I < UVV< i ) I' BOSTON mim. SYAPnONY ORCnCSTRH
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Established 1854 Opp. Institute of Technologfy 492 Boylston Street SYMPHONY HALL, BOSTON HUNTINGTON 6-MASSACHUSETTS AVENUES
, Ticket Office, 1492 J . Telephones_. , j Back„ Bay„ j Administration Offices, 3200 \ TWENTY-NINTH SEASON, 1909-1910
MAX FIEDLER, Conductor
Prflgramm^ of % Fifteenth Rehearsal and Concert
WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE
FRIDAY AFTERNOON, FEBRUARY 11 AT 2.30 O'CLOCK
SATURDAY EVENING, FEBRUARY 12 AT 8.00 O'CLOCK
COPYRIGHT, 1909, BY C. A. ELLIS
PUBLISHED BY C. A.ELLIS, MANAGER
1113 /
Mme. TERESA CARRENO On her tour this season will use exclusively
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THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO
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1114 Boston Symphony Orchestra PERSONNEL J iw im fu* imim wi im #m wi wi »w ii^.MWJ!i.wi.fU!i.fU!i,ft^.MAwaw n^ nJ^ imc H
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THE - Quarter Grand Style V, m ^gured MaLogany, price $650 It is tut FIVE FEET LONG and in Tonal Proportions a Masterpiece or piano building. It 19 Chickering & Sons most recent triumph, tke exponent of EIGHTY-SEVEN YEARS experience m artistic piano building, and tne neir to all the qualities that the name of its makers implies. CHICKERING & SONS PIANOFORTE MAKERS Established 1823 791 TREMONT STREET, Corner Northampton Street, near Mass. Ave. BOSTON WvVw W^ ihtf wvVw trviAiww\iin Fifteenth Rehearsal and Concert FRIDAY AFTERNOON, FEBRUARY U, at 2.30 o'clock SATURDAY EVENING, FEBRUARY J2, at 8 o'clock PROGRAMME Bruckner ...... Symphony in E major, No. 7 I. Allegro moderate. II. Adagio: Sehr feierlich und langsam. III. Scherzo: Allegro. Trio: Etwas langsamer. IV. Finale : Bewegt, doch nicht schnell. .Chadwick . . . Sinfonietta in D major (in four movements) for Orchestra. First time at these concerts I. Risolutamente. II. Canzonetta: Allegretto. III. Scherzino, vivacissimo e leggitro; un poco meno mosso. IV. Finale: Assai animato. There will be an intermission of ten minutes after the symphony The doors of the hall will be closed during the performance of each number on the programme. Those tvho wish to leave before the end of the concert are requested to do so in an interval be^ tween the mimbers. City of Boston. Revised Regulation of Au({ust 5. 1898.— Chapter 3. relating to tk» coverinii of the head In places of public amusement. Every licensee shall not, in his place of amusement, allow any person to wear upon the head ooTerlnc which obftructa the view of the exhibition or performance m such place of any person seated in any seat thereut ivovided for spectators, it being understood that a low head covering without projection, which dots oat otxtruet tuch view, may be worn. Attest: J. M. GALVIN, City Clnrk. 1117 ^m6^8 THE WORLD'S BEST PIANO is the one piano not only abreast of the times, but today, more than ever, is solely and purely representative of faultless con- struction, exceptional durability and that tonal sublimity that cannot be successfully imitated or equalled. C C HARVEY CO. 144 BOYLSTON STREET BOSTON 1118 Symphony in E major, No. 7 Anton Bruckner (Born at Ansfelden, in Upper Austria, September 4, 1824; died at Vienna, October ri, 1896.) Bruckner's Symphony in E major was composed in the time be- tween September, 1881, and September, 1883. The first movement was completed December 29, 1882; the third, October 16, 1882; the fourth, September 5, 1883. The symphony is dedicated "To His Majesty the King, Ludwig II. of Bavaria, in deepest reverence," and was pubhshed in 1885. The statement is often made that the Adagio was composed as funeral music in memory of Richard Wagner. As a matter of fact, this Adagio, as some say, was completed in October, 1882.* Wagner died February 13, 1883. The singular statement has been made that a premonition of Wagner's dealth inspired Bruckner to compose a dirge,—this Adagio. Bruckner, who had what the Germans call "peasant cunning," may have agreed to this in the presence of those who were thus affected by the thought, but he himself knew, as will be seen by his letters to Felix Mottl in 1885 concerning the first performance at Carlsruhe, that the movement had not in all respects the character of a dirge. Indeed, he pointed out the measures of the funeral music: "At X in the Adagio (Funeral music for tubas and horns)," etc.; also, "Please take a very slow and solemn tempo. At the close, in the Dirge (In memory of the death of the Master) , think of our Ideal ! . . . Kindly do not forget the jff at the end of the Dirge." Bruckner wrote to Mottl in a letter published February 10, 1900: * Dr. \V. Niemann in his analysis of this symphony says the second movement was completed April 21, 1883, and gives as authority autographic notes of Bruckner in the score in the [Imperial Library at Vienna. Rudolf Louis, in his Life of Bruckner (p. 206), says that the Adagio was completed in October, 1882, and that Bruckner's wish for conductors to acquaint their audiences with the fact that the news of Wagner's death led him to compose the Adagio is, to say the least, singular. SONGS WORTH SINGING ! Sung by Madame Nordica. "NOW SLEEPS THE CRIMSON PETAL." Composed by Roger Quilter. 3 keys. Sung by Madame Marchesi. "A COTTAGE SONG." Composed by Laura G. Lemon. 3 keys. Sung by John McCormack. "THE PHILOSOPHY OF LOVE." Composed by John F. Larchet. 3 keys. Sung by Harry Dearth. "TOMMY LAD." Composed by E. J. Margetson. 2 keys. BOOSEY ^ COMPANY, 9 East Seventeenth Street NEW YORK And London, England 1119 L P. Hollander & Co. GOWNS FOR SOUTHERN WEAR Custom Dressmaking Dept.— Third Floor We are showing an exclusive line of MUSLIN, FRENCH LINEN, HANDKERCHIEF LINEN, FOULARD SILKS, COTTON VEILINGS and other Materials — in NOVELTY DESIGNS from the latest IMPORTED MODELS, just received from Paris, suitable for SOUTHERN WEAR, from which we will take orders for i Smart French Linen Princess Dresses . . $35.0Oup Dainty Imported Hand-madeHand-emb'd Dresses 35.00 up Foulard Silk Dresses ...... 55.00 up Muslin Dresses 45.00 up Handkerchief Linen Dresses . . . . 55,00 up Linen Tailored Suits 55.00 up Serge Tailored Suits 95.00 up Women Depositors At our Temple Place branch in the heart of the shopping district find there everything arranged" for their comfort and convenience. The check-books and pass-books fit readily into their shopping bags, and from the tellers' windows only new, crisp bills and clean silver are paid out. The entire second floor, with its pleasant open fires and its comfortable furnishings, is reserved for their exclusive use, and makes a convenient place to rest or read, to keep appointments, or telephone. Old Colony Trust Company COURT STREET TEMPLE PLACE U20 "At one time I came home and was very sad; I thought to myself, it is impossible that the Master can live for a long time, and then the Adagio in C-sharp minor came into my head." The first performance of the symphony was at Leipsic, December 30, 1884, when Mr. Nikisch conducted the work at a theatre concert in aid of a Wagner Monument Fund as some say, though the Neue Zeitschrift fur Musik (1885, p. 17), reviewing the performance, said nothing about any purpose for which the concert was given. The composer was present. The symphony was performed at Munich, March 10, 1885, with Levi as conductor, and at Vienna at a Philhar- monic concert led by Richter, March 21, 1886. Dr. Muck conducted the symphony at Graz on March 14, 1886,^—the first performance in Austria,— and in Berlin, January 6, 1894. Bruckner was present at each performance. Richter produced it in London, May 23, 1887. • The first performance in the United States was at Chicago by Theodore Thomas's orchestra, July 29, 1886. Thomas conducted the symphony in New York at a concert of the Philharmonic Society, November 13, 1886. The first performance in Boston was at a Symphony Concert led by Mr. Gericke, February 5, 1887. Dr. Muck conducted the work at a concert of the Boston Symphony Orchestra in Boston, December i, 1906. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, four tubas, one double-bass tuba, a set of three kettledrums, triangle, cymbals, strings. First movement: Allegro moderato, E major, 2-2. The first theme is announced by horn and violoncellos against the tremulous violins; THE PUPIL'S LIBRARY OPERA SCORES A Progressive Collection of instructive For week of and melodious February 14 PIANOFORTE PIECES MANON FIRST SERIES 31 easiest pieces SECOND SERIES 31 easy pieces THIRD SERIES 22 pieces in the me- dium grades Price, each, 75 cents Send for list of Contents Arthur P. Schmidt 120 BOYLSTON STBEET (Waikar BId'tf) ^QSTQN. MASS. and clarinets, violas, and violoncellos add a subsidiary thetne. The chief theme appears in a richer orchestral dress. There is a crescendo based, on the subsidiary theme, and the whole orchestra enters, but there is quickly a diminuendo, and the mood becomes more nervous, uncertain. The second theme, one of complaint, is given to oboe and clarinet with horns and trumpets in the accompaniment. This theme, with its peculiar instrumentation and its changing tonality, is [in marked opposition to the first. This second chief theme is developed at length. (The first assumes greater importance later.) In this development there are evidences in the manner of leading the voices of Bruckner's partiality for the organ. The mood becomes more restful, although the theme of complaint is not silent, but soon appears, in- verted, in the violins. It may here be said that Bruckner delighted in this manner of varying a theme. A mighty crescendo is based on a phrase of this inverted theme over an organ-point, F-sharp, but in- stead of the arrival of the expected climax a theme of somewhat mourn- ful character is given to wood-wind instruments with counterpoint in the strings. The rhythm of this counterpoint is maintained in the final section of the exposition part. An episode for the brass follows. There is soon a calmer mood, and gentle horn and clarinet tones mingle with the voices of the strings. The free fantasia begins with an inversion of the first theme (clarinet). Shreve, Crump & Low Company. Diamonds. 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As in the first part, the subsidiary leads to the second chief theme, which is now in E minor and is given to the clarinet. There is an end to the delicate instru- mentation. There is a great crescendo, which ends in an inversion of the second chief theme, ff, for full orchestra. Other crescendos follow, one with the second theme to an episode of choral character, others based on the "contrapuntal figure." The great climax comes in the elaborate coda, which is built on a long organ-point on the bass E, with the first subsidiary theme and with the first chief theme, which now has its true and heroic character. Second movement: Adagio, sehr feierlich und langsam (in a very solemn and slow manner), C sharp rninor, 4-4. This movement is thought by many to be Bruckner's masterpiece and monument. It undoubtedly established his fame when there were few to recognize his irregular genius. The Adagio was played in cities of Germany in memory of the composer shortly after his death, as at the Philhar- monic Concert, Berlin, led by Mr. Nikisch, October 26, 1896. When the symphony in E major was performed by the Theodore 'Thomas Orchestra, Mr. Stock conductor, at Chicago on March 9, 10, 1906, Mr. Hubbard W. Harris, then the editor of the program books Protect Yourself From rain or snow, wind or cold — on the street — in the auto—anywhere out-doors. We have wind and water- proof coats for men and women. Light, medium and heavy blanket-lined. Phone or write for catalog (free on request) or we shall welcome your visit to our establishment. IF IT'S WATERPROOF—WE HAVE IT. ENTERPRISE RUBBER CO, 110 Federal Street Itl^^ir? Boston, Mass. WILLIAM E. BARKER, President and Treasurer 1123 of the concerts, described this movement as "a composition in which music is permitted to perform its highest and noblest function —the expression of feehngs and emotions which are too profound arid too subtle for communication by means of any other of our more super- ficial media of utterance. It will suffice therefore to describe this movement in a few words (the fewer the better—close technical analy- sis not counting for nearly as much in connection with works of this kind as a sympathetic attitude on the part of the listener) as consist- ing for the most part of a sustained and at the same time elaborate development of the subject matter stated at the outset, the which is worked up in various ways in alternation with other agreeably con- trasting materials—all coming at last to an expressive conclusion." Mr. Hubbard's position was sane, yet a few notes may be of some assistance. In this movement, as in the Finale, Bruckner introduced the Bay- reuth tubas, to gain effects of peculiar solemnity and also, no doubt, to pay homage to the master whom he loved and venerated. The chief melody of the Adagio is given to the lower strings and tubas, and is answered by all the strings. There is a passage of stormy lamentation, and then consolation comes in a melody for violins (moderato, F-sharp major, 3-4). This theme is developed, chiefly by the strings. Then there is a return to FIRST NATIONAL BANK tf BOSTON FEDERAL, FRANKLIN and CONGRESS STREETS Capital, Surplus and Profits $5,000,000 Thoroughly Equipped to handle Interest allowed on Trust all kinds of business. and Inactive accounts. SAFE DEPOSIT VAULTS With every modern convenience, open from 9 a.m. to 5. p.m. Boxes from $\o per annum upwards. Special rooms for Ladies and spacious rooms for Trustees STORAGE VAULTS for SILVERWARE and TRUNKS 1124 BIGELOW KENNAPoD tr'CO. OUR5RD FLOOR is devoted exdusivejy to the display of ELECTRICS GAS LIGHTING FIXTURES. e311 WASHINGTON STREET 1125 the first and solemn theme, with wood-wind instruments and strings in alternation. There is a great crescendo with bold modulations until the entrance, C major, of the chief theme (second violins, supported by horn, oboes, and clarinets), which is soon followed by a variant of the answer to this theme. The answer soon appears in E-flat major and in its original form, and is maintained for a long time (G major). There is a modulation to A-flat major, and the cantilena is repeated. After the entrance again of the chief melody and the restoration of the original. tonality there is a crescendo of great and imposing force. This is over, and the tubas chant the answer to the chief theme and after an interlude for strings the chief theme itself, C-sharp major. The horns take up the cantilena, and the last chord, C-sharp major, dies away in brass instruments to a pizzicato of the strings. Third movement: Scherzo: Sehr schnell (very fast), A minor, 3-4. This scherzo is based chiefly on two themes, —the first for trumpet (piano), then clarinet, with a figure for strings; the second, a wild and raging one. The trio ends after a great crescendo. Drum-beats lead to the Trio, F major, Etwas langsamer (somewhat slower), with an expressive melody for strings. The theme of this trio is made at first out of an inversion of the intervals of the first scherzo theme, but the Trio is in all respects in marked contrast to the Scherzo, which after the Trio is repeated. Opposite Boston Common .t54 and 155 TREMONT STREET ANNOUNCE THE ARRIVAL 0¥ New Spring Merchandise Comprising the very latest ideas in apparel suitable for home or tropical wear. In- cluded are examples of the best makers of Paris and high-class American copies. The display is composed of Suits Coats Gowns Waists Millinery and Neckwear 1126 VAN AMRINGE MONUMENTS Quality durability originality moderate price VanAmringe Granite Cq 172 TREMONT ST., BOSTON. 1 I Finale: Bewegt, doch nicht schnell (with movement, but not fast), J E major, 2-2. The first theme, given to the viohns, has a certain re- semblance, as far as intervals are concerned, to the chief theme of the' first movement, but it is joyous rather- than impressive. Flutes and clarinets enter at times, and horn tones also enter and lead to the second theme, which has the character of a choral, with an accompanying pizzicato bass. The tubas are then heard in solemn chords. A new theme of a dreamy nature follows (strings), and then at the beginning of the free fantasia an orchestral storm breaks loose. This dies away, and a theme appears which is derived from the first and main motive, which in turn enters, inverted, and with a pizzicato bass. The choral theme is also inverted, but it gives way to the chief motive, which is developed and leads to another tempestuous burst, ended suddenly with a pause for the whole orchestra. The repetition section brings back the themes in inverted order. The second chief theme is heard in C major. After a time there is a crescendo built on passages of this motive, which leads to a powerful episode in B major, with a theme in the bass derived from the chief motive. This motive is given to violins and clarinets, and there are contrapuntal imitations. The choral theme, appearing at the end of the free fantasia, is heard no more. The first chief theme dominates to the end. There is an imposing coda. | I indebted in measure to the analysis of this symphony by Mr. am a !) Johannes Reichert prepared for the concerts of the Royal Orchestra ! of Dresden. * * * A biography of Anton Bruckner written by Rudolf Louis * was * Dr. Rudolf Louis was bom at Schwetzingen on January 30, 1870. He studied at Geneva and Vienna, and in the latter city he received the degree Dr. Phil. He studied music with Friedrich KJose and Felix Mottl, and then conducted in the opera houses of Landshut and Lubeck. Since 1897 he has lived at Munich. After the death of Heinrich Porges (November 17, 1900) he was chosen music critic of the Munich Neuesle Nach- richlen. His symphonic fantasia "Proteus" awakened interest at the meeting of the German ^lusic Society at Basle in 1903. His chief literary works are "Der Widerspruch in der Musik" (1893), "Die Weltanschauung Richard Wagners" (1898), "Franz Liszt" (1900), "Hector Berlioz" (1904), "Anton Bruckner" (1905), "Die deutsche Musik der Gegenwart " (1909). He edited Hausegger's " Unsere deutschen Meister" (1903), and with - Ludwig Thuille a treatise on harmony (1907, second edition 1908). HOTEL LENOX,^"^"lre:f»"''"" 5 minutes from Symphony Hall The Unique and Beautiful Rose Garden and Palm Room ARE Boston's Most Popular Restaurants Tea is served daily in the Rose Garden from 4.00 to 5.30 Music by BELA NYARY'S HUNGARIAN ORCHESTRA 1128 Annual Clearance Sale Carpets and Rugs Commencing Monday, January 3, 1910 During the usually quiet month of January we shall endeavor to turn into cash All discontinued patterns All patterns reduced in quantity All soiled or shop-worn goods At Prices from 25% to 50% off Sale includes thousands of yards of Wilton, Brussels, Velvet, Axminster, Tapestry, and Ingrain Carpets, and hundreds of Rugs in all grades, from small mats to large Carpet sizes. Detailed Price List mailed upon application V»aai 646-658 Washington St., Opposite Boylston St. I p«^ 1129 published by Georg Miiller in 1905. The volume is an octavo of two hundred and thirty-four pages, illustrated with portraits, silhouette caricatures of the composer, fac-similes of manuscripts, and two or three views of places. Soon after Bruckner's death it was announced that August Gollerich, of Linz, would write the life of his master, who before his last sickness had requested him to do this. Gollerich 's biography, which will be in two stout volumes, is said to be nearing completion. Dr. Louis in the preface to his work disclaimed any intention of com- peting in any way with Gollerich or of anticipating him. He there- fore used chiefly material that was already at hand : only when there was absolute necessity, as in ascertaining facts about the early life of Bruckner, did he make personal inquiry and research. His aim was to paint a character portrait of a singular personality, in whose life there was no romance, —and to many in Vienna the composer was to the day of his death merely an unsympathetic peasant. * * * Bruckner's early years were years of quiet work and uncomplaining poverty. His father and his grandfather were country school-teachers; his mother was the daughter of a tavern-keeper. There were twelve children. Anton was the oldest, and two survived him. In villages of Catholic Austria the school-teacher, on account of the service of the church, is expected to be a musician. Anton took his first music lessons from his father, who, as soon as he recognized the talent of the boy, put him at the age of twelve years into the hands of a re- lation, J. B. Weiss, a teacher at Horsching, and Bruckner took his first organ lessons of this man. The father of Bruckner died in 1837, and the widow moved to Kbels- berg, not far from St. Florian, and in the old and famous abbey of 1- J- » KAKASBROS.iNc. MANUFACTURERQ RETAILERS 179TREMONT- ST- BOSTON-TEL- OXFOBD 48 HIGH-CLASS FURS J » AT POPULAR PRICES We are showing a full line of all the leading Furs of the season in the latest designs FURS .SHOWN ARE OF OUR OWN MANUFACTURE AND ABSOLUTELY RELIABLE i 1130 M. Steinert & Sons Co. New England's Greatest Piano House INVITE ATTENTION TO THE FOLLOWING FEATURES AT STEINERT HALL. I. The largest collection of Famous High- Grade Pianos in the East. II. The completeness of their lines, which comprise the Leading Instruments of all Reliable Grades. Steinway, Weber, Hume, and Jewett Grand and Upright Pianos; Woodbury Upright Pianos. III. The Exhibition of the New Full Scale (88 note) Models of the Pianola and the Pianola Pianos. The musical public will be particularly interested in the new Weber Grand Pianola Piano — in which is united the highest type of the piano, the gratid, and the highest type of the piano-player, the Pianola. IV. The Display of Victor Victrolas. New Styles with concealed horn, besides all regular Victor Talking Machines. STEINERT HALL, 162 Boylston Street. Branches in all principal cities of New England. 1181 St. Florian Anton was received as a choir boy. The abbey had a celebrated Hbrary of seventy thousand volumes and a still more cele- brated organ of four manuals and about eighty speaking stops, and this organ was more important than the library in Bruckner's eyes. At St. Florian he studied harmony with Michael Bogner, organ and pianoforte with Kattinger, singing and violin playing with Gruber, who should not be confounded with Bruckner's pupil, Josef Gruber, from 1878 to 1904 the chief organist at St. Florian. This teacher Gruber was a pupil of Schuppanzigh, the violinist associated with Beethoven. Bruckher also attended the school classes; for he was expected to follow the family tradition and be a school-teacher. The course included religious instruction, grammar, penmanship, arith- metic, geometry, drawing, singing, organ playing, and some lessons in landscape gardening. Geography, history, —with the exception of some Biblical history, —natural history, were not taught. The first experience of Bruckner as a school-teacher was as a sub- ordinate at Windhag, a village of four hundred inhabitants, and he was extremely uncomfortable. His salary was two florins (seventy- five cents) a month. He was obliged to play the organ, lead the choir, perform the duties of sexton, and teach school. He was more than half starved. To gain a little money, he played for weddings and fiddled for dances. With no opportunity of playing good music with others, he nevertheless kept alive his musical ambition, and con- stantly made notes for compositions, to be worked out at some future " time. (His first manuscript, Abendklange," for pianoforte and some International Trust Company MILK, DEVONSBIRE and ARCH STREETS, BOSTON, MASS. INCORFOBATED 1870 CAPITAL, $1,000,000.00 SURPLUS (Earned) $4,000,000.00 FREE AND INDEPENDENT and not controlled by any special interests. ITS NEW AND ATTRACTIVE Banking Rooms furnish unexcelled accom- modations and facilities for all departments of its business. SPECIAL ACCOMMODATIONS for Ladies' accounts. INTEREST ALLOWED on Deposits subject to Check. Special rates on Time Deposits and Interest-bearing Certificates of Deposit. TRANSACTS A GENERAL BANKING Business, giving special attention to Corporation, Firm and other Business accounts. Discounts commer- cial paper and makes loans upon approved security. 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For larger rooms there are the Baby Grand, the Parlor Grand and the Concert Grand. All these arc shown in a variety of cases from the simplest (the Sheraton) to the most sumptuous (the Louis XV.). In a letter to the makers Enrico Caruio refers enthusiastically to the **suptrb and unique tone quality of The Hardman/'' Hardman Pianos may be purchased on easy monthly payments. The highest possible allowance for your old piano. * ' Send for beautifully illustrated book of ' Period ' designs. Hardman, Peck & Co. Established 1842 138 Fifth Avenue, New York Represented in Boston by the Colonial Piano Co., 104 Boylston St. 1133 other instrument, was written when^^'he was \thirteen years old.) Pro- I foundly unhappy, he was not understood by^the villagei-s, but was looked on as a sort of crazy person. In i843inejwas sent by way of punishment to Kronstorf, where there were only one hundred and fifty inhabitants, but he was fortunately soon transferred to Steyr, and here there was a fairly good organ and considerable attention was paid to church music. Bruckner had a pleasant recollection of this village, and in after years, when he would make excursions from Vienna, he would go either to Steyr or to St. Florian. Toward his end he prayed that, if he could not be buried under the great organ at St. Florian, he might rest in the churchyard at Steyr, IT ,f % In 1845 Bruckner was appointed a teacher at St. Florian.^^' He was happy there, and he was in a somewhat better pecuniary condition. As a teacher he received thirty-six florins a year, and as an organist eight florins and free living. He said that he used to practise at that time ten hours a day on the pianoforte and three on the organ. He was undeniably industrious. In 1853 he visited Vienna to prove hi$ ' ability before three then celebrated musicians, Simon Sechter, Ignaz Assmayer, Gottfried Preyer, He showed them his prowess as an ort ganist and made a brilliant showing. At St. Florian Bruckner studied physics and Latin, and long afterward regretted that he had not studied more earnestly and with a broader view; for at last famous in Vienna as a musician and as an eccentric, he had little or no com^ prehension of anything in science, art, literature, politics. He wai a musician and only a musician. * * Bruckner in 1856 was appointed organist of the old cathedral aj Ivinz. Bishop Rudiger of that city took a warm interest in him an| gave him the time to take lessons in Vienna. Simon Sechter (i 788-1867) was one of the most famous of all theorists and pedagogues. Bruckner chose him for his master. The pupil was then thirty-two years old, already an organist, improviser, ecclesi- astical composer of some reputation, but he felt the need of a more thorough technical training. Sechter was a teacher of the technic FOWNEiS GLOVEvS are a ** good thing to have on hand," and all good dealers have them on hand. 11.S4 ; ONE of our chief reasons for building the New Store was to get ample space and at the same time perfect light for our Silks, Dress Goods and Wash Dress Goods. We have nothing but new goods to offer, and in all these departments we are ready with a very complete collection of new fabrics, many of them exclusive . . . New Foulards London Tailor Suitings Exclusive foreign foulards in double All silk, weight suitable for street and single width, colorings suitable suits. 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He prized Sebastian Bach, thought well of Mozart and Haydn, accepted the earlier works of Beethoven; but of the more modern composers the only one whom he tolerated was Mendelssohn. From 1856 to i860 Bruckner went to Vienna to take lessons of this man. One of the most interesting discussions in Dr. Louis' biography is the discussion of the question whether Sechter was the proper teacher for Bruckner, whether Sechter did not do him harm. Did not Bruckner need a master who would insist on the value of proportion, moderate his volubility, repress his desire to over-elaborate an idea. Further- more, were not Bruckner's habits of thought too deeply rooted at the time he sought Sechter's tuition? Bruckner's contrapuntal skill, as displayed in improvisations on the organ, has passed into a tradition, but there is comparatively little of it revealed in the greater number of his symphonies. Dr. Louis insists that certain brave features of Bruckner's art, as his pure harmonic writing and the euphony of passages for the brass choir when the progressions are in the manner of a choral, are due not so much to any skill in orchestration as to Sechter's indefatigable training. On the other hand, a grand and noble effect in any one of the symphonies may be followed by fatiguing and apparently interminable pages of sheer pedantry. For neither Sechter nor Bruckner seemed to have the slightest idea of the necessity of a practical knowledge of architectonics in music. The approach made against pages in Bruckner's symphonies—that they are formless, illogical, fragmentary, episodic—is not always without foundation. The zeal of Sechter exaggerated the inherent faults of the pupil. UNIVERSITY TRAVEL Scholarly guidance for the serious traveller. Especial interest in Art, History and Archaeology of Europe and the Orient. 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Only unusual forces commanded by a great organization such as The Baldwin Company could develop such qualities. By any equally able economic policy it is practicable for you to know the Baldwin, though you may live far from the centers where its triumphs have been won. We would be pleased to have you see and hear the Baldwin Piano at our store. GRAND PRIX GRAND PRIZE Paris 1900 St. Louis 1904 40 HUNTINGTON AVENUE BOSTON, MASS. 1137 Yet Bruckner profited in a way by Sechter's training, so that he astonished his master, Hellmesberger, Herbeck, Dessofif, and Becker, when he submitted himself to them for an examination in counter- point. Herbeck, who had even then some idea of Bruckner's skill, proposed that, if the applicant were able to develop in fugued style, on pianoforte or organ, a theme then given, the result should be con- sidered as proof of his ability more than any display of knowledge by word of mouth. Bruckner accepted the offer, and they all went to a church. Sechter gave a theme of four measures. Herbeck asked Dessoff to add four more; and, when Dessoff refused, Herbeck length- ened the theme by eight measures, at which Dessoff exclaimed, "O you monster!" Bruckner studied the theme for some time, and he seemed anxious, so that the examiners were merrily disposed. At last he began his introduction, which was followed by a master fugue, then by an improvisation. All wondered, and Herbeck said: "He should examine us." * 4: * J ' When Bruckner was thirty-seven years old, he studied theory and instrumentation with Otto Kitzler (born in 1834 at Dresden: he retired into private life in 1898), then opera conductor at Linz. Kitzler was a modern of the moderns, and from him Bruckner learned much about the music of Wagner, whom he worshipped with a childlike devotion. Whether this worship was favorable to the development of Bruckner's own individuality is a question that may be argued by those who have no ordinary waste-pipe for intellect. Bruckner met Wagner for After Stock Taking . Completed February First Comes our Annual Inventory Sale of such books, new and old, as were laid out during the inventory for IMMEDIATE SALE, at such prices as would accomplish that result. THIS SALE IS THE BOSTON BOOK-LOVERS* ANNUAL OPPORTUNITY—DO NOT MISS IT Charles E. Lauriat Company 385 Washington Street 0pp. Franklin Street 1138 Music We carry a complete assortment of all the Grand Opera scores and librettos, covering every produc- tion of the Boston Opera House during the 1909- 1910 season. Band Instruments From World's Noted Makers Our display includes such noted instruments as Boehm Flutes, F. Besson's Cornets, Horns and Trumpets, Evette & Schaeffer Bassons, A. Robert Clarinets, Hautbois and English Horns. Talking Machines and Records Victor and Edison Machines, Records and Cabinets Depend upon this up-to-the-minute assortment to fill your every want — hear favorite records played in our sound-proof demonstrat- ing rooms. Victor Talking Machines . the first time at the performance of "Tristan and Isolde" at Munich, in 1865. It was Bruckner's ambition to carry out Wagner's theories about opera in absolute music, to utilize his theories for orchestral advantage. Bruckner's fame began to grow as a composer. The Mass in D minor (1864), the Symphony in C minor of 1865-66, a cantata, and the "Ger- manenzug" for male voices with brass instruments gave him local and provincial reputation, but later in the sixties his name began to appear in the Viennese journals, and in the fall of 1868 he moved to Vienna. Johann Herbeck, conductor and composer, did not lose sight of Bruckner after the memorable examination. As a conductor, Herbeck had done much for composers of the modern and romantic school of his period by producing their works. He was the first in Vienna to appreciate the talent or genius of Bruckner, though he was not a blind enthusiast. In 1867 he produced Bruckner's Mass in D minor, and when Sechter died Herbeck at once thought of the organist in Linz as the legitimate successor to the chair of organ and counterpoint in the Vienna Conservatory of Music. Bruckner was not persuaded easily to leave Tinz. He appreciated the honor of the invitation, but what had he in common with Viennese life? He consented finally, and was enrolled as teacher of harmony, counterpoint, and organ. Three years later he was made a professor, and after a service of twenty-three years he retired in the course of the season 1891-92. In 1878 he was appointed organist of the Royal Orchestra, and three years before this he was appointed lecturer on musical theory at the University of Vienna, in spite of the active oppo- sition of Eduard Hanslick, his sworn foe. At last he was honored. At last he was comparatively free from pecuniary embarrassment, for his manner of life was simple. Friends of Bruckner have deplored for his own sake his departure from Linz. They have said that, as a composer, in that town he would have written more spontaneous, richer, and more individual music. This question is discussed by Dr. Louis at length, although he admits the futility in general of reasoning on the premise, "What G. SCHIRMER WEST STREET BOSTON, MASS. Tel. Oxford 783 NEW PUBLICATIONS FOR AND PIANO MUFFAT, A. Q.—MOFFAT BOURREE ET LA COQUETTE 9.60 NARDINI. P.—MOFFAT Allegro vivamente PERQOLESE, Q. B.—MOFFAT Minuet .... REQER, MAX Aria. Op. I03a, No. 3 SCHUMANN, ROBERT—RIES Garden Melody Complete Catalog of Violin Music, including Methods, Studies, Classic and Modern Pieces for Violin Solo, Violin and Piano, with every conceivable combination in concerted form, sent on receipt of address. 1140 ?" might have happened il — Bruckner heard more music at Vienna, that of his own and that of other composers. The performance of his First Symphony at Linz was eminently unsatisfactory. In Vienna there was the brilliant orchestra, there were well-trained choruses. No doubt in his private life he would have been happier at Linz. The Viennese public is musically a peculiar one. Dr. Louis' char- acterization of it is elaborate and at the same time sharp. It has been commonly reported that this public was antagonistic to the music of Bruckner; that it would not listen to it; that it yawned or left the hall. Dr. Louis asserts that the report is without foundation; that the attitude of this public was warm and sympathetic from the very beginning; that there was also a "Bruckner public," which grew in size and influence year by year.* Even Hanslick was obliged in his reviews to acknowledge constantly the enthusiasm of the audience whenever a work by Bruckner was performed. As early as 1873 a Viennese audience welcomed the Sec- ond Symphony with enthusiasm. For, as Dr. Louis remarks, the Vien- nese are stirred by the charm of euphony and by compelling rhythm. Whether this public is truly musical is another question, and it is discussed by Dr. Louis. Furthermore, Bruckner's cause was maintained by the partisans of Wagner, who put the former in opposition to Brahms. The opposition was unnecessary; it embittered Hanslick against Bruckner, but it was of much consequence to the latter, whose peculiar, almost clownish appearance and manners would easily have prejudiced many against him. Hanslick wielded a great influence. Other critics followed him in opinion and aped his style. Only a few espoused Bruckner's cause, and of these Hugo Wolff and Theodor Helm were the most conspicuous of the comparatively uninfluential. It has been said that * This statement concerning Bruckner's large public is directly at variance with statements made by Decsey and others. t For Wolf's admiration as musician and critic for Bruckner see Dr. Ernest Decsey's "Hugo Wolf," vol. " i. pp. 97-99 (Leipsic and Berlin, 1903); Newman's Hu?o Wolf," p. 38, and Wolf's correspondence with Emil Kauffmaim; but Wolf admitted Bruckner's lack of concentration. C. SCHIRMER, 35 UNION SQUARE, NEW YORK JUST PUBLISHED A Guide to the Opera THE VOICE EL EKTRA its Production> Care and Preservation BY BY RICHARD STRAUSS FRANK E. MILLER, M.D. With Musical Examples from the Score Pp. 106. Cloth. Net$1.2S BY Dr. Frank Miller, the author of this book, is one ERNEST HUTCHESON of the leading New York specialists on throat, nose and ear. He numbers many singers among his Pp.61. Cloth. NetrSc. 83c. postpaid) patients and is physician to the Manhattan Opera House Company. 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The men who made it and who make it simply put forth the best piano possible for their brains to conceive or their hands to fashion. Quality all the thought — price consideration after- ward. We are sale agents for the KNABE PIANO, the best piano made by anybody anywhere. We invite your inspection. C. C. HARVEY CO. t44 BOVLSTON STREET, BOSTON 1142 — Brahms himself had no prejudice against Bruckner, at whose funeral he was a sincere mourner.* " There are allusions in the Herzogenberg Correspondence " f to Brahms' disposition toward Bruckner, the composer, but there is no direct, frank statement. Elisabet von Herzogenberg wrote to Brahms apropos of a performance of Bruckner's seventh symphony conducted by Mr. Nikisch from manuscript at Leipsic, December 30, 1884: "Our friend Hildebrand will have . . . told you of the Bruckner excitement here, and how we rebelled against having him thrust upon us—like compulsory vaccination. We had to endure much stinging criticism insinuations as to our inability to detect power under an imperfect exterior, or admit a talent which, though not perhaps fully developed, still exists, and has a claim to interest and recognition. We are not to consider artistic results everything, but to admire the hidden driv- ing power, whether it succeeds in expressing itself satisfactorily or no. That is all very well in theory, but in practice it all depends on the value of this driving power. . . . We wished we had you to back us up, and could hear your sound views, which are based on superabundant experience, and are therefore worth more than all the theories of the wise, all the mere instincts of the simple. And, who knows? You " may agree with us, the simple." She wrote again : Breathe one word about Bruckner. You are not afraid of our leading you on, and then .proclaiming abroad: Brahms says we are right! We will lie quite low about anything you say, but a word we do crave for our own peace of mind." Brahms at last answered:— "Your delightful letter" —the first from which I have quoted "expresses most lucidly all that can be said—-all that one has said oneself or would like to have said so nicely. You will not mind when I tell you that Hanslick shares your opinion, and read your letter with pious joy! But one sym- phony J and one quintet of Bruckner's have been printed." (This * It is a singular fact that Miss Florence May, in her voluminous Life of Brahms (London, 190s), mentions Bruckner only once. In describing the musical life of Vienna in 1862, she says: "Anton Brueckner [sic] was favorably esteemed by some of the first resident musicians, though he had not yet been called there" (vol. ii. p. 4). t"Johatmes Brahms: The Herzogenberg Correspondence," edited by Max Kalbeck, translated into English by Hannah Bryant (New York, 1909). ^ . J This was the third symphony in D minor, the one dedicated to Richard Wagner. I I JWr^l-Ip'/^l^Q Prepared with particular attention to the *^^^*^^^* **-*^*^*^'*^ requirements of shoppers. OTNIVFR^ "^^^ ^^^^ foods of the season carefully /^ A TTpDI 1VI#^ Years of catering for fashionable occasions l-jl\.li^\J A^*^ * ensures menus of taste and proper service. Ice Creams and Ices Confections [Pastries Favors McDONALD-WEBER CO 156 Tremont Street, Boston, Mass. Our new catalogue of prices we feel sure will interest you. J, 1143 ' was written January 12, 1885.) " I advise you to get them to look at, with a view to steeling your mind and your judgment. You will not want me!" A row of asterisks follows the last sentence. Did Brahms > speak more plainly in the omitted passage against Bruckner's music? 1 It would seem so; for Mrs. von Herzogenberg answered two days afterward: "It has done us a world of good, inducing a state of sud- den placidity which enables us to listen to the most extravagant non- sense about poor Bruckner, so strengthened are we by the approval ' of one on whom we 'invincibly depend,' as Holderlein (whom I am reading) says of Schiller. But although we can arm ourselves with : placidity at a pinch, no one can console us for the fact that, in this culture, there are many, people world of so-called so many ready to i be imposed upon by any inflated windbag, if its appearance is made with due pomp. One or two not quite impossible motifs, like grease- spots swimming on the top of weak soup, and there we have ' Meister Bruckner's whole stock-in-trade, while those who do not make imme- unbelieving diate obeisance are stamped as Thomases, who want signs ; and wonders to convince them. I should just like to know who started the Bruckner crusade, how it came about, and whether there is not a sort of freemasonry among the Wagnerians. It certainly i is rather like a game of taroc, or rather that form of whist, in which» j when 'misery' is declared, the lowest card takes the trick." In 1886 she wrote to Brahms: "It always makes me furious to hear facts so [ grossly misrepresented, just as it does to watch the growing Bruckner ! craze, and I admire you for keeping a cool head." From this it will be seen that in all probability Brahms did not dislike for Bruckner's music; that Elisabet, daughter of conceal his ; Freiherr Bodo Albrecht von Stockhausen and wife of Heinrich Picot | de Peccaduc, Freiherr von Herzogenberg, was a woman of prejudices and a good hater. Von Billow had little to say about Bruckner in his voluminous cor- respondence. Whenever he mentioned his name, it was with a sneer. Thus, writing to Richard JStrauss from St Petersburg, December 19, 1885, he spoke of "the prejudicial bearing of the asiastic Bruckner." Two years later in a note to Hermann Wolff, the manager, von Biilow School of Expression THIRTIETH YEAfi S. S. CVfifiY, Ph.D., Utt.D., President SPECIAL COURSES in the Arts and uses of the Spoken Word, in- cluding correction of Faults of VOICE, SPEECH, and Action. Separate classes of training in Action for opera singers. The Oldest and best Equipped School of the Spoken Word IN THE World For information concerning DIPLOMA COURSES Send for ANNUAL CATALOGUE Address THE DEGISTDAD, 301 Pierce Buildinjif, Office hour, 3-4, daily. COPLEY SQUADE. BOSTCW 1144 wrote as an apostrophe, "Holy Anthony, that is to say, Bruckner!" In 1890 he wrote to Brahms from Hamburg that in a moment of doubt and mental disturbance he had spawned letters of the alphabet as Bruckner spawned notes. * * Bruckner made short journeys in Austria and pilgrimages to Bay- reuth. He visited Leipsic, Munich, and Berlin, to hear performances of his works. In 1869 he went to Nancy to compete with other organ- ists at the dedication of a new organ in the Church of St. Epore. Dr. Louis has much to say about his then driving his competitors from the field, but whom did Bruckner have as rivals? Rigaun, Renaud de Vilbac, Stern, Girod, Oberhoffer, and others whose very names are almost forgotten. He visited Paris, and made the acquaintance of Auber and Gounod, In 1871 he gave an organ recital, or two or three recitals, in Albert Hall, but it was then said that he was awk- ward in handling the mechanical devices of the instrument, and that he showed an imperfect knowledge of the art of registration. Dr. Louis does not mention this adverse criticism, but any one acquainted with organs in Austria and Germany at that time would easily believe the criticism to be well founded. As a teacher at the Conservatory, Bruckner was a singular appari- tion, yet his classes were crowded by those who respected his ability and character while they wondered at his ways. There was a clique against Wagner in the Conservatory. Bruckner was known as a Wagnerite, and the young romanticists among the students gathered LUGGAGE l/NSURA/NCE Be sure to mark every trunk, bag, hat-box, or suit-case with A DENMSON TAG Weather-proof Tear-proof Loss-proof %m(U&mMf^Mo the tag makeds Boston New York Philadelphia Chicago St. Louis around him, and so Felix Mottl, Arthur Nikisch, Gustav Mahler, Emil Paur, Josef Schalk, Ferdinand Lowe, were not only his pupils, they were his long and tried friends. Bruckner saw nothing, remembered nothing, learned nothing from travel or by his life in Vienna. Nothing broadened his horizon. He passed in Vienna as an "original." He was without manners or graces of any kind. His personal appearance and his dress provoked the smiles of those who did not know him, but the sterling worth of the man within won all hearts, save that of Hanslick. As Dr. Louis says: "A man of fine feelings might smile at Bruckner's appearance: he would not laugh at it." With Bruckner's simplicity was mingled "peasant shrewdness." He was extravagant in his expressions of gratitude; he was distressingly grateful, so surprised did he appear to be when any one showed him a slight kindness. It has been said that Brahms was a born bachelor. Bruckner should have married, but poverty forbade him a wife until it was too late for him to think of it, nor was he ever drawn toward light o' loves. He was a man of a singularly modest and pure nature, and what is related of Sir Isaac Newton may truly be said of Bruckner: his life was absolutely without the pleasure or the torment of love in any one of its forms or disguises. He liked good cheer in moderation, and one of his petty passions was the enjoyment of Pilsener beer, which he gave up with extreme unwillingness when the physician ordered a rigorous diet for his dropsy. "But," says Louis, "in this he was not given to excess, although, a true German, he could carry a large amount." READY IN MARCH INTRODUCTION PRICE, 60 CENTS A NEW VOLUME of the MUSIC STUDENTS LIBRARY BOUND IN FULL CLOTB nHTORHL LflUIS in PiflnO TECHniC BY MARY WOOD CHASE A VALUABLE work for teachers and students of piano playing, present- ing clearly and concisely, and in an eminently practical manner, the essential laws of the building up of a good piano technic. Among the subjects taken up by the author are the muscles, hand position, hand condition, melody touch, the thumb, the touches, octaves, chords, equalization of the fingers, scales, arpeggi, double thirds, pedals, the metronome, how to practice, etc. There are fifty-seven plates showing correct and incorrect posi- tions of the hands and fingers, and a number of exercises to develop certain phases of technic. Price $1.25, but in advance of publication we will accept orders at 60 cents, post-paid, cash with the order. Customers having accounts can have the book charged, in which case postage will be additional. OLIVER DITSON COMPANY 150TREMONT STREET, BOSTON 1146 He was dependent on his salary, for his compositions brought him scarcely anything. He received one hundred florins for his "Te Deum," but his first six symphonies were published at his own expense and at that of some of his friends. A few years before his death he was honored in a manner that con- soled him for many disappointments. Brahms had been given by the University of Breslau an honorary degree, and Bruckner desired a like recognition. In 1891 the University of Vienna gave to him the honorary degree of Doctor, and the rector professor, Dr. Exner, paid in the presence of the public a glorious tribute to him, ending with these words : "I, the rector magnificus of the University of Vienna, bow myself before the former assistant teacher of Windhag." Nor were these words merely an official compliment, for Exner, a man of fine musical taste, was an ardent admirer of Bruckner's talent. Bruckner's health was robust until about 1890, when symptoms of dropsy were unmistakable. He had begun his Ninth Symphony in 1890, and he hoped earnestly to complete it, for he dreaded the rebuke given to the unfaithful servant. That he died before the finale was written is to Dr. Louis symbolical of the tragedy of the composer's career. To sum up this career. Dr. Louis quotes a Latin sentence that Bruckner, with his slight knowledge of Latin, could have put into German. It is one of the most consoling sentences in the New Testa- ment, and Bruckner had the faith that brings the blessing: " Beati pauperes spiritu, quoniam ipsorum est regnum coelorum." * * * It is not the purpose of these program books to speak concerning the technical or aesthetic worth of pieces performed at the concerts yet ; it may help to. a better understanding of the music itself, if light be thrown on the personal nature and prejudices not only of the composer, but of his contemporaneous partisans and foes. This simple man, who had known the crudest poverty and distress, and in Vienna lived ' the life of an ascetic, made enemies by the very wTiting of music. 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The friends, or rather the idolaters, of Brahms, claimed that the Wagnerites had no symphonist among them; that, disturbed by the prominence of Brahms in the realm of absolute music, they hit upon Bruckner as the one to put Brahms and his followers to confusion. As though there could be rivalry between an opera-maker and a sym- phonist ! But the critic Eduard Hanslick was a power in Vienna. For some reason or other—unworthy motives were ascribed to him by the Wagnerites—Hanslick fought Wagner bitterly, and some said that his constant and passionate praise of Brahms was inspired by his hatred of the man of Bayreuth. Bruckner was an intense admirer of Wagner; his own symphonies were certainly no ordinary works ; therefore he was attacked bitterly in the journals and in society by Hanslick and his friends. There appeared in Vienna in 1901 a little pamphlet entitled "Meine Erinnerung an Anton Bruckner." The writer was Carl Hruby, a pupil of Bruckner. The pamphlet is violent; malignant. In its rage there is at times the ridiculous fury of an excited child. There are pages that provoke laughter and then pity; yet there is much of interest about the composer himself, who now, away from strife and contention, is still unfortunate in his friends. We shall pass over Hruby's ideas on music and the universe, nor are we inclined to dispute his proposition (p. 7) that Shakespeare, Goethe, Beethoven, Wagner, were truer heroes and supporters of civilization than Alexander, Caesar, Napoleon, who, never- theless, were, like Hannibal, very pretty fellows in those days. When Hruby begins to talk about Bruckner and his ways, then it is time to prick up ears. As a teacher, Bruckner was amiable, patient, kind, but easily vexed by frolicsome pupils who did not know his sensitive nature. He gave each pupil a nickname, and his favorite phrase of contentment and disapproval was "Viechkerl!"—"You stupid beast!" There was a " " young fellow whose name began Sachsen ; but Bruckner could never remember the rest of it, so he would go through the list of German " princes, "Sachsen" , "Sachsen" , Sachsen-Coburg-Gotha, Sachsen - Meiningen, Sachsen - Hildburgshausen, Sachsen - Teschen, Sachsen" and at last the name would come. Another pupil, who now is a harp virtuoso, was known to his teacher only as "Old Harp." Bruckner had a rough, at the same time sly, peasant humor. One of his pupils came into the class with bleached and jaded face. Bruckner ELIAS HOWE CO., court street, Boston OLD VIOLINS VIOLAS. 'GELLOS9 BASSES I Over 600 in Stock Leather Cases. Fine Bows. Italian Strings. Gold and Silver G Strings. 2y000 New Violins in stock. ELIAS HOWE CO., 88 Court Street, Boston 1148 asked what ailed him. The answer was : "I was at the Turnverein till two o'clock," "Yes," said Bruckner, "oh, yes, I know the Turnverein that lasts till two a.m." The pupil on whom he built fond hope was Franz Nott, who died young and in the mad -house. When Bruckner was disturbed in his work, he was incredibly and gloriously rude. Bruckner was furious against all writers who discovered "pro- grams" in his music. He was warmly attached to the ill-fated Hugo Wolf, and was never weary of praising the declamation in his songs: "The fellow does nothing all day but compose, while I must tire myself out by giving lessons"; for at sixty years Bruckner was teaching for three guldens a lesson. Beethoven was his idol, and after a performance of one of the greater symphonies he was as one insane. After a per- formance of the "Eroica," he said to —Hruby,^—would that it were possible to reproduce Bruckner's dialect, "I think that if Beethoven were alive, and I should go to him with my Seventh Symphony and say, 'Here, Mr. Van Beethoven, this is not so bad, this Seventh, as certain gentlemen would make out,'. . . I think he would take me by the hand and say, 'My dear Bruckner, never mind, I had no better luck; and the same men who hold me up against you even now do not understand my last quartets, although they act as if they understood them.' Then I'd say to him, 'Excuse me, Mr. Van Beethoven, that I have gone beyond you in freedom of form, but I think a true artist " should make his own forms for his own works, and stick by them. ' He once said of Hanslick: "I guess Hanslick understands as little about Brahms as about Wagner, me, and others. 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Chinese Jade Necklaces, Bracelets, Brooches and Pendants, Scarf Pins, Rings, etc. 1149 Hanslick knows as much about counterpoint as a chimney-sweep about astronomy." Hanslick was to Bruckner as a pursuing demon. (We are giving Hruby's statement, and Hanslick surely showed a strange perseverance and an unaccountable ferocity in criticism that was abuse.) Hruby likens this critic to the Phylloxera vastatrix in the vineyard. He really believes that Hanslick sat up at night to plot Bruckner's destruction. He affirms that Hanslick tried to undermine him in the Conservatory and the Imperial Chapel, that he tried to influence conductors against the performance of his works. And he goes so far as to say that Hans Richter, thus influenced, has never performed a symphony by Bruckner in England. As a mattter of fact, Richter produced Bruckner's Seventh in London, May 23, 1887. He was never mean or hostile toward Brahms, as some would have had him. He once said that Brahms was not an enemy of Wagner, as the Brahmsites insisted; that down in his heart he had a warm admiration for Wagner, as was shown by the praise he had bestowed on "Die Meistersinger." Just before his death Bruckner's thoughts were* on his Ninth Sym- phony: "I undertook a stiff task," he said. " I should not have done it at my age and in my weak condition. If I never finish it, then my 'Te Deum' may be used as a Finale. I have nearly finished three move- ments. This work belongs to my Lord God." Although he had the religion of a child, he had read the famous book of David Strauss, > and he could talk about it reasonably. Some one asked him about the future life and prayer. "I'll tell you," he replied, "If the story is true, so much the better for me. If it is not true, praying cannot hurt me." * * * Performances of Bruckner's symphonies at these concerts in Boston: 1887, February 5, No. 7, in E major. 1899, February 11, No. 4, in E-flat major, "Romantic." 1901, March 9, No. 3, in D minor. 1901, December 28, No. 5, in B-flat major. OPERA TICKETS $1.50 $2.00 $2.50 CONNELLY & BURKE, Ar/ 'Phones, Oxford 942 and 41330 1150 1904, April 2, No. 9, in D minor (unfinished). 1906, December i, No. 7, E major. 1907, November 2, No. 9, D minor (unfinished). 1909, March 13, April 24, No. 8 in C minor. The "Te Deum" was performed in Boston by the Cecilia Society, December 12, 1905. The Adagio from the String Quintet was played at a Kneisel Quar- tet concert, November 23, 1886. * * * List of Bruckner's Works. Bruckner's first symphony was in F minor. He wrote it in 1862, when he was a pupil of Kitzler, who tells us that it was mere student work, uninspired, and that he did not praise Bruckner for it at the time. The manuscript was either lost or destroyed. The following dates of first performances are given, subject to correction. There is as yet no biography of Bruckner that is authori- tative in matters of detail, and in the books and pamphlets about Bruckner that are already published there are some contradictory statements. Symphony in C minor. No. i. Composed in 1865-66 at Linz. First performed in Linz, May 9, 1868. The orchestra made a sad mess of its task. First performance in Vienna at a Philharmonic concert, December 13, 1891. Bruckner completed the Scherzo, May 25, 1865, while he was sojourning in Munich to see the first performance of "Tristan und Isolde." In 1890-91 he revised thoroughly the sym- phony and dedicated it to the University of Vienna in gratitude for the bestowal of the degree upon him: " Universitati Vindohonensi primam suam symphoniam d. d. venerabundus Antonius Bruckner, doctor honorarius." At Vienna from February to September, 1869, he worked on a symphony in D minor. This was never performed or published, and the composer expressly annulled it. Symphony in C minor. No. 2. Composed in 1871-72 and dedicated to Franz Liszt. First performed under the direction of the composer «^CORN lUNCH ROOM Liinckeoix Prompt^ervice,- -^11 to 3 Reasonable Prices 144 Tremon^NStreet Ovcr^t.Clair^^ , ^ear Temple Place 1151 in Vienna, October 26, 1873. Herbeck conducted it in Vienna in 1876, and it was performed at a Philharmonic concert in that city in 1894. Herbeck said to Bruckner after the rehearsal: "I have not yet paid you any compliment, but I tell you that, if Brahms were able to write such a symphony, the hall would be demolished by the applause." Symphony in D minor. No. 3. Bruckner composed it in 1873, asked for Wagner's judgment on it, and dedicated it to "Master Richard Wagner in deepest reverence." The first performance was at Vienna under Bruckner's direction, December 16, 1877. There were perform^ ances of it in Vienna in 1891 and 1892, as there have been since 1892. Bruckner revised this symphony twice, in 1876-77 (this score was published in quarto) and in 1888-89 (new score in octavo). Symphony in E-flat major. No. 4. The "Romantic," composed in 1874, revised in 1878, and the Finale rewritten in 1879-80. It is dedicated to the Prince Constantin Fiirsten zu Hohenlohe-Schillings- fiirst, the Lord Marshal to the Emperor of Austria and the husband of the daughter of Liszt's friend, the Princess Caroline Wittgenstein. "The first performance was in Vienna, February 20, 1881." Yet Franz Brunner says the first performance in Vienna was at a Philharmonic concert led by Richter in 1886. There have been many performances of this symphony. Symphony in B-flat major, No. 5. Composed in 1875-78, it was ' dedicated to Karl von Stremayr, who as Minister of Public Instruction had been influential in the appointment of Bruckner as a lecturer to the University of Vienna. The score was published after Bruckner's death and the dedication was then omitted. The first performance was led by Franz Schalk at Graz, April 8, 1894. The symphony was performed at Budapest, December 18, 1895. Symphony in A major, No. 6. Composed in 1879-81, it bears no dedication. It is said that Bruckner intended to dedicate it to R. von Oelzelt, his landlord. The Adagio and Scherzo were first performed in Vienna, February 11, 1893, under the leadership of Wilhelm Jahn. The whole symphony was performed in Vienna in 1899 under the leader- ship of Gustav Mahler. Symphony in E major, No, 7. Composed in 1881-83 and dedicated to Ludwig II., King of Bavaria, it was published in 1885. Symphony in C minor, No. 8. Composed in 1885-90 and dedicated to the Emperor of Austria. First performance in Vienna, December 18, 1892. Symphony in D minor, No. 9. The first movement was composed in 1891-93, the Scherzo in 1893-94, and the Adagio was completed November 30, 1894, but according to some on October 31 of that year. There are only sketches for the finale, and Bruckner, feeling his strength waning, suggested that his "Te Deum" might be used as the finale in CAFE VERDI. Mrs. Mabel Mann Jordan* For Ladies and Gentlenen. Pupil of SiLTBSTRi, Naples, Italy. 56 WESTLAND AVENUE Three minutes walk from this hall. TEACHER OF Luncheon, from 12 to 3, 35c. Table d'Hote. from 5.30 to 8 p.m., 50c. MANDOLIN, GUITAR, and BANJO Sunday Table d'Hote, 50c., from 12 to 8 p.m. 78 Huntington Avenue, Boston Italian Restaurant Da Carpia & Ferrari. Props. SUITE 2 Telephone 33Ji-a Back Bay 1152 Mrs. Avonia Bonney LicKfield (60 BAY STATE ROAD. BOSTON) Voice Master of Grand Opera Italian, French and English With Dramatic Action According to the method of the old Italian masters of singing. A pupil of the last of these masters, Gerii, of Milan 1153 — performances of the symphony. There is a tradition that Bruckner purposed to dedicate the work "to the dear Lord." The first perform- ance was by the Vienna Academic Wagner Society and the Vienna Concert Society at Vienna, February ii, 1903. Ferdinand Lowe conducted, and the "Te Deum" was added as the finale. * * * Bruckner also composed : "Tantum ergo." Four settings for four mixed voices and one for five-voiced mixed chorus with organ accompaniment were written in 1846. A Requiem Mass was composed in 1849, performed at St. Florian, and never published. "Ave Maria," for four voices and organ accompaniment, was com- posed in 1856. In 1 86 1 he turned the work into a seven-voiced a cappella chorus, and it was performed at Linz as an offertory, May 12 of that year. Mass in D minor. Composed in 1 864 and performed that year in the Linz cathedral, afterward in concert. It was revised in 1876. Mass in E minor. Eight-voiced chorus with brass instruments, 1868, performed at Linz, September 30, 1869. Mass in F minor, performed at Vienna in 1872. "Te Deum," for solo voices, chorus, orchestra, and organ ad lib., first performed at Vienna with accompaniment of two pianofortes in 1885. Performed in 1886 at Vienna for the first time with orchestra. " 150th Psalm," for solo voices, chorus, and orchestra, composed ex- pressly for concert use and for a festival of the German Music Societies. First performed at Vienna in 1892 and led by Mr. Wilhelm Gericke. " Pange lingua" and "Tantum ergo" (1868), now known as "Tantum ergo"; antiphon, "Tota pulchra es," for mixed chorus and organ, "Ave Maria," for soprano, two altos, two tenors,— and two basses; graduale (1879) ; four graduales, for four voices, " Christus factus est," "Locus iste," "Os justi meditabitur" (1879), and "Virga Jesse floruit" (1885); "Ave Maria," for alto with organ accompaniment (1882). "Helgoland," for male chorus and orchestra, first performed at Vienna, October 8, 1893. HENRY T. FINCK'S RESTAURANT SUCCESS in MUSIC E J AND HOW IT IS WON SHQQSHAN With a Chapter by Paderewski on t J " Tempo Kvibato " $2.00 net; postpaid, $2.20 CARUSO SEMBRICH EAMES KREISLER PRIVATE DINING RENAUD JEAN DE RESZKE WULLNER FARRAR ROOM FOR SPECIAL and many others tell of the secrets of their PARTIES. ORCHESTRA success in this book. Mr. Finck discusses all the problems connected with a musical career and gives practical advice as to how to study, where to study, how to get en- gagements, managers, etc. " It is really wonderful, so true, so interest- ing, 80 fearless."— Lillian Nonlica. \ CHICKERING HALL BLDG. f ^CLOSE TO SYMPHONY &- Charles Scribner's Sons ^ \ HORTICULTURAL HALLS./ 153 Fifth Avenue New York 1164 " Germanenzug, " for male chorus and orchestra. This took the prize at the Upper Austria Sangerbundesfest in 1865. "Das hohe Lied," for two tenors, a solo baritone, four and afterward eight-voiced male chorus (with bouche fermee) , and orchestra, composed in December, 1876. The work was revised, and the "Brummchor," on account of its difficulty, was replaced by strings. The original score is lost. "Um Mitternacht," male chorus with humming accompaniment; "Traumen und Wachen," male chorus with tenor solo, performed in Vienna, January 15, 189 1; "O konnt' ich dich begliicken!" tenor and baritone solos with male chorus; "Der Abendhimmel," tenor solo, male chorus, and pianoforte accompaniment. String Quintet in F major, performed by the Hellmesberger Quartet, January 8, 1885. "Erinnerung," for pianoforte, published after the composer's death. The singer Rosa Papier once asked Bruckner why he did not write songs like those of "Doktor Brahms." "He answered, 'I konnt's schon, ' wenn i wollt',aber i will nit " (I could do it if I wanted to, but I won't). The few songs of Bruckner that are known and published are almost puerile, —"Amaranths Waldeslieder " and "Im April." * * * Felix Weingartner says of Bruckner in "The Post-Beethoven Sym- phonists" (translated into English by Arthur Bles from the second German edition): "What first strikes me about this musician is the wonderful abundance of new ideas, the individuality of his themes, and the astonishing long-windedness of his melodies. "His was a musical talent, veritably rich. For that reason, one would be almost tempted to compare him to his great compatriot, Schubert , if only he had created works perfect enough to be considered really masterly. But it was not so. "With him, unfortunately, the skill of developing his ideas, of placing one in contact with the other, of establishing them organically, so as to form a complete musical work, did not come up, in value, to his faculty of invention itself. "I cannot bring myself to say, with his pupils and admirers, that he was a great contrapuntist. However, perhaps he was as a professor. "In his compositions the technique is often clumsy, and the poly- phonic web obscure and faulty. His marvellous themes seem rather like separately threaded pearls, than like pearls all united on a single cord. This explains why Bruckner is left often forceless in the finales The Berlitz School of Lan^ua^es BOSTON, 13a BOYLSTON STREET New York, Madison Square Paris, 31 Boulevard des Italiens Brooklyn, 218 Livingston Street. London, 321 Oxford Street Philadelphia, I6th and Chestnut Streets Berlin, 123 Leipziger Strasse Chicago, Auditorium Rome, 114 Via Kazionale St. Louis. Lindell Boul'd, cor. Grand Ave. Madrid, 9 Preciados Washington, 723 I4tli St., N.W. St. Petersburg, 6 Nevsky Prospect Baltimore, 14 West Franklin Street Vienna. Graben 13 And over 300 other branches in the leading cities of America and Europe GRAND PRIZES AT ALL RECENT EXPOSITIONS Lessons may be transferred from one to any other Berlitz School. Pupils speak and hear the new language exclusively from the beginning. Lessons at school or residence, in classes or privately, day or evening. Best native teachers. Rates moderate. TRIAL LESSON FREE 1155 of his symphonies, instead of reaching there the highest elevation; his last movements are always weaker than the first, which is not favorable to the success of his works. That explains also . why his compositions are mostly cut short and fragmentary, having in conse- quence an amateurish appearance.* "One is tempted to wish that the construction of his work had been less spontaneous, but developed more logically, with more unity, with a determined end in sight. On account of his lack of skill, the grandest thoughts were carried away by the wind, into the waste, for they only make their appearance to remain unrealized. "We feel this sentiment the more, in that many of Bruckner's themes bear the stamp of the Wagner Leit-moiiven; so that the truly psychological realization of the Wagner themes stands before us on hearing a Bruckner symphony, often inciting us to comparisons. " Bruckner also inclined slightly to mannerism; the ending of an oft- repeated passage in the bass, like that of the first phrase of the Ninth symphony; certain passages with slow movements [sic'] which sound strangely empty (his admirers say 'Weldentruckt'f [^ic]); two similar * Weingartner wrote: "Daraus erklart sich auch das jah Abbrechende, Bruchstiickweise, Fragmentarische seiner Compositionsweise, das einen reinen Genuss nicht aufkommen lasst." The translation of Mr. Bles is misleading. Bruckner's compositions are not "cut short." Weingartner refers to his manner oj composition, not to the compositions themselves; he refers to Bruckner's manner of abruptly dismissing a subject, so that a movement often seems to be a collection of unrelated fragments. Furthermore, Mr. Bles is here unwarrant- ably free in his translation.—P. H. tThis paragraph is not in the first edition of VVeingartner's "Die Symphonic nach Beethoven" (Berlin, 1898), and this is the only edition that I have been able to see. The German word is probably " Weltentriickt,"" and Mr. Bles' singular translation might thus be changed: " certain peculiarly empty sounding passages (called by his admirers passages that rise far above the world) in his slow movements." A German translating Paul's phrase, "caught up to the third heaven," might use the verb "entriicken." Mr. Bles' translation is not free from misprints, and Bruckner appears constantly in it as "Bruckner." The translation of this whole para- graph is slipshod, and I have been obliged to change the punctuation in the endeavor to make the meaning clearer.—P. H. Torrey, Bright & Capen Co. ENGLISH WILTON and ENGLISH BRUSSELS CARPETS ^They combine the highest quahty of material with artistic design and color in a manner to make them superior to all modern floor coverings and at a moderate price. ^ Special designs and colors to meet individual requirements can be woven in these goods in comparatively small quantities. ^We invite your inspection of our complete showing of imported and domestic floor coverings. 348-350 WASHINGTON STREET BOSTON, MASS. 1 1.56 1 he C^andy of C^haracter On the Character of Candy depends its fitness for ^ift mailing. No Candy is so well fitted and graciously accepted as ** Candies of Rare Quahty J 1157 thematic figures moving simultaneously in contrary motion, as if re- flecting each other; and finally the truly intolerable rests and organ points, which generally give the impression that he has lost the thread of his discourse, are to be found in all his works with which I am ac- quainted. "Though we cannot abstain from making these reflections and re- proaches in regard to the compositions of Bruckner, that does not pre- vent us from deeply respecting and loving him, above all on account of his grandiose idealism, absolutely incomprehensible* in our days "Imagine to yourselves this professor, t this organist" —^but let us here quote Miss Button's translation: "Think of this schoolmaster and organist, risen from the poorest surroundings and totally lacking in education, but steadfastly composing symphonies of dimensions hitherto unheard of, crowded with difficulties and solecisms of all kinds, which were the horror of conductors, performers, listeners and critics, because they interfered sadly with their comfort. Think of him thus going unswervingly along his way toward the goal he had set himself, in the most absolute certainty of not being noticed and of attaining nothing but failure—and then compare him with our fashion- able composers, borne on by daily success and advertisement, who puzzle out their trifles with the utmost rafflnerie; and then bow in homage to this man, great and pathetic in his naivete and his honesty. I confess that scarcely anything in the new symphonic music can weave itself about me with such wonderful magic as can a single theme or a few measures of Bruckner. I am thinking, for example, of the be- ginning of the 'Romantic' Symphony. J ... In the strife between the Brahms and Bruckner factions in Vienna I was once asked my opinion of the two men. I replied that I wished that nature had given us orfe master in whom the characteristics of both composers were united — the monstrous imagination of Bruckner with the eminent possibilities of Brahms. That would have given once more a great artist," * Weingartner's word is "ratselhaften": riddle-like, enigmatic; also problematical, unintelligible, mys- terious, obscure.—P. H. t V\eingartner wrote " SchuUehrer," which means simply school-teacher, and he chose the word to show the humble beginning of Bruckner, village school-teacher and organist. "Professor" is here wholly mislead- ing. Miss Maude B. Button's translation of this paragraph (Boston, 1904) is more faithful. —P. H. t In the first edition Weingartner here added: "His greatest and comparatively best rounded work is the Seventh symphony in E major with the noble, rightly celebrated Adagio in C-sharp minor; a composition of overpowering might and beauty." The sentence apparently was cut out of the second edition, and this sen- 1 tence referring to the "Romantic" Symphony was substituted: "To be sure this magic diminishes in the course of the work, and vanishes more and more as one studies the piece, for great and beautiful sentiments continue to satisfy us, only when they are presented in artistically perfect form."—P. H. OPERA THEATRE BALL SOCIETY HAIR DRESSING By 15 Expert Marcel Wavers 2 1 22s t Entfaiiemeiits booked< made by "Phone" or Mall. ^.j-p/ Oxford Send for Free Circulars Dr. RUDOLPH MERTIN, loC. and Price List. S64 Washington Street, Opp. Adams House. 1158 "CHOISA" CEYLON TEA Pure Rich Fragrant One-pound canisters 60 cents Half-pound canisters 35 cents Packed in parchment-lined one-pound and half-pound canisters We invite comparison witli other Teas of similar price ®. s. i*ie:h-oe: oo Tremont and Beacon Streets 1 DriCTTiM DUM UfN IBROOKLINE Copley Square . J Cornel^" 1159 ENTR'ACTE. MUSIC IN THE THEATRE. (From the London Times, January 8, 1910.) English theatrical managers like to have an orchestra to play between the acts and sometimes during them; and it is to be pre- sumed that even people so lavish of money as they would not incur the heavy expense unless their audiences demanded it of them. Yet the behavior of the general audience does not seem to warrant the assumption. The first note from the orchestra between the acts of a play is merely a signal for the talk to become louder; partly because, as every one knows music is a great incentive to conversation, partly because those nearest the orchestra must make their voices heard above the music and those further off must make their voices heard above their neighbors'. So, while the stalls are talking loud to drown the music, the pit is talking loud to drown the stalls. No one is listening to the music, which is a nuisance at one end of the house and inaudible at the other. As things are, little harm is done. Whether the conversation affects the choice of the music or the choice of the music encourages the con- versation, it would be hard to say; but the truth is that, while the managers are ready to provide efficiept orchestras, they are not pre- pared to take the trouble to see that the music is well chosen; and a large phonograph or a piano organ would provide the only thing nec- essary—a foundation of sound—at one-hundredth part of the expense now involved. The repertory of a phonograph would be larger, and that of a piano organ not very much smaller, than that of the ordinary theatre orchestra. And every playgoer will be aware not only that he hears the same things over and over again at all the theatres in FRENCH n n n IT C II'^^'I^^ GERMAN DUUIVO SPANISH AND PERIODICALS Clearance Sale All Our RIHER & FLEBBE $90 and $100 Formerly C. A. KOEHLER & CO. Imported Suitings Marked Down to Tel. 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A revival of a classic, it is true, will generally bring into the program something headed "Old English Airs," and consisting of a medley of tunes of all dates and characters; a Russian play, similarly, will have its "Russian Airs"; a performance of Ibsen, the "Peer Gynt" suite. But "Peer Gynt" will be played also between the acts of a larce from the French; just as "The Merry Widow" will strike up within a few seconds of the curtain's fall on a death-scene or the part- ing of heart-broken lovers. . It is apparently worth a manager's while to maintain an expensive orchestra, and not worth his while to see that his production gets out of it the support, the comment, and the color which music might well provide. Is it that he is too busy, or too careless, or that he does not sufficiently realize that his play, if it be worth producing, is a work of art with an effect and an atmos- phere of its own, which might be maintained and intensified by music, either composed or carefully chosen to fit the case ? As things are, we have said, little harm is done by the battle be- tween music and talk. There are, however, exceptions. No one to whom music means anything can have seen "The Blue Bird" with- out lamenting that Mr. Norman O'Neill's charming overture and entr'actes should have to fight for a hearing against the talking of a whole audience. The audience is not entirely to blame. Theatre music is not meant, as a rule, to be listened to; and audiences have grown into a habit which, if they knew it, detracts enormously from their enjoyment in the rare cases where music has been worthily used. For the talking between the acts of "The Blue Bird" rouses a sus- picion that the audience is not really listening to the music played while the curtain is up, and is missing things as beautiful to the ear as the appearance of Time's ship is to the eye or the lilies in the tomb- stones to the mind, and, still worse, is missing an essential part of the production. There is no question but that Mr. O'Neill knew "The Blue Bird" pretty thoroughly before he set to work on his score, HENRY FrmiLLER GRAND-UPRIGHT and PLAYER -PIANOS We admit of absolutely no compromise with anything that savors of mediocrity in materials, workmanship, or the more subtle factors which differentiate the piano for the artist and the musician from the thousands of pianos made after purely commercial ideals. Henry F. Miller & Sons Piano Co. 39S Bnylston Street 1161 that he had caught the atmosphere of the play, and absorbed its artistic impression. How much the production has gained by the beauty of his appeal to the ear could only be learned from seeing a performance from which was omitted all the music that can possibly be described as incidental. For his object has evidently been not merely to provide a musical accompaniment to the play, but to i make something which should have its structure, just as much as the | play has its structure, the two agreeing with each other, supporting j and elucidating each other throughout. That is the obvious way / of writing theatre music; and, as usual with the obvious way, is the j in right way. Among other plays which the music follows the spirit 1 of the drama might be instanced "Pinkie and the Fairies," where j Mr. Frederic Norton has gone some distance along the same path, i and "Peter Pan," where Mr. John Crook has at least caught the right spirit in his treatment of a real Red Indian melody, and his I particular version of Fate knocking at a man's door—the crocodile's 1 music. The case of "Beethoven" at His Majesty's is dififerent. The occasion called for extracts and illustrations rather than for a musical whole. But the adapter of "Beethoven" is a musician as well as a ' playwright, and the extracts, though sometimes an offence to strict musical scholarship, were appropriate and well played. Perhaps, the title of "Beethoven" necessarily implied music. At any rate, the audience listened to the overture and the entr'actes. Perhaps, if "The Blue Bird" were advertised as a "musical play," the audiences at the Haymarket would surrender themselves more readily to the influence that is waiting to prolong and intensify the mood instead of snapping it short with violent contrast or blundering ineptitude. But it needs a change in our whole attitude towards theatre music, whether played when the curtain is down or when it is up, to give managers and public a proper return for their money. In certain cases, farces and modern comedies, for instance, plays are not, per- haps, susceptible to musical treatment (though surely the songs with which Fielding, for instance, sprinkled his farces must have intensi- fied the farcical effect) ; in such cases all that is needed is proper care in the selection of entr'actes. But the scope of music in the drama Mile. ALARY Jacob Thomas Son Berkeley Building, 420 Boylston St. Violin Makars and importers Repairers to the Boston Symphony Orchestra Agents for the SILVESTRE & MAU- COTEL Tested Violin Strings MANICURE SHAMPOOER (Extra and Tricolore) Agents for the C. F. ALBERT Pat. Triple-covered, wound Violin, HAIR WORK A SPECIALTY Viola, and 'Cello Strings FACIAL, SCALP, and NECK Large Assortments of MASSAGE VIOLINS, 'CELLOS, AND BOWS SILK PLUSH VIOLIN CASES, ONDULATION MARCEL Rosin, Strings, and Sundries Perfumery Shell Ornaments 47 Winter Street, Boston, Mass. Telephone Rack Bay 2330 Telephone 303J-2 Oxford 1162 might be greatly enlarged, and every play into which music enters at all should be looked upon as a play which depends for part of its effect upon that music, the present- patches of "soft music" of the melodrama and the sentimental comedy being replaced by something with a structure of its own and worthy to fill an important office in the all-embracing art of drama. The music, though doubtless more of an ornament and less an essential feature of the production than it need have been, was a prominent attraction in the choicest perform- ances of the Elizabethan age—those given in the "private" playhouses; subsequent ages have reduced it to its present position, of little more fitness or importance than the inevitable song in a Restoration or Georgian comedy. Before we can reform our theatre music, we need to realize first that music is a legitimate and may be a necessary part of the art of drama, and next that every play worth its salt has a character which music can help us to feel and to understand. Not only music, but the drama suffers from the present divorce or heedlessly patched-up union. It is a pity that the professed musical plays of our own time offer so little encouragement. Opera lies outside the present discussion; and beyond opera we have only musical comedy and pantomime. Of musical comedy nothing can be hoped. The frequent practice is for the author of the "lyrics" to be asked to fit words to a tune already written, —a practice that might be less injurious, were that tune part of an ordered work of musical art, and were not the whole entertain- ment put together from this and from that, with the object of making it as loose and as go-as-you-please as possible. For pantomime there SOLOV-HINDS COMPANY 278 BOYLSTON ST,, BOSTON We beg to announce our Annual Sale of Imported Fall Models at greatly reduced prices, consisting of Street Suits and Gowns, Visiting Costumes, Evening Dresses, Opera Wraps, and Motor Coats, commencing Friday, November 26. • ^odels from m Reading ^arxs "Rousts Special Line of French Imported Model Corsets j^gjggggjI^jgg^g^^^^gjS^SSSSBSSSSSS^SSBSSBSSSSSSS^ 11G3 should be a better chance; it can hardly help being influenced for good by the far more artistic children's plays which are coming into favor. At present pantomimes, both words and music, are put together on the same principle as musical comedies. There is no aim at structure. The plot may be completely forgotten if the introduction of a good " turn " demands it; the music is held to have done its duty if it makes room for the popular tunes of the moment, the newest jingle from America, or a leading comedian's latest purchase from a song agency. And great fun these things sometimes are. But in the end they only serve to whet the appetite for the kind of pantomime that we might have, —a pantomime just as amusing, as splendid, as gay, as those now in vogue, but made, not thrown together; with words, action, and music all growing out of a single theme and aiming at a single effect, composed, in fact, with as much responsibility, as much care, and as much considered interplay of all its component parts as an opera. There is another point of view from which the advancement of the place of music in the drama is perhaps worth consideration. A good deal is heard to-day of the lack of opportunity for English composers. Here is a field in which there is ample room for good work. The "pro- ducer" of a play does not use over and over again, appropriate or inappropriate, worn or brand-new, the same scenery; nor does he delegate the choice of it without consultation to a subordinate. When music receives as much consideration in the theatre as the scenery, there will be a brisk demand for new music specially composed for new productions. Such music may not live forever; but it would at least live for the run of the play, and would so stand a chance of more performances than are enjoyed by the ordinary concert-room suite or overture. And the time would come when audiences would pay the same attention to the music as they do to the scenery. The time, perhaps, would even come when they would learn to grumble at its very beauties, as they do at those of scenery, forgetting that the drama embraces all the arts and (the proportions duly observed) can only gain by their exercise. SOCIAL & REQUIREMENTS 603 Boylston street, Boston, Mass. TELEPHONE. BACK BAY 409 Interior decorating. Advice in selection * ""^ S?l!?d PIANOS of wall papers, draperies, rugs and car- HIGHEST TYPE OF EXCELLENCE pets. Expert trunk packers by the day or hour. Entertainments. Receptions, Boston Agents dances, card parties, children's parties. Entertaining- talent provided when The Tel - Electric Co. desired. Plays managed and coached. 405 Boylston Street Lectures and story telling. 1164 sinfonietta in major (in four movements) for orchestra. George Whitfield Chadwick (Born at Lowell, Mass., on November 13, 1854; now living in Boston.) This Sinfonietta w^as composed in 1904. It was performed for the first time at a concert of Mr. Chadwick's compositions in Jordan Hall, Boston, November 21, 1904. Mr. Chadwick conducted, and Mr. Herbert Witherspoon was the singer. The program included the Sinfonietta; the ballad "Lochinvar, " for baritone and orchestra; Suite in F major, "Symphonic Sketches"; songs, "A Ballad of Trees," "In my Be- loved's Eyes, " and "Thou art to me, " with pianoforte accompaniment; and the Symphony in F major, which won the prize ofiFered in 1894 by the National Conservatory of Music in New York, and was pro- duced at a concert of the Boston Symphony Orchestra in Boston, October 20, 1894. The Sinfonietta was played at an orchestral concert of the New England Conservatory of Music soon after the first performance. The Sinfonietta has been played in St. Louis by the St. Louis orchestra, led by Mr. Zach, and at a concert of the Symphony Orchestra, led by Mr. Walter Damrosch, in the New Theatre, New York, January 2, 19 10. I believe there has been a performance on the European Continent. It is a curious fact that the word "Sinfonietta" is not found in Grove's "Dictionary of Music and Musicians" (revised edition) in its proper place in the fourth volume (London 1908) ; nor is the word found in Stainer and Barrett's "Dictionary of Musical Terms" nor even in Riemann's " Musik-Lexikon " (7th ed., Leipsic, 1909). The word means simply a little symphony. There is the w^ell-known Sin- fonietta by Raff for wind instruments, composed in 1873. Schumann named his Overture, Scherzo, and Finale for orchestra a "Sympho- nette." Ferdinand Thierot composed a Sinfonietta in E major, Evening Cloaks AND Smocked Dresses H Our evening cloaks of Liberty Velveteen 1 Our Smocked Gowns have an established are beautiful and practical for the cold reputation for simple grace and elegance. weather. Very warm and rich in appear- Made with smocking around the necK and ance. at the waist line, skirt in walking length or t Lined throughout with silk and made long long for house wear, neck cut high or to be to cover the entire gown. Sleeves loose, so worn with guimpe. that the garment slips on easily. Inner 1 These are in soft silks and satins, or any of sleeves for extra warmth if desired. the season's new soft materials. W« b«vc recently imported « number of new models, both in Evening Cloek* and Smocked Dresses, and shall make a specialty of them in the fnture. DAVIS EAST INDIA HOUSE 373 BOYLSTON STREET. BOSTON 1165 at a concert of ^P- 55 > which was played the Boston Symphony Orches- tra in Boston, February i8, 1893. Max Reger's Sinfonietta should riot be overlooked. Some of the modern dictionaries of musical terms, as the one by Tom S. Wotton, define the word. Mr. Chadwick's Sinfonietta, published in 1906, is scored for three flutes (one interchangeable with piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones (ad lib.), kettledrums, snare-drum, bass drum, triangle, cymbals, harp, and the usual strings. First movement. Risolutamente, D major, 3-4. After three in- troductory measures the sturdy first theme is given to the violins and repeated by wood-wind instruments. There is a short develop- ment of this theme, after which the second motive of an expressive and quasi-Oriental character is given to flute and bassoon with clari- nets in imitation and with a characteristic interlude of two measures > which is used effectively afterward. A third theme follows, which is sung con moto at first by the strings. This material is worked, and after a climax, and a section piii tranquillo with closing chords for the brass, the second theme returns (wood-wind instruments) ; the third theme follows (strings), and in the brilliant ending there is use of the first two motives. Second movement. Canzonetta, Allegretto, A minor, A major, 2-4. The movement is in aria form. The chief theme is given piano to the strings with close for wood-wind and horns. The extension of this air with final arpeggio passages for viola solo leads to the mid- dle section A major (with use of piccolo, bass drum,, snare-drum, cymbals, and triangle), in which a suggestion of the air grows into a march, which is finally played fortissimo by full orchestra. There is a return to the opening mood of the movement, and, at the end of passages for viola solo, two horns off the stage (in lontananza) bring back the thought of the march theme against a sustained note for the viola. THE PEACOCK INN 333 Boylston Street Luncheon Afternoon Tea Dinner Donrs, 11 to 8 Telephone. Back Bay 21827 1166 I . Third movement. Scherzino, vivacissimo e leggiero, F major, 9-8 (3-4). The novement is in minuet-trio form. The scherzo is conspicuous for lightness and dexterous employment of rhythmic effects. The motive of the Trio, un poco meno mosso, B-flat major, 3-4, is given to wood-wind instruments with conclusion for strings (also horn and bassoon). There is a crescendo for full orchestra. After the climax the motive returns. The scherzo section is repeated, and there is a coda with a brilliant flourish (animato assai) of a few measures. Finale: Assai animato, D major, 2-4. The movement begins with a section in the nature of a long crescendo and preparatory to the in- troduction of the first theme fortissimo. The spirited movement is built in rondo fashion, and use is made of some material taken from the introductory section. There are relieving episodes, as the broadly constructed Doppio piii lento. PERFORMANCES OF MR. CHADWICK'S WORKS IN BOSTON. This list does not pretend to be complete. BOSTON SYMPHONY ORCHESTRA. "Thalia," Overture to an Imaginary Comedy, Op. 10 (MS.). Jan- uary 13, 1883 (first time). vScherzo in F major (MS.). March 8, 1884 (first time). Symphony in B-flat, No. 2, Op. 21. December 11, 1886 (first time as a whole), Febr^iary 7, 1891. "Melpomene," Dramatic Overture. December 24, 1887 (first time), March 2, 1889, March 14, 1896, October 22, 1898, April 19, 1902. A Pastoral Prelude. January 30, 1892 (first time). Symphony No. 3, in F major. October 20, 1894 (first time). "Adonais," Elegiac Overture (MS.). February 3, 1900 (first time). "Euterpe," Concert Overture. April 23, 1904 (first time). "Cleopatra," Symphonic Poem. December 15, 1906 (first time in Boston). "Symphonic Sketches," Suite for orchestra. February 8, 1898 (first time at these concerts) DeMeritte School, Inc. Music teaches most exquisitely the art of development.—D'IsRABLi. 815 BOYLSTON STREET Gives a careful preparation for College and SCHOOL OF the Massachusetts Institute of Technology. Seven classes. A thorough training is given the three lower classes to enable them MDSIG-EDUCATION to meet the work of the high school grade successfully. Pupils admitted at ten years of age. ELEMENTARY SCHOOL Miss ANHIE COOUDGE RUSFS isthvear 900 BEACON STREET. BOSTON FROEBEL SCHOOL OF KINDER- CALVIN BRAINERD CADY GARTEN NORMAL CLASSES Principal Linda A. Ekman Pierce Building, Copley Square, Boston, Mass. Elizabeth Fyffk Regular two-year course. Post-graduate and non- professional course. Every woman should have this Villa Whitney White training, whether she teaches or not. Helen Howard Whiting 1167 . J HARVARD MUSICAL ASSOCIATION. Overture to "Rip Van Winkle." December ii, 1879 (first time in Boston*), January 29, 1880. Symphony in C (MS.). February 23, 1882 (first time). PHILHARMONIC SOCIETY. "Beautiful Munich," Symphonique Waltz (MS.). January 7, 1881 (first time) Andante for String Orchestra. April 13, 1882 (first time). Overture to "Rip Van Winkle." January 31, 1883. Song and Overture to "The Miller's Daughter" (after Tennyson). January 14, 1892 (Thomas E Cliff"ord, baritone).! EUTERPE. Quartet No. 2, in C major. January 5, 1881 (Messrs. C. N. Allen, G. Dannreuther, H. Heindl, W. Fries). Quartet No. 3, in D major. March 9, 1887 (first time) (Messrs. C. N. Allen, T. Human, C. Meisel, W. Fries). KNEISEL QUARTET. Andante and Allegro from Quartet in C major. January 28, 1886. Piano Quintet in E-flat.§ February 24, 1890 (A. Whiting, pianist), December 2, 1901 (Ernest Hutcheson, pianist). Quartet No. 4, E minor (MS.). December 21, 1896 (first time). * This overture was first performed at an examination concert of the Leipsic Conservatory of Music, June 20, 1879. t The overture, "The Miller's Daughter," was performed for the first time at an "American Concert" of the Loring Club, San Francisco, Cal., May i8, 1887. t A string quartet by Mr. Chadwick was performed at an examination concert of the Leipsic Conservatory of Music, May 30, 1879. § This Piano Quintet was performed for the first time at a concert given by Mr. Chadwick, January 23, 1888, when it was performed by the composer and the Kneisel Quartet. The songs, "In Bygone Days," "The Lily," and "Allah," were then sung for the first time (William J. Winch, tenor). SUCCESSFUL 17'#^¥/^1? NEW METHOD OF V VJil^IL I^UijlUKllj/^¥T¥ T'lTlJU' Talented pupils quickly advanced. Voices developed for operatic careers. ROBERT ALVIN AUGUSTINE, 826 Carnegie Hall, New York City Coll Wednesday and Friday aftemoona or write for appointment. Ladles wishing a Desirable and Stylish Hat, buy at M. A. GRACE'S FIRST GLASS MILLINERY STORE 165 Trexnont Street, Boston, Mass. PHILADELPHIA ICE-CREAM CO. 38 WEST STREET, BOSTON TELEPHONE, OXFORD 582 NEAR TREMONT STREET 1168 J . . . ADAMOWSKI QUARTET. Quartet in D minor, No. 5 (MS.). February 12, 1901 (first time). ARBOS QUARTET. Quartet in E minor, No. 4. March 11, 1904. HESS-SCHROEDER QUARTET. Quartet in D minor. No. 5. January 27, 1910. HANDEL AND HAYDN SOCIETY. Overture, "Rip Van Winkle." May 6, 1880. Overture, "Thalia." May 3, 1883. "Phoenix Expirans." * February 5, 1893 (Mme. Nordica, Mrs. Poole, Mr. Campanini, Mr. Fischer, solo singers) Overture, "Melpomene." February 19, 1905. CECILIA SOCIETY. Song, "Sweet Wind that blows." February 4, 1886 (Mr. Ricketson). Song, "Before the Dawn." February 4, 1886 (Mr. Ricketson). Cantata, "The Pilgrims," for chorus and orchestra. April 2, 1891 ;first time). Song, "Bedouin Love Song." January 22, 1891 (Mr. Eliot Hub- Dard) "Lullaby," for female voices. February 13, 1896. Song, "The Danza." February 13, 1896 (Mrs. Follett). Cantata, "Phoenix Expirans." December 3, 1900 (Miss Gumming, Miss Hussey, Mr. Devoll, Mr. Studley, chorus, organ, and orchestra). BOYLSTON CLUB. "May Song," for female voices. May 9, 1883. APOLLO CLUB. "The Viking's Last Voyage," for baritone (Mr. C. E. Hay), chorus, ind orchestra. April 22, 1881 (first time). Introduction and Allegro from Symphony No. 2, in B-flat major. \.pril 29, 1885 (first time). "Song of the Viking." February 10, 1886. *"PhoenLx Expirans" was produ(;ed at the Springfield (Mass.) Music Festival, May s, 1892 (Mrs. .awson, Mrs. Wyman, Messrs. Mockridge and Max Heinrich, solo singers) i*Br.„cb State Street Trust Co. Corner MASSACHUSETTS AVENUE and BOYLSTON STREET 3 conveniently situated for residents of the Back Bay, Longwood, Jamaica Plain, od Brookline. There are Safe Deposit Vaults and Storage Vaults at the Branch Office. MAIN OFFICE. 38 STATE STREET 1169 I AT THE RED GLOVE SHOP 322 BOYLSTON STREET MISS M. F. FISK Is having an Opening of Ladies' Waists, made especially for this season of the year when so many are preparing for a trip to the South. They are like all of the pretty things turned out by this house, very attractive —are in the real Japanese silks, all Colors — the French Crepe that does not require ironing—Voile and Lingerie^—the models are becoming, are in plain as well as more elaborate, and you are invited to see them. TWO SONGS Foreign Books THAT APPEAL TO Foreign Periodicals MUSIC LOVERS Tiuchnltz's Britlsii Aitkors 8CHOENHOF BOOK CO. Love's Flying Feet. Op. 18 $0.30 128 TfVfliMit St., ad door north of Winter Street I (Tel, Oxford 338.) Dedicated to Miss Elena Kirmes. a Prima | Donna of the Boston Opera Company. Fisher-Wife's Vigil. Op. 15 .60 Bonnd Copies of the By Mrs. M. Gascoignb-Orr, composer of the Suite of five numbers for Piano. Boston dympbony orcDestra'sl Sea=Shore Moods. Op. 27 . net 1.00 PROGRAMME BOOKS The call for which steadily increase. Containing Mr. Philip Hale's analytical and descriptive notes on all the works performed during season of 1908-1909 G. W. THOMPSON & CO. For sale at A and B PABE STSEET. BOSTON. MASS. PrlG*. $2.00 SYMPHONY HALE Mrs. J. M. MORRI SON (Exclusive A^ent for the Wade Coraet) Takes pleasure in announcing that, having secured the services of a first-class corsetiere, she is now prepared to take orders for high-grade Custom Corsets in addition to her regular line of Wade Corsets and Lingerie. 367 BOYLSTON STREET. BOSTON 1170 "Jabberwocky." February i6, 1887 (first time). "The Boy and the Owl." April 29, 1891. "St. Botolph," for male chorus and baritone solo. There have been repetitions of some of the part songs, and several songs have been sung by assisting singers at these concerts. CHORAL ART SOCIETY. "Stabat Mater Speciosa," for female voices. March 13, 1903. MISCELLANEOUS. "Judith," a lyric drama produced at the Worcester Festival of 1901 (September 26) (Miss Stein, Messrs. Towne, Bispham, Dufft; Mr. 2hadwick, conductor of the festival), was performed for the first time in Boston, January 26, 1902, in Symphony Hall (Miss Stein, Messrs. Shirley, Janpowlski, Witherspoon ; Mr. Chadwick, conductor). "Lovely Rosabelle," ballad for mixed chorus and orchestra. Boston 3rchestral Club, December 10, 1889 (first time). Ode for the Opening of the World's Fair, Chicago, 1892 (October 22), "or chorus, orchestra, and military band. This ode has been performed lere in church with organ accompaniment. "Tabasco," burlesque opera in two acts, libretto by R. A. Barnet, .vas first performed at the Tremont Theatre, Boston, January 29, 1894, 3y the First Corps Cadets (Messrs. Stutson, White, Tucker, Davis, 2heney, Barnet, Breck, Benton). Mr. Chadwick and Mr. Catlin conducted. It was produced at the Boston Museum, April 9, 1894 ^Hot-Hed-Ham, Walter Allen; Marco, Joseph F. Sheehan; Lola, Blvia Crox; Frangois, T. Q. Seabrooke; Ben-Hid-Den, Otis Harlan; ?atima, Catharine Linyard; Has-Been-A, Rosa Cooke). Paul Stein- lorff conducted. Choruses for female voices, "At the Bride's Gate," " Dorcas to Helio- lora," Thursday Morning Club, April 28, 1904 (first time). Sinfonietta, in four movements, and "Hobgoblin," a Scherzo Ca- Driccioso in the Suite in A major, "Symphonic Sketches," were played or the first time at Mr. Chadwick's concert in Jordan Hall, November Ji, 1904. "Jubilee," "A Scherzo," and "A Vagrom Ballad" from the Suite n A major, "Symphonic Sketches," were played for the first time n Boston at a Chickering Production Concert, March 23, 1904. "Noel," a Christmas Pastoral, was performed by the Boston Sing- ng Club, December i, 1909, "Lochinvar," ballad for baritone and orchestra, was sung by Mr. Stephen Townsend at his concert with orchestra in Jordan Hall, January 14, 1909. ^^tiuBxml^gi 1DB2 to inefi Qlrmontl^tmt, loatnn 1171 Cleanses or Dyes Mens Suits LEWANDOS Gloves Overcoats Ties A T Xp\A7" Jk lVr¥\^^C! Cleanses or Dyes Womens Very JjIL T? i\llUV-fkJ Apparel of all kinds Hi^h-cIassT ¥71 Yi/ A 1\J¥\^^C! Cleanses and Dyes Laundry JLIL ¥¥ i\l^JLf V-f l3 Carpets and Rugs Where ¥ FT W^ A TV¥\ ^^ ^ Cleanses or Dyes Launderingof Jj JZj yfjf Jr\.L^MJ\J\^ Draperies Portieres Shirts Collars ¥ IJI \47 A TVl^ /^ C Cleanses Silks Cuffs Shirtwaistslj Hi ¥ /%.l^£JV-fk3 and Satins Underwear Lin- T IjT^AT' A IVT'T^^^^ Dyes Faded gerie Tablecloths JLlZj i\illJLIV-f kJ Clothes Centerpieces W 'JI'^A/' Jk IVrV/^CI Cleanses Napkins Doylies IjIIj Kl /l.i^JLI VftJ Feathers Sheets Pillow Cases f 171\A7" A lVr¥\/^C! Cleanses and Household Linens LiSlj ?V i\i^l_JV^l3 Laces Is done in the very best T IT^'^A/" \ TVT\^^C!^y** manner possible LEWANDOSSiJjA-J TT /Vi^ JJ V^lJHose With Pure Soap and Water and without Bleaching Powders LEWANDOS BOSTON SHOPS 17 Temple Place 284 Boylston Street Salem 197 Essex Street Lynn 70 Market Street Watertown i Galen Street Cambridge 1274 Massachusetts Avenue Roxbury 2206 Washington Street South Boston 469 A Broadway New York Philadelphia Washington Albany Hartford New Haven Bridgeport Worcester Providence Newport BRANCH TELEPHONE EXCHANGES 945 Cambridiie 600 South Boston 3000 Back Bay -v 3901 Back Bay 1860 Lynn Oxford Connectinii all 1800 Salem 555 Departments 907 Union Providence 556 Oxford 1622 Worcester 300 Newton North 300 Newton North Watertown BUNDLES CALLED FOR AND DELIVERED IN BOSTON AND SUBURBS Full information by Correspondence for Bundles by Mail or Express "YOU CAN RELY ON LEWANDOS" 1172 Sixteenth Rehearsal and Concert FRIDA.Y AFTERNOON, FEBRUARY 18, at 2.30 o'clock SATURDAY EVENING, FEBRUARY 19, at 8 o'clock PROGRAMME Haydn Symphony in D major Mozart Concerto for Two Pianos and Orchestra, in E-flat (K. 365) Rachmaninoff The Isle of the Dead (Repeated by request) " Berlioz . Overture, Benvenuto Cellini'' SOLOISTS Mr. ERNEST HUTCHESON Mr. HAROLD RANDOLPH Steinway Piano Used 1173 TUESDAY AFTERNOON, FEBRUARY 22, At 3 o'clock RECITAL BY HELEN HOPEKIRK Tickets, $1.50, $1.00, and 75 cents, at the Hall. THE STEINWAY PIANO USED MONDAY AFTERNOON, MARCH 7, AT 3 ERNEST HUTCHESON WILL GIVE HIS LECTURE RECITAL ON RICHARD STRAUSS' OPERA "ELECTRA" Seats, at $1.50 and $1.00, may now be engaged at the Hall (Telephone, Oxford 1330). N.B. — This lecture is in anticipation of tlie forthcoming performances by the Manhattan Opera Company and has the full sanction of Mr. Hammerstein. THE STEINWAY PIANO 1174 JORDAN HALL, Thursday Evening, February 1 7 THIRTY-FOURTH SEASON SECOND CONCERT WALLACE GOODRICH, Conductor '*%a l^ita |^U0\3a'' Wotf-Ferrar SOLOISTS Mrs. FRANCES DUNTON WOOD. Soprano Mr. EARL R. CARTWRIGHT, Baritone Assisted by a chorus of twenty boys and a full orchestra of sixty players from the Boston Symphony Orchestra. Tickets, $2.00, $L50, and $1.00, now on sale in Symphony Hall Box Office. SYMPHONY HALL Monday Afternoon, February 14, at 2.30 The Russian Violinist MISCHA ELMAN t Tickets, $2, $L50 and $1 Mail Orders now being received 117.5 ! JORDAN HALL, Wednesday Afternoon, February 23, at 3 RECITAL ASSISTED BY Mrs. H. H. A. BEACH Program BRAHMS. Rhapsodic in E flat, Op. 119 Mr.><. Kkach GOUNOD. Stances dc Sapho Mme. Oi.nzKA SCHUBERT. Die junge Nonn^ Die Stadt FRANZ. Es hat die Rose sich beklagt SCHUMANN. Auftrage Mine. Olitzka BEACH. Suite Fran^aise, "Les Reves de Colombine" L La F6e de la Fontaine II. Le Prince Gracieux HI. Valse Amoureuse IV. Sous les Etoiles V. Danse d'Arlequin Mrs. Beach BEACH. Ah, love, but a day June After Mme. Olitzka GRIEG. Ein Schwan BUNGERT. Sandtrager SOMMER. Ganz leise BIZET. Pastorale Mme. Olitzka THE HUME PIANO Tickets, $1.50, $1.00, and 50 cents, at Symphony Hall Management, L. H. MUDGETT 1176 CONCERT ANNOUNCEMENTS Symphony Hall, Monday Afternoon, February 14, at 2.30 The Wonderful Violinist MISCHA ELMAN in Recital PROGRAM Concerto, D major, Paganini. Chaconne, Bach. Senate, Handel, a. ^omzmtm ¥, Beethoven, b. Perpetuo Mobile, ^/>»i/?«^. c. K\x, Pergolesi. d. Tanibourin. Gossec. e. Meditation, Thais. f. Jota, Sarasate. Tickets, 52.00, I1.50, and $1.00, on sale. Jordan Hall, Tuesday Afternoon, February 15, at 3 Dr. LUDWIG WULLNER A^^kl CONRAD V. BOS at the Piano Tickets, %\ 50, Si.00, and 50c. At Symphony Hall Symphony Hall, Saturday Evening, February 26, at 8 PHILHARMONIC ^"''" Ninety-EightJ'TTl^Performers ATI r TTTT O T-D A UlC^IlXLO 1 XCii GUSTAV MAHLER, Conductor o M. ivirnvrx'^ x nni^i^ Handel and Haydn Society Mr. EMIL MOLLENHAUER, Conductor Mr. H, G. TUCKER, Organist THE GOLDEN LEGEND Sunday, February 13, 1910, 7.30 P.M. Soprano, Mrs. KILESKI-BRADBURY Alto, Miss ADELAIDE GRIGGS Tenor, Mr. H. LAMBERT MURPHY Baritone, Mr. GWILYM MILES' 1 Tickets, $2, $1.50, and $1 The Boston Sin^ind Club H. G. TUCKER, Conductor NINTH SEASON, 1909-10 Miss M. ELIZABETH GRIFFITH Mr. B. L. WHELPLEY Pianist Organist For information apply to Mrs. E. W. Chandler, Chickering Hall, Boston. 1178 THE KNEISEL QUARTET FRANZ KNEISEL, First VioUn LOUIS SVECENSKI, VitU JULIUS ROENTGEN, Stcmd rulin WILLEM WILLEKE, Viohnalh TWENTY-FIFTH SEASON. 1909-1910 CHICKERING HALL, and FENWAY COURT Fifth Concert of the Season AT CHICKERING HALL Tuesday Evening, February 22, at 8.13 PROGRAMME Cesar Franck . Quartet in D major Claude Debussy Two movements from Quartet in G minor (by request) Saint-Saens Quartet in B-flat major, for Pianoforte, Violin, Viola and Violoncello, Op. 41 Assisting Artist, Mme. OLGA SAMAROFF STEINWAY PIANO Tickets for sale at Boston Music Co. (G. Schirmer, Inc.), 26-28 West Street, $1.50, $1.00, and 75 cents Sixth Concert of the Season AT FENWAY COURT Friday Afternoon, February 25, at 4 o'clock PROGRAMME Brahms ...... Quintet (No. 2), Op. iii Tschaikowsky Quartet in F, Op. 22 Assisting Artist. Mr. JOSEF KOVARIK Tickets for sale at The Boston Music Co. (G. Schirmer, Inc.), 26-28 West Street, at $2.00 and $1.50 1179 The Hess-Schroeder Quartet Prof. WILLY HESS . . First Violin EMILEFERIR .... Viola J. VON THEODOROWICZ, Second Violin ALWIN SCHROEDER . VioloncelW FIFTH CONCERT Tuesday Evening/ March 15, 1910 JORDAN HALL TICKETS AT SYMPHONY HALL 1180 CHICKERING HALL THREE CONCERTS Of CHAMBER MUSIC for Wind Instruments BY The LONGY CLUB TENTH SEASON 1909-1910 MEMBERS OF THE CLUB Flutes, Messrs. A. MAQUARRE and A. BROOKE Oboes, Messrs. G. LONGY and C. LENOM Clarinets, Messrs. G. GRISEZ and P. MIMART Horns, Messrs. F. HAIN and H. LORBEER Bassoons, Messrs. P. SADONY and J. HELLEBERG Piano, Mr. A. de VOTO PROGRAMME THIRD CONCERT. Thursday Evening, March lo, at 8.15 H. Woollett . . Quintet for Flute, Oboe, Clarinet, Horn, and Bassoon. Siefert .... Sonate for Flute and Piano. (First time) 0. Fried . . . Adagio and Scherzo for 3 Flutes, 2 Oboes, English Horn, 3 Horns, 2 Bassoons, Contra Bassoon, 1 Harps, and Tympani. (First time) I ASSISTING ARTISTS Mrs. M. SUNDELIUS, (Soprano) Miss SCHASS, (Harp) Mr. MAX FIEDLER, (Conductor) Mr. H. SCHUECKER, (Harp) Mr. S. Noack, (Violin) Mr. A. Battles, (Flute) Mr. A. Bak, (Violin) Mr. F. Mueller, (Oboe) Mr. A. Giatzen, (Viola) Mr. K. Stumpf (Bass Clarinet) Mr. J. Keller, ('Cello) Mr. E. Mueller, (Bassoon) Mr. A. Rettberg, (Tympani) Mr. J. Phair, (Horn) THE PIANOFORTE IS A MASON AND HAHLIN Tickets now at Symphony Hall, 1181 SANDERS THEATRE, Cambridge Boston SymphonyOrchestra MAX FIEDLER, Conductor Twenty-ninth Season, 1909-10 SIXTH CONCERT Thursday Evening, March 3, 191 SOLOIST Miss JANET DUFF TICKETS, $i.oo, ON SALE AT KENT'S UNIVERSITY BOO] STORE, HARVARD SQUARE, CAMBRIDGE, AND AT THE DOOR 1182 1183 . CLARA TIPPETT, Teacher of Singing, Assistant, GRACE R. HORNE. 312 Pierce Building^; Copley Square. LIST OF CASTS IN SYMPHONY HALL. As you face the stage, the casts on the right, beginning with the onei nearest the stage, are as follows: Sitting Anacreon (Copenhagen); Faun with Infant Bacchus (Naples), ordered; Girl of Herculaneura (Dresden); Dancing Faun (Rome) ; Demosthenes (Rome) ; Apollo Cilharoedus (Rome); Euripides (Rome) ; Diana of Versailles (Paris), The casts on the left are the Faun of Praxiteles (Rome); Amazon (Berlin); Hermes Logios (Paris); Lemnian Athena (Dresden, head in Bologna); Sophocles (Rome) ; Standing Anacreon (Copenhagen), ordered; Aeschines (Naples); Apollo Belvedere (Rome). The reliefs in the passage are : Bacchic Procession (Naples) ; Orpheus, Eurydice, and Hermes (Naples). Miss LAURA HAWKI/NS p^aantst . . Pupils received at No. 6 Newbury Street MU3ICAL INS! RUCTION. VOCAL INSTRUCTION and SOPRANO SOLOIST. Miss HARRIET S. WHITTIER, Studio, 246 Huntington Avenue. Portsmouth, New Hampshire, Mondays. .M. ...T>/xrT.TT. » n/%tTmTT.r.^ Classes in Sight Reading Biss CAROLINE M. SOUTHARD, (e.qht hands). Advanced pupils follow the Symphony programmes TEACHER OF THE PIANOFORTE. as far as practicable. 165 Huntington Avenue - Boston 1184 PIAINISTEand TEACHER. Mrs. CAROLYN KING HUNT, Hemenway Chambers, BOSTON. TEACHER OF SINGING. Miss CLARA E. HUNGER, Century Building, 177 Huntington Avenue, Boston. TEACHER OF SINGING. 602 Pierce Building, Miss PRISCILLA WHITE, Copley Square, BOSTON. Tuesdays and Fridays at Lasell Seminary. TEACHER OF SINGING. 514 Pierce Building, Miss KATHERINE LINCOLN, Copley Square, Bostoa. Saturdays and Mondays in New York. SOLO SOPRANO. Representlnii Miss Clara E. Hnntfer. Address. 254 West 85th. 38 BABCOCK ST., BROOKLINE. TEACHING AT BERTHA GUSHING CHILD, LANG STUDIOS. 6 NEWBURY ST., BOSTON. I PIANIST. RICHARD PLATT, 23 Steinert Hall . . Boston. Mason & Hamlin Piano. Pierce Building, Copley Square, Room 703. INSTRUCTION IN THE SAM'L L, STUDLEY, ART OF SINGING. OPERA. ORATORIO. AND SONG. 1185 Vocal instruction Lamperti method to a limited MUe. AVIGLIANA number of pupils. Oratorios taught in accordance with traditional renderings under Sir Michael Costa, (Koyal Italian Opera, Coveni Qarden). Mactarren, etc. Highest reterences. Terms on appli- DRAMATIC SOPRANO. cation. Sixteen years of foreign study and professional life Concert, Oratorio. in Grand Opera in Italy and in Opera, Oratorio, and Concert in England, Scotland, etc., have amply 137 NEWBURY STREET. qualified Mile. Avigliana to prepare her pupils for any position. Piano, Voice, Violin (and all orchestral The Gttckenberger School of instruments). Theory, Musical Analysis, Analytical Harmony, Compo.>iition, Score Mdsig. Reading, Chorus and Orchestral Con- ducting. B. GUCKENBERGER, Director. 30 Huntington Avenue Boston WILLIAM ALDCN PAULL INSTRUCTOR OF VOICE CULTURE, Episcopal Theological School, Brattle Street, Cambridge Office Hours: ^' Daily except Saturday. Telephone, Cambridge 2816-1. | P R I VAT E LESSONS BY APPOINTMENT RECITALS a SPECIALTY. JOHN HERMANN LOUD, Instrnctlon In Orjan. Harmony and Plane. CONCERT ORGANIST. Address, 140 Boylston Street, Boston, or 154 Oakleigh Road, Newton. (Fellow of The American Guild of Organists) Telephone 79S-4 Newton North Pianist and Teacher. Hiss MARY INGRAHAH, Lan^ Studios. 6 NEWBURY STREET. ELEANOR FOX-ALLEN, THE APPLETON QUARTET, EDITH LAMPREY-UNDERHILL, KATHLEEN RUSSELL- COOK, RECITALS, CONCERTS, EDITH LOUISE MUNROE. FUNERALS. 28 Warren Ave., Somerville, flass. Musical Director, Mrs. S. B. FIELD. Telephone 572-6 Somerville BARITONE SOLOIST AND Hi. LOUIS SGHALK, TEACHER OF SINGING. Studio, 35 Steinert Hall, Boston. 1524 Chestnut Street. Philadelphia Mrs. WILLIAM S. NELSON, Mondays and Thursdays. 589 Main Street. East Orange. N.i. Vocal Instruction, Accompanist Wednesdays. I East 40th Street. New York Musicales Arranged. Tuesdays and Fridays. 1186 YEAR igo9-ioio SIXTH LOUIS NORMAN CULLIS, INSTRUCTOR IN VOICE PRODUCTION. Now receives pupils in singing (either beginners or advanced) at his new studios in Carnegie Hall. Mr. Cullis is a pupil of the Royal College of Music, London, and Bouhy of Paris, and teaches the Old Italian (Nava) Method, for which he is especially equipped, having studied the same under Bouhy of Paris, and Visetti of London, both of whom were pupils of Nava. VOCAL INSTRUCTION. Room 420. Pierce Building. ELIZABETH GARY LORD, Pupil of Randegger, London. Mme. Baucarde, Florence. Opera Repertoire, M. Juliani, Paris. Miss Rose Stewart, EDITH LANG. Vocal Instruction. PIANIST. 246 Huntington Avenue. Lang Studios, 6 Newbury Street. HELEN ALLE/N HUNT. MISS EDITH ROBBINS, CONTRALTO SOLOIST. TEACHED OF PIANO PLAYING. Teacher of Singing. Suite 57, Garrison Hall. No. 514 Pierce Building Boston. Telephone Back Bay 2307. ANNA. ELLIS - DCXTX^R, ERNEST C00REN6EL, Soloist at New Jerusalem Church, Boston. Cultivation of Art and Individuality in VOCAL INSTRUCTION. PIANOFORTE PLAYING. STUDIOS NEW SYSTEM. Brockton, Mondays and Tuesdays, 55 Centre Street. All Branches of COMPOSITION^ Boston, Wednesdays and Saturdays, 218 Tremont Street, Symphony Chambers, opposite For particulars apply Room 51 Providence,Thursdaysand Fridays, Butler Symphony Hall, Boston. to Business Manager. Exchange. BERTEL G. WILLARD, Mrs. H. CARLETON SLACK, "BASS. LYRIC SOPRANO. Voice Development and Breath Control. Concerts, Recitals, Society Mnsicalea. Vocal Instructor. Harvard University. Vocal Instruction. 404 Huntiniiton Chambers Lanii Studios, 6 Newbury Street. Wednesday and Saturday. At other times by appointment. Tuesday and Friday Afternoons. MISS GERTRUDE EDMANDS, School of Vocal Instruction Under exclusive social and artistic patronage for the Concert and Oratorio. finish and introduction of young ladies in Vocal Instruction. OPERA ORATORIO CONCERT Miss ALICE BREEN. Studios TheCopley, 18 Huntington Avenue, St. 6 F. Metropolitan Opera House Building, New York City and 56 Irving Place, Brooklyn. MAY SLEEPER RUGGLES ARTHUR THAYER, (CONTRALTO) Soloist in Boston Concert Trio. Liederheim School of Vocal Music, Teacher of Singing. AUBURNOALE. MASS. Boston Studio: Pierce BinLDiNG. Send for Prospectus. 200 HUNTINGTON AVENUE. 1187 EDWIN Basso COLLEGE, SCOOL, AND CONSERVATORY N C. Cantante positions secured for TEACHERS of MUSIC, MAB»:L and Teacher of Sinirine. ORATORY, GYMNASTICS. &n AlscJ CROCKER BARNES CHURCH engagements for SINGERS, Dramatic Art Pupil of Charles Fry, ORGANISTS, and DIRECTORS. London Academy. HENRY C. LAHCE Plioiie, Oxford iT.Vl Boston, Symphony Chambers, opp. Symphony Hall 218 Trkmont Street, Boston Mrs. BERTHA I. KAGAN, MissMARYA.STOWELL, German Diction, for Opera, Concert, Teacher of Piano and Harmony. and Oratorio Work. Girmu luioiii. Classic iiii Modiri lltiritiri. The ILKLEY, Address, 19 Trowbridge Street, Cambridge Huntington Avenue and Cumberland Street. Telephone 2331-1 Cambridge. (Cumberland Street entrance ) MME. DE BERG-LOFGREN, FREDERIC G. BOND, lEAcHEk Oh SINOJNU. (Nephew of the late Mme. J. H Long) The "GARCIA" Method. VOCAL INSTRUCTOR. Virginia Pierce, Teacher of Bettina Freeman and (Italian Method) of Boston's new Grand Opera. Studio, 503 Huntington Studio, 12 Westland Avenue, BOSTON, MASS. Chambers, I elephone, Back Bay 3762-1 Boston. MK. kOBT. N. JOHN CROGAN MANNING, MRS. ROBT. N. LISTER, CONCERT PIAMST. Teacher of Singing, Soprano Soloist. Monday, Weduepday, and Thursday afternoons. Symphony Chambers, opposite Symphony Hall BOSTON. Symphony Chambers, 246 Huntington Ave. Pianoforte Instruction. Mme. CLARA POOLE, ARTHUR GERS. Formerly pupil R^yal Conservatory contralto soloist. of Brussels, Be'gium, (1897-1901). Ten years experience in Teaching and Singing fai Also Oriiaaist and Accompanist- London, Paris, Berlin, and Milan. HUNTINGTON CHAMBEKS - BOSTON. Vocal Studio, 30 Steinert Hall, Boston. ALICE Bates Rice, F. P. Mccormick, Soprano Soloist, Teacher of Sin^In^. TEACHER OF SINGING. LANG STUDIOS. 6 NEWBURY STREET. Special training for injured voices. House Address, 41 Commonwealth Avenue, 37 Steinert Hall Annex. Boston. Chestnut Hill. Mrs. NELLIE EVANS PACKARD. ALBERT M. KANRICH Studio, 218 Tremont Street (Room 308), Boston. Violinist and Musical Director VOCAL INSTRUCTION. The Kanrich Orchestta may be engaged for Con- certs, Weddings, Theatricals, Dinners, Dances, etc. Mrs. Packard is commended by Walker, Randegger (London), Marches!, Bouhy, Trabadelo (Pans), Orcliestration, Vocal and Band. Leoni (Milan), Vannuccini (Florence), Cotogni, 164A Tremont Street Fr^nceschetti ( Rome). JOSEPH J. GILBERT, ROSABELLE TEMPLE, Soloist, and Teacher TEACHER OF SINGING of the Flute. MUSICAL LECTURES Suite 2. 40 Batavia St.. Boston. Mass. 719 BOYL5 I ON STKBE I , BOSTON Tel. conn, wifli K;itiivi,n Clinniliers. TELEPMON 1S07 BACK B«V C. B. HAWLEY, niss MABEL ADAMS BENNETT, VOCAL TEACHER ^•'-""liin-Su'ctor. Coach and Accompanist. Correct Tone Production. Breathing and imerpre- Repertoire. tation Special Training for Church Choir, Concert Opera and and Oratorio Four years accompanist for M. Giraiidet of Pans. Organist Madison Avenue, M. E. Church. Season o' iqoS-ogm New York, with Fraulein Moreoa .t.S Street, York City. Victor Maurel. Studio. West 42nd New ot the Metropolitan Opera Co , and l>hiladelphia Studio, 1524 Chestnut Street. TRINITY COURT. DARTMOUTH STREET. Room 1004 Tuesdays and Fridays Telephone 1188 THE TENSION RESONATOR (PATENTED) Used exclusively in PIANOS accomplishes what has never before been accomplished in a piano — it permanently preserves the crown or arch of the sounding board and makes the tone of the piano indestructible. Not only this, but by putting a tension on the sounding board it gives greater vitality and responsiveness to the vibrations of the strings, and a distinguishing and superior character to the tone of the piano. A demonstration of the function of this invention will gladly be given at our warerooms. Catalogue Mailed, on .Application Old Pianos Taken in Exchange MASON & HAMLIN COMPANY EsUbtished 1854 0pp. Inst. Technology 492-494 Boylston Street — THE STEINWAY is to-day the only high-grade piano in the United States which is made and controlled by the direct descendants of its original founder. All the rest have been forced to seek the alliance or amalgamation with manu- facturers of cheap commercial pianos. Thus time-honored names have become mere trade -marks, lacking every vestige of individuality. Able to pursue its lofty ideals un- fettered by commercial exigencies, the house of Steinway & Sons has exerted all its energies in but one direction, with the flattering result that to-day the Steinway is proclaimed ever)rwhere THE STANDARD PIANO OF THE WORLD THE STEINWAY REPRESENTATIVES IN BOSTON ARE THE M. STEINERT & SONS COMPANY of 162 Boylston Street