WIETING OPERA HOUSE . SYRACUSE

Thirtieth Season, J9J0-J9H

MAX FIEDLER, Conductor

frogramm?

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

SATURDAY EVENING, FEBRUARY 4

AT 8.15

COPYRIGHT, 1910, BY C. A. ELLIS

PUBLISHED BY C. A. ELLIS, MANAGER OPERA ERICA AND ABROAD GOFF Frau CLARA WALLENTHIN- Miss EDITH DE LYS Mr. H. WINFRED . London Covent Garden STRANDBERG Stockholm London Covent Garden two seasons America Savage Grand Opera Royal Opera and Dresden Milan Florence Brussels Rome etc. Mrs. CLARA SEXTON- At present singing in Germany Mr. EARL W. MARSHALL CROWLEY Italy Florence Milan Miss LAURA VAN KURAN Italy Florence etc. Barcelona Now singing in America Italy Florence Now in America Now in Italy Mrs. ALICE KRAFT BENSON Mrs. LOUISE HOMER Mr. MYRON W. WHITNEY France Nantes At present with Aborn Grand Opera Co. New York Paris London Brussels Now with Lilian and Opera Boston Chicago Now singing in New York Metropolitan Opera Co. Nordica Concert Co. Italy Mme. LENA ABARBANELL Miss FANNY B. LOTT Miss BLANCH FOX (VOLPINI) Austria Hungary Germany etc. Italy Palermo Rimini Pisa etc. Italy Venice Milan Vercelli etc. Metropolitan Opera Co. New York Now singing in Italy American Grand Opera Cos. New Now singing "Madam Sherry" N.Y. Miss EDITH FROST STEWART York Chicago San Francisco etc. Mr. HENRY GORRELL To create title role in Victor Her- Miss MARY CARSON (KIDD) Italy Florence Genoa Torino etc. bert's new opera " When Sweet Six- Italy Milan etc. Now singing in Italy teen "now rehearsing in New York Now singing in Italy Mr. FLETCHER NORTON Miss BERNICE FISHER Miss ROSINA SIDNA Now singing in New York With the Boston Opera Co. Italy Spain "The Deacon and the Lady" Now singing in Australia Miss FLORA ZABELLE Mr. CHARLES BARRON Mr. STANLEY FORD (Mrs. Raymond Hitchcock) Aborn Grand Opera Co. Of the Woodland, Raymond Hitch- With Raymond Hitchcock Co. Now singing in Italy cock and other companies America-Concert Recital Oratorio Le cture Etc.-Abroad Miss EDITH CASTLE Miss CHRISTINE MILLER Mrs. ETTA BURGESS NOBBES U.S.A. Canada England Italy New York, Chicago, Pittsburg, New York Boston Montreal etc. Miss VIOLA VAN ORDEN Worcester leading societies Instructor Int. School N.Y. Instructor Int. School Boston Miss BERTHA CARLOTTA Miss GRACE L. BAUM Pacific Coast New England etc. KING New England New England Miss LUCY ALLEN Miss LOUISE ORMSBY Principal soprano soloist two years Paris London New York Miss MAUD REESE Sousa's Band Now singing in England Two years principal soprano soloist Miss CHRISTINE LABAR- Mrs. ALICE HUESTON Sousa's Band RAQUE Lawyer linguist singer STEVENS Mrs. CHARLOTTE WILLIAMS lecturer teacher (blind) Italy New York New England HILLS Miss EDITH STERLING Miss JEWEL GERALDINE Italy New York New England etc. NICHOLS Who has made a spe- McCUNE cial study under most favorable con- Of the Cleveland Detroit and St. Miss ROSE TYLER ditions of Neapolitan dialect songs Clair Popular Concerts New York New England etc.

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Miss ALENA G. EMERSON Miss S. MAUDE THOMPSON Instructor Penn. Collage Pittsburg Instructor N.E. Conservatory In- N.E. Conservatory of Music ternational School Florence Boston Wm.L. Whitnev International School Now Phila. and N.Y. representative Mr. A. R. FRANK Mr. FRANCIS ROGERS Mr. HARRY F. MERRILL _ Italy, New England Music Festivals With the Sembrich Concert Co. Maine and Church Choir Festivals Commonwealth Ave. Baptist Church Mr. PAUL HASTINGS ALLEN England Italy New York New Eng. Mr. WALTER KNOWLES Paderewski Symphony Prize award Mr. SOKICHI KUZUOKA Italy New England HENRY H. HALL Japan JSlew York New England etc. Mr. FREDERICK BANCROFT Instructor of Halifax Conservatory Mr. S. GRAHAM NOBBES Recital lectures, Songs of Scotland of Music Nova Scotia Chief voice instructor at the Ireland England Italy etc. Emma Willard College Troy N.Y. Rabbi CHARLES FLEISCHER Mr. RICHARD (Dick) GRANT Mr. WALTER JACKSON Instructor University of Minnesota RICHARD GRANT CALTHROP Mr. EDWARD ROYCE One of the chief exponents of the Mr. LOUIS BENNETT Old Italian Method in New York Soloist with Pittsburg Orchestra Director of Music at the Bryan Academy Texas Formerly Syracuse Univ. Fine Arts and other Orchestral Concerts Mr. LOUIS BLACK Mr. ARMAND FORTIN Mr. GEORGE YATES KELLS Director of Music W. Virginia Instructor (voice) N.E. Conser- Voice teacher W. L. W. Inter- University vatory national School REPRESENTATIVE LIST BOSTON NEW YORK HART- *A \AiMi I \Kf U i T" It. I C W OF PUPILS OF WM. L. WnlTIMtY FORD PORTLAND OF THE BOSTON INTERNATIONAL AND HARTFORD SCHOOLS OF MUSIC *From time to time lists of professional singers, pupils of Mr. Whitney, will be published in this programme Boston Symphony Orchestra PERSONNEL

Thirtietti Season, 1910-1911

MAX FIEDLER, Conductor

Violins.

Witek, A., Roth, 0. Hoffmann, J. Theodorowicz, J. Concert-master. Kuntz, D. Krafft, F. W. Mann, F. Noack, S. Strube, G. Rissland, K. Ribarsch, A. Traupe, W. Eichheim, H. Bak, A. Mullaly, J. Goldstein, H

Barleben, K. Akeroyd, J • Fiedler, B. Berger, H. Fiumara, P. Currier, F. Marble, E. Eichler, J.

Tischer-Zeitz, H. Kuntz, A. Werner, H. Goldstein, S. Kurth, R. Fabrizio, C.

Violas.

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Violoncellos. Keller, Belinski, Schroeder, A, J. Barth , C. M. Warnke, J. Warlike, H. Nagel, R. Nast, L. Hadley, A. Smalley, R.

Basses Kunze, M. Agnesy, K. Seydel, T. Ludwig, 0. Gerhardt, G. Jaeger, A. Huber, E. Schurig, R.

Flutes, Oboes. Clarinets. Bassoons. Maquarre, A. Longy, G. Grisez, G. Sadony, P. Brooke, A. Lenom, C. Mimart, P. Mueller, E. Battles, A. Sautet, A. Vannini, A. Regestein, E. Fox, P. English Horn. Bass Clarinet. Contra-Bassoons.

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Organ. Librarian.

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I WIETING OPERA HOUSE . . SYRACUSE

Thirtieth Season, 1910-1911 MAX FIEDLER, Conductor

SATURDAY EVENING, FEBRUARY 4

AT 8.15

PROGRAMME

Weber Overture to the Opera, " Der Freischutz "

Dvorak . Symphony No. 5, in E minor, "From the New World," Op. 95 I. Adagio: Allegro molto. II. Largo. III. Scherzo. IV. Allegro con fuoco.

Paganini . . Concerto for Violin in D major (in one movement)

Tschaikowsky . Suite for Full Orchestra taken from the Score of the Ballet " Nutcracker," Op. 71A Ouverture miniature.

Danses caracteristiques : a. March e ; b. Danse de la F6e Dragee;

c. Trepak, danse russe ; d. Danse arabe; e. Danse chinoise; f. Danse des mirlitons. Valse des fleurs.

Wagner .... Prelude to "The Mastersingers of Nuremberg"

SOLOIST Mr. ANTON WITEK

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Retail Stores aad Sales Agents Everywhere Overture, "Der Freischutz" Carl Maria von Weber

(Born at Eutin, Oldenburg, December 18, 1786; died at London, June 5, 1826.)

"Der Freischutz," a romantic opera in three acts, book by Friedrich Kind, music by Weber, was first performed at Berlin, June 18, 1821. The cast was as follows: Agathe, Caroline Seidler; Aennchen, Johanna Eunike; Brautjungfer, Henriette Reinwald; Max, Heinrich Stumer; Ottaker, Gottlieb Rebenstein; Kuno, Carl Wauer; Caspar, Heinrich Blume; Eremit, Georg Gern; Kilian, August Wiedemann; Samiel, Hillebrand. It was the first opera performed in the new theatre, Schauspielhaus, erected by Schinkel in 18 19-21, to replace the original building, which was burned down in 181 7. Weber wrote in his diary that the opera was received with "incredible enthusiasm; Overture and Folk-song were encored; fourteen out of seventeen music-pieces were stormily applauded. Everything went exceedingly well, and was sung con aniore. I was called before the curtain and took Mad. [sic] Seidler and Mile, [sic] Eunike with me, as I could not get hold of the others. Verses and wreaths came flying. 'Soli Deo Gloria.'" Some of these verses were malicious, and reflected on Spontini, much to Weber's distress. Weber began work on the overture February 22, 1820; and May 13

he noted in his diary: "Overture of ' Die Jagersbraut' finished, and with it the whole opera. God be praised, and to Him alone be the glory." ("Die Jagersbraut" was the original title of the opera, and it was kept until into the year 1820, when Weber changed it to "Der Freischutz" at the advice of Count Bruhl, Intendant of the Berlin Court theatres.) Weber heard the music for the first time at a rehearsal of the Dresden orchestra, June 10, 1820, and this was the first music of the opera that he heard. The first public performance of the overture was at Copenhagen, October 8, 1820. Weber was making a tour through North Germany and Denmark. The second performance was at Brunswick, October 31, 1820. And, before the performance of the opera itself, the overture was played for the third time at Dresden, December 18, 1820, at a con- cert given by Weber's friend, Heinrich Joseph Barmann, the brilliant

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Write for interesting literature on the Hotel, Boston and New England clarinetist and the grandfather of Mr. Carl Baermann, of Boston. The performance at Brunswick inspired a favorable review published in the leading music journal of L,eipsic. The overture was therein described as "a most important work of art, which displays the fantasy and genius of a bold speaker of the prologue." Max von Weber tells us that his father's overture brought Barmann money, but no glory; for the attention of the audience was fixed on the new work, and the virtuoso was applauded as by absent-minded hearers, although he blew in most artistic fashion. He also says that the themes of the overture were not readily grasped, that the novelty of the orchestration dis- concerted the conservative and elderly of the audience, and that ap- plause at the end was without heart on account of the surprise and perplexity of those who were well disposed toward the composer F. W. Jahns, on the other hand, says the applause was so great that the overture was played the second time. And here it may be stated that Max von Weber speaks as though this performance were the first, and does not mention those at Copenhagen and Brunswick. But see "Carl Maria von Weber in seinen Werken," by F. W. Jahns (Berlin, 1871, pp. 318, 319). We have mentioned the success of this overture at Berlin, when it was played as the prelude to the opera and under Weber's direction, a success that dumfounded the followers of Spontini, and settled the future of German opera in the capital. And so, wherever the overture was played, the effect was overwhelming,—as in London, where the opera was first performed in English, July 22 (?), 1824, at the English opera house. W. T. Parke wrote: "The music of this opera is such a continued display of science, taste, and melody as to justify any praises bestowed on it. The overture embraces most of the subjects of the airs in the opera, ingeniously interwoven with each other, and is quite original. The grandeur of some passages and the finely con- trasted simplicity of others produced an effect which was irresistible. It was vehemently encored." Two hundred and nineteen of the three hundred and forty-two measures of this overture are in the opera itself, and yet there is no thought of patchwork. As Mr. Mees has well said : "Weber's overture, far from being a kaleidoscopic series of tunes, is absolutely symmetrical in form, in that it comprises an exposition of the melodies utilized, a section in which they are worked out, and a climacteric coda." Although the originality of the music is striking, Weber did not

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10 It strikes home to the heart; and for me, at least, this virginal song, which seems to breathe skyward a timid reproach, while a sombre harmony shudders and threatens, is one of the most novel, poetic, and beautiful contrasts that modern art has produced in music. In this instrumental inspiration one can already recognize easily a reflection of the character of Agathe, which is soon to develop in all its passionate purity. The theme is borrowed, however, from the part of Max. It is the cry of the young hunter at the moment when, from his rocky height, he sounds with his eyes the abysses of the infernal glen. Changed a little in outline, and orchestrated in this manner, the phrase is different both in aspect and accent." Compare with this the remarks of Berlioz in the sect on on the clarinet in his "Treatise on Instrumenta- tion." The clarinet, he says, has the precious faculty of producing "distance, echo, an echo of echo, and a twilight sound." "What more admirable example could I quote of the application of some of these shadowings than the dreamy phrase of the clarinet, accompanied by a tremolo of stringed instruments in the midst of the Allegro of the

' overture to Freischiitz ' ? Does it not depict the lonely maiden, the forester's fair betrothed, who, raising her eyes to heaven, mingles her tender lament with the noise of the dark woods agitated by the storm? O Weber!!"

The overture begins adagio, C major, 4-4. After eight measures of introduction there is a part-song for four horns. This section of the overture is not connected in any way with subsequent stage action. After the quartet the Samiel motive appears, and there is the thought

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of Max and his temptation. The main body of the overture is molto vivace, C minor, 2-2. The sinister music rises to a climax, which is repeated during the casting of the seventh bullet in the Wolf's Glen. In the next episode, E-flat major, themes associated with Max (clari- net) and Agathe (first violins and clarinet) appear. The climax of the first section reappears, now in major, and there is use of Agathe's theme. There is repetition of the demoniac music that introduces the allegro, and Samiel's motive dominates the modulation to the coda, C major, fortissimo, which is the apotheosis of Agathe. It is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, kettledrums, and strings.

Mr. Apthorp wrote in his notes to a Programme Book (January 7, 1899): "I believe there is no other word in any other language that corresponds accurately to the German Freischutz. The literal English

' translation Free Marksman ' does not in the least convey its meaning. The same may be said Qf the Italian ' Franco arciero ' —under which misleading title the opera was given at Covent Garden—and the French 'Franc archer.' Grove has it that the opera was given under this last title at the production under Berlioz in Paris; but Berlioz himself says nothing of this in the account of the production in question he gives in his Memoires, and Wagner reports distinctly that it was then given as 'Le Freischutz.' * "The word Freischutz (literally 'free marksman') means a Schiitz or marksman, who uses Freikugeln—that is 'free bullets,' or charmed bullets which fly to the mark of themselves without depending upon the marksman's aim, and are therefore aptly termed 'free.'" * * * * This production, with music for the recitatives by Berlioz, was at the Theatre de l'Opera, Paris, June 7, 1841, and the opera was then entitled " Le Freyschutz " (see De Lajarte's " Bibliotheque Musicale du Theatre de l'Opera," vol. ii. p. 166, Paris, 1878). The absurd version of Castil-Blaze was first performed in Paris at the Odeon, December 7, 1824, and the opera was then entitled " Robin des Bois." The error in Grove's Dic- tionary, to which Mr. Apthorp refers, is retained, with many other errors, in the revised and enlarged edition edited by Mr- Fuller-Maitland. Ed.

HAENSEL & JONES, New York PRESENT

Mr. FRANCIS MACMILLEN VIOLINIST

SEASON 1910-1911

12 The first performance of "Der Freischiitz" in the United States was an English version produced at the Park Theatre, New York, March 2,* 1825. The chief singers were Miss Kelly, Mrs. de Luce, Woodhull, and Clarke. Miss Lydia Kelly was a niece of Michael Kelly, singer and the author of the amusing Memoirs. She is described as "rather masculine in appearance." Her costumes were distin- guished for "richness and elegance." She had "never-failing animal spirits, good humor, and vivacity." She married a French baron, who left her as soon as she failed to be a profitable investment. The opera was announced as in rehearsal by a company of whiclr Charles E. Horn and Mrs. Edward Knight were the chief singers in the Boston newspapers of December 17, 1827, but the opera, or rather an English adaptation of it, was performed here for the first time at the Boston Theatre, February 19, 1828, when Mr. Finn was announced as Caspar, and Mrs. Bernard as Linda. Especial attention was called to the Wolf's Glen and the fireworks prepared by Mr. Broad, and for some time the scene of the Wolf's Glen was a favorite feature of a miscellaneous theatrical entertainment The overture was played as early as February 7, 1828, and it was at first advertised as by "Carlo" von Weber. The first performance in Boston in German was on May 6, 1864, when the chief singers were Mmes. Frederici and Canissa and Messrs. Habel- mann and Graff.

*T. Allston Brown gives March 12, 1825, in his "History of the New York Stage" (1903).

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Symphony in B minor, No. 5, "From the New World," Op. 95. Anton Dvorak

(Born at Muhlhausen (Nelahozeves) near Kralup, Bohemia, September 8, 1841; died at Prague, May 1, 1904.)

This symphony was performed for the first time, in manuscript, by the Philharmonic Society of New York on Friday afternoon, December *5> J 893. The first performance in Boston was by the Boston Sym- phony Orchestra, Mr. Paur conductor, on December 30 of the same year. The work aroused a controversy in which there was shedding of much ink. The controversy long ago died out, and is probably forgotten even by those who read the polemical articles at the time and expressed their own opinions. The symphony remains. It is now without asso- ciations that might prejudice. It is now enjoyed or appreciated, or possibly passed by, as music, and not as an exhibit in a case on trial. Yet it may be a good thing to recall the circumstances of its origin; and, as Mr. Henry E. Krehbiel was deeply interested in the conception and birth of the symphony, it is better to quote his words:* "Last spring the eminent Bohemian composer published his belief that there was in the songs of the negroes of America 'a sure founda- tion for a new National School of Music,' and that an intelligent cul- tivation of them on the part of American composers might result in the creation of an American School of Composition. His utterances created a deal of comment at the time, the bulk of which was distin- guished by flippancy and a misconception of the composer's meaning and purposes. Much of the American criticism, in particular, was based on the notion that by American music Dr. Dvorak meant the songs of Stephen C. Foster and other contributors to old-time negro minstrelsy, and that the school of which he dreamed was to devote itself to the writing of variations on 'The Old Folks at Home' and tunes of its class. Such a blunder, pardonable enough in the popular mind, was yet scarcely venial on the part of composers and newspaper reviewers who had had opportunities to study the methods of Dr.

" From a little pamphlet, Antonin Dvorak's Quartet in F major, Op. 96" (New York, 1894). HOTEL IROQUOIS BUFFALO, N.Y.

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Dvorak in his published compositions. Neither is it creditable to them, though perhaps not quite so blameworthy, that they have so long remained indifferent to the treasures of folk-song which America contains. The origin of that folk-song has little to do with the argu- ment, if it shall turn out that in it there are elements which appeal to the musical predilections of the American people, and are capable of utilization in compositions in the higher form. As a matter of fact that which is most characteristic, most beautiful, and most vital in our folk-song has come from the negro slaves of the South, partly be- cause those slaves lived in the period of emotional, intellectual, and social development which produces folk-song, partly because they lived a life that prompted utterance in song, and partly because as a race the negroes are musical by nature. Being musical and living a life that had in it romantic elements of pleasure as well as suffering, they gave expression to those elements in songs, which reflect their original nat- ure as modified by their American environment. Dr. Dvorak, to whom music is a language, was able quickly to discern the character- istics of the new idiom and to recognize its availability and value. He recognized, too, what his critics forgot, that that music is entitled to be called characteristic of a people which gives the greatest pleasure to the largest fraction of a people. It was therefore a matter of in- difference to him whether the melodies which make the successful ap- peal were cause or effect; in either case they were worthy of his at- tention. "He has not said these things in words, but he has proclaimed them in a manner more eloquent and emphatic: he has composed a sym- phony, a quartet, and a quintet for the purpose of exemplifying his theories.- The symphony he wrote in New York, the chamber music in Spillville, la., a village which contains a large Bohemian popula- tion."

It was said by some in answer to these statements that, while the negro is undoubtedly fond of music, he is not inherently musical; that this has been observed by all careful observers of the negro in Africa, from Bosman to Sir Richard F. Burton, who wrote in his chapter, "Of the Negro's Place in Nature":* "The negro has never invented an alphabet, a musical scale, or any other element of knowledge. Music and dancing, his passions, are, as arts, still in embryo"; that the Amer-

* Chapter xix. of "A Mission to Gelele, King of Dahome.

ISABELLA BEATON, Ph.B.,A. ffitamgt=Compoaer

Second Tour of the United States EXCLUSIVE MANAGEMENT OF MARC LAGEN 434 FIFTH AVENUE, NEW YORK 15 ican negro, peculiarly mimetic, founded his "folk-songs" on sentimen- tal ballads sung by the white woman of the plantation, or on camp- meeting tunes; that he brought no primitive melodies with him from Africa, and that the "originality" of his "folk-songs" was misunder- standing or perversion of the tunes he imitated; that, even if the negro brought tunes from Africa, they could hardly, even after long usage, be called "American folk-songs," any more than the tunes of the ab- original Indians or Creole ditties can be called justly "American folk- songs"; that it would be absurd to characterize a school of music based on such a foundation as an "American school"; that, if "that music is entitled to be called characteristic of a people which gives the great- est pleasure to the largest fraction of a people," then German folk- songs are characteristic of the city of New York, and Irish folk-songs are characteristic of the city of Boston. * * * The subject, duly labelled and dated, now rests on the shelf, and for some time it has not been taken down and dusted. Yet the dis- cussion was no doubt healthful and profitable, for without fierce dis- cussion art is stagnant. Mr. MacDowell's " Indian" suite was sketched before Dvorak's symphony was announced; but the controversy led to still more careful investigation, especially into the character of the North American Indians' music. Mr. Krehbiel has studied carefully this music and discussed it in articles of permanent value. Mr. Fill- more, who began like study in 1888, Miss Alice C. Fletcher, Mr. Fred- erick R. Burton, and others have made valuable contributions to this branch of musical inquiry. * * *

The symphony is scored for two flutes (one of which is interchange- able with piccolo) , two oboes (one of which is interchangeable with Eng- lish horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, cymbals, and strings. The first movement opens with a short introduction, Adagio, E minor, 4-8, which, as all admit, is not characterized by "folk-song." The strings, pianissimo, are promptly answered by the wood-wind. There is a sudden fortissimo, in which a figure in all the strings is answered by kettledrums. There is development, in which the orchestra grows stronger and stronger. The first portion of the chief theme of the main body of the first

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E. M. S. FITE, 702 Carnegie Hall New York I E. M. S. FITE, 70a Carnegie Hall New York 16 movement, Allegro molto, E minor, 2-4, is given out by two horns in unison; the second, by the wood-wind. This theme is developed at length, and modifications suggest occasionally a new and contrasting subject. Folk-lorists have called attention to the species of syncopa- tion known as the "Scotch snap," that distinguishes this chief theme, and also pointed out the five-note, or pentatonic, scale, from which the theme is derived. In a subsidiary theme announced by flutes and oboes there is a use of the flat seventh, a use that is common to Ori- ental races as well as the negro of the camp-meeting. The second theme, G major, is given out by the flute, and was, no doubt, derived from the familiar melody, "Swing Low, Sweet Chariot." The violins take up this theme. There is some development, but less than that of the first; and there is the traditional repeat. In the free fantasia the thematic material of the first part is worked out; and then there is a return of the first theme in the tonic at the beginning of the third part, which is in general a regular reproduction of the first, with changes of tonalities. The brilliant coda is built chiefly on the first theme. In the second movement, Largo, D-flat major, 4-4, Dvorak is said to attempt the suggestion of the mood in the story of Hiawatha's wooing, as told by Longfellow. The chief and romantic theme is sung by the English horn over a soft accompaniment of strings. The development is extended. After the theme is sung by two muted horns there is a change to C-sharp minor, un poco piu mosso, and a short transitional passage on a contrasting theme leads to the second theme in the wood- wind over a bass in counterpoint and pizzicato. There are several melodies in this movement; but, while the sentiments are diverse, there is no abruptness in contrast. There is a return to the first theme in the English horn. The movement ends pianissimo with a chord in the double-basses alone. Third movement, Scherzo: Molto vivace, E minor, 3-4. It opens with a theme, for flutes and oboes, which appears as a rule in imitations. The second theme, in E major, poco sostenuto, also for flutes and oboes, is of more song-like character. The trio, C major, opens with a lively theme for wind instruments. This is followed by a second theme for strings. A reminiscence of the opening theme of the first movement is heard just before the trio, and also in the coda. The Finale, Allegro con fuoco, E minor, 4-4, opens with a few intro- ductory measures. The first theme is given out fortissimo by horns and trumpets against staccato chords in the rest of the orchestra. The SECOND SEASON

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Terms for tour, covering ALL EXPENSES for five months, including tuition, $1,000 For further particulars address Mrs. DORE LYON - - 136 East 22nd Street, NEW YORK CITY References exchanged 17 development is first in the strings, then in the full orchestra. After the development of subsidiary matter the clarinet sings the second theme. In the development that follows are recollections of the open- ing theme of the first movement, the English horn melody of the second, and the opening phrase of the scherzo. There is a tumultuous coda, based on the union. of the chief theme of the first movement with the first theme of the finale.

Mr. Anton Witek, violinist, was born at Saaz, Bohemia, January 7, 1872. He studied the violin under Anton Bennewitz at Prague, and in 1894 was chosen concert-master of the Philharmonic Orchestra of Berlin. Mr. Witek commanded attention in Germany in 1895 by his per- formance in one evening of three violin concertos (by Beethoven, Brahms, and Paganini). Since 1894 he has given concerts in all the European countries with the Danish pianist, Vita Gerhardt, who is now Mrs. Witek. In 1903 Mr. and Mrs. Witek, with Mr. Joseph Malkin, who was then solo violoncellist of the Berlin Philharmonic Orchestra, formed the Berlin Philharmonic Trio. In 1907 Mr. Witek played in Berlin the newly discovered violin concerto in A major of Mozart, for the first time, and in 1909 in the same city the newly discovered violin concerto in C major of Haydn, also for the first time. His repertory includes twenty-seven concertos and seventy-five concert pieces. His violin is a Stradivarius.

C H B E R I C Clara and David The

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Mrs. SEAVER 1 West 34th Street, New York 18 Concerto for Violin No. i, D major, Op. 6 . Nicou> Paganini

(Born on October 27, 1782, at Genoa; died on May 27, 1840, at Nice.)

Two violin concertos by Paganini have been published, —one in D major and the other in B minor,—but Paganini wrote one in D minor which he performed at his first concert in Paris, March 25, 1831. This, described by contemporaries as a magnificent work, is lost, and so is the one in E minor with a triangle obbligato accompaniment for the last movement. The latter concerto was played by Paganini in London in 1 83 1. He also then played a concerto in K major. There were four concertos for which the instrumentation was unwritten. The date of composition of the first concerto is not certainly fixed. The year 181 1 is given, but 1820 is probably correct. The slow move- ment was inspired by a performance of the tragedian Demarin, and Paganini did not see the inspiring scene, a prison scene, until 18 13 or 1 8 14 in Milan. The concerto was published in 1851, and the original work was scored for two flutes, two oboes, two clarinets, bassoon, double-bassoon, two horns, two trumpets, three trombones, kettle- drums, bass drum, cymbals, and strings. This orchestral accompani- ment, unusual for a concerto at the time, was originally written in K-flat major, and the solo violin, tuned a half-tone higher, was in D. (Mozart did the same, thing in 1780 with his concertante for violin and viola. The viola part was in D, while the work was in E-flat, and the viola was tuned half a tone higher than ordinarily.) August Wilhelmj edited the concerto, made changes in Paganini 's

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harmony and instrumentation, and also in the solo part. He issued only the first movement. This movement begins with an orchestral introduction. The .open- ing theme is hinted at. The solo violin then announces the first motive, which is of a vigorous character. The second theme, quietly expressive, A major, is played by the solo instrument above a synco- pated accompaniment. Passage-work that followed the first theme is repeated. There are brilliant measures for the solo violin. An orches- tral tutti leads to the development. This section includes more episodi- cal matter than working out of the chief motives. There are measures in triplets; the second motive is suggested, and the passages in triplets return. The second motive has what is really a recapitulation in D major, and again there is brilliant passage-work in thirds. After a short tutti and a pause there is a cadenza for the solo violin, and thus the movement ends.

Suite for Full Orchestra taken from the Score of the Ballet,

"Nutcracker," Op. 71a ...... Peter Tschaikowsky

(Born at Votkinsk, in the government of Viatka, Russia, May 7, 1840; died at St. Petersburg, November 6, 1893.)

Tschaikowsky wrote music for the ballet "The Nutcracker" ("Der Nussknacker," "Casse-Noisette") in 1891. The suite was performed for the first time at the ninth Symphony concert of the Russian Musical Society in St. Petersburg, March 19, 1892. Tschaikowsky conducted. The ballet was not produced until December 17, 1892. The history of the composition is told later in this article. The scenario of the ballet was based on "Histoire d'un Casse-Noi- sette," a translation into French by Alexandre Dumas, the Elder, of E. T. A. Hoffman's story "Nussknacker und Mausekonig," the sixth story in the collection entitled " Die Serapions Briider." The scenario is as follows: Act I. A Christmas tree in the house of President Silberhaus.

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20 The guests assemble, and the candles are lighted. Entrance of the children. After they have all received their presents, Councillor Drosselmeyer arrives, and with him brings dolls which can move about as though they were alive. He gives also to his favorite, Marie, the daughter of the President, an ordinary nutcracker, and this nut- cracker pleases her better than all the other presents. Her brother Fritz and the other boys snatch it away from her and break it. Marie bursts into tears, caresses the poor nutcracker, busies herself over it as though it were sick, puts it to bed and rocks it to sleep. The party is at an end and the guests go home. The candles on the tree are put out. Marie cannot sleep, and she thinks constantly about the nut- cracker. At last she leaves her little bed, and steals downstairs, only to have a look at him. It is midnight. She suddenly hears a noise as though mice were clattering out from all sides. Then a wonderful thing happens. The fir-tree grows and grows; all the playthings and the honey cakes come to life. Even the spoiled nutcracker wakes up and moves about. A fight begins between the playthings and the mice. The latter, led by their king, easily defeat the honey-cake soldiers; but the tin soldiers, under the command of the nutcracker, rush to help their comrades. A fierce battle ensues. The nutcracker fights with the king of the mice. Just at the moment when the king seems to be getting the upper hand, Marie throws her shoe at him. He dies, and the mice are defeated. The nutcracker is transformed into a handsome prince. He thanks his rescuer and takes her to his magic kingdom. They fly over a forest in winter, and each snowflake seems to Marie a living being. Act II. The mountain of sweetmeats, the kingdom of lollipops and goodies. The Fairy Dragee,* the ruler of the mountain of sweet- meats, and her whole court await the arrival of Marie and the nut- cracker. When the two enter, all extol Marie's heroic deed. Then the dances of the sweets begin. Only the overture miniature in this suite may be said to bear any relation to Hoffman's tale. The other pieces are musical illustrations

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21 of scenes in fairy-land, and in the original tale there is little or no allu- sion to the dances provided for the entertainment of Marie and her prince. * * Ouverture miniature. Allegro giusto, B-flat major, 2-4. The over- ture is a prelude to a fairy story. It is lighter and fantastic. There is no fundamental bass, for violoncellos and double-basses are not used, and violas, horns, and bassoons do not go below the tenor range. The overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, two horns, triangle, violins, and violas. The overture is built practically on a chief theme with its subsidiary, and there is no "development section/' The chief theme enters at once, played pp by violins and violas. A flute adds the second portion of the chief thought. Strings and wind instruments in alternation have the third section. A theme in F major is given to strings, and is repeated with the aid of wood-wind instruments. March. Tempo di marcia viva, G major, 4-4. This march is the second number of the first act. It is scored for three flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, bass tuba, cymbals, and the usual strings. Clarinets, horns, and trum- pets have the first theme, which is repeated with almost childlike enjoyment. There is a short section in E minor. Danse de la Fee-Dragee. This dance is taken from the Pas de deux

(No. 4) in the second act of the ballet. . It is there entitled simply "2nd Variation." The first is a Tarantella. Both are for solo dancer. Andante non troppo, E minor, 2-4. The music is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bas- soons, four horns, celesta* (or pianoforte), four first violins, four sec-

*The celesta was invented by Victor Mustel, of Paris, in 1886. It is a keyboard instrument usually made with a compass of four octaves from C to C'"" (Mahler has written for it as low as D). Tone is produced by striking with the hammers small plates of steel. (In the typhophone, also a keyed instrument much like the celesta, the hammers strike tuning-forks. D'Indy has used the typhophone in "Le Chant de la Cloche." I believe the typhophone was also invented by Mustel.) As a rule, notes written for the celesta are an octave below the actual sounds, but in Tschaikowsky's dance they are written at their actual pitch, for the part is to be " played by a pianoforte, if a celesta is not at hand. Gustave Charpentier wrote for the celesta in his Chanson du Chemin" (1895). Glazounoff introduced it in his suite from the ballet "Raymonda" played in Boston at a concert of the Boston Symphony Orchestra, January 25, 1902. My recollection is that the celesta was not used at this concert, but it was heard in F. S. Converse's "Jeanne d'Arc: Dramatic Scenes," played at a concert of the Boston Symphony Orchestra in Boston, March 7, igc8. Tschaikowsky uses the celesta in his "Voyvode."

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22 ond violins, four violas, two double-basses. The strings begin, pizzi- cati and pp, four introductory measures, and the celesta has the chief theme. This period of eight measures is repeated; the second modu- lates back to E minor. There is a "side section," after which a solo cadenza for celesta leads back to the chief theme. The use of the bass clarinet in this strikingly original little piece is especially noteworthy. Danse Russe, Trepak. This and the next three dances are taken from the Divertissement (No. 12), in the second act of the ballet. The order of these dances in the ballet is as follows : (a) Chocolat, (b) Cafe, (c) The, (d) Trepak, (e) Danse des Mirlitons. It would seem, then, that in the ballet the three drinks, or possibly plants, were charac- terized by dancers. In the suite "Chocolat" is dropped, "Cafe" is merely "Danse arabe," and "The" becomes "Danse chinoise. " The Trepak is a genuine national dance of Russia, of lively and stormy char- acter, with short rhythms and persistence of form. Tschaikowsky scored it for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, four horns, two trumpets, three trombones, bass tuba, kettledrums, tambourine, and the usual strings. Tempo di Trepak, molto vivace, G major, 2-4. The chief section is built on repetitions of a period of eight measures. The instrumentation ot the second half of the section is the stronger and the more brilliant. The subordinate section is in D major, and the basses have the melody.

There is a short coda with increasing tempo till the end fff. Danse arabe. Commodo, G minor, 3-8. The music is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, tambourine, and the usual strings. This dance is melodi- cally, harmonically, and rhythmically exotic. Muted violas and vio- loncellos begin with a figure that is repeated. The clarinet sings the melody, and the English horn is used. Violins then have a song, which is more florid in the repetition. The first section is repeated, and the bassoon takes the place of the clarinet. In a third section which is rhythmically like the second, both melody and harmonies are freshly thought out. This is material of which this dance is made. Danse chinoise. Allegro moderato, B-flat major, 4-4. The music is scored for piccolo, two flutes, two clarinets, bass clarinet, two bassoons, one horn, Glockenspiel, and strings. This charmingly

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* In French a mirliton is also a sort of side dish, "patisserie d'entremets."

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also in D major. The third, G major, modulates toward B minor. Flute and oboe phrases have a running figure for two violins; the harp marks the waltz rhythm, and clarinets and bassoon have sus- tained harmonies. The fourth part is not repeated, and the melody is in the tenor. The coda, after a use of foregoing material, ends brilliantly with the introduction of a new section.

Prelude to "The Mastersingers of Nuremberg." Richard Wagner

(Born at Leipsic, May 22, 1813; died at Venice, February 13, 1883.)

The Vorspiel to "Die Meistersinger von Ntirnberg" was performed for the first time at Leipsic, November 1, 1862. The opera was first performed at Munich, June 21, 1868. The idea of the opera occurred to Wagner at Marienbad in 1845, and he then sketched a scenario, which differed widely from the one finally adopted. It is possible that certain scenes were written while he was composing "Lohengrin," and there is a legend that the quintet was finished in 1845. Some add to the quintet the different songs of Sachs and Walther. Wagner wrote a friend, March 12, 1862: "To-morrow

' I at least hope to begin the composition of ' Die Meistersinger. " The libretto was completed at Paris in 1861. He worked at Biebrich in 1862 on the music. In the fall of that year he wished the public to hear fragments df his new works, as yet not performed nor published, fragments of "Siegfried," "Tristan," "Die Walkure,"—and he himself added to these the overture to "Die Meistersinger," the entrance of the mastersingers, and Pogner's address, from the same opera. His friend, Wendelin Weissheimer (born 1838), opera conductor at Wiirzburg and Mainz, composer, teacher, essayist, organized a concert THE LENOX HOTEL Boylston and Exeter Streets BOSTON

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at Leipsic for the production of certain works. Von Btilow was inter- ested in the scheme, and the concert was given in the hall of the Gewand-

haus, November i, 1862, as stated above. The programme was as follows:

Part I.

Prelude to " Die Meistersinger zu Niirnberg " (new) .... Wagner "Das Grab im Busento," Ballade for Bass, Male Chorus, and Orchestra Weissheimer Sung by Mr. RubsamEn. Concerto in A major (No. 2) for Piano Liszt Mr. v. Bulow. " O lieb' so lang du lieben kannst," Cantata for Mixed Chorus, Solo, and Orchestra Weissheimer

Part II.

"Ritter Toggenburg," Symphony in one movement (five sections) Weissheimer Chorus, " Trocknet nicht " Weissheimer " Chorus, Fruhlingslied " : Weissheimer The duet sung by Miss Lkssiak and Mr. John.

" '. Overture to the opera Tannhauser " . . . Wagner

Wagner conducted the two overtures. The hall was nearly empty, and the concer.t was given at a pecuniary loss. This was naturally a sore disappointment to Wagner, who had written to Weissheimer, October 12, 1862: "Good! 'Tannhauser' overture, then! That's all right for me. For what I now have in mind is to make an out-and- out sensation, so as to make money." Wagner had proposed to add the prelude and finale of "Tristan" to the prelude to "Die Meister- singer"; but his friends in Leipsic advised the substitution of the overture to "Tannhauser." There was not the faintest applause when

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Wagner appeared to conduct. Yet the prelude to "Die Meistersinger was received then with such favor that it was immediately played a second time. One critic wrote: "The overture, a long movement in moderate march tempo with predominating brass, without any distinguishing chief thoughts and without noticeable and recurring points of rest, went along and soon awakened a feeling of monotony." The critic of the Mitteldeutsche Volkszeitung wrote in terms of enthusiasm. The critic of the Signale was in bitter opposition. He wrote at length, and finally characterized the overture as "a chaos, a 'tohu-wabohu,' and nothing more." For an entertaining account of the early adventures of this overture see "Erlebnisse mit Richard Wagner, Franz Liszt, und vielen anderen Zeitgenossen, nebst deren Briefen," by W. Weiss- heimer (Stuttgart and Leipsic, 1898), pp. 163-209. The overture was then played at Vienna (the dates of Wagner's three concerts were December 26, 1862, January 4, 11, 1863), Prague (February 8, 1863), St. Petersburg (February 19, March 6, 8, 10, 1863), and Moscow, Budapest, Prague again, and Breslau, that same year.

I give in condensed and paraphrased form Mr. Maurice KufTerath's analysis of this overture.* This Vorspiel, or prelude, is in reality a broadly developed overture in the classic form. It may be divided into four distinct parts, which are closely knit together. 1. An initial period, moderato, in the form of a march built on four chief themes, combined in various ways. The tonality of C major is well maintained. 2. A second period, in H major, of frankly lyrical character, fully developed, and ima way the centre of the composition. 3. An intermediate episode after the fashion of a scherzo, developed from the initial theme, treated in diminution and in fugued style. 4. A revival of the lyric theme, combined this time simultaneously with the two chief themes of the first period, which leads to a coda wherein the initial phrase is introduced in the manner of a stretto. The opening energetic march theme serves throughout the work to characterize the mastersingers. As Wagner said, "The German is

* See "Les Maitres Chanteurs de Nuremberg," by Maurice Kufferath (Paris and Brussels, 190S), pp. 200-210. LEIGHTON HOUSE Winthrop Highlands, Mass.

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L. E. RICHEY, Prop. 27 — angular and awkward when he wishes to show his good manners, but he is noble and superior to all when he takes fire." The theme might characterize the German bourgeoisie. (Compare Elgar's theme of "London Citizenship," in "Cockaigne.") Secondary figures are formed from disintegrated portions of this theme, and there is a peculiarly appropriate scholastic, pedantic polyphony. Note also how from the beginning a cunning use of the ritardando contributes to the archaic color of the work. The exposition of the initial theme, with the first developments, leads to a second theme of wholly different character. It is essentially lyrical, and, given at first to the flute, hints at the growing love of Walther for Eva. Oboe, clarinet, and horn are associated with the flute, and alternate with it in the development. A Weberish flourish of violins leads to a third theme, intoned by the brass, sustained by harp. It is a kind of fanfare. The theme seems to have been borrowed by Wagner from the "crowned Tone" of Heinrich Miigling. * This pompous theme may be called the fanfare of the corporation, the theme of the guild, or the theme of the banner, the emblem of the corporation. It is soon combined with the theme of the mastersingers, and at the conclusion the whole orchestra is used. There is in this brilliant passage an interesting chromatic walk of trum- pets and trombones, supported by violas and 'cellos. A short and nervous episode of eight measures introduces a series of modulations, which lead to a sweet yet broadly extended melody, the theme that characterizes in general, the love of Walther and Eva. And here begins the second part of the overture. The love theme after development is combined with a more passionate figure, which is used in the opera in many ways,—as when Sachs sings of the spring; as when it is used as an expression of Walther's ardor in the accompani- ment to his trial song in the first act. The tonality of the first period is C major, that of the love music is E major. And now there is an allegretto. The oboe, in staccato notes, traces in double diminution the theme of the initial march; while the clarinet and the bassoon supply ironical counterpoint. The theme of youthful ardor enters in contention; but irony triumphs, and there is a parody (in E-flat) of the solemn March of the Mastersingers, with a

* See "Der Meistergesang in Geschichte'und Kunst," by Curt Mey (Carlsruhe, 1892, pp. 56, 57).

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new subject in counterpoint in the basses. The counter-theme in the 'cellos is the theme which goes from mouth to mouth— in the crowd when Beckmesser appears and begins his Prize Song, "What? He? Does " " ' he dare ? Scheint mir nicht der Rechte! He's not the fellow to do it.

And this mocking theme has importance in the overture ; for it changes position with the subject, and takes in turn the lead. After a return to the short and nervous episode there is a thunderous explosion. The theme of the mastersingers is sounded by the brass with hurried violin figures, at first alone, then combined simultaneously with the love theme, and with the fanfare of the corporation played scherzando by the second violins, violas, and' a portion of the wood- wind. This is the culmination of the overture. The melodious phrase is developed with superb breadth. It is now and then traversed by the ironical theme of the flouted Beckmesser, while the basses give a martial rhythm until again breaks forth from the brass the theme of the corpora- tion. The fanfare leads to a last and sonorous affirmation of the mastersinger theme, which serves at last as a song of apotheosis.

Weissheimer states that Wagner at Biebrich began his work by writing the overture. "He showed me the broad development of the first theme. He already had the theme in K, as well as the characteristic phrase of the trumpets. He had written these themes before he had set a note to the text; and, writing this admirable melody of Walther, he surely did not think of the Preislied in the third act." T Julien Tiersot replies to this: "But, when W agner began to write this music, not only had he been dreaming of the work for twenty years, but he had finished the poem. Is it not plain that after such elaboration the principal musical ideas were already formed in his mind? On the other hand, since the verses were already written, can any one suppose that the melody which was applied to them was com- posed without reference to them, that a simple instrumental phrase was fitted to verses that were already in existence? Impossible. If we admit that the theme has appeared in notation for the first time in this overture, we cannot agree with Weissheimer in his conclusion, that it was composed especially for the overture, and that the composer had not yet thought of applying it to the Preislied. On the contrary, we may confidently affirm that the Preislied, words and music, existed, at least in its essential nature, in Wagner's brain, when he introduced the chief theme of it into his instrumental preface." MUSI CAL INSTRUCTION

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