Of Tif^ Twenty-Fourth Rehearsal and Concert

Home , Three Shakespeare Songs

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS

AVENUES : : : Telephone, 1492 Back Bay TWENTY-SIXTH SEASON, 1906-1907

DR. KARL MUCK, Conductor

prngmmm? of tif^ Twenty-fourth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

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1814 Boston Symphony Orchestra PERSONNEL

TWENTY-SIXTH SEASON, 1906-1907

Dr. KARL MUCK, Conductor

Willy Hess, C»ncertmeitter, and the Members of the Orchestra in alphabetical order.

Adamowski, J. Heberlein, H. Adamo^rski, T.

Akeroyd, J.

Bak, A. Bareither, G. Barleben, C. Barth, C. Berger, H. Botrer, H. Brenton, H. Brooke, A. Burkhardt, H. Butler, H.

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Twenty-fourth Rehearsal and Concert*

FRIDAY AFTERNOON, MAY 3, at 230.

SATURDAY EVENING, MAY 4, at 8 o^cIock.

PROGRAMME,

Volkmann . . . Overture, in F-sharp minor, to Shakespeare's " Richard III.," Op. 68

Liszt . . Symphonic Poem, No. ii, "The Battle of the Huns"

" Beethoven . . Symphony No. 3, in E-flat major, Eroica," Op. 55

I. Allegro con brio.

II. Marcia funebre : Adagio assai.

III. Scherzo: Allegro vivace ; Trio.

IV. Finale : Allegro molto.

There will be an intermission of ten minutes before the symphony.

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

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52 SIMMER ST. BOSTON Overture to Shakespeare's "Richard III.,'-' in F-sharp minor, Op. 68 Robert Volkmann

-(Born at Lommatzsch (Saxony), April 6, 1815; died at Budapest, October 30, 1883.)

The music to Shakespeare's "Tragedy of King Richard the Third" was Volkmann' s last and riiost important orchestral composition. He

worked on it long before and after the Serenades for strings (C major, Op. 62; F major, Op. 63; D minor, with violoncello solo, Op. 69), which were written in 1869-70. The overture was written first at Budapest. It was completed in 1870. It was performed for the first time at the Landessangerfest at Budapest, June 20, 1870. The entr'actes and incidental music (Op. 73)—five short stage marches and six other pieces—were not completed until 1872. The tragedy with all this music was performed that year at the National Theatre, Budapest, under Hans Richter's direction. Wishing to have the music heard in concert halls, Volkmann with the help of his friend Heckenast arranged the entr'actes, etc., with an accompanying text to be spoken. A vSuite without text—five pieces—was arranged and performed by the Dresden Gewerbehaus Orchestra, led by Trenkler. The overture was played for the first time in Boston at a Symphony

Concert, led by Mr. Gericke, March 14, 1885. It was played at these concerts, March 20, 1886, October 18, 1890, October 21, 1893, October 26, 1901. The overture is scored for two flutes (one interchangeable with piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, snare-drum, triangle, tam- tam, and strings. Volkmann took for his hero the traditional Richard,—the scowling, misshaped, melodramatic, bloody Richard, dear to Shakespeare and robust play-actors. The Rev. Nathaniel Wanley thus described him LATBST SONG CYCLES

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1820 in "The Wonders of the Little World" (Book I., chapter xiii. : "Of the Signal Deformity, and very Mean Appearance, of Some Great Persons, and Others"): "There was never a greater uniformity of body and mind than our own King Richard the Third, for in both he was equally deformed. He was low of stature, crook-backed, hook- shouldered, splay-footed, goggle-eyed, his face small and round, his complexion swar.thy, and his left arm withered from his birth. Born, says Truffel, a monster in nature, with all his teeth, hair on his head, and nails on his fingers and toes. Those vices which in other men are passions in him were habits. His cruelty was not casual, but natural; and the truth of his mind was only lying and falsehood."

The latest English historians laugh at this bogy of tradition ; but their genteel, straight-backed, and beneficent ruler, with his hair pleasingly combed, would never have inspired tragedy, symphonic poem, overture. The whitewashed Richard now stands forth an enlightened and philan- thropic monarch. Let us not forget that, like Nero and Henry VHI., he was passionately fond of music, so that it is a pity he could not have heard both Smetana's symphonic poem and Volkmann's overture, and compared them. In the second year of his reign he issued "a most arbitrary" order for impressing singing men and children, even from cathedrals, colleges, chapels, and houses of religion, for the purpose of affording him amusement. The latest biographer of Richard, Sir Clements R. Markham, dis-

poses of the fables. Richard was not humpbacked ; he did not murder Edward of Lancaster; the charge that he murdered Henry VL is an insinuation rather than an accusation, a "Tudor calumny"; his mar- riage with the Lady Anne Neville was a happy one; he did not im-

prison for life the Countess of Warwick ; he was not a usurper ; he did

not poison his wife ; he did not murder the princes in the Tower ; the murderer was probably Henry Tudor. Volkmann gave no programme to his overture. Here he differed from Smetana, who admitted, yes, boasted, that he could not compose music without a programme, and wrote as follows to his friend Srb concerning his symphonic poem, "Richard IIL"* (Gothenburg,

" * Smetana's Richard III." was performed in Boston at a Symphony Concert, April 25, 1903

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Arthur P. Schmidt CHARLES W. HOMEYER & CO. 120 BOYLSTON STREET 165 Tremont Street (Walker Building) BOSTON, MASS. Boston 1821 1858); "You ask for an explanation? Whoever knows Shakespeare's- 'Richard III.' can picture to himseh' the whole tragedy as he pleases while he listens to this music. I can say only this, —that in the very first measure I have embodied in music the character of Richard. The chief theme in all its varied forms dominates the whole composition. I have attempted shortly before the finale to picture in musical colors the frightful dream of the monarch before the battle, —the dreanj in which all of the persons murdered bv him come as ghosts at night, and tell of his approaching downfall. The end is the death of Richard. In the middle of the work his victory as ruler is portrayed, and then there is the story of his fall, even till the very end." It was the catastrophe of the tragedy that moved Volkmann, and the overture may be said to be inspired by scenes iii. and iv. of Act V. The programme suggested by Friedrich Brandes is as follows: The restless and perturbed Richard tosses and writhes in his tent on Bosworth Field. A theme goes crawling through the string quartet. The first ghost appears to fearful and mysterious music (clarinets, bassoons,, trombones, gong), and Richard leaps wildly from his couch. An oboe wails.

"Give me another horse! bind up my wounds!

I Have mercy, Jesu! Soft! I did but dream."

But the ghosts smile on Richmond.

"The sweetest sleep and fairest-boding dreams That ever enter'd in a drowsy head Have I since your departure had, my lords."

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And the wailing theme now appears, soft and consoling, in the major. • The development (Allegro), announced by a new theme introduced by the violoncellos and imitated by violas and violins, is representative of the soliloquy of Richard :

"Oh, no: alas! I rather hate myself For hateful deeds committed by myself."

The wailing motive, broadened and enlarged, is prominent in the development. The morning breaks; and now is blown thrice, but in dull, pale tones the ghost theme. The flute takes up the wailing heard before from oboe and clarinet. As from afar is heard a lively tune, "an old English war song," "The Campbells arecomin',"* from flute, piccolo, clarinets, bassoons, drum, and triangle. The fight begins with leaps of the double-basses. There are trumpet signals. The battle theme joins the themes of apparition, wailing, and "The Campbells." And

*The air now known as "The Campbells are comin' " is much older than the song with which it is now associated. Some say the tune is of Irish origin; that a song, "The Old Man," by A. MacGrath, was sung to it; that the melody dates back to 1620; that the earliest trace of the air in Scotland was in 171 5; and that it was pubUshed there about 1760 (1764?) in Robert Bremner's "A Collection of Scots' Reels and Country- Dances," No. II under the Campbell title. Some say, on the other hand, that the tune and the words were composed on the imprisonment of Mary Queen of Scots in Lochleven, 1567, but the words were probably written at the breaking out of the rebelUon in 171 5, when John Campbell, Duke of Argyle, was made com- mander-in-chief of the forces of George I. in North Britain. The first appearance of the tune in print under the title, "The Campbells are comin'," is in James Oswald's Caledonian Pocket Companion Book III. (the twelve books were published from 1742 to 1759). The tune, entitled "Hob or Nob," is found in Walsh's "Caledonian Country Dances," about 1740 (the word Caledonian here refers to the steps of the dances); Johnson's "Two Hundred Country Dances," 1748; "Rutherford's Dances," 1750; Peter Thompson's "Two Hundred Country Dances," about 1758. Bruch made use of a portion of the tune in his " Schon Ellen," published in the sixties. Choice Oriental Rugs

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1825 at last is heard with terrible effect from trumpets and trombones the ghost theme, which closes with whirl of drums arid stroke of gong. Richard is dead. Trumpets announce the approach of Richmond, the Conqueror. The prayer of the new king, a modification of the wailing theme, brings peace and forgetfulness of the bloodv days. It is hardly necessary to point out the fact that "The Campbells are " comin" " was no more heard on Bosworth Field than "The Marseillaise at Cannae or at Fontenoy. But what English tune might have been heard in 1485 for the benefit of future composers? There are also programme explanations by Th. Miller Renter, who associates closely the music with the ghost scene, and by Hans Volk- mann, a grand-nephew of the composer. According to the latter, the opening measures, largo, F-sharp minor, establish a dismal mood. The first chief theme, introduced, andante, by a little fugato, appears in the trombones, and with strokes of the gong suggests something mysterious and spectral. "It is the symbol of the horror inspired by Richard's murderous deeds, the horror that paralyzes mankind." This is followed by the second chief theme, made out of fragmentary phrases (clarinets, violins, etc.), which typify the complainants of the monster's victims. The beginning of the Allegro pictures the soul of Richard. The Scottish tune announces the approach of the rightful heir to the throne. The battle scene is broadly painted, and the theme of horror entering shows that the tyrant himself is panic-stricken. This motive (E minor, trombones) is still more terrible when it comes again (B minor) to proclaim the downfall of Richard, and the third time (F-sharp minor) it announces his death. The fanfares of the victors sound, and after a reassuring change in harmony the coda, F-sharp major, is a hymn of rejoicing, developed out of the former theme of lamentation.

Music to "Richard III." was ^vritten by G. A. Schneider (BerUn,

1828), overture, entr'actes, and incidental ; Louis Schlosser (Darmstadt, 1835), overture, entr'actes, and incidental; Gieseker (composed in

1876, Wiirzburg) ; Edward German for Mr. Richard Mansfield's revival

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(London, 1889). German's overture was played at the Crystal Palace, Februarv 22, 1890. Overture, "Richard III." by Isidor Rosenfeld (composed in i860); overture by Anton Emil Titl (composed about 1870 at Vienna). Add the symphonic poem by Smetana, above mentioned.

' Operas with Richard as hero : Richardus impius Angliae rex," Latin drama, with music bv Eberlin (Salzburg, 1 750, performed by students)

"Riccardo IIL," by Meiners (Milan, 1859) ; "Riccardo IIL," by Canepa (in ItaHan at St. (Milan, 1879) ; and "Richard IIL," music by Salvayre Petersburg. 1883; in the original French at Nice, 1891). The book of Salvayre 's opera is an extraordinary thing. The librettist. Blavet, does not allow Richard to die on the battlefield: he reserves him for a more horrible fate. The last scene begins with shouts of populace near a cathedral: "Hurrah pour Richmond!" Richard, a high baritone, is exceedingly distressed by the pleasure of his enemies, and determines to die on the cathedral steps, but, like Charles II. and Tristan, he is a long time a-dying. These are his last, " positivelv last words : La mort, la belle affaire ! Ah I Ah ! Ah ! Ah

' ! est un Ah : Ah I Ah : Ah \ Ah 1 Ah 1 Ah Ah Le Roi Richard

' grand Roi ! .*^

• They that would know the hopes excited by Volkmann when his once famous Trio appeared should read von Billow's article, republished in the collection "Ausgewahlte Schriften," made by Marie von Biilow (Leipsic, 1896). Appreciative and discriminative is the article by

ELSON'S MUSIC DICTIONARY By LOUIS C. EL50N Professor of l«ieorv of Music at the New England Conservatory of Music

There are no obsolete terms in Elson's Music Dictionary, but every necessary

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I^uis Ehlert. (The translation is by Helen D. Tretbar.) I quote from the conclusion: "And first of all we must premise that Volkmann's is a genuine musical nature. He is not, like so many an other one, an accidental musician: he became a musician because he could be nothing else. But the history of his development does not include him among those whom a higher power has protected against going astray and endowed with all the armament with which it arms its prophets. His is the history of those innumerable art-existences that move in uncertainty and along obscure paths towards their aim, full of ideals, upright, and strong, but content at times, when travel-weary, to seek a refuge above which the stars do not shine. A strange land, full of heating, stinging elements, early gave him shelter ; and amid these surroundings his real youth was passed. Foreign culture, strange customs, and aUen blood stood sponsors to his genius. And his originality took root in this singular mixture of the German and Magyar nature. ' "In his earliest days he bestows upon the world a splendid work, and then, full of contradictions and restless, desponding in his passion and passionate in his despondency, he departs from his career, so gloriously begun, enters upon new walks, disports himself in all saddles upon all roads, and rises in his manhood to the height of several healthy, able efforts, but without ever accomplishing anything that might rank at the side of his first genial creation. An inexplicable, ofttimes un- comfortable, lack of clear perception concerning himself and the nature. of his gifts drives him from his legitimate endeavors to unnatural

ones. . . . He has been termed the 'Hungarian Gade,' a title representing the|truth. They are both colorists, although Volkmann designs with more force than Gade, while the latter exerts a greater charm through his manner of employing his colors. What nature's intentions were in regard to Volkmann she has shown more clearly than in the case of many others. He should have become the Meissonier of music. Had he never ignored the promptings of his genius, had he closed his hearing to the torturing echoes of an irrevocably lost pefiod of time, had he

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1820 turned aside t'rom all the impure harmonies with which our lyres have been corrupted in expressing a longing for exaggerated happiness, truly his position in the art firmament would be a higher one than that of many others who now consider themselves entitled to look down upon him. The existing musical tone of an age may not be wilfully raised or lowered: we must accommodate ourselves to the given tone, and take our stand at that desk of the great art-orchestra for which nature has designed us. He who has been called as a flute-player must never desire to strike the kettledrum. Volkmann's real and unmistakable domain is the lyric-instrumental. ... In bold and passionate styles, and even in humor, in its deepest significance, he is often successful. When he errs, it is the error of a noble man, to whos^ nature every illegitimate speculation is foreign." This article was written before the publication of the overture, ^ Richard III.

Symphonic Poem, No. ii, "The Battle of the Huns," Franz Liszt

(Born at Raiding, near Odenburg, Hungary, October 22, 181 1; died at Bayreuth, July 31, 1886.J

Lina Ramann, in her Life of Liszt, says that Liszt conceived the idea of composing this symphonic poem when he was at Munich, after his visit to Wagner at Zurich, and in daily intercourse with Kaul- bach, "in the first half of December, 1856." This statement is con- tradicted by Liszt's own letters. The Princess Caroline de Sayn-Wittgenstein* was in Berlin in the summer of 1855, and she was much interested in the museums, the art and Uterary life in that city. Liszt wrote to her July 21 of that

* The Princess, the dear friend of Liszt for many years, was born at Monasterzyska, in the governmeDt of Kieff, February 8, 1819. She died at Rome, July 31, 1886. Liszt's letters to her are published in four vol- umes (Leipsic, 1899-1902). For an extremely interesting account of this remarkable woman see Henri Mare- chal's "Rome: Souvenirs d'un Musicien," pp. 229-286 (Paris, 1904). The French composer Mar^chal knew her well, and corresponded with her.

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|^^ \Jg>>g^^^ Ir- «-^cw^-> -jr r-^cwTX-er-io^^cy.^-. r^c^;^ I Ir-r's^sc.Ajlfc/ year: "I have never thought much of Begas' painting. All that school, with the exception of Cornelius and Kaulbach, seems to me to be on a level with the school represented in music by Marschner, Lindpaint- ner, etc. As for Kaulbach, that's a horse of another color, and I believe that he is truly somebody. Tell him I have always thought this of him, and that I value his friendship highly. When I have finished my 'Dante,'* I'll see if I cannot set music to one of his pictures, 'The Battle of the Huns,' for instance, or a still later picture, which

will suit me still better, for I imagine that his talent has grown a great deal these last years! I shall speak of it to him when we see each other, and after you have informed me about his pictures in Berlin." In a letter written to the Princess, July 24, Liszt speaks again of

"making a 'Battle of the Huns,' which will not be worm-eaten ! There will naturally be a long pianissimo effect for a finale, to leave the hearer fixed on the combat in the air, as though terrified and dazzled by these insatiable warring shades! I sometimes feel myself a Hun to the marrow. When my bones will be broken and j:educed to dust or cor- ruption, my spirit will breathe combat, valor, and—our love!" He wrote on the 29th of July: "My idea of 'The Battle of the Huns' is not merely a freak. I intend surely to go to work on it as soon as

' I have finished my Psalm, 'f that is to say, toward the end of August, but I must first see the engraving of the battle, which you possess, I think, in your collection of masterpieces." Two days afterward he wrote that, as soon as he completed the "Psalm," he should begin work on the Kaulbach tone-poem. Liszt wrote to a friend (see "Liszt's Briefe an eine Freundin," Leip- sic, 1894) on August 15, 1855 : "The Princess is back from Berlin highly satisfied with her artistic explorations there,—she brought me among other things a fine sketch of Kaulbach's 'Battle of the Huns,'—and

* The "Dante" Symphony, begun in 1847, was completed in 1855, and produced at Dresden, November 7, 1857. It was published in 1858. t Psalm XIII., "How long wilt thou forget me, O Lord?" for tenor solo, chorus, and orchestra, composed in 1855, revised in 1861-62, and published in 1865.

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1833 1 am tempted strongly to make a musical composition after this sketch. Of course, it will be no guitar piece, and it will be necessary to put a strong body of brass in movement." He wrote to her on September 2 2 of the same year: "Since Kaulbach will come here [Weimar] in October, I must not be behindhand with my 'Battle of the Huns,' which will be one of my symphonic poems and a sort of companion piece to 'Mazeppa.'" He wrote to her from Gotha, January 30, 1857: "I shall have finished my 'Battle of the Huns' after Kaulbach by the middle of February." Dionys Pruckner says that Liszt worked on this symphonic poem from January to February 10 of 1857. The poem was produced at Weimar, in a theatre concert given by Sivori,* December 29, 1857. The first performance in Boston was at a concert given by Theodore Thomas, December 3, 1872.

Ernesto Camillo Sivori, distinguished violinist, was born at Genoa, October 25, 1815, where he died, February 18, 1894. A pupil of Paganini, he was long famous as a virtuoso throughout the world, and was an excellent quartet player. He composed two concertos and other pieces for violin. He made a tour of the United States, Mexico, and South America in 1846-48.

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1835 This picture by Kaulbach* is one of a set of six mural paintings executed in 1847-66 for the upper walls of the staircase of the New Museum in Berlin. The subjects are "Fall of Babel," "Prosperity of Greece," "Destruction of Jerusalem," "Battle of the Huns," "The Crusaders before Jerusalem," "Age of the Reformation." The guide- book description of the "Battle of the Huns" is as follows: "According to a legend, the combatants were so exasperated that the slain rose during the night and fought in the air. Rome, which is seen in the background, is said to have been the scene of this event. Above, borne on a shield, is Attila with a scourge in his hand, opposite him Theodoric, king of the Visigoths. The foreground is a battlefield, strewn with corpses, which are seen to be gradually reviving, rising up, and rallying, while among them wander wailing and lamenting women." Count Raczynski, of Berlin, ordered in 1837 a cartoon from Kaulbach on this subject. This cartoon, painted in different shades of brown, occupies almost a whole wall in the Raczynski Picture Gallery. This battle is legendary or symbolical. As a matter of fact, Theo- doric was stricken down by a stroke from the javelin of Andages, an Ostrogoth, and trampled under the feet of his own cavalry in the fight against Attila, near Chalons, France, the fight in which one hundred and sixty-two thousand were slain, or, as some say, three hundred thousand. The Huns were imdoubtedly vanquished, for Attila was compelled to retreat. This battle was in 451. Attila did not invade Italy till the next year, when he fought no battle near Rome, but, influenced by superstition, or, as some say, by the apparition of Saint Peter and Saint Paul, who threatened him with death if he rejected the prayer of Leo, he gave peace to the Romans, and accepted the immense ransom or the dowry of the Princess Honoria. Attila died his strange death in 453.

Liszt wrote Kaulbach's wife. May i, 1857 : f "I have been encouraged to send you what indeed truly belongs to you, but what, alas! T must

* Wilhelm von Kaulbach, famous painter, bom at Arolsen, October is, 1805. died April 7, 1874, at Munich, where he had been Director of the Academy since 1849. His friendship with Liszt began in 184:, and he painted the composer early in the fifties. t The translation into English is by Constance Bache. YOUR FURS STORED

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J^/l.J\./\.0 l5XvV^O« (incorporated) -ri Our telephone is Oxford 48 < -7Q . o . x "D a Goods called for and delivered I / 7 1 remOIlt Otreet, OOStOIl 1836 send in so shabby a dress that I must beg from you all the indulgence that you have so often kindly shown me. At the same time with these Hues you will receive the manuscript of the two-pianoforte arrangement of my symphonic poem, 'The Battle of the Huns' (written for a large orchestra and completed by the end of last February), and I beg you, dear madam, to do me the favor to accept this work as a token of my great reverence and most devoted friendship towards the master of masters. Perhaps there may be an opportunity later on, in Munich or Weimar, in which I can have the work performed before you with full orchestra, and can give a voice to the meteoric and solar light which I have borrowed from the painting, and which at the Finale I have formed into one whole by the gradual working up of the Catholic choral, 'Crux fidelis,' and the meteoric sparks blended therewith. As I have already intimated to Kaulbach in Munich, I was led by the musical demands of the material to give proportionately more place to the solar light of Christianity, personified in the Cath- olic choral, 'Crux fidelis,' than appears to be the case in the glorious painting, in order thereby to win and pregnantly represent the conclusion of the Victory of the Cross, with which I, both as a Catholic and as a man, could not dispense. Kindly excuse this somewhat obscure commentary on the two opposing streams of light in which the Huns and the Cross are moving; the performance will make the matter bright and clear—and if Kaulbach finds something to amuse him in this somewhat venturesome mirroring of his fancy I shall be royally dehghted." It seems, from a letter written by Kaulbach in the summer of 1858

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1837 to Liszt, that the latter had it in mind to treat in Uke musical manner the other mural pictures by Kaulbach in Berlin, possibly for theat- rical performance, tableaux vivants, at Weimar. "Your original and spirited idea—the musical and poetic form of the historical pictures in the Berlin Museum—has taken hold of me completely. I much wish to hear your and Dingelstedt's* idea of this performance. The representation of these powerful subjects in poetical, musical, and artistic form must constitute a harmonious ^work, rounded off into one complete whole. It will resound and shine through all lands! I shall therefore hasten to Weimar as soon as mv work here will let me free." The plan came to naught.

* *

I "The Battle of the Huns" is scored for one piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, one bass tuba, a set of three kettledrums, cymbals, organ, strings. The composition is free in form, yet labored explanatory programmes have been written. The conflict is between Heathendom and Chris- tianity, between Barbarism and Civilization. The beginning, C minor, Tempestuoso, allegro non troppo, 4-4, with pianissimo drum- roll, has a theme for bassoons, supported by 'cellos. This theme, at first mysterious, then growing in intensity, is supposed to cliarac-

* Franz von Dingelstedt, poet and dramatist, born June 30, 1814, at Halsdorf, died at Vienna, May 15, 1881, as General Director of the Court Theatre. He was successively teacher, librarian (Stuttgart, 1843), and theatre director (Munich, 1850; Weimar, 1857). He planned an after-poem for this proposed Kaulbach- Liszt entertainment at Weimar.

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terize the Huns whose ghosts arise to the combat. Horn fanfares resound and are answered. Piu mosso, allegro energico assai. The combat deepens. Arthur Hahn finds the Huns described rhythmi- cally as horsemen in contradiction to the picture of Kaulbach. The chief theme of the Christians, "Crux fidelis," is sung solemnly by trombones.

Crux fidelis inter onines, Arbor una nobilis,

i Nulla talem silva profert Fronde, flora, germine: Dulce lignum dulci clavo Dulce pondus sustinet.*

This has been Englished in prose as follows :

Cross faithful of all the trees, tree of unique nobility, no forest produces such in leafage, flower, or twdg; the sweet wood bears with sweet nail a sweet burden.

The Christian theme is opposed to that of the battle-hymn of the Huns. Swords clash against shields, the typical rhythmic figure of the Huns appears again, there are trumpet and trombone calls sounding on every side. There is a long-held chord of E-flat with the shriek of the battle fanfare. And now the sound of battle dies away, the air is clearer and more serene. The melody, "Crux fideUs," is heard, Lento dolce reUgioso, from the organ, and with the introduction of the organ the finale of the work begins. "The use exclusively of the Christian choral ennobles the triumph of the Cross, of the light of truth over the power of darkness." This finale goes outside the frame of Kaulbach's picture, as Liszt says in the letter already quoted.

* This is the eighth verse of the song of triumph, "Pange lingua," attributed by some to Claudian Mamertus, by others to Venantius Fortunatus, bom in the district of Treviso in 530, a master of vers de so- ciete, who, at the wish of Queen Rhadegunda, settled at Poitiers, where he became a bishop, having received ordination, and died in 609, in the full odor of sanctity, though some speak scandalously of the queen's interest in him (see Thierry's "R^cits des Temps M^rovingiens"). Claudian was brother and vicar to Mamertus, Bishop of Vienna. One of the most learned men of his time, he died about 473. He wrote a book on the nature of the soul and, as some say, a poem against profane poets. t For curious remarks concerning the cross in Latin sacred poetry see Remy de Gourmont's "Le Latiii mystique: Les Poetes de I'Antiphonau-e et la Symbolique au Moyen Age" (Paris, 1829).

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Symphony No. 3, in E-fuat major, "Eroica," Op. 55. LUDWIG VAN BKETHOVEN

(Born at Bonn, December i6 (?), 1770; died at Vienna, March 26, 1827.)

Anton Schindler wrote in his Life of Beethoven (Miinster, 1840) "First in the fall of 1802 was his [Beethoven's] mental condition so much bettered that he could take hold afresh of his long-formulated plan and make some progress: to pay homage with a great instrumental work to the hero of the time, Napoleon. Yet not until 1803 did he set himself seriously to this gigantic work, which we now know under the title of 'Sinphonia Eroica': on account of many interruptions it was not finished until the following year. . . . The first idea of this symphony is said to have come from General Bernadotte, who was then French Ambassador at Vienna, and highly treasured Beethoven. I heard this from many friends of Beethoven. Count Moritz Lichnow-

sky, who was often with Beethoven in the company of Bernadotte, . . . told me the same story." Schindler also wrote, with reference to the year 1823: "The correspondence of the King of Sweden led Beetho- ven's memory back to the time when the King, then General Bernadotte, Ambassador of the French Republic, was at Vienna, and Beethoven had a lively recollection of the fact that Bernadotte indeed first awak- ened in him the idea of the 'Sinphonia Eroica.'"

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These statements are direct. Unfortunately, Schindler, in the third edition of his book, mentioned Beethoven as a visitor at the house of Bemadotte in 1798, repeated the statement that Bernadotte inspired the idea of the symphony, and added: "Not long afterward the idea blossomed into a deed" ; he also laid stress on the fact that Beethoven was a stanch repubhcan, and cited, in support of his admiration of Napoleon, passages from Beethoven's own copy of Schleiermacher's translation of Plato. Thayer admits that the thought of Napoleon may have influenced the form and the contents of the symphony, and that the composer may have based a system of poUtics on Plato; "but," he adds, "Ber- nadotte had been long absent from Vienna before the Consular form of government was adopted at Paris, and before Schleiermacher's Plato was published in Berlin." The symphony was composed in 1803-1804. The story is that the title-page of the manuscript bore the word "Buonaparte" and at the bottom of the page "I^uigi van Beethoven"; "and not a word more," said Ries, who saw the manuscript. '"I was the first," also said Ries, "who brought him the news that Bonaparte had had himself declared Emperor, whereat he broke out angrily: 'Then he's nothing but an ordinary man ! Now he'll trample on all the rights of men to serve his own ambition; he will put himself higher than all others and turn out a tyrant!' RICHARD BURMEISTER

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GEORGE L SGHIRMER & CO., 38 Huntington Avenue, Boston, Mass. ;843 Furthermore, there is the story that, when the death of Napoleon at St. Helena was announced, Beethoven exclaimed, "Did I not foresee the catastrophe when I wrote the funeral march in the 'Eroica' ?" The original score of the symphony was bought in 1827 by Joseph Dessauer for three florins, ten kreuzers, at auction in Vienna. On the title-page stands "Sinfonia grande." Two words that should follow immediately were erased. One of these words is plainly "Bona- parte," and under his own name the composer wrote in large charac- ters with a lead-pencil: "Written on Bonaparte." Thus it appears there can be nothing in the statements that have come down from Czerny, Dr. Bartolini, and others: the first allegro describes a sea-fight; the funeral march is in memory of Nelson or General Abercrombie, etc. There can be no doubt that Napoleon, the young conqueror, the Consul, the enemy of kings, worked a spell over Beethoven, as over Berlioz, HazUtt, Victor Hugo; for, according to Mr. W. E. Henley's paradox, although, as despot. Napoleon had "no love for new ideas and no tolerance for intellectual independence," yet he was "the great First Cause of Romanticism." The symphony was first performed at a private concert at Prince Lobkowitz's in December, 1804. The composer conducted, and in the second half of the first allegro he brought the orchestra to grief, so that a fresh start was made. The first performance in public was at a concert given by Clement at the Theater an der Wien, April 7, 1805. The symphony was announced as "A new grand Symphony in D- sharp by Herr Ludwig van Beethoven, dedicated to his Excellence Prince von Lobkowitz." Beethoven conducted. Czerny remembered that some one shouted from the gallery: "I'd give another kreuzer if they would stop." Beethoven's friends declared the work a master- piece. Some said it would gain if it were shortened, if there were more "light, clearness, and unity." Others found it a mixture of the good, the grotesque, the tiresome. The symphony was pubUshed in October, 1806. The title in Italian stated that it was to celebrate the memory of a great man. And there was this note: "Since this symphony is longer than an ordinary symphony, it should be performed at the beginning rather than at the end

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of a concert, either aftet an overture or an aria, or after a concerto. If it be performed too late, there is the danger that it will not produce on the audience, whose attention will be already wearied by preceding pieces, the effect which the composer purposed in his own mind to attain." *

This symphony was performed in Boston for the first time at a concert of the Musical Fund Society, Mr. G. J. Webb conductor, December 13, 1851. The programme was as follows:

PART I.

1. Grand Symphony No. 3, "Eroica" Beethoven (First time in Boston.)

PART II. " I. Grand Overture to Waverley" Berlioz (First time in Boston.)

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3. Fantaisie pour la clarionette, avec accompag't d'orchestra, "L'Attente et I'Arrivee" (sic), Op. 180 C. G. Reissiger Thomas Ryan.

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6. Overture, "II Barbiere de Seviglia" Rossini * * * The first movement, Allegro con brio, E-flat major, 3-4, opens with two heavy chords for full orchestra, after which the chief theme is given out by the 'cellos. This theme is note for note the same as that of the first measures of the Intrade written by Mozart in 1786 at Vienna

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HENRY F. MILLER (Si SONS PIANO CO. 395 Boylston Street - - BOSTON 1847 for his one-act operetta, "Bastien et Bastienne," performed in 1786 at a Viennese garden-house (K. 50). Mozart's theme is in G major. Beethoven's theme is finished by the violins and developed at length. There is a subsidiary theme, which begins with a series of detached phrases distributed among wood-wind instruments and then the violins. The second theme, of a plaintive character, is given out alternately by wood-wind and strings. The development is most elaborate, full of striking contrasts, rich in new ideas. The passage in which the horn enters with the first two measures of the first theme in the tonic chord of the key, while the vioUns keep up a tremolo on A-flat and B-flat, has given rise to many anecdotes and provoked fierce discussion. The coda is of unusual length. The funeral march. Adagio assai, C minor, 2-4, begins, pianissimo e sotto voce, with the theme in the first violins, accompanied by simple chords in the other strings. The theme is repeated by the oboe, accompanied by wood-wind instruments and strings; and the strings give the second portion of the theme. A development by full orchestra follows. The second theme is in C major. Phrases are given out by various wood-wind instruments in alternation, accompanied by triplet arpeggios in the strings. This theme, too, is developed ; and there is a return to the first theme in C minor in the strings. There is fugal development at length of a figure that is not closely connected with either of the two themes. The first theme reappears for a moment, but strings and brass enter fortissimo in A-flat major. This episode is followed by another ; and at last the first theme returns in fragmentary form in the first violins, accompanied by a pizzicato bass and chords in oboes and horns. Scherzo: Allegro vivace, B-flat major, 3-4. Strings are pianissimo and staccato, and oboe and first violins play a gay theme which Marx says is taken from an old Austrian folk-song. This melody is the basic material of the scherzo. The trio in E-flat major includes hunting- calls by the horns, which are interrupted by passages in wood-wind instruments or strings. Finale: Allegro molto, E-flat major, 2-4. A theme, or, rather, a double theme, with variations; and Beethoven was fond of this theme.

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for he had used it in the finale of his ballet, "Die Geschopfe des Pro- metheus," in the Variations for pianoforte. Op. 35, and in a country dance. After a few measures of introduction, the bass to the melody which is to come is given out, as though it were an independent theme. The first two variations in the strings are contrapuntal. In the third the tuneful second theme is in the wood-wind against runs in the first violins. The fourth is a long fugal development of the first theme against a counter-subject found in the first variation. Variations in G minor follow, and the second theme is heard in C major. There is a new fugal development of the inverted first theme. The tempo changes to poco andante, wood-wind instruments play an expressive version of the second theme, which is developed to a coda for full orchestra, and the symphony ends with a joyful glorification of the theme. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, three horns, two trumpets, kettledrums, and strings. * * * What strange and even grotesque "explanations" of this symphony have been made At the second concert of the Philharmonic Society of New York, February 18, 1843, the following comments were printed on the programme: "This great work was commenced when Napoleon was first Consul, and was intended to portray the workings of that extraordinary man's mind. In the first movement, the simple subject, keeping its uninterrupted way through harmonies that at times seem in almost chaotic confusion, is a grand idea of Napoleon's determination of character. The second movement is descriptive of the funeral honors paid to one of his favorite generals, and is entitled 'Funeral March on the Death of a Hero.' The winding up of this movement represents the faltering steps of the last gazers into the grave, and the listener hears the tears fall on the coffin ere the funeral volley is fired, and repeated faintly by an echo. The third movement (Minuet and Trio) describes the homeward march of the soldiery, and the Finale is a combination of French Revolutionary airs put together in a manner

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Telepbon«, Randolph 19-5. Boylston Street 1851 triumphant marches, but rather profound reflections, melancholy recollections, imposing ceremonies,—in a word, the funeral oration over a hero. Wagner wrote: "The designation 'heroic' is to be taken in its widest sense, and in no wise to be conceived as relating merely to a military hero. If we broadly connote by 'hero' {'Held') the whole, the full- fledged man, in whom are present all the purely human feelings—of love, of grief, of force—in their highest fill and strength, then we shall rightly grasp the subject which the artist lets appeal to us in the speaking accents of his tone-work. The artistic space of this work is filled with all the varied, intercrossing feelings of a strong, a consum- mate Individuahty, to which nothing human is a stranger, but which includes within itself all truly Human, and utters it in such a fashion that, after frankly manifesting every noble passion, it reaches a final rounding of its nature, wherein the most feeling softness is wedded with the most energetic force. The heroic tendency of this art work is the progress toward that rounding off" (EngHslied by Mr. W. A. Ellis). And Wagner explained on these lines each movement. As the second shows the "deeply, stoutly suffering man," so the scherzo reveals the "gladly, blithely doing man"; while the finale shows us finally "the man entire, harmoniously at one with self, in those emotions where the Memory of vSorrow becomes itself the shaping-force of noble Deeds." Nor should the " rededication " of the "Eroica" to Bismarck by von Billow, cher unique, as Liszt frequently called him, be forgotten. Von Bulow said, at a concert of the Philharmonic Orchestra of Berhn (May 28, 1892): "Yes, the hero was the quintessence of the world to Beet- hoven. We cannot know, we cannot surmise, what slumbered in his soul. Perhaps there slumbered the picture of the great American citizen, George Washington. But he looked for a hero of his own time, a European hero; and his eyes fell on the great star of Bonaparte." And there von Biilow might have stopped where Beethoven began.

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WORKS PERFORMED AT THE SYMPHONY CONCERTS DURING THE SEASON OF 1906-1907.

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: Suite No. 2, in B minor, for Flute and Strings (von Billow's Arrangement), October 20, 1906 87 Brandenburg Concerto, No. 3, in G major, for Three Violins, Three Violas, Three Violoncellos, and Bass,** March 9, 1907 1291 Beethoven: Symphony No. 3, in E-fiat major, "Eroica," Op. 55, May 4, 1907 1841

Symphony No. 5, in C minor. Op. 67, October 13, 1906 . . 7

Symphony No. 7, in A major. Op. 92, December 22, 1906 . 692

Symphony No. 8, in F major, Op. 93, March 9, 1907 . . . 1327

Overture, "Leonore" No. 3, Op. 72, December i, 1906 . . 542 Overture to Goethe's "Egmont," Op. 84, December 22, 1906, 655 Concerto in G major, for Pianoforte, Op. 58 (Otto NeiTzeIv*), December 22, 1936 677 Bendix, Victor: Symphony No. 4, in D minor, Op. 30,! April 27, 1907 1747 BerIvIOz: "Harold in Italy," Svmphonv in Four Movements, with Viola vSolo, Op. 16 (Viola vSolo by E. Ferir t). January 26, 1907 loii Jordan Marsh Co. Established 185 THE MERCANTILE HEART OF NEW ENGLAND OUR STANDARD ALWAYS THE HIGHEST OUR STOCK ALWAYS THE LARGEST OUR PRICES ABSOLUTELY THE LOWEST

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braids in black and colors ; also a large variety of novelties in pastel shades.

The moderate prices of these beautiful braids are an important feature of this display. 1863 ^^«.v-c.K Overture, "The Roman Carnival," Op. 9 % . i?rr\ . 1262 Minuet of Will-o'-the-wisps, Ballet of Sylphs, and Rakoczy March, from "The Damnation of Faust," October 27, 1906 208 Melody, "The Captive," Op. 12 (Bertha Child *), March 30, 1907 1465 Brahms: Symphony No. i, in C minor. Op. 68, October 27, 1906 167

Academic Festival Overture, Op. 80, February 16, 1907 . . 1184 Variations on a Theme of Josef Haydn, Op. 56A, December 29, 1906 735 Concerto in B-flat major, No. 2, for Pianoforte and Orches- tra, Op. 83 (OssiP Gabrilowitsch *), February 16, 1907 1157 in 12,** Brockway: Symphony D major. Op. April 6, 1937 . . 1519 in Bruckner: Symphony E major. No. 7, December i, 1906 . 495

Chabrier: "Espana," Rhapsody for Orchestra, April 27, 1907 . 1750 Chadwick: Symphonic Poem, "Cleopatra," ** December 15, 1906 584 Cherubini: Overture to the Opera, "The Abencerrages," March 30, 1907 _ 1443

Chopin : Concerto in E minor, for Pianoforte and Orchestra, Op.

II (Antoinette Szumowska), November 17, 1906 . . 342

Converse, F. S. : "The Mystic Trumpeter," Orchestral Fantasy (after the Poem by Walt Whitman), Op. 19,** Janu- ary 26, 1907 975 Debussy: "The Sea," Three Orchestral Sketches,** March 2, 1907, and April 20, 1907 1215, 1706 DuKAs: Scherzo, "The Sorcerer's Apprentice" (after a Ballad by Goethe), February 9, 1907 1055 Dvorak: Dramatic Overture, "Husitska," Op. 67, March 16, 1907 1389

Elgar: Overture, "In the South," Op. 50, December 15, 1906 . 575

Fried : Prelude and Double Fugue, for Full Orchestra of Strings, Op. 10,** March 30, 1907 1462

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Address THE KEGISTDAR, 301 Pierce Building, Office hour, 3-4, daily. COPLEY SQUADE, BOSTON. 1854 Gi^AZOUNOFF: Symphony in B-flat major, No. 5, Op. 55,** No- vember 24, 1906 445 Goldmark: Overture to "Sakuntala," Op. 13, January 5, 1907, 815 Grieg: Concert Overture, "In Autumn," Op. 11,** April 20, 1907 1671 Concerto in A minor, for Pianoforte and Orchestra, Op. 16 (KLatharine Goodson **), January 19, 1907 .... 906 HadlEy: "Salome," Tone Poem for Orchestra, after Oscar Wilde's Tragedy, Op. 55,! April 13, 1907 1600 Haydn: Symphony in D major (B. & H., No. 2), March 9, 1907, 1298 Symphony in G major (B. & H., No. 13), October 20, 1906, 104 Liszt: Symphonic Poem, No. 11, "The Battle of the Huns," May 4, 1907 1830

Episode No. 2 from Lenau's "Faust" : Scene in the Tavern (Mephisto Waltz), March 2, 1907 1254 Shepherds' Song at the Cradle ** and March of the Three Holy Kings, from the Oratorio "Christus," December 29, 1906 770 •Concerto in K-flat major. No. i, for Pianoforte and Orches- tra (MoRiTz Rosenthal), December i, 1906 .... 532 MacDowEix: Orchestral Suite in E minor. No. 2, "Indian," Op. 48, April 6, 1907 1524 Mendelssohn: Overture to "A Midsummer Night's Dream," Op. 21, January 19, 1907 895 Mozart: Symphony in C major, with Fugue Finale, "Jupiter" (K. 551), October 20, 1906 130 HALLET

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1855 11

Overture to the Opera, "The Magic Flute," March 9, 1907 . 131 Aria, "L' amero, saro costante," from "II Re Pastore" (Nellie Melba), January 26, 1907 992 NosKOWSKi: "The Steppe," Symphonic Poem in the Form of an Overture, Op. 66,** March 16, 1907 1367 Paine: Prelude to the "QEdipus Tyrannus" of Sophocles, April 20, 1907 1693

RegEr: Serenade for Orchestra, Op. 95,** April 13, 1907 . . . 1595 RiMSKY-KoRSAKOFF: Overture to the Opera, "The Betrothed of the Tsar," November 24, 1906 411 RiTTER, Alexander: "Olaf's Wedding Dance," Op. 22,** March 2, 1907 1246 Rossi, Francesco: Air, "Ah! give me back that heart," from the Opera "Mitrane" (Bertha Child*), March 30, 1907, 145 Schubert: "Unfinished" Symphony in B minor, November 3, 1906 264

Symphony in C major. No. 7, January 19, 1907 934 Song, "Erlkonig," with Pianoforte Accompaniment (Olive

Fremstad *), November 3, 1906 281 Schumann, Georg: Variations and Double Fugue on a Merry Theme, Op. 30,** December 15, 1906 618 Schumann, Robert: Symphony in B-flat major. No. i, Op. 38, November 3, 1906 284 Song, "Ich groUe nicht," with Piano Accompaniment (OlivE Fremstad *), November 3, 1906 278 Song, "Mondnacht," with Pianoforte Accompaniment

(Olive Fremstad *), November 3, 1906 280

Sibelius: Symphony No. i, in E minor,** January 5, 1907 . . 860 Concerto in D minor, for Violin and Orchestra, Op. 47 ** (Maud Powell), April 20, 1907 1682 Sinding: Symphony in D minor. No. i. Op. 21, November 17,

' 1906 . . 377

SmETana: "Vysehrad," Symphonic Poem (No. i of the Cycle, "My Country"), March 16, 1907 1370

Overture to the Opera, "The Sold Bride," April 27, 1907 . 1790

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1.S57 vSpohr: Concerto No. 9, in D minor, for Violin and Orchestra (Willy Hess f), October 20, 1906 118 Strauss, Richard: "Symphonia Domestica" (in One Movement),

Op- 53>** February 16, 1907, and March 30, 1907 . 1135, 1480 Tone Poem, "Don Juan" (after N. Lenau), Op. 26, October 27, 1906 180 StrubE: Concerto in F-sharp minor. No. 2, for Violin and Or- chestra (TiMOTHEE Adamowski f), December 29, 1906, 742 Tinel: Three Symphonic Pictures for Orchestra, derived from P. Corneille's Tragedy, "Polyeucte," Op. 21,** Febru- ary 9, 1907 1089

TsCHAiKOWSKY : Symphony No. 6, "Pathetic," in B minor, Op. 74, March 16, 1907 1402 "Romeo and Juliet," Overture-fantasia after Shakespeare, April 13, 1907 1638 Concerto in D major, for Violin, Op. 35 (Alexander

PETschnikoff) , November 24, 1906 ...... 431 Concerto for Pianoforte and Orchestra, No. i, in B-flat

minor. Op. 23 (Olga Samaroff), February 9, 1907 . . 1066 Verdi: Recitative and Aria, "Ah! fors' e lui," * frorn "La Tra- viata" (Nellie Melba), January 26, 1907 1000 Volkmann: Overture to Shakespeare's Tragedy, "Richard III.," F-sharp minor, Op. 68, May 4, 1907 1819 Concerto in A minor, for Violoncello and Orchestra, Op. 33, (Heinrich Warnke t), January 5, 1907 824 Wagner: A "Faust" Overture, October 13, 1906 29 A Siegfried Idyl, October 13, 1906 44 Prelude to "The Mastersingers of Nuremberg," October 13, 1906 50

Overture to the Opera "Rienzi," December 15, 1906 . . . 624 Weber: Overture to the Opera, "Der Freischiitz," November 3, 1906 247 Overture to the Opera "Euryanthe," April 6, 1907 .... 1566

Overture to the Opera "Oberon," November 17, 1906 . . 327 Scene and Aria, "Wie nahte mir der Schlummer," from "Der

Freischiitz" (Olive Fremstad*), November 3, 1906 . 256

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1859 SUMMARY. * Bach 2 Mendelssohn t Beethoven 7 Mozart 3 BENDIX I NOSKOWSKI I Berlioz 4 Paine i Brahms 4 Reger i Brockway I Rimsky-Korsakoff .... I

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*' * The Sea' ' was played twice. "O t The "Symphonia Domestica" was played twice.

THE Easter fashion exposition at Henry Siegel Co.'s Boston store will be a perfect counterpart of the famous style show at the Simpson Crawford Company's store in New York. ALL the creations of the fashion masters of Paris and Vienna which the Simpson Crawford Company imports every

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1861 WORKS PERFORMED FOR THE FIRST TIME IN BOSTON.

Symphonies. ..%«»

Bendix: Symphony No. 4, in D minor, Op. 30, April 27, 1907. I •Brockway: Symphony in D major, Op. 12, April 6, 1907. I Glazounoff: Symphony in B-flat major, No. 5, Op. 55, Novem- ?

ber 24, 1906. \ SiBEUUS: Symphony No. r, in E minor, January 5, 1907. Strauss: "Symphonia Domestica," Op. 53, February 16, 1907. 5 if Symphonic Poems, etc. t Chadwick: Symphonic Poem, "Cleopatra," December 15, 1906. ''^ Converse: "The Mystic Trumpeter," Orchestral Fantasy (after >

the Poem by Walt Whitman), Op. 19, January 26, 1907. i. Debussy: "The Sea," Three Orchestral Sketches, March 2, 1907. >' HadlEy: "Salome," Tone Poem after Oscar Wilde's Tragedy, Op. 55, April 13, 1907. Liszt: Shepherds' Song at the Cradle, from "Christus," Decem- ber 29, 1906. i NosKowsKi: "The Steppe," Symphonic Poem in the form of an | 16, Overture, Op. 66, March 1907. | Ritter: "Olaf's Wedding Dance," Op. 22, March 2, 1907. Tinel: Three Symphonic Pictures derived from Corneille's Trag- edy, "Polyeucte," Op. 21, February 9, 1907 8 Suites, Variations, etc.

Bach: Brandenburg Concerto, No. 3, in G major, March 9, 1907. Fried: Prelude and Double Fugue for Strings, Op. 10, March 30, 1907. REger: Serenade, Op. 95, April 13, 1907. 3

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A NEW MILLINERY STORE ' MRS. J. J. GRACE, the well-known milliner of Tremont Street and Temple Place, has opened a branch store at 1 1 Summer Street, near Washington. The new store bears the name ot " Grace's," and the location is an ideal one. All the features which have been so instrumental in building up Mrs. Grace's large business in the past will be retained, and all the novelties and attrac- tions of each recurring season will be added. 1862 A Musical Instrument especially designed for the Rendering of All Forms of Orches- tral Music

HERE is no instrument made to-day with so specific a function as the Orchestrelle. While available for all classes of music, its distinctive characteristics eminently qualify it for one particular kifid^— that is, orchestral music in all its varieties.

^ There is no other instrument made like it, none with which to compare it, and no other to which the lover of opera or the student of symphonic works can look for the satisfactory rendering of these forms of music. ^ Any attempt at definite description of the Orchestrelle must fail of its purpose through lack of anything analogous in the reader's mind.

Suffice it to state that the Orchestrelle is a multi-toned instrument, so voiced that, in both solo and ensemble music, it forcibly suggests orchestral effects. ^ In the matter of orchestration the Orchestrelle is practically un- limited, as its manner of playing makes possible the execution of the most complex passages. ^ Were the Orchestrelle like other musical instruments,— did its playing require years to master,— it would still enjoy great popularity among true music lovers. But when it is realized that, instead, any one can play it, actually at the first attempt, its remarkable vogue is easily understood. ^ The Orchestrelle is not a reproducing instrument, but is played by means of perforated scores and tone and tempo stops. No limit of proficiency in playing can ever be reached, and the development of its owner's musical appreciation is manifested in his playing of the instrument.

^ Orchestrelles are essentially home instruments, and in both size and appearance are designed to meet the requirements of the home.

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Schumann, G. : Variations and Double Kugue on a Merry Theme, Op. 30, December 15, 1906 Overtures and Preludes.

Grieg: Overture, "In Autumn," Op. 11, April 20, 1907 . . . Concertos. Sibelius: Concerto in D minor, for Violin and Orchestra, Op. 47 (Maud Powell), April 20, 1907 I 19 THE FOLLOWING ARTISTS HAVE APPEARED THIS SEASON. PAGE Mr. Timothe;e Adamowski,! VioHnist, December 29, 1906, Strube's Concerto in F-sharp minor, No. 2 742 Mrs. Bertha Gushing Child,* Contralto, March 30, 1907, F.

Rossi's "Ah ! give me back that heart," from the Opera "Mitrane"; Berlioz's "The Captive," Op. 12 (Sketch), 1451 Mme. Olive Fremstad,* Contralto, November 3, 1906, Scene and Aria, "Wie nahte mir der Schlummer," from "Der Freischiitz"; Schumann's "Ich grolle nicht" and

"Mondnacht"; Schubert's "Erlkonig. " (Sketch) . . 256 Mr. OssiP Gabrilowitsch,* Pianist, February 16, 1907, Brahms's Concerto No. 2, in B-flat major. Op. 83 (Sketch) 1155 Mme. Katharine Goodson,** Pianist, January 19, 1907, Grieg's Concerto in A minor, Op. 16 (Sketch) 904 Professor Willy HESS,t Violinist, October 20, 1906, Spohr's Concerto No. 9, in D minor 118 Mme. Nellie Melba, Soprano, January 26, 1907, Aria, "L' amero, saro costante," from Mozart's "II Re Pas- tore"; Recitative and Aria, "Ah, fors' e lui,"* from Verdi's "La Traviata" 992 Dr. Otto Neitzel,* Pianist, December 22, 1906, Beethoven's Concerto in G major, No. 4, Op. 58 (Sketch) .... 675 REMOVAL M. W. WILLEY HOWARD Custom Corsets BERKELEY BUILDING 4ao Boylston St. Also Sole New England Agent for THE SPIRELLA COR- SET, guaranteed absolutely FTER March I wc unbreakable. French Corsets duplicated, cleansed, and shall be ready to show repaired. the latest importations

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1865 Mr. Alexander Petschnikoff, \'iolinist, November 24, 1906,

Tschaikowsky's Concerto in D major, Op.. 35 (Sketch) . 431 Mme. Maud Powell, Violinist, April 20, 1907, Sibelius' Concerto in D minor. Op. 47 ** (Sketch) 1679 Mr. MoRiTz Rosenthal, Pianist. December i, 1906, Liszt's Con- certo in E-flat major. No. i (Sketch) 531 Mme. Olga Samaroff, Pianist. February 9, 1907, Tschaikowsky's

Concerto No. i, in B-flat minor. Op. 23 (Sketch) . . . 1064 Mme. Antoinette Szumowska. Pianist. November 17, 1906, Chopin's Concerto in E minor. Op. 11 342 Mr. Heinrich Warnke,! Violoncellist. January 5, 1907, Volk- mann's Concerto in A minor, Op. 33 824 * * * Sopranos: Mme. Fremstad,* Mme. Melba 2 Contralto: Mrs. Child * i Pianists: Mmes. Goodson,** Samaroff, Szumowska; Messrs. Gabrilowitsch,* Neitzel,* Rosenthal 6 Violinists: Mme. Maud Powell, Messrs. T. Adamowski,t Hess.f Petschnikoff 4 Violoncellist: Mr. Warnkef i

*** H incidental Solo: Mr. E. Ferir t played the viola solo in Berlioz's "Harold in Italy." Mr. Max Zach f played the pianoforte accompaniments of the songs by Schumann and Schubert sung by Mme. Fremstad.

ENTR'ACTES AND EXCURSIONS. PAGE Anonymous: Dr. Karl Muck, a biographical sketch 22 *'AuTOLYCUs" IN Pall Mall Gazette: Dancing 928 Baltimore (Md.) Sun: Programme Notes to Johann Strauss's "Beautiful Blue Danube" 1323

Baughan, E. a.: Strauss's "Symphonia Domestica" and Absolute Music . 1166

We desire to express our sincere thanks to our many Symphony Or- chestra patrons for their patronage during season about to close. CONNELLY & BURKE TICKET OFFICE ADAMS HOUSE

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Beatty-Kingstox, W., on Goldmark On Volkmann Belloc, Hilaire: The Singer Berlioz: Beethoven's Fifth Symphony Blackburn, Vernon: Beethoven, A Phase of Music by Principle Opera v. Drama Songs and Ballads BrunEau, Alfred: Chabrier Claude Debussy Chesson, Nora Hopper: The Carol of Three Kings

Fillmore, J. C. : Harmonic Structure of Indian Music

FiNCK, H. T. : Notes on Grieg Ford, Richard: Spanish Dances France, AnatolE: Balthazar and the Star (Enghshed by P. H.)

CiLMAN, Lawrence: Claude Debussy i Hale, Philip: Beethoven and Goethe Beethoven as a Pianist Bruckner, Anton

Chabrier, Emmanuel i Chadwick's Compositions played in Boston Cleopatra's Beauty jrir . v Cleopatra in Music '". •l^^'^- Concerts in Paris in the Eighteenth Century iVQP|p/^ Debussy as Critic *r-<^' Don Juan in Music ^:*^^ Drum, Significance of the ^I^t

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420 BOYLSTON STREET 374 Marlborough Street, near Massac hu Room 301 BOSTON, MASS. setts Avenue, in the Misses Bradley Scho 1867 " ^\

^^ Finland, Music in (see also Ingman) 846

. r, France, Anatole (see) 748

' /ounofif, Alexander . ., 447 eg and Tschaikowsky 920 ., Haydn in England 1306 '- .D'lndy's "Cesar Franck" 120, 198, 351 1^, !Malzel, J. N 694, 1330

; M usic of the North American Indians , 1532 I'ulyeucte in Music iioo M%^. Rdk6czy March 215 Rimsky-Korsakoff ' 414 Rossi: Did he compose the Opera " Mitrane " ? i454 L Salome in Drama and Music 1 604

, - Salome's Dance 1628 Satan and Dancing 1260 Smetana's Deafness 1384 Star and Magi 786

;. Tinel, Edgar 1105 Triangle, The f 538

• Whitman, Walt, in Music . . . 4'< 983 A\'iiod, Mrs. Joseph (Mary Anne Paton) 334 NDERSON, W. J.: The Critic's Gentle Art 1552

LEY, W. E. : Byron's Influence in France (apropos of Berlioz) 1006 Vi^fXWQ®^' Thomas: The Story of Qidipus 1693 NPfiAN, A., AND P. Hale: Music in Finland 846 '" JGAN^,T. C: A Vision of Connaught in the Thirteenth Century 1376 ^aW^rnest: The Critic 839,

Wi^Arch . Rosa: Music in Finland 860, 1684 ,"Kw,Ypj|K Sun: Original American Music 1550 MAJx Gazette: The Cuckoo's Want of an Ear for Music, by one who '#?spises him 1396 ,M Mitolycus. Cleopatra 588 * yftn , '^,„ciMA^NjJ^, F. : Concerning Grieg 1702

Q . -tYS, WtoLiam : Legend of the Three Kings 762

o^' MANN, R. ; Schubert's Symphony in C major 940 n/^jj^p'.EY, Charles: Artist and Critic 1084 *AN, \valt: "Beat, beat, Drums" 1418 WhitTi/^uT-i-

f'EX TO SUNDRY REFERENCES AND FOOTNOTES.

"T., Balakireff, seq.; q ,i ^>i, (Men): Adamowski, 436; Auer, 439; 414, 1638 gia, Beethoven, N. Belaieff ; Billroth, Bottger, ^r^^* 1293; J., 1328; , 463 11 59;

trich, A. H., 167; Dingelstedt, 1838; Drouet, 898; Duncan, 271; 't^RV 852; Eichendorff, 280; Falten, 852; Ferlendis, 1304; F^tis, F. J., ^ayentor of "ancient" music, 1460; Fortunatus, 1839; Fischer, W., 629; Ga- i,r^h'N^47; I'Tcnetz, 856; Gerl, 1316; Girard, ion; Gorner, 346; Goethe, 210,

2S\ . Greef, 919; Gregorowitsch, 858; Greve, 852; Guiraud, 129, 1063; Gym- '84.;iiHanslick, 519; Heine, H., 278, 1185, 1610; Heine, F., 629; Helder,

!;ij i.''i^j, R., 684; Herbeck, 265, 510, 512; Hinton, 906; Hiittenbrenner litJS^fA/N IIVIPORTI/\G COMPA/\Y

j) We beg to announce our removal from 355 tO 429 Boylston '4^1^^ Street, where we hope to be favored with a continuance of patron- '"'' -^'/j- t2^f.e this occasion to thank patrons for their ii, f^'-^'Syf'' ^g®- W® our many

'>( ,~A . appreciation It is *y I'f^^^s. tokens of and courtesy. this encouragement given i^'-.^^.^lij^r" "^ which has prompted us to enlarge our facilities, and we believe by ,,j'^^i^:*^^ having our entire stock on one floor we shall be able to give better J «;??^.i T service. IMi Handicraft of the Russian Peasant. WHOLESALE AND RETAIL. 1868 Brothers, 264; Ingelius, 852; Jackson, J. P., 185; Jarnefelt, 854; Joseph II. of Austria, 132; Jouy, 1445; Kajanus, 854; Kaulbach, W. von, 1836; Kitzler, 510; Kotek, 433; Kjohn, 856; Legros, J., 114; Lekeu, 1233; Leland, C. G.,

278; Lenau (see Strehlenau) ; Leopold of Anhalt-Cothen, 87; Listemann, 436; Liszt, Ed., 536; Louis, Dr. R., 503; Ludwig, Aug., completer of Schubert's " Unfinished "Symphony, 267; Mamertus, i839;Marxsen, n62;Mathieu, E., 1089;

Mayrhofer, 283; Mei, 411 ; Melartin, 856; Merikanto, 854; Mieldi, 854; Mohring, K. J., 852; Morelli,>'i302; Muck, Dr., 22, 1463, 1747; Nordraak, 906; Pacius, 851; Paganini, 1016, 1018; Palmgren, 856; Petschnikoff, 436; RoUe, 1322; Rovedino, 1302; Rubinstein, N., 1070; Salge, 851; Samain, 594; Schantz, 852; Schleinitz, 900; Schikaneder, 131 1, 131 8; Schneevoight, 858; Sechter, 508; Siboni, 1336; Silcher, 1189; Sivori, 1834; Soliva, 344; Spaun, 281; Streh- lenau, 182, 1254; Taneieff, S., 446, 1079; Torelli, 1293; Urban, loii; Vai- nomoien, 849, 860; Viotti, 1304; Wagner, C. A., 1248; Wagner, R. (in London), 41; Wagner, S., 46; Webb, J. W., 338; Wegehus, 852; Weinmiiller, 1336; Weissheimer, 52; Wolf, H., 514.

Biographical (Women) : Ackte, Aino, 856 ; Achte (see Strommer) ; Achte, Irma, 856; Art6t, 1640; Banti, 1299; Basilier, 856; Bernard, 255; Campi, 9; Czinka, 216; Engdahl-Jagerskold, 856; Falcon, loii, 1476; Fohstrom-Rode, 858; Fohstrom-Tallqvist, 858; Forsten, 858; Gerl, 131 5; Gladkowska, 345; Gott- lieb, 1316; Hillebrand-Laussot, 782; Hofer, 1315; Jarnefelt, 858; Kelly, Lydia, 255; Kilitzky, 9, 679; Krebs, 11 57; Leander-Flodin, 858; Lie-NisserCJ 908; Mercy-Argenteau, 418; Milder, 7, 679; MorichelH, 1300; Obermeyer, S 1328; Paton (Mrs. Wood, see Entr'acte); Powell, Maud, 436; Recio-BerUoz, " 1267; Sayn-Wittgenstein, 1830; Schoultz, 856; Scio, 549; Seidler, 262; Stoltz, 1478; Strommer-Achte, 856; Sundgren-Schneevoight, 858; Synnerberg, 858; Szymanowska, 672; Topp, 532; Vestris, 898; Viardot, 1477; Wagner, C, J 44; Wagner, F., 1248; Wagner, Rosalie, 32; Weldon, 1105; Wolkow, 345. * Musical and Poetic Forms: Badinerie, 102; Canzone, 1293; Capriccio, 1293; • Concerto in Bach's period, 1293; Continuo, 87; Cretic, metrical foot, 578; ^ Fantasia, 1293; Fire has form (see Plotinus), 1217; Modes, old, and Grieg, Simfonia, Sonata,! 1676; Parties, 89; Ricercare, 1293; Rondo, 90; 1293; " 1293; Suite, 89.

Dances: "Baile Nacional," 1778; Bergomask, 902 ; Bourree, 96; Comparsas, 1783; Dancing-girls of Cadiz, 1784; Fandango, 1760; Jota, 1752; Malaguena, 1758;^ Minuet, 100, 139, 1341; Morris dance, 1783; Polonaise, 98; Rondo, 90; Salta-" rello, 1264; Sarabande, 92; Sedlak, 1797; Sousedska, 1797. Instruments: Bagpipe, 1676; Drum of North American Indian, 1532; Drum o^ Ziska, 1392; Drum (see Entr'acte); Fele (Norwegian), 1674; Guitar in Paris ballet at the Op6ra, 1450; Gusslee, or Gusli, 860; Kantele (Finn), 849; Lyre of Russia, 1080; Melophone, 295; Oboe d' amore, 11 37; Triangle, 538; Whistle of North American Indian, 1536. Songs AND Hymns: "Campbells are comin'," 1824; "Crux fidelis," from "Pange lingua," 1839; "Gaudeamus igitur," 1185; "II faut s'amuser," etc., io8(^;

D. M. SHOOSHAN'S PHILIP L. CADBON^ RESTAURANT FLORIST AND DECORATOR BASKETS AND VASES 241-243 HUNTINGTON AVENUE UNUSUAL AND ARTISTIC POTTERY

Chickering Hall 258 BOYLSTON ST., BOSTON Having recently enlarged our res- HARVARD SQUARE taurant, including balcony dining- room, which is finest in Boston, we CAMBRIDGE are prepared to serve to special Telephones

parties. Back Bay 432, Cambridge 22489 1869 "Irish Christening," 1080; "Landesvater, Der," 11S5; "Was kommt dort," 1185; "Wir hatten gebauet," 1185. Theatre and Opera House, etc.: " Abencerrages, Les," 1443; "Benvenuto Cellini," 1262; "Betrothed of the Tsar," 411; Chabrier's operas, 1765 seq.; Cleopatra in opera and concert hall, 602; Egmont in opera, etc., 655, 673; "Euryanthe," 1566; Faust in drama of 1827-30, 20S, in music later, 668 seq.; " "Fidelio," 542; Flamenca, La," 1760; " Freischiitz, " 247, 254, 255, 1008; Don Juan in opera, 194; Libussa in opera, 1374; "Magic Flute," 1315, 1318; "Marino Faliero" (Byron's), 1026; "Midsummer Night's Dream, A," 897; "Mitrane"—is there an opera of this name? (see Entr'acte); "Oberon," 327. 340; "CEdipus Tyrannus," 1700; Polyeucte in opera, etc., 1090, iioo; "Kh Pastore, II," 999; Richard III. in opera, 1826; "Rienzi," 625; Sakuntala in opera, etc., 81S; Salome (see special articles for Hadley's symphonic poem); Smetana's operas, 1790, 1799; "Traviata, La," 1004. Legends and History: Cj'mbeline, 1569; Erlking, 281; Euryanthe and Gerard

de Nevers, 156^; Herodias (see articles on Salome) ; Iram in "Arabian Nights," 1380; Kalevala, 848, 860; Libussa, 1370; Oberon, 329; Qidipus, 1693; Olaf and his dance, 1246; Olaf (Herder's), 1247; Polyeucte, 1090; Richard III. according to legend, 18 19; Sakuntala, 815; A'ysehrad, the citadel of Prague,.

, 1372; Ziska's drum, 1392. Critical and Literary: Abraham a Sancta-Clara on Satan's musical taste, 1262; • Aldrich's legend, "Miantowona," 1526; Apthorp on Brahms's First Symphony, 176, on "Harold in Italy," 1029; "Arabian Nights" quoted, 1380, 1417; Beethoven's symphonies, comments by Berlioz, 12, Reichardt, 9, \Vagner, 709, 1852; Berlioz, comments on "Der Freischiitz" overture, 250; Berlioz and Byron, 1025; Blanchard on Wagner's "Columbus" overture, 34; Bowring, translation of Goethe's "Sorcerer's Apprentice," 1057; Brahms, Billow's com-

ments on his First Symphony, 172 (see Apthorp and Deiters) ; Browne, Sir Thomas, quoted, 583, 789; Bruckner, comments by Weingartner, 530 (see

Hruby) ; Bruneau on Glazounoff, 460, on Debussy, 1220; Biilow on Brahms, 172, on Tschaikowsky, 1075-1077, on Volkmann, 1827; Burney on concerts in Paris, 107; Byron and Berlioz, 1025; Canning's poem, "Gottingen," 11S5; MISS FLAHERTY S. ELLA PAUL Dermatologist

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38 M^E-ST ST., near Tremont St., 486 Boyiston Street - BOSTON Telephoae, Oxford 582. BOSTON I in Dock of the Brunswick Hotel. 1870 Catlin on music of the North American Indians, 1536; Cherubini (see Marline, Mendelssohn); Cleopatra (see Collins, Plutarch, Samain, Shaw); Closson on Grieg, 908; Collins, Churton, on Cleopatra, 593; Collier, Jeremy, quoted, 592, 1090; Constable on Comeille's "Polyeucte," 1098; Damrosch, L., on Beet- hoven's "Egmont" overture, 658; Da Ponte on Banti and Morichelli, 1302;

Debussy (see d'Udine) ; Deiters on Brahms's First Symphony, 178; Dxikas on

C^sarFranck, 352 ; Duncan on Schubert's "Unfinished" Symphony, 271 ; Dwight on Prelude to "The Mastersingers," 61; Eckermann on Berlioz' "Damnation of Faust," 210; Ehlert on Volkmann, 1828; Flaubert's Salome (see articles

for Hadley's symphonic poem ; Miss Fletcher, music of North American Ind- ians, 1538; Franck's (Cesar) pupils, 366; Fuller, Thomas, quoted (Duke of Alva), 657; Garaude on Haydn in Paris, 116; Gilman, L., on MacDowell's "Indian Suite," 1527; Gracian quoted, 201; Gretry on Haydn, 116; Grieg

(see Closson, Maubel, Peladan, van der Stucken) ; Grimm on Metastasio's

"II Re Pastore," 997; Haydn (see Garaude, Gretry, Reichardt) ; Henley on poets of the ocean, 12 18; Hood, Thomas, quotation from "Elm Tree," 1226; Hruby's "Bruckner," 520; Hugo's "Les Orientales," 1470 (see de Musset,

Moore, Swinburne) ; Ind}', d', and Zola, 375 (see Vuillermoz) ; Kautz, Schumann

and Bottger, 290 ; Kelly on Music in Vienna, 134 ; Kinglake's choice of adjectives, 203; Kufferath on Prelude to "Mastersingers of Nuremberg," 55; Laforgue's "Salome" (see special articles on Hadley's symphonic poem, "Salome"), translator of Whitman, 975; Laszlo on Rakoczy March, 215; Laurencie, de la, 115; Legouve, quoted about Berlioz, 1012; Leland, translation of "Ich grolle nicht,'' 278; Liszt on Rimgky-Korsakoff, 418; Litzmann, 288; Long- fellow, 1185, 1220; Lucian, "The Lie Fancier," 1058; Markham, Richard III., 1821; Marlowe's "Faust," 215; Mamold, Rimsky-Korsakoff, 420; Marteau on Sinding, 379; Martine on Cherubini, 144S: Maubel on Grieg, 9 rt); Mendelssohn on Cherubini, 1450; Metastasio, his "II Re Pastore," 993 (see Grimm); Moore, George, on Hugo's "Les Orientales," 1472; Mozart (see Nageli, Runciman, Schumann, Saint-Saens; de Musset, 1470; Nageli, Mozart's "Jupiter," 139; Newman, Strauss's "Symphonia Domestica," 1146; Newmarch on Glazounoff,

461; Sibelius, S63 ; Parke, "Der Freischiitz," 249; Peladan, Grieg, 910; Perry's Life of Walt Whitman, 975; Planche, Weber's ".Oberon," 329; Pudor, Rimsky- Korsakoff, 419; Reichardt, Beethoven's Fifth, 9. Haydn in Paris, 116; Rimsky-

Korsakoff (see Liszt, Marnold, Pudor, Tschaikowsky) ; Rowbotham, music of savages, 1537; Spanish dancing-girls at Rome, 1784: Runciman, Mozart, 135; lad.es only Mademoiselle Alary Select Toilet Parlor Berkeley BuiWlng 131 TREMONT STREET Room 74 420 Boylston Street Tel., Back Bay 2320 r\TS. Wishman, Hanager BOSTON SHAMPOOING, ELECTROLYSIS Room 213 MASSAGE, CHIROPODY Scalp Diseases Hygienlcally Treated Hair Tonics and Creams nXX JBXi^SSJtV Manicure Shampooer Have you a BROKEN RIB? Hair Work a specialty Repairing, Recovering Facial, Scalp, and Neck Massage A Specialty Ondulation Marcel J. T. MANNING Umbrella Manufacturer Perfumery Shell Ornaments 43 Winter Street = = - BOSTON Pedicuring and Chiropody

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Saint-Saens, "Magic Flute" overture, 1322; Samain, "Cleopatre," 594; Sand, George, sonnet to Soliva, 344; Satan's musical taste, 1262; Schubert (see Dun-

can, Weingartner) ; Schumann, Mozart's "Jupiter," 139; "Magic Flute," overture, 1322 (see Zola); Servieres, "Euryanthe" overture, 1573; Shake- speare, "Antony and Cleopatra" quoted, 599; Shaw, G. B., Cleopatra, 593, persons who might produce "posthumous mignonette," 1234; Sibelius (see Newmarch); Sinding (see Marteau); Spazier, against the minuet, 139; Specht, Wagner's "Columbus" overture, 34; Swinburne, Hugo's "Orientales," 1470; Tiersot, Prelude to "The Mastersingers," 59; Traubel, Whitman in music, 988; Tschaikowsky, Rimsky-Korsakoflf, 422; Udine, d', Debussy, 1217; van der Stucken, Grieg, 914; Verlaine, quoted, 902; Volkmann (see Biilow and Ehlert) Vuillermoz, d'lndy, 364; Wagner, Beethoven's Seventh Symphony, 709, Third Symphony, 1852 (see Blanchard, Kufferath, Specht, Tiersot); Wanley, Richard

III., 1819; Weber (see Parke, Planche, Serviferes) ; Weckerlin, Fetis as inventor of ancient music, 1460; Weingartner, Bruckner, 530, Schubert's C major Sym- phony, 944; White, R. G., Mr. and Mrs. Joseph Wood, 336 ; Whitman, Walt (see Laforgue, Perry, Traubel); Zola on Schumann, 296, d'Indy's attack on Zola, 375.

MiscELLANBOus : Freemasonry in Mozart's "Magic Flute," 1313, 1320; Rak6czy March, origin, 215; Wagner's transcription of Largo from Weber's "Eury- anthe" overture, 1571.

Sundry Notes. Professor Willy Hess conducted the concert of December 29, 1906, in conse- quence of the sickness of Dr. Muck. The concerts in aid of the Pension Fund of the Boston Symphony Orchestra took place on December 30, 1906, and April 28, 1907. The programme was the same: Overtures to "Rienzi," "The Flying Dutchman," "Tannhauser," "Lohen- grin," "Tristan and Isolde," "The Mastersingers of Nuremberg"; Funeral March from "Dusk of the Gods"; and Prelude to "Parsifal." Dr. Muck conducted. The orchestra gave a concert in Symphony Hall with Mr. Camille Saint-Saens, November 26, 1906. Dr. Muck conducted. The programme was made up of works by the visitor: Overture to the Opera, "The Barbarians"; Concerto in G minor No. 2, Op. 22, for pianoforte (Mr. Saint-Saens, pianist) ; pianoforte solos, Valse nonchalante, Valse mignonne, canariote Valse (Mr. Saint-Saens, pianist) ; Sym- phony in C minor. No. 3, Op. 78.

Errata. Date of first performance of Reger's Serenade (p. 1595), p. 1801. Insertion of omitted name of Schillings as composer of symphonic prologue to "QJdjpusRex" (p. 1700), p. 1801.

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TWENTY-SECOND SEASON

GRAND ORCHESTRA of FIFTY-FIVE

Conductor, Mr, T. ADAMOWSKI

Every Night except Sunday

Opening Night, MONDAY, May Sixth

Admission and Second Balcony, 25 cents. First Balcony, reserved^

50 cents. Table seats, reserved, 75 cents. Telephone, 1492 Back Bay TICKETS NOW ON SALE

1878 Refined private residence for American stu-

PARIS dents and other ladies in home of Italian gentlewoman. Very central. Best position. Terms moderate.

Every comfort. Near Marchesi's School of Siriffing, Strongly recommended by Madame Melba*

Address, Madame SASSOLI 162 Boulevard Malesherbes

^f>e WADE COR5ET5

Invaluable to singers and those interested in deep breathing.

Boston Representaiive

Mrs. J. McLEOD MORRISON, 367 Boylston Street

ELIAS HOWE CO., court street, Boston OLD VIOLINS VIOLAS. 'CELLOS, BASSES Over 600 in Stock

Leather Cases. Fine Bows. Italian Strings. Gold and Silver G Strings. 2^000 New Violins in stock.

ELIAS HOWE CO., 88 Court Street, Boston 1879 SOCIAL AND SCENIC CENTRE OF THE WHITE MOUNTAINS

JWaplcb^ooti ilotcl antr Cottages

OPEN JULY TO OCTOBER

Excellent Cuisine and Service. Milk and Vegetables from Maplewood Farm

Fine trout fishing in June Symphony Orchestra morning and evening PURE nOUNTAIN SPRING WATER NO HAY FEVER DRY AND INVIQORATINQ AIR HIGH ALTITUDE SEVERAL CHARMING PRIVATE COTTAGES TO RENT

18-HOLE GOLF COURSE, having a ran^e of 5,300 yards Unsurpassed by any in the State FINE TENNIS COURTS AND BASEBALL

MAPLEWOOD CASINO. Reading-room, Writing-room, Ladies' and Gentlemen's Billiard and Pool Rooms, Fine Bowling Alleys, Souvenir Store, Beautiful Ballroom and

Theatre, Open Fireplaces ; Wide Balconies overlooking Golf Links, the White Moun- tains, and Various Ranges in Canada and Vermont.

Ample Garage facilities for Repairs of Automobiles ; Gasolene and Electricity supply.

MAPLEWOOD COTTAGE '^'"'l^J?.':,t'L"?^\T^^^^^^ LEON H. CILLEY, Manager NUnSER 8 BEACON STREET, ROOM 55, BOSTON, MASS., UNTIL MAY 10. LATER, MAPLEWOOD, N.H. Illustrated Booklets forwarded on request 1880 fSX T,

1881 MU5ICAL INSTRUCTION.

VOCAL INSTRUCTION and 50PRANO SOLOIST. Miss HARRIET S. WHITTIER, studio. 246 Hun,.„gton Avenue Exponent of the method of the late Charles R. Adama. PertsmoMth, New Hampshire, Mondays.

TEACHER OF SINGING. CHOIR AND CHORUS CONDUCTOR. etmrch suppliad aad ^ rn&PTFQ R ^TFVFN^ slacsn refararsaU conducted. II VUnAliCiO Ut OiDIJjilOj studio: Suite 14, Stelnert Hall, i6a Boylston Street, Boston. Hass. Telephone, 133 1 Oxford. Brockton, Mass., Wednesdays.

Bar3^one Soloist and Teacher of Singing. STEPHEN TOWNSEND, 6 NEWBURY STREET, BOSTON.

PIANIST. Miss LAURA HAWKINS, No. 6 NEWBURY STREET.

Classes in Sight Reading Miss CAROLINE M.SODTHARD (EIGHT HANDS). Advanced pupils follow the Symphony programmes TEACHER OP THE PIANOFORTE. as far as practicable. 22 Huntington Avenue Boston

Concert and Oratorio. Miss 6ERTRDDE EDMANDS, Vocal Instruction.

The Copley, 18 Huntington Avenue.

TEACHER of SINGING. COACHING. Mrs. J. E. TBPPETT, STUDIO, PIERCE BUILOINQ, COPLEY SQUARE, BOSTON. Telephone, Back Bay 1317-6. Wednesdays in Poktlaud, Madib.

Lyric Baritone.

Mr. CARL SOBESKI, Soloist and Teacher of Singing. PMttivaly anly iNipU of BttlUO DE OfiKSORZA. tbegraat karitaaa. Huntington ChamberB, Boston, Mass.

1882 PIANOFORTE AND MALCOLM LANG, HARMONY.

6 NEWBURY STREET . . BOSTON

SINGINQ, ALSO fILLIAM ALDEN PADLL, THE CULTIVATION OF THE 312 Pierce Buildiog. Copley Square, Bmton. SPEAKING VOICE. Intoniii£ to Clergymen.

Ceorflre Edwin VOCAL INSTRUCTION. DEVOLL and ISHAH, Sbriglia Method. 16 ST. BOTOLPH STREET.

VOCAL INSTRUCTION. Voice placement, correct breathing, MISS CAROLINE S. HATES, diction, and interpretation. Studio, 729 Boylcton Street. RcBidence, " Havenhurst," Cambridce (Opposite Elmwood Avenue).

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

Mrs. Paclurd is commended by Walker, Randeggar (London), Marcheti, Bouhy, TnibadeU (Paris), Leoni (Milan), Vannucdni (Florence), Cotegni, Fnmcesch8tti(Reme).

VIOUirV SOLrOIST. Engagements now being booked with Or- Hiss BESSIE BELL COLLIER, chestras for Recitals and Private Musicales. Miss Collier will also receive a limited number of pupils. For terms address L. H. MuDGETT, Symphony HaU. VOICE GUUTURE. SBRiaUA MBTHOO. PALMER, Room 408. Pierce Bulldine, Boeton, Mass. Snow Building, Lawell, Mass., Mendayt. Butler Exchange, Providence, R.L, Thawtdayt.

PIANISTE and TEACHER.

19 Exeter Street, CAROLYN KING HUNT. Corner Commonwealth Avenue. DAYtBuiLDlNG, WORCBSTBR, Friday Afternooni and Satordays. 1883 PAULINE H. CLARK, Contralto. GERTRUDE FOGLER, Teacher of French. VOCAL and FRENCH (Yersin Method) INSTRUCTION. Musicales and French Monologues arranged.

Residence Studio, Room 31, Hotel Clunv, 543 Boylston Street, Symphony Chambers. Telephone, Back Bay 2577-1

BOSTON MUSICAL BUREAU. Miss Rose Stewart, Betablished 1899. Supplies Schools and CvllcKCg with Teachers «i Music, etc.; also ChnrcbM with Orsaaists, Dirvc- Vocal Instruction. t«rt, and SiHgers. Address HENRY C. LAHEE, 246 Huntington Avenue. 2i8 Tremont Strbbt, Bostoh. 'Phone, 475-4 Oxford.

MELEN ALLEAI HUNT, MISS ALICE E. HAMILTON, CONTRALTO SOLOIST. PIANOFORTE INSTRUCTION. Tcocfaer of Shiging. Studio, Symphony Chambers, No. 346 Hunting' ton Avenue, Boston. No. 514 Pierce Building Boston Telephone, Back Bay 2679.

FREDERICK N. WATERMAN, The August Kuntz Orchestra, BARITONE. Mcflibers of the Boston Symphony Orchestra, can be eaeased for Correct voice placement, development, and einf[ring. etc. Oratorio, Opera, Church, Concert, Recitate. MUSICALES, RECEPTIONS,

Rooai 10 . . 177 HUNTINQTON AVENUE, Address Steinert Hall, New Century Building, BOSTON, MASS. 162 Boylston Street, Boston, Mass,

Samuel Richards Gaines, Child Garden Music School

Teacher of Singing. Courses in Piano, Hannony, and Kindergarten Music. Studio, Address JOSEPHINE A. JONES, 505 337 Huntington Chambers Boston Huntington Chambers, Boston, Mass.

Mine. Vinello Johnson, FRED W. DIETZE, Voice Culture. PRACTICAL PIANO TUNER, Huntington Chambers, 27 Avery Street, Dedham, Mass. Rooms 422 and 423, Huntington Avenue .... Boston Telephone, Dedham 188-2.

Miss ANNA MILLER WOOD, Miss Olga Brandenburg, nEZZO-CONTRALTO SOLOIST Pupil of Jean de Reszk^, of Paris. and TEACHER. SOPRANO SOLOIST. VOCAL INSTRUCTION. Studio, Pierce Building, Copley Square, Room 501, Huotiogton Chambers. Boston. Wednesdays and Saturdays.

Clarence B. Shirley, Miss NIINA FLETCHER, Tenor Soloist and Teacher. VIOLINIST and TEACHER. AND ORATORIO. CONCERT Address L. H. MUDGETT, St«di«, Hantlngton Chambers, Boitoa. Symphony Hall, Boston.

1884 USED BY ROSENTHAL ON HIS PRESENT CONCERT TOUR

J^X^fjtfXlKJiS THE SMALL GRAND, Five feet four inches long. THE Weber Piano, more than any other, possesses a rich mellowness of tone, a sympathetic singing quality, which makes it not only the ideal instrument for the great artist in concert, but also the best piano FOR THE HOME. THE AEOLIAN COMPANY AEOLIAN HALL 362 Fifth Avenue, near 34th Street NEW YORK m$M^$^m09^$m0imN^00vmmm0mttitm09t0ttmM0^m

Fannie

' Bloomfield Zeisler

The great American pianist, writes to Steinway CBi Sons from her home in

• Chicago, under date of January 5, 1907, as follows: "Artistically, there is no piano equal to the Steinway. Hence all really great pianists who have not sold their artistic judgment for material gain, and are moved solely by artistic consider- ations, demand a Steinway."

REPRESENTED BY M. STEINERT & SONS COMPANY 162 Boylston Street, Boston, Mass.