 1863 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 Oxford

MUSICAL INSTRUCTION.

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

Portenouth, N«w HampaMra, Monday*.

.,. ».»/v,x.*T,» ««wTmTT.«^ Classes in Sight Reading MissCAROLINEM. SOUTHARD, (E.a«T hands,. Advanced pupils follow the Symphony proKramaiM TEACHER OP THE PIANOFORTE. as far as practicable. 165 Huntington Avenue - BoBton 1804 PIAMSTEand TEACHER.

Mrs. CAROLYN KING HUNT, Hemenway Chambers, BOSTON.

TEACHER OF SINGING.

Hiss CLARA E. MUNGER, Century Building, 177 Huntington Avenue, Boston.

TEACHER Of SINGING. 602 Pierce Building, Miss PRISCILLA WHITE. Copley Square, BOSTON.

Tuesdays and Fridays at Lasell Seminary.

TEACHER OF SINGING. 514 Pierce Building, Miss KATHERINE LINCOLN, Copley Square, Boston. Saturdays and Mondays in New York. SOLO SOPRANO. Representlnii Miss Clara E. Mnoiier. Address, 254 West 85th.

38 BABCOCK ST., BROOKLINE. TEACHING AT BERTHA GDSH1N6 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. STUDLEY, ART OF SINGING. OPERA. ORATORIO, AND SONQ.

1865 Vocal instruction Latnperti method to a limited Mile. AVIGLIANA nomber of pupils. Oratorios taught in accordance with traditional renderings under Sir Michael Costa, (Royal Italian Opara, Covent Garden) Macfarren, 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., have amply 137 NEWBURY STREET. qualified Mile. Avigliana to prepare her pupils for any position.

Piano, Voice, Violin (and all orchestral Tbe Gnckenberger Scbool of instruments). Theory, Musical Analysis, Analytical Harmony, Composition, Score Hnsic. Reading, Chorus and Orchestral Con- ducting. B. GUCKENBERGER, Director. 30 Huntington Avenue Boston WILLIAM ALDCN PAULL INSTRUCTOR OF VOICE CULTURE, Episcopal Theological School, Brattle Street, Cambridge

Office Hours: ^' Daily except Saturday. Telephone, Cambridge 2816-1. | P R I VAT E LESSONS BY APPOINTMENT

RECITALS a SPECIALTY. JOHN HERMANN LOUD Inatrnctlon InOriian, Harmony and Piano. CONCERT ORGANIST. Address, 140 Boylston Street, Boston, or 154 Oakleigh Road, Newton. (Fellow of The American Guild of Organists) Telephone 798-4 Newton North

Pianist and Teacher. Hiss MARY IN6RAHAH. 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 Hr. LOUIS SGBALK, TEACHER OF SINGING.

Studio, 25 Steinert Hall, Boston.

1524 Chestnut Street. Philadelphia Mrs. WILLIAM S. NELSON Mondays and Thursdays. 580 Main Street. East Oraniie. N.J. Vocal Instruction, Accompanist Wednesdays. I East 40th Street, New York Musicales Arranged. Tuesdays and Fridays. 1866 :

SIXTH YEAR 1900-1910 LOUIS NORMAN CULLIS, INSTRUCTOR IN VOICE PRODUCTKDN. 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 Bouhy 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, CDITH LANG, Vocal Instruction. PIANIST.

246 Huntington Avenue. Lang Studios, 6 Newbury Street

HELEN ALLEN HUNT, MISS EDITH ROBBINS, TEACHED OP PIANO CONTRALTO SOLOIST. PLAYING. Teacher of Siogiog. Suite 57, Garrison Hall. No. 514 Pierce Building Boston. Telephone Back Bay 2307.

ANNA ELLIS - DEXTER. ERNEST COORENGEL, Soloist at New Jerusalem Church, Boston. Cultivation of Art and Individual.'tv in VOCAL INSTRUCTION. PIANOFORTE PLAYING. STUDIOS NEW SYSTEM. Brockton, Mondays and Tuesdays, 55 Centre Street. All Branches of COMPOSITION^ Boston, Wednesdays and Saturdays, 218 Tremont Street, Symphony Chambers, opposite For particulars apply Room 51 Providence, Thursdays and Fridays, Butler Symphony Hall, Boston. to Business Manager. Exchange.

BERTEL Q. WILLARD, Mrs. H. CARLETON SLACK, "BASS. LYRIC SOPRANO. Voice Development and Breath Control. Concerts. Recitals. Society Mnslcales. Vocal Instructor. Harvard University. Vocal Instrnction. 404 Huntiniiton Chambers Lan|{ Stadios. 6 Ne^vbury Street. Wednesday and Saturday. Tuesday and Friday At other times by appointment. Afternoons.

MISS GERTRUDE EDMANDS, School of Vocai Instruction Under exclusive social and artistic patronage for the Concert and Oratorio. finish and introduction of young ladies in Vocal Instruction. OPERA ORATORIO CONCERT Hiss ALICE BREEN. Stadios The Copley, 18 Huntington Avenne, St. 6 F. Metropolitan Opera House Building, New York City and 56 Irving Place, Brookljm.

MAY SLEEPER RUGGLES ARTHUR THAYER, (CONTRALTO) Soloist in Boston Concert Trio. Teacher of Singing. Liederheim School of Vocal Music, AUBURNDALE. MASS. Boston Studio Pierce Building. Send for Prospectus. 200 HUNTINGTON AVENUE. 1867 EDWIN Basso COLLEGE, SCHOOL, AND CONSERVATORY N.C. Cantante MABEL and Teacher positions secured for TEACHERS of MUSIC. ARNES of Singing. ORATORY, GYMNASTICS, &c. Also CROCKER CHURCH engagements for SINGERS. Dramatic Art Pupil of Charles Fry, ORGANISTS, and DIRECTORS. London Academy. HENRY C. LAHEE Phone. Oxford 475-1 Symphony Chambers, Boston, opp. Symphony Hall 218 Tremont Stkeet, Boston

Pianoforte Instrnction. Mrs. BERTHA I. KAGAN, German Diction, for Opera, Concert, ARTHUR GERS. and Oratorio Work. Formerly pupil Royal Conservatory Girnii taiioid. Clissle inii Modera Llliratori. of Brussels, Belgium, (i8g7-igoi). Address, 19 Trowbridge Street, Cambridge Also Or({anist and Accompanist-

Telephone '2331-1 Cambridge. HUNTINGTON CHAMBERS - BOSTOIN.

MME. DE BERG-LOFGREN, Miss BNEZ DAY. TEACHER OF SINGING. The"QARCIA" Method. PIANIST and TEACHER. Teacher of Bettina Freeman and Virginia Pierce, of Boston's new Grand Opera. LANQ STUDIOS, Studio, 12 Westland Avenue, BOSTON, MASS. Telephone, Back Bay 3762-1 6 NEWBURY STREET.

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

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

Mrs. NELLIE EVANS PACKARD. ALBERT M. KANRICH studio, 218 Tremont Street (Room 308), Boston. Violinist and Musical Director VOCAL INSTRUCTION. The Kanrich Orchestta m.iy be engaged for Con- I'heJTtricals, etc. Mrs. Packard is commended by Walker, Randegger certs, Weddings, Dinners, Dances, (London), Marchesi, Bouhy, Trabadelo (Paris), Orchestration, Vocal and Band. Leoni (Milan), Vannuccini (Florence), Cotogni, I64A 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 BOYLSION STREEI, BOSTON Tel. conn, with Batavia Chambers. TELEPHONE, 1507 BACK BAY

C. B. HAWLEY, Hiss MABEL ADAMS BENNETT, VOCAL TEACHER ^'"""'^^on^^ctor 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 igoS-og in New York, with Fraulein Morena Studio, 3.S 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 1868 THE

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Catalogue Mailed on Jtpplication Old. Pianos Taken in Exchange

MASON & HAMLIN COMPANY Established 1854

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

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