ELMWOOD MUSIC HALL BUFFALO

Thirty-third Season, 1913-1914

Dr. KARL MUCK, Conductor

WITH HISTORICAL AND DESCRIPTIVE

NOTES BY PHILIP HALE

TUESDAY EVENING, JANUARY 27

AT 8.15

COPYRIGHT, 1913, BY C. A. ELLIS

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BUFFALO, NEW YORK ^r ELMWOOD MUSIC HALL BUFFALO

Thirty-third Season, 1913-1914 Dr. KARL MUCK, Conductor

TUESDAY EVENING, JANUARY 27

AT 8.15

PROGRAMME

Beethoven . . Symphony in A major, No. 7, Op. 92

I. Poco Sostenuto; Vivace. II. Allegretto. III. Presto: Presto meno assai. IV. Allegro con brio.

Saint-Saens . "My Heart at thy Dear Voice," from "Samson and Delilah"

Bizet . Suite No. 1, from the Music for Alphonse Daudet's Play, "L'Arlesienne" I. Prelude. II. Minuetto. III. Adagietto. IV. Carillon.

Schubert "Der Erlkonig" (Orchestrated by Franz Liszt)

Smetaha .' . . . Overture to "The Sold Bride"

SOLOIST RUTH LEWIS ASHLEY

There will be an intermission of ten minutes after the symphony

3 — nTTiii

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NUMBER 366 FIFTH AVENUE, NEW YORK Symphony in A major, No. 7, Op. 92 . . Ludwig van Beethoven

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

The first sketches of this symphony were made by Beethoven prob- ably before 181 1 or even 18 10. Several of them in the sketch-book that belonged to Petter of Vienna, and was analyzed by Nottebohm, were for the first movement. Two sketches for the famous allegretto are mingled with phrases of the Quartet in C major, Op. 59, No. 3, dedicated in 18 18 to Count Rasoumoffsky. One of the two bears the title: "Anfang Variations." There is a sketch for the Scherzo, first in F major, then in C major, with the indication: "Second part." Another sketch for the Scherzo bears a general resemblance to the beginning of the "Dance of Peasants" in the Pastoral Symphony, for which reason it was rejected. In one of the sketches for the Finale Beethoven wrote: "Goes at first in F-sharp minor, then in C-sharp minor." He preserved this modulation, but he did not use the theme to which the indication was attached. Another motive in the Finale as sketched was the Irish air, "Nora Creina," for which he wrote an accompaniment at the request of George Thomson, the collector of Scottish, Welsh, and Irish melodies. Thayer states that Beethoven began the composition of the Seventh Symphony in the spring of 18 12. Prod'homme believes that the work was begun in the winter of 1811-12. The autograph manuscript that belongs to the Mendelssohn family of Berlin bears the inscription: "Sinfonie. L. v. Bthvn 1812 i3ten M." A clumsy binder cut the paper so that only the first line of the M is to be seen. There was therefore a dispute as to whether the month were May, June, or July. Beethoven wrote to Varena on May 8, 18 12: "I promise you imme- diately a wholly new symphony for the next Academy, and, as I now have opportunity, the copying will not cost you a heller." He wrote on July 19: "A new symphony is now ready. As the Archduke Ru- dolph will have it copied, you will be at no expense in the matter." It is generally believed that the symphony was completed May 13, in the hope that it would be performed at a concert of Whitsuntide. The first performance of the symphony was at Vienna, in the large hall of the university, on December 8, 18 13.

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Appointments for voice trials by letter "Oscar Leon, the well-known teacher of singing, has produced results even with voices that were given up by other teachers as hopeless cases."—From the New York Tribune. "Some of Oscar Leon's pupils are world -renowned singers." —From the New York Evening Mail. Studio: AEOLIAN HALL, New York Malzel, the famous maker of automata, exhibited in Vienna during the winter of 1812-13 his automatic trumpeter and panharmonicon. The former played a French cavalry march with calls and tunes; the latter was composed of the instruments used in the ordinary military band of the period,—trumpets, drums, flutes, clarinets, oboes, cymbals, triangle, etc. The keys were moved by a cylinder, and overtures by Handel and Cherubini and Haydn's Military Symphony were played with ease and precision. Beethoven planned his "Wellington's Sieg," or "Battle of Vittoria," for this machine. Malzel made arrangements for a concert,—a concert "for the benefit of Austrian and Bavarian soldiers disabled at the battle of Hanau." The arrangements for this charity concert were made in haste, for several musicians of reputation were then, as birds of passage, in Vienna, and they wished to take parts. Among the distinguished executants were Salieri and Hummel, two of the first chapel -masters of Vienna, who looked after the cannon in "Wellington's Sieg"; the young Meyerbeer, who beat the bass drum and of whom Beethoven said

to Tomaschek : "Ha! ha! ha! I was not at all satisfied with him; he never struck on the beat; he was always too late, and I was obliged to speak to him rudely. Ha! ha! ha! I could do nothing with him; he did not have the courage to strike on the beat!" Spohr and Mayseder were seated at the second and third violin desks, and Schuppanzigh was the concert-master; the celebrated Dragonetti was among the double-basses. Beethoven conducted. The programme was as follows: "A brand-new symphony," the Seventn, in A major, by Beethoven; two marches, one by Dussek, the otner by Pleyel, played by Malzel's automatic trumpeter with full orchestral accompaniment; "Wellington's Sieg, oder die Schlacht bei Vittoria." "Wellington's Sieg" was completed in October of 18 13 to celebrate the victory of Wellington over the French troops in Spain on June 21 of that year. Malzel had persuaded Beethoven to compose the piece for his panharmonicon, and furnished material for it, and had even given him the idea of using "God save the King" as the subject of a lively fugue. Malzel's idea was to produce the work at concerts, so as to raise money enough for him and Beethoven to go to London.

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vvw v.\m i ii He was a shrewd fellow, and saw that, if the "Battle Symphony" were scored for orchestra and played in Vienna with success, an arrange- k ment for his panharmonicon would then be of more value. Beethoven dedicated the work to the Prince Regent, afterward George IV., and forwarded a copy to him, but the "First Gentleman in Europe" never acknowledged the compliment. "Wellington's Sieg" was not per- formed in London until February 10, 1815, when it had a great run. The news of this success pleased Beethoven very much. He made a memorandum of it in the note-book which he carried with him to taverns. This benefit concert was brilliantly successful, and there was a repetition of it December 12 with the same prices of admission, ten and five florins. The net profit of the two performances was four thousand six gulden. §pohr tells us that the new pieces gave "extraordinary pleasure, especially the symphony; the wondrous second movement was repeated at each concert; it made a deep, enduring impression on me. The performance was a masterly one, in spite of the uncertain and often ridiculous conducting by Beethoven." Gloggl was present at a rehearsal when the violinists refused to play a passage in the symphony, and declared that it could not be played. " Beethoven told them to take their parts home and practise them; then the passage would surely go." It was at these rehearsals that Spohr saw the deaf composer crouch lower and lower to indicate a long diminuendo, and rise again and spring into the air when he demanded a climax. And he tells of a pathetic yet ludicrous blunder of Beethoven, who could not hear his own soft passages. The Chevalier Ignaz von Seyfried told his pupil Krenn that at a rehearsal of the symphony, hearing discordant kettledrums in a passage of the Finale and thinking that the copyist had made a blunder, he said circumspectly to the composer: "My dear friend, it seems to me there is a mistake: the drums are not in tune." Beethoven answered: "I did not intend them to be." But the truth of this tale has been disputed. Beethoven was delighted with his success, so much so that he wrote a public letter of thanks to all that took part in the two performances.

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14 East 43d Street, NEW YORK And Milan. Rome, Naples, Palermo, London, Paris, Leipzig, Buenos-Ayres "My Heart at thy Dear Voice," from "Samson and Delilah." Camilla Saint-Sa^ns

(Born in Paris on October 9, 1835; still living in Paris.)

"Samson et Dalila," opera in three acts, text by Ferdinand Lemaire, music by Saint-Saens, was completed about 1872, although the second act was rehearsed with Augusta Holmes, Regnault, the painter, and Brussine, as the singers, in 1870. The same act was sung in 1874 at Pauline Viardot's country place, when she, Nicot, and Auguez were the singers. The first act was performed in concert form at the Chatelet, Paris, on Good Friday, 1875. The first operatic performance was in German at Weimar, December 2, 1877. The opera was afterward performed at Hamburg (1883), Cologne, Prague, and Dresden. The first performance in France of the work as an opera was at Rouen, March 3, 1890. The first operatic performance in Paris was at the Eden Theatre, October 31, 1890. Rosine Bloch was the Delilah. Not until November 23, 1892, was there a performance at the Opera, and then Mme. Deschamps-Jehin was the Delilah; Vergnet and Lassalle were the other chief singers. The first performance in the United States was in concert form at New York, March 25, 1892, by the Oratorio Society, led by Mr. Walter Damrosch. The singers were Mme. Ritter-Goetze, Montariol, Moore, Fischer. The air, "My Heart at thy Dear Voice," is in the second act, scene iii. It is night, and Samson visits Delilah at her home in the valley of Sorek. A thunder-storm is nearing.

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The air is really part of a duet between Delilah and Samson; but Samson's replies to these entreaties of the woman of Sorek are omitted in the concert version. Andantino, D-flat major, 3-4.

Mon cceur s'ouvre a ta voix Comme s'ouvrent les fleurs Aux baisers de l'aurore Mais, 6 mon bien-aime, Pour mieux secher mes pleurs, Que ta voix parle encore Dis-moi qu'a Dalila tu reviens pour jamais, Redis a ma tendresse Les serments d'autrefois, Ces serments que j'aimais!

Un poco piu lento.

Ah ! reponds a ma tendresse, Verse moi l'ivresse

Ainsi, qu'on voit des bles Les epis onduler Sous la brise legere, Ainsi fremit mon cceur, Pret a se consoler A ta voix qui m'est chere

La neche est moins rapide A porter le trepas Que ne Test ton amante A voler dans tes bras.

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Ah ! reponds a ma tendresse, Verse moi l'ivresse

The English prose translation * of which is as follows :— Delilah.—My heart opens at the sound of thy voice as the flowers open to the kisses of sunrise ! But. O my well-beloved, let thy voice speak again, the better to dry my tears! Tell me that thou hast come back to Delilah forever, repeat to my love the oaths of yore, the oaths that I loved! Ah! respond to my love, pour out intoxica- tion for me As you see the bearded wheat wave beneath the light breeze, so does my heart tremble, ready to console itself at thy dear voice! The arrow is less swift to bring death than thy beloved to fly to thy arms! Ah! respond to my love, pour out intoxication for me

Suite No. i, from "I/Arl£sisnne" ...... Georges! Bizet

(Born at Paris, October 25, 1838; died at Bougival the night of June 2-3, 1875.)

When L£on Carvalho was manager of the Vaudeville Theatre, Paris, he wished to revive the melodrama, the dramatic piece with incidental and at times accentuating music. He chose as dramatist Alphonse Daudet, who happened to have a Provencal play ready for the Vaude- ville. He chose as musician Bizet, whose "Djamileh," an opera in one act, produced at the Opera-Comique on May 22, 1872, had been praised by only a few critics. The libretto and the incapacity of a Mme. Prelly, a woman of society who longed for applause as a public singer, did woful injury to the composer. Bizet was accused of being a Wagnerite, and Wagner was not then in fashion. "L/Arl6sienne," a piece in three acts, was produced at the Vaudeville on October 1, 1872. The cast was as follows: Balthazar, Parade; Fr£deri, Abel; Mitifio, Regnier; Le Patron Marc, Colson; Francet, Cornaglia; I/fiquipage, Lacroix; Rose Mamai, Mme. Fargueil;

* This translation is by W. F. Apthorp.

t Alexandre Cesar Leopold Bizet is the name of the composer of "Carmen." The name Georges was given to him by his godfather; and as Gaorges he was always known to his family, his friends, and the world at large. Only in official papers, as a citizen of France, and in the archives of the Conservatory, was he named Alexandre Cesar Leopold.

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10 Mere Renaud, Mme. Alexis; L'Innocent, Miss Morand; Vivette, Jeanne Bartet. The play was not liked, and there were only fifteen performances, Various objections were made against it: there was no action; it was "too literary"; it was too psychological, etc. The audience chattered or yawned during the prelude and the entr'actes. Good-natured dramatic critics asked why there was such "orches- tral cacophony"; but the menuet-intermezzo pleased by its frank, gay rhythm. The music as a whole shared the fate of the piece. "Its character harmonizes happily with the general color of the work. . . .

There is nothing distinguished in the score. . . . The composer seems to have wished to hide himself behind the dramatist. The melodrama thus loses in importance." Now the orchestra at the Vaudeville was singularly composed. Ac- cording to Adolphe Jullien, it was made up of seven first violins, no second violins, two violas, five 'cellos, two double-basses, flute, oboe, cornet-a-pistons, two horns, two bassoons, drums, harmonium, piano.

Charles Pigot gives a different list : two flutes, an oboe interchangeable with English horn, one clarinet, two bassoons, one saxophone, two horns, kettledrums, seven violins, one viola, five 'cellos, two double- basses, pianoforte.* Pigot says the harmonium was put in the wings to support the choruses in this particular piece, and it was played now by Bizet and now by Guiraud.f For this orchestra Bizet wrote his original score. The conductor was Constantin.{ After the failure of the piece Bizet chose certain numbers out of the twenty-seven, rescored them, and arranged them in the form of a suite. The first performance of this version was at a Pasdeloup concert on November 10, 1872. The first performance of this suite in Boston was at a Philharmonic concert on April 2, 188 1. After the death of Bizet a suite No. 2 was arranged by Guiraud from other numbers of the melo- drama.

* Ernest Reyer gave the same list of instruments in his review published in the Journal des Debafs.

t Ernest Guiraud was born at New Orleans (U.S.A.) in 1837; he died at Paris in 1892. Educated at the Paris Conservatory, he took the Prix de Rome in 1859. He wrote operas, orchestral suites and overtures, pieces for solo instruments, songs, and a Treatise on Instrumentation. He taught at the Conservatory, and was a member of the Institute.

J Titus Charles Constantin, born at Marseilles in 1835, died at Paris in 1891. A conductor of concert, theatre, and opera orchestras, he wrote some overtures and other pieces.

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11 This suite is scored for two flutes, two oboes (the second of which is interchangeable with cor anglais in the first movement), two clarinets, two bassoons, alto saxophone, four horns, two trumpets, two cornets, three trombones, kettledrums, snare-drum, harp, strings. "I/Arl£sienne"'was revived at the Od£on, Paris, on May 5, 1885, when Bizet's revised score was played by Colonne's orchestra. Paul Mounet was the Balthazar; Lambert the younger, Frederi; Aimee Jeanne Tessandier, Rose Mamai; Irma Crosnier, Mere Renaud; Eugenie Yahne, \J Innocent; and Miss Hadamard, Vivette. Edmond de Goncourt, in the "Journal des Goncourts," wrote about this first " performance : Public cold, icy cold. Mme. Daudet beats her fan about her with the angry rustling of the wings of fighting birds. Audience still cold, ready to titter and sneer at the piece. It applauds the music enthusiastically. Suddenly Mme. Daudet, who is leaning in a state of pitiful depression against the side of the box, exclaims: 'I'm going home to bed; it makes me sick to stay here.' Thank God, with the third act the piece goes, and its quality and the acting of Tessandier provoke loud applause in the last scenes." Here is a list of the per- formances at the Oddon: 1885,60; 1886,14; 1887,42; 1889,8; 1890, 19; 1891,6; 1898, 30; 1899, 11; 1906,30; 1901,9; 1902, 15; 1903, 18; 1904, 20; 1905, 20; 1906, 9; 1907, 21.

'. "ErIvKing," Ballad by Goethe, Op. 1 . . . . Franz Schubert

(Born at Lichtenthal, Vienna, January 31, 1797; died at Vienna, November 19, 1828.)

The songs introduced by Goethe in the Singspiel, "Die Fischerin," are said to have been written in 1781. The first publication of "Erl- konig" was in the Berliner Literatur- und Theaterzeitung of September 21-28, 1782; but the play was performed for the first time on July 22, 1782, in the park of the Chateau Tiefurt. Nature supplied the scenery, and the specially ochosen audience sat for the most part on the ground. Corona Schroter, dressed as the fisher-maiden Dortchen (Dorothea), left her hut and sang "The Erlking" to music of her own composition. A water-color sketch of this scene by G. M. Kraus was reproduced in Le Menestrel (Paris) of July 9, 1905, in illustration of the entertaining account by Amedee Boutarel of the performance. Corona's

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12

»IVWVVIUI music to the "Erlking" was published as No. 17 of her twenty-five songs at Weimar in 1786. Her setting is in simple couplets of eight measures, with an artless accompaniment. The song, A major, 6-8, is republished in Wilhelm Tappert's "70 Erlkonig-Kompositionen" (new and enlarged edition, p. 2, Berlin, 1906). Tappert, by the way, does not mention in his interesting pamphlet a glee, "The Erl King," by Dr. John Wall Callcott (1 766-1821). This glee for two sopranos and a bass (also for soprano, tenor, and bass), Allegretto, E-flat, 3-8, may be found easily in Boosev's National Edition of English Glees (No. 7). "Erlkonig" is an erroneous translation into German of the Danish "ellerkonge," "ellekonge," i.e., "elverkonge," "elvekonge," king of the elves. Goethe and Herder therefore employed a word without meaning in the title of their poems, and Sir Walter Scott brought over the mistake into English, when in a note to Goethe's poem he spoke of "the Erlking" as "a goblin that haunts the Black Forest, in Thu- ringia." The story of "The Erlking's Daughter" (music by Gade) is taken from an old Danish legend. There is no Erlkonig in any saga.

Wer reitet so spat durch Nacht und Wind? Es ist der Vater mit seinem Kind; Br hat den Knaben wohl in dem Arm, Er fasst ihn sicher, er halt inn warm.

"Mein Sohn, was birgst du so bang dein Gesicht?" "Siehst, Vater, du den Erlkonig nicht? Den Erlenkonig mit Kron' und Schweif?" "Mein Sohn, es ist ein Nebelstreif."

"Du liebes Kind, komm, geh' mit mir! Gar schone Spiele spiel ich mit dir; Manch' bunte Blumen sind an dem Strand, Meine Mutter hat manch' gulden Gewand."

"Mein Vater, mein Vater, und horest du nicht, Was Erlenkonig mir leise verspricht?" "Sei ruhig, bleibe ruhig, mein Kind; In diirren Blattern sauselt der Wind."

"Willst, feiner Knabe, du mit mir gehn? Meine Tochter sollen dich warten schon; Meine Tochter fuhren den nachtligen Reihn Und wiegen und tanzen und singen dich ein."

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13 — — —

"Mein Vater, mein Vater, und siehst du nicht dort Erlkonigs Tochter am diistern Ort?" "Mein Sohn, mein Sohn, ich seh' es genau: Es scheinen die alten Weiden so grau."

"Ich Hebe dich, mich reizt deine schone Gestalt; Und bist du nicht willig, so brauch' ich Gewalt." "Mein Vater, mein Vater, jetzt fasst er mich an! Erlkonig hat mir ein Leid's gethan."

Dem Vater grauset's; er reitet geschwind, Er halt in den Armen das achzende Kind, Erreicht den Hof mit Muh' und Noth; In seinen Armen das Kind war todt:

The following translation into English is by William F. Apthorp :

Who rides so late through night and wind? It is the father with his child: he has the boy well in his arms, he holds him sa^e, he keeps him warm. "My son, why hidest thou thy face in fright?" "Father, dost thou not see the Erlking? The Erlking with crown and tail?" "My son, it is a streak of mist." "Thou dear child, come, go with me! Full pretty games I'll play with thee; there are many flowers on the strand, my mother has many a pretty garment." "My father, my father, and dost thou not hear what promises Erlking whispers to me'" "Be quiet, stay quiet, my child; the wind is murmuring through wilted leaves." "And wilt thou go with me, pretty boy? My daughters shall wait on thee well; my daughters lead the nightly dance, and shall rock and dance and sing thee to sleep." " My father, my father, and seest thou not these Erlking's daughters at the gloomy place?" "My son, my son, I see it clearly: the old willows look so gray." "I love thee, thy beauteous form enchants me; and if thou'rt not willing, I'll use force." "My father, my father, now he seizes hold of me! Erlking has done me a harm!" The father shudders in terror; he rides fast, he holds the groaning child in his arms, and reaches his court-yard with trouble and hardship; in his arms the child was dead.

Schubert composed the music to Goethe's ballad in 1815. There are four versions. The fourth and definitive is dedicated to Moriz Graf von Dietrichstein, and it is catalogued as Op. 1. The original key is G minor; schnell, 4-4. Spaun tells of his going one afternoon with Mayrhofer to visit Schu-

The Young American Tenor of "Bel Canto" CONCERTS. RECITALS, MUSICALES (Selected Programs in English, Italian, French, German)

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His program was well adapted to his splendid voice. The Play House was completely filled and Mr. Spooner achieved a triumph. —New York Tribune.

Mr. Spooner. the young tenor, possesses a voice of unusually beautiful quality, wide range and sufficient power. He has a manly and ingratiating presence, obvious musical feeling, and the necessary mechanical equipment of a singer. Boston Globe.

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For engagements address J. W. Lyman, 205 West 57th Street. New York City

14

v*i bert. They found him reading Goethe's ballad aloud and in an excited manner. Suddenly he sat down and composed the music as fast as he could write. Schubert then had no pianoforte. The three went to the Convict, and there the song was first sung, to the delight and the wonder of all present. Spaun in 1817 sent to Goethe manuscript copies of Schubert's songs with a letter. Goethe never made answer. August Ritter von Gymnich, an amateur, was the first to sing Schu- bert's "Erlking" before a large audience. This was at a party at Sonnleithner's, December 1, 1820. In January of the next year he sang it at a meeting of a small music society, and a little later Pettenkofen and Vogl sang it in public with great effect. Liszt in i860 arranged for a small orchestra the pianoforte accom- paniments of these songs by Schubert: (1) "Die junge Nonne"; (2) "Gretchen am Spinnrad"; (3) "Lied der Mignon"; (4) "Erlkonig"; (5) "Der Doppelganger"; (6) "Abschied." The first four were published in 1863. Berlioz orchestrated the accompaniment for Roger, the tenor, to sing the song at Baden in i860.

Overture to the Opera, "The Sold Bride". Friedrich Smetana

(Born at Leitomischl, Bohemia, March 2, 1824: died in the mad-house at Prague, May 12, 1884.)

"Prodana nevesta" ("Die verkaufte Braut"), a comic opera in three acts, the book by Karl Sabina, the music by Smelana, was performed for the first time at Prague, May 30, 1866. The overture, which, according to Hanslick, might well serve as prelude to a comedy of Shakespeare,—and indeed the overture has been entitled in some concert halls "Comedy Overture,"—is scored for one piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, strings. The chief theme of the operatic score as well as of the dramatic action is the sale of the betrothed, and this furnishes the chief thematic material of the overture. The overture begins vivacissimo, F major, 2-2, with the chief theme

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15 at once announced by strings and wood-wind in unison and octaves against heavy chords in brass and kettledrums. This theme is soon treated in fugal manner; the second violins lead, and are followed in turn by the first violins, violas, and first 'cellos, and second 'cellos and double-basses. The exposition is succeeded by a vigorous "diver-

sion," or "subsidiary," for full orchestra. The fugal work is resumed;

the wind instruments as well as the strings take part in it, and the

subsidiary theme is used as a counter-subject. There is development fortissimo by full orchestra, and the chief theme is again announced as at the beginning. The second theme enters, a melody for oboe, accompanied by clarinets, bassoon, horn, second violins. This theme

is as a fleeting episode; it is hardly developed at all, and is followed by a tuneful theme for violins and first 'cellos. The chief motive

returns in the wood-wind, then in the strings, and the fugal work is

resumed. -The leading motive is reiterated as at the beginning of the overture (without the double-basses). The tonality is changed to D-flat major, and flutes and oboes take up the first subsidiary theme, which keeps coming in over harmonies in lower strings and wind, while the music sinks to pianissimo. Fragments of the first theme reappear

in the strings, and there is a brilliant coda.

*

Smetana began to compose the opera in May, 1863. He completed

the work March 15, 1866. * * *

There is a story that Smetana was excited to the composition of "strictly national" music by a remark made at Weimar by Herbeck when they were guests of Liszt, —that the Czechs were simply repro- ductive artists. The opening of the Czechic Interims Theatre at Prague, November 18, 1862, was the first step toward the establish- ment of a native operatic art. Smetana finished in April, 1863, his first opera, "Branibori v Cechach," or " Die Brandenburger in Bohmen," but it was not performed until January 5, 1866. Karl Sebor was more

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17 fortunate: his opera, "Templari na Morave," was performed in the Czechic Theatre in 1865. The libretto of Smetana's first opera was undramatic, improbable, ridiculous. The Bohemian operas before Smetana were in the old forms of the Italian, French, and German schools, and the public accused Smetana of " Wagnerism," the charge brought in Paris against Bizet even before "Carmen" saw the footlights. Smetana was a follower of Wagner in opera and of Liszt in the symphonic poem. He believed in the ever-flowing melody in the operatic orchestra; this melody should never interrupt, never disturb, the dramatic sense; the music should have a consistent physiognomy; it should characterize the dramatic; the Lett-motive should individualize; but Smetana knew the folly of imitation, nor was he the kind of man to play the sedulous ape. He once said, "We cannot compose as Wagner com- poses," and therefore he sought to place in the frame of Wagnerian reform his own national style, his musical individuality, which had grown up in closest intimacy with his love of the soil, with the life, songs, legends, of his countrymen. When they celebrated the one hundredth performance of "The Sold

Bride" at Prague, May 5, 1882, Smetana said: "I did not compose it from any ambitious desire, but rather as a scornful defiance, for they accused me after my first opera of being a Wagnerite, one that could do nothing in a light and popular style." The opera was composed,

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18 according to him, between January 5 and May 30, 1866; but Ottokar Hostinsky recalls the fact that in 1865 Smetana had performed frag- ments from a comic operetta, and Teige goes further and says the work was begun as far back as May, 1863. However this may be, Smetana composed at first only lyric parts, which were connected, twenty of them, by spoken dialogue. The opera was in two acts and without change of scene when it was produced. When there was talk of a performance at the Opera-Comique, Paris, Smetana added a male chorus in praise of beer, an air for Marenka, and a dance (Skoena) . The first act of the original version was divided into two scenes, and soon afterward the first scene was closed with a polka, and the second scene introduced with a furiant; * so now the opera is in three acts. Smetana changed the spoken dialogue into recitative for the production of the opera at St. Petersburg in January,. 1871, and this recitative is used to-day even in Czech theatres. "The Sold Bride" was performed for the first time before a German- Austrian public at the International Music and Theatre Exhibition at Vienna in 1892 (June i).f As Hlavac says: t "Those who understood the situation were not surprised when Director Schubert appeared in Vienna in 1892 with his Bohemian Theatre and gave two works of Smetana, that the surprise of the audience was so great, and on all sides was heard, 'How is it possible that such genius was not recog- nized long ago?' For, as far as Austria is concerned, Smetana first became known in Vienna, June, 1892, where they had previously had no idea of the importance of his creations. . . . There is something in 'Die verkaufte Braut' which satisfies every one. The Wagnerian can find nothing to object to, the lover of melody is more than happy, and friends and partisans of healthy artistic realism applaud vocif- erously. Not that Smetana is to be looked up to as the long-sought, universal musical genius, who has accomplished the union and per- fect reconciliation of all the different theories of music. Smetana, in his high understanding of art, clearly and rightly estimated all these theories and appropriated them to his own use. This had no

•Also known as the "sedalk" (the peasant), a characteristic and popular Bohemian dance, in which the male imitates a proud, puffed-up peasant, who at first dances alone, arms akimbo, and stamps, his partner then dances about him, or spins about on the same spot, until they embrace and dance slowly the sousedska, a species of landler t Adolf Tschech, whose real name was Taussig, conductor of Czech operas at this exhibition, died late in 1903 at Prague at the age of sixty-three.

X Translated into English by Josephine Upson Cady.

BUS0NI. - ARTHUR ALEXANDER. American Tenor. WILLY BURMESTER. ALICE VERLET. Soprano of the Paris Grand Mrs. KING-CLARK, of Berlin. Opera Opera Comique, and Gaite Lyrique. BARONESS von RAPPE. Soprano of Stockholm and Vienna Opera Houses. NORAH DREWETT. Pianist. THEODORE HARRISON. American Baritone. VIDA LLEWELLYN, An American Pianist. IN ADDITION TO HIS PRESENT LIST HELEN STANLEY. OTTILIE METZGER. MARIE RAPPOLD. VERA BARSTOW. Mme. OHRMAN. BORIS HAMBOURG. MYRTLE ELVYN

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19 — \ rr 1 1 1 1 v influence, however, on his inventive power; the effect was seen only in the expression of his thought; for he remained his own master in spite of all influences. This, all admit, even the speculator in coinci- dences and the hunter after imitations. The charm of Smetana to the outside world lies in the fact that, while the national character remains the foundation of his thought, he knew how to clothe the national Bohemian music in modern and high forms, and at the same time remain truly original, always himself, always Smetana. And so ' Die verkaufte Braut' has become a national comic opera, which, in the outlining of a dramatic depiction of village life in Bohemia, is true in the action and music, without turning the realistic side of it into the realism of a 'Mala Vita' * or 'Santa Lucia.' In this truly artistic moderation, Smetana shows that it is not necessary to depict common people as rude and unrefined, and, although most of Smetana's operas are laid in villages, as is also ' Pagliacci,' he did not turn to the tragical, as Mascagni and Leoncavallo have done." The success of "The Sold Bride" led to Smetana's appointment as conductor of the opera. (His deafness obliged him in 1874 to give up all conducting.) This appointment gave him great honor, small wages (twelve hundred florins), many enviers and enemies.

* "Mala Vita," opera by Umberto Giordano (Rome, February 21, 1892, revived at Milan in 1897 as "11 Vito"). "A Santa Lucia," by Pierantonio Tasca (Kroll's Theatre, Berlin, November 16, 1892). Gemma Bellincioni as the leading woman made a profound sensation when these operas were performed at Vienna, "Mala Vita" in 1892, "A Santa Lucia" in 1893.

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24