Twenty-Fourth Rehearsal and Concert

Home , Elena Gerhardt, Eugen Gura, Paul Kalisch

SYMPHONY HALL, BOSTON HUNTINGTON & MASSACHUSETTS AVENUES

Telephones Ticket Office ) j fc * ^ Branch Exchange ( Administration Offices ) THIRTY-FIRST SEASON, 1911 AND 1912

MAX FIEDLER, Conductor

Programme at % Twenty-fourth Rehearsal and Concert

WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE

FRIDAY AFTERNOON, MAY 3 AT 2.30 O'CLOCK

SATURDAY EVENING, MAY 4 AT 8.00 O'CLOCK

PUBLISHED BY C. A. ELLIS, MANAGER

1541 : :

Vladimir De Pachmann

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ON TOUR IN THE UNITED STATES

SEASON: 1911-1912

For generations the appearance of new stars on the musical firmament has been announced — then they came with a temporary glitter — soon to fade and to be forgotten. De Pachmann has outlived them all. With each return he won additional resplendence and to-day he is acknowl- edged by the truly artistic public to be the greatest exponent of the piano of the twentieth century. As Arthur Symons, the eminent British critic, says "Pachmann is the Verlaine or Whistler of the Pianoforte the greatest player of the piano now living." Pachmann, as before, uses the BALDWIN PIANO for the expression of his magic art, the instrument of which he himself says

" .... It cries when I feel like crying, it sings joyfully when I feel like singing. It responds — like a human being — to every mood. I love the Baldwin Piano." Every lover of the highest type of piano music will, of course, go to hear Pachmann — to revel in the beauty of his music and to marvel at it. It is the beautiful tone quality, the voice which is music itself, and the wonderfully responsive action of the Baldwin Piano, by which Pachmann 's miraculous hands reveal to you the thrill, the terror and the ecstasy of a beauty which you had never dreamed was hidden in sounds.

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FRIDAY AFTERNOON, MAY 3, at 2.30 o'clock

SATURDAY EVENING, MAY 4, at 8.00 o'clock

PROGRAMME

Weber Overture to the Opera "Oberon'

Brahms Symphony No. i, in C minor, Op. 68

I. Un poco sostenuto; Allegro. II. Andante sostenuto. III. Un poco allegretto e grazioso. IV. Adagio; Allegro non troppo, ma con brio.

Prelude und Liebestod from "Tristan und Isolde'

" Funeral Music from "Gotterdammerung

Wagner . " Prelude to " Lohengrin

Overture to "Tannhauser"

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 who wish to leave before the end of the concert are requested to do so in an interval between the numbers.

City of Boston. Revised Regulation of August 5. 1808. — Chapter 3. relating to the covering of the head in places of public amusement Every licensee shall not, in bis place of amusement, allow any person to wear upon the head a covering which obstructs the view of the exhibition or performance in such place of any person seated in any seat therein provided for spectators, it being understood that a low head covering without projection, which does not obstruct such view, may be worn. Attest: J. M. GALVIN, City Clerk. 1545 L. P. Hollander & Co,

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1546 Overture to the Opera "Oberon" . . Carl Maria von/ Weber

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

"Oberon; or, the Elf-king's Oath," a romantic opera in three acts, book by James Robinson Planche\ music by Carl Maria von Weber, was first performed at Covent Garden, London, on April 12, 1826. Weber conducted. The cast was as follows: Rezia, Mary Anne Paton; Mermaid, Mary Anne Goward; Fatima, Mme. Vestris; Puck, Harriet

Cawse ; Huon, John Braham ; Oberon, Mr. Gownell ; Scherasmin, acted by Mr. Fawcett, "but a bass singer, named Isaacs, was lugged in head and shoulders to eke out the charming quatuor, 'Over the Dark Blue Waters.'" The first performance in Boston was in Music Hall by the Parepa- Rosa Company, May 23, 1870.* Weber was asked by Charles Kemble in 1824 to write an opera for Covent Garden. A sick and discouraged man, he buckled himself to the task of learning English, that he might know the exact meaning of the text. He therefore took one hundred and fifty-three lessons of an Englishman named Carey, and studied diligently, anxiously.

* The cast was as follows: Rezia, Mme. Parepa-Rosa; Fatima, Mrs. E. Seguin; Puck, Miss Geraldine Warden; Sir Huon, William Castle; Scherasmin, A. Laurence (sic); Oberon, G. F. Hall; Mermaid, Miss Isaacson (?). Carl Rosa conducted. A song "Where Love is, there is Home," arranged by Howard Glover from a theme in one of Weber's pianoforte sonatas, was introduced. The audience was not large, and it was cool.

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of the second part of Huon's air (act i., No. 5). And then a theme taken from the peroration, presto con fuoco, of Rezia's air, "Ocean!

Thou mighty monster" (act ii., No. 13), is given as a conclusion to

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1549 the violins. This theme ends the first part of the overture. The free fantasia begins with soft repeated chords in bassoons, horns, drums, basses. The first theme is worked out in short periods; a new theme is introduced and treated in fugato against a running contrapuntal

counter-theme in the strings. The second theme is treated, but not elaborately; and then the Rezia motive brings the spirited end. At the first performance of the opera the overture was repeated.

Symphony in C minor, No. i, Op. 68 Johannes Brahms

(Born at Hamburg, May 7, 1833; died at Vienna, April 3, 1897.)

Just when Brahms began to make the first sketches of this symphony

is not known. In 1862 Brahms showed Albert Dietrich an early version of the first movement of the symphony. Brahms was then sojourning at Miinster. This first movement was afterward greatly changed. He told his friends for several years afterward that the time for his symphony had not yet arrived. Yet Theodor Kirchner wrote to Marie Ljpsius that Brahms had carried this symphony about with him "many years" before the performance; and Kirchner said that in 1863 or 1864 he had talked about the work with Clara Schumann, who had then showed

him portions of it, whereas "scarcely any one knew about the second symphony before it was completed, which I have reason to believe was after the first was ended; the second, then, was chiefly composed in 1877." The first performance of the Symphony in C minor was from manu-

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1551 script at Carlsruhe by the grand ducal orchestra, November 4, 1876. Dessoff conducted and the composer was present. The first performance in Boston was by the Harvard Musical Asso- ciation, January 3, 1878. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, double-bassoon, four horns, two trumpets, three trombones, kettledrums, strings. The trombones appear only in the finale. The first movements open with a short introduction, Un poco sostenuto, C minor, 6-8, which leads without a pause into the first movement proper, Allegro, C minor. The first four measures are a prelude to the chief theme, which begins in the violins, while the introductory phrase is used as a counter-melody. The development is vigorous, and leads into the second theme, a somewhat vague melody of mel- ancholy character, announced by wood-wind and horns against the first theme, contrapuntally treated by strings. In the development, wind instruments in dialogue bring back a fragment of this first theme, and in the closing phrase an agitated figure in rhythmical imitation of a passage in the introduction enters. The free fantasia is most elaborate. A short coda, built chiefly from the material of the first theme, poco sostenuto, brings the end. The second movement, Andante sostenuto, E major, 3-4, is a pro- WAISTS New Spring Styles

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1553 — foundly serious development in rather free form of a most serious theme.

The place of the traditional scherzo is supplied by a movement, Un poco allegretto e grazioso, A-flat major, 2-4, in which three themes of contrasted rhythms are worked out. The first, of a quasi-pastoral nature, is given to the clarinet and other wood-wind instruments over a pizzicato bass in the 'cellos. In the second part of the movement is a new theme in 6-8. The return to the first movement is like unto a coda, in which there is varied recapitulation of all the themes. The finale begins with an adagio, C minor, 4-4, in which there are hints of the themes of the allegro which follows. And here Mr. Ap- thorp should be quoted: "With the thirtieth measure the tempo changes to piu andante, and we come upon one of the most poetic episodes in all Brahms. Amid hushed, tremulous harmonies in the strings, the horn and afterward the flute pour forth an utterly original melody, the character of which ranges from passionate pleading to a sort of wild exultation according to the instrument that plays it. The coloring is enriched by the solemn tones of the trombones, which appear for the first time in this movement. It is ticklish work trying to dive down into a composer's brain, and surmise what special outside source his inspiration may have had; but one cannot help feeling that this whole wonderful episode may have been suggested to Brahms by the tones of the Alpine horn, as it awakens the echoes from mountain after mountain on some of the high passes in the Bernese Oberland. This is certainly what the episode recalls to any one who has ever heard those poetic tones and their echoes. A short, solemn, even ecclesiastical interruption by the trombones and bassoons is of more thematic importance. As the horn-tones gradually die away, and the cloud-like harmonies in the strings sink lower and lower—like mist veiling the landscape—an impressive pause ushers in the Allegro non troppo, ma con brio (in C major, 4-4 time). The introductory Adagio has already given us SPRING MILLINERY IMPORTED MODELS

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1555 mysterious hints at what is to come ; and now there bursts forth in the strings the most joyous, exuberant Volkslied melody, a very Hymn to Joy, which in some of its phrases, as it were unconsciously and by sheer affinity of nature, flows into strains from the similar melody in the Finale of Beethoven's Ninth Symphony. One cannot call it pla- giarism: it is two men saying the same thing." This melody is repeated by horns and wood-wind with a pizzicato, string accompaniment, and is finally taken up by the whole orchestra, fortissimo (without trombones). The second theme is announced softly by the strings. In the rondo finale the themes hinted at in the introduction are brought in and developed with some new ones. The coda is based chiefly on the first theme.

Prbludb and "Love Death," from "Tristan and Isolds." Richard Wagner

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

The thought of "Tristan and Isolde" was first mentioned by Wagner in a letter to Liszt in the latter part of 1854; the poem was written at Zurich in the summer of 1857, and finished in September of that year; the composition of the first act was completed at Zurich, December 31, 1857 (some say, only in the sketch); the second act was completed at Venice in March, 1859; the third act at Lucerne in August, 1859. The "action in three acts" was performed for the first time at the Royal Court Theatre, Munich, June 10, 1865; * the first performance in Amer-

• The cast at Munich was as follows: Tristan, Ludwig Schnorr von Carolsfeld; Kurvenal, Mitterwurzer; Melot, Heinrich; Marie, Zottmayer; Isolde, Mrs. Schnorr von Carolsfeld; Brangane, Miss Deinet. Hans von Biilow conducted.

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1557 * ica was at the Metropolitan Theatre, New York, December i, 1886;

the first performance in Boston was at the Boston Theatre, April 1, i895-t Both the Prelude and the Love Death were performed in concerts before the production of the opera at Munich. The Prelude was played for the first time at Prague, March 12, 1859, and von Biilow, who conducted, composed a close for concert purposes. It was stated on the programme that the Prelude was performed "through the favor of the composer." The Prelude was also played at Leipsic, June 1, 1859. Yet, when Johann Herbeck asked later in the year permission to perform it in Vienna, Wagner wrote him from Paris that the performance at Leipsic was against his wish, and that, as soon as Herbeck knew the piece, he would understand why Wagner considered it unsuitable for concert purposes. And then Wagner put the Prelude on the programme of his concert given in Paris, January 25, i860, and arranged the ending. Wagner himself frequently conducted the Prelude and Love Death, arranged by him for orchestra alone, in the concerts given by him in 1863. At those given in Carlsruhe and Lowenberg the programme characterized the Prelude as "Liebestod" and the latter section, now known as "Liebestod," as "Verklarung" ("Transfiguration"). The Prelude, Langsam und schmachtend (slow and languishingly),

* The cast at the first performance in New York was as follows: Tristan, Albert Niemann; Kurvenal, Adolph Robinson; Melot, Rudolph von Milde; Marke, Emil Fischer; Isolde, Lilli Lehmann; Brangane, Marianne Brandt; Ein Hirt, Otto Kemlitz; Steuermann, Emil Sanger; Seemann, Max Alvary. Anton Seidl conducted.

t The cast at the first performance in Boston was: Tristan, Max Alvary; Kurvenal, Franz Schwarz; Melot, Jas. F. Thomson; Marke, Emil Fischer; Seemann, Mr. Zdanow; Isolde, Rosa Sucher; Brangane, Marie Brema. Walter Damrosch conducted.

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1559 — in A minor, 6-8, is a gradual and long-continued crescendo to a most sonorous fortissimo; a shorter decrescendo leads back to pianissimo. It is free in form and of continuous development. There are two chief themes: the first phrase, sung by 'cellos, is combined in the third measure with a phrase ascending chromatically and given to the oboes. These phrases form a theme known as the Love Potion motive, or the motive of Longing; for commentators are not yet agreed even as to the terminology. The second theme, again sung by the 'cellos, a vo- luptuous theme, is entitled Tristan's Love Glance. The Prelude is scored for three flutes (one interchangeable with piccolo), two oboes, cor anglais, two clarinets, bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, kettledrums, strings. Isolde's Love Death is the title given, as some say, by Liszt to the music of Isolde dying over Tristan's body. The title is also given to the orchestral part of the scene played as concert music without the voice part. The music is scored for the same orchestra as the Prelude with the addition of a harp. The text of "Isoldens Liebestod" is as follows:

ORIGINAL GERMAN. ENGLISH PROSE TRANSLATION.* Mild und leise How gently he smiles and softly, how

wie er lachelt, he sweetly opens his eyes : see ye it, wie das Auge friends, can ye not see it? How he hold er offnet: shines ever brighter, raises himself on seht ihr's, Freunde, high amid the radiant stars: do ye not sah't ihr's nicht? see it? How bravely his heart swells Immer lichter and gushes full and sublime in his wie er leuchtet, bosom, how sweet breath is gently Stern-umstrahlet wa ted from his lips, ecstatically hoch sich hebt: tender:—Friends, look,—feel ye and seht ihr's nicht? see ye it not?—Do I alone hear this Wie das Herz ihm lay which so wondrously and softly, muthig schwillt, ecstatically complaining, all-saying, voll und hehr gently reconciling, sounds forth from im Busen quillt, * This prose translation is by Mr. W. F. Apthorp.

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1560 ——— —— — .

wie den Lippen him and penetrates me, soars aloft, wonnig mild and sweetly ringing sounds around siisser Athem me? As it sounds clearer, billowing sanft entweht: about me, is it waves of gentle breezes? Freunde, seht, Is it clouds of ecstatic perfume? As fiihlt und seht ihr's nicht? they swell and roar around me, shall Hore ich nur I breathe? shall I hearken? Shall diese Weise, I sip, dive under, sweetly exhale my- die so wunder- self away in odors? In the billowing voll und leise, surge, in the resounding echo, in the Wonne klagend, World-breath's waving All—to drown Alles sagend, —to sink—unconscious—highest joy mild versohnend aus ihm tonend, in mich dringet, auf sich schwinget, hold erhallend um mich klinget? Heller schallend, mich umwallend, sind es Wellen sanfter Liifte? sind es Wolken wonniger Diifte? Wie sie Schwellen, mich Umrauschen soil ich athmen, soil ich lauschen? Soil ich schliirfen, untertauchen, suss in Diiften mich verhauchen ? In dem wogenden SchwaL. in dem tonenden Schall, in des Welt-Athems wehenden All ertrinken versinken unbewusst hochste Lust!

[Isolde sinkt, wie verklart, in [Isolde sinks, as if transfigured, in Brangane's Armen sanft auf Tristan's Brangane's arms gently upon Tristan's Leiche. Grosse Riihrung und Entruck- dead body. Great emotion in all pres- heit unter den Umstehenden.] ent.]

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Arranged for Violin and Piano by ALFRED MOFFAT (Schirmer's Library, No. 1088). Price $1.50 John Collet. Largo cantabile Richard Jones. Corrente Matthew Dubourg. Jigg and Menuet James Oswald. Lento affettuoso and Giga Henry Eccles. Adagio and Corrente John Ravenscroft. Two Hornpipes a 1' Inglese John George Freake. Intermedio John Stanley. Gavot and Menuet Joseph Jackson. Tambourin Robert Valentine. Allegro vivace This group of ten arrangements from the figured basses of olden manuscripts covers a period extend- ing from 1670 to 1786, and comprises some of the most characteristic pieces written by the 17th and 18th century English composers of fiddle music. The numbers selected show much variety of form, style, and interest in the handling of their ingenuous yet none the less pleasing themes. Violinists will find them all well adapted for performance.

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1562 — —

Funeral Music, from " Gotterdammkrung " ("Dusk of the Gods"), Act III., Scene 2 Richard Wagner

This music is not a funeral march. It has nothing to do with the last

rites and ceremonies paid Siegfried. It is a collection of prominent leit-motive which are associated with the hero or with the Volsung race. These motives are named by Mr. W. F. Apthorp in the following order: "I. The Volsung Motive (slow and solemn in horns and tubas, repeated by clarinets and bassoons). " II. The Death-Motive (crashing C minor chords in brass, strings, and kettledrums, interspersed with running passages in triplets in the lower strings). " III. The Motive of the Volsungs' Heroism (slow and stately, in tubas and horns). " IV. The Motive of Sympathy * (worked up in imitation in wood- wind and horns), merging soon into: "V. The Love-Motive (in the oboe).

" (The bass under these last two motives is a further development of

the Volsung-Motive, which is carried on for five measures more in the

• Siegmund and Sieglinde (Siegfried's father and mother) in the first scene of Die Walkiire.

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1563 double-basses, bass-clarinet, bassoons, and bass and contra-bass tubas, against the running triplet figure from the Death-Motive in the violins.) "VI. The Sword-Motive (in the trumpet). "VII. The Motive of Glorification in Death (the crashing chords of the Death-Motive in the major mode; the full orchestra). "VIII. The Siegfried-Motive (in the horns and bass-trumpet; afterwards in the trumpets). "IX. The Motive of Siegfried the Hero (a rhythmic modifica- tion of 'Siegfried's horn-call,' in all the brass). "X. The BrunnhiedE-Motive (in the clarinet and English-horn). "Of all these the only one which keeps constantly recurring in one form or another is the Death-Motive, either in its original minor shape, or else in the major mode as the 'Motive of Glorification in Death.' "This music on Siegfried's death comes to no definite close in the drama itself, but merges gradually into the third, and final, scene of the act, which ends with Brunnhilde's dying speech over the hero's remains, her self-immolation, and the mystic shadowing forth of Ragnarok, or

the Dusk of the Gods {Gotterd'dmmerung) , from which the drama takes its name." Gotterdammerung was performed for the first time at the Festival

Theatre in Bayreuth, August 17, 1876. The cast was as follows: Sieg- fried, Georg Unger; Gunther, Eugen Gura; Hagen, Gustav Siehr; Alberich, Carl Hill; Briinnhilde, Amalia Friedrich-Materna; Waltraute, Luise Jaide; The Three Norns, Johanna Jachmann-Wagner, Josephine Scheffsky, Friedricke Griin; The Rhine Daughters, Lilli Lehmann, Marie Lehmann, Minna Lammert. Hans Richter conducted. The first performance in America was at the Metropolitan Opera House, New York, January 25, 1888. The first performance in Boston was at the Boston Theatre, April

5, 1889. Siegfried, Paul Kalisch; Briinnhilde, Lilli Lehmann; Gutrune,

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1565 Louise Meisslinger; Gunther, Joseph Beck; Hagen, Emil Fischer. Anton Seidl conducted. This funeral march music entitled "Siegfried's Death" was played in

Boston by Theodore Thomas's Orchestra as early as February 19, 1877.

Prelude to the Opera "Lohengrin" .... Richard Wagner

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

"Lohengrin," an opera in three acts, was performed for the first time at the Court Theatre, Weimar, August 28, 1850. The cast was as follows: Lohengrin, Beck; Telramund, Milde; King Henry, Hofer; the Herald, Patsch; Ortrud, Miss Fastlinger; Elsa, Miss Agthe. Liszt conducted. The first concert performance of the Prelude, which was completed August 28, 1847, and scored during the following winter and spring, was on January 17, 1853, in the Gewandhaus Leipsic. The first performance of the Prelude in Boston was at a Philharmonic

concert, January 14, i860. The Prelude is the development and working out of the Sangreal motive. Berlioz described the composition as a gradual crescendo

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1566 — leading to a shorter decrescendo. "Like the hero's career in the opera," says Mr. Apthorp, "it begins, as it were, in the clouds, then gradually descends farther and farther until it embraces all the low- est tones of the orchestra, and then returns to the clouds again. Its single theme is developed in free polyphony by various successive groups of instruments, each of which groups proceeds with free counter-thematic work as the next group enters with the theme. First we have the violins piano in their higher register; then come the flutes, oboes and clarinets; then the violas, 'cellos, horns, bassoons, and double-basses; lastly the trumpets, trombones, and tuba fortissimo; then comes the decrescendo, ending pianissimo in the high violins and flutes."

The Prelude is scored for three flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, four horns, three trumpets, three trombones, bass tuba, a set of three kettledrums, cymbals, four solo violins, and the usual strings. Liszt described the Prelude as "a sort of magic formula which, like a mysterious initiation, prepares our souls for the sight of unaccus- tomed things, and of a higher signification than that of our terrestrial life."

A SHROPSHIRE LAD SONG CYCLE FORvoTM By CHARLES FONTEYN MANNEY Op. 22 Price, Postpaid. $1.25

THE text of these songs is by A. E. Housman, the verses being subjectively connected in that they set forth a sequence of emotional experiences, as indicated by the titles:

I. YOUTH. 2. HEART WOUNDS. 3. EXILE. 4. HOME LONGING. 5. GRIEF. 6. DISILLUSION.

These songs are of true concert character, varied in mood, modern in musical thought, spon- taneous in melody, and will strongly appeal to artistic singers in search of a novel recital number.

" In the music the composer frequently introduces a phrase or rhythm that has a passing resemblance to some of the old English composers — quaint touches, which serve, however, merely as accessories to the modern harmonies. The work is devoid of sensationalism, and has a great deal of musical interest." Musical Courier. UBOJOa BOSTON eSHsOfl NEW YORK iJEBaQca 1567 ;

Overture to the Opera "Tannhauser" . . . Richard Wagner

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

"Tannhauser und der Sangerkrieg auf Wartburg," romantic opera in three acts, book and music by Richard Wagner, was first performed at the Royal Opera House in Dresden, under the direction of the composer, on October 19, 1845. The cast was as follows: Hermann, Dettmer; Tannhauser, Tichatschek; Wolfram, Mitterwurzer; Walther,

Schloss; Biterolf, Wachter; Heinrich, Gurth ; Reimar, Risse ; Elisabeth,

Johanna Wagner; Venus, Schroeder-Devrient ; a young shepherd, Miss Thiele. The first performance in the United States was at the Stadt Theatre,

New York, April 4, 1859, and the cast was as follows: Hermann, Graff;

Tannhauser, Pickaneser; Wolfram, Lehmann ; Walther, Lotti; Biterolf,

Urchs; Heinrich, Bolten ; Reimar, Brandt; Elisabeth, Mrs. Siedenburg Venus, Mrs. Pickaneser. Carl Bergmann conducted. The New York Evening Post said that the part of Tannhauser was beyond the abili- ties of Mr. Pickaneser: "The lady singers have but little to do in the opera, and did that little respectably." The overture was played for the first time in Boston, October 22, 1853, at a concert of the Germania Musical Society, Carl Bergmann conductor. The programme stated that the orchestra was composed of "fifty thorough musicians." A "Finale" from "Tannhauser" was performed at a concert of the Orchestral Union, December 27, 1854. The first performance of the pilgrims' chorus was at a Philharmonic concert, January 3, 1857, a concert given by the Society "with the highly valuable assistance of Herr Louis Schreiber, solo trumpet player to the king of Hanover."

During the Summer D. M. SHOOSHAN months, send your

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1568 The first performance of the opera in Boston was at the Boston

Theatre, January 20, 187 1, with Mme. Lichtmay, Elisabeth; Mme. Roemer, Venus; Carl Bernard, Tannhauser; Vierling, Wolfram; and Franosch as the Landgrave. The coda of the overture was cut out, and the overture was connected with a new version of the first scene of the opera for the performance of the work in a translation by Charles Nuitter into French at the Opera, Paris, March 13, 1861. Some consider therefore the overture in its original shape as a concert overture, one no longer authentically connected with the opera.

The overture is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, bass tuba, kettledrums, cymbals, triangle, tambourine, strings. It begins with a slow introduction, Andante maestoso, E major, 3-4, in which the pilgrims' chorus, "Begliickt darf nun dich, o Heimath, ich schauen," from the third act, is heard, at first played piano by lower wood-wind instruments and horns with the melody in the trombones against a persistent figure in the violins, then sinking to a pianissimo (clarinets and bassoons). They that delight in tagging motives so that there may be no mistake in recognition call the first melody the "Religious Motive" or "The Motive of Faith." The ascending phrase given to the violoncellos is named the "Motive of Contrition," and the persistent violin figure the "Motive of Rejoicing." The main body of the overture, Allegro, E major, 4-4, begins even before the completion of the pilgrims' song with an ascending first theme (violas), "the typical motive of the Venus Mountain."

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1569 Boston Symphony Orchestra

Season of 1912 and 1913

eft 0> O

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S llftiii I Hi « H

Dr. KARL MUCK, Conductor

Your order for season tickets is respectfully solic- ited. Each order given personal attention and executed for a small commission. Satisfaction guaranteed. BURKE, Adams House

Phones, Oxford 935 and 942 1570 "Inside the Horsel here the air is hot; Right little peace one hath for it, God wot; The scented dusty daylight burns the air, And my heart chokes me till I hear it not."

The first period of the movement is taken up wholly with bacchanalian music from the opening scene in the Venus Mountain; and the motive that answers the ascending typical figure, the motive for violins, flutes, oboes, then oboes and clarinets, is known as the theme of the bacchanal, "the drunkenness of the Venus Mountain." This period is followed by a subsidiary theme in the same key, a passionate figure in the violins against ascending chromatic passages in the 'cellos. The second theme, B major, is Tannhauser's song to Venus, "Dir t6ne Lob!" The bacchanal music returns, wilder than before. A pianissimo episode follows, in which the clarinet sings the appeal of Venus to Tannhauser, "Geliebter, komm, sieh' dort die Grotte," the typical phrase of the goddess. This episode takes the place of the free fantasia. The third part begins with the passionate subsidiary theme, which leads as before to the second theme, Tannhauser's song, which is now in E major. Again the bacchanalian music, still more frenetic. There is stormy development; the violin figure which accompanied the pilgrims' chant returns, and the coda begins, in which this chant is repeated. The violin figure grows swifter and swifter as the fortissimo chant is thundered out by trombones and trumpets to full harmony in the rest of the orchestra.

1571 .

WORKS PERFORMED AT THE SYMPHONY CONCERTS DURING THE SEASON OF 191 1-1912.

Works marked with a double asterisk were performed for the first time in Boston. Works marked with an asterisk were performed for the first time at these concerts. Works marked with a dagger were performed for the first time anywhere. Artists marked with an asterisk appeared at these concerts for the first time. Artists marked with a double asterisk appeared for the first time in Boston. Artists marked with a dagger are members of the Boston Symphony Orchestra. PAGE Anonymous: "Jena" Symphony in C major ** (see Beethoven), December 30, 191 1 694

Bach : Pastorale from the Christmas Oratorio, December 23,1911 619 BalakirEFF: Overture on a Theme of a Spanish March,** November 25, 191 1 442 Bantock: "Dante and Beatrice," poem for orchestra,** Octo- ber 28, 191 1 239 Beethoven: Symphony No. 3, E-flat major, "Eroica," Op. 55, October 14, 191 1 75

Symphony No. 4, B-flat major, Op. 60, December 16, 191 1 . 551

Symphony No. 5, C minor, Op. 67, April 6, 1 91 2 1389 Symphony No. 7, A major, Op. 92, April 6, 1912 1369 Funeral March from "Eroica" Symphony (in memory of those lost on the Titanic, April 14, 1912), April 27, 1912, 1481

Overture to "Leonora," No. 3, Op. 72, April 6, 1912 . . . 1355 Overture to "Fidelio," Op. 72, January 20, 1912 862

Overture to Goethe's "Egmont," Op. 84, March 2, 1912 . 1095

Overture to "King Stephen," Op. 117, November 25, 191 1 . 413 Concerto for pianoforte, E-flat major, No. 5, Op. 73 (WiL- helm Bachaus*), March 16, 191 2 1241 " Scene, Abscheulicher ! wo eilst du hin?" and Aria, "Komm Hoffnung," from "Fidelio" (Berta MorEna), Decem- ber 30, 1911 701 "Jena" Symphony,** attributed by some to Beethoven (see Anonymous) Berlioz: Minuet of Will-o'-the-Wisps, Ballet of Sylphs, and Rakoczy March from "The Damnation of Faust," De- cember 23, 191 1 652

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Overture "The Roman Carnival," Op. 9, April 27, 191 (see footnote) Overture to "Benvenuto Cellini," Op. 23, March 2, 1912, 1131 BoEllmann: Symphonic Variations for solo violoncello and orchestra, Op. 23 * (Alwin ScHROEDERf), December 16, 1911 574 Bossi: Goldonian Intermezzi, Op. 127 (Nos. I., II., V., and VI.), October 7, 191 1 32

Brahms: Symphony No. 1, C minor, Op. 68, May 4, 1912 . . . 1550 Symphony No. 2, D major, Op. 73, March 2, 1912 .... 1104 Symphony No. 4, E minor, Op. 98, October 28, 191 1 ... 216 .* Academic Festival Overture, Op. 80, October 14, 1911 . . 117 Concerto in D major for violin, Op. 77 (Anton Witek f), January 20, 1912 832

Bruch : Concerto for violin, No. 1 , G minor, Op. 26 (Bessie BELL Collier), March 30, 191 2 1289 Fantasie on Scottish Airs for violin, Op. 46 (Kathleen Par- Low), December 2, 191 1 499 "Kol Nidrei," Adagio for violoncello with orchestra and

harp, Op. 47 (Alwin ScHROEDERf), December 16, 191 1, 572 Andromache's Lament from "Achilles," Op. 50 (Ernestine

Schumann-Heink), November 18, 191 1 365 Bruckner: Symphony, E major, No. 7, January 6, 191 2 ... 755 Charpentier: Air, " Depuis le jour," from "Louise" * (Alma Gluck*), October 7, 191 1 48 * Cherubini: Overture to "Lodoiska," October 28, 1911 . . . 211 Chopin: Concerto No. 2 for piano, F minor, Op. 21 (JosEF HoF- mann), January 6, 1912 783

Converse: "Ormazd," Symphonic poem,** February 10, 191 2 . 1000 Debussy: Three Nocturnes (with the aid of the Musical Art Club), April 27, 1912 1503

Footnote.—Berlioz's " Roman Carnival" played only at this concert; not at the Public Rehearsal, April 26. TAXI?K^?5500 Boston Cab Co. Horse Vehicles GIVE YOUR ORDER TO THE USHER

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1573 ' " " ' ' Iberia : Images ' for orchestra , No . 2 , December 23,1911, 648 Prelude to " VApres-Midi d'un Faune" (after S. Mallarme), November 4, 191 1 308 Deuus: "In a Summer Garden," ** April 20, 191 2 1456 Dvorak: Dramatic overture, "Husitska," Op. 67, January 27, 1912 931 Elgar: Symphony, K-flat major, No. 2, Op. 62,** December 2,

191 1 483 EnESCo: Suite for orchestra, Op. 9, December 30, 191 1 .... 706 Rhapsodie Roumaine, A major, Op. 11, No. 1,** February 1-7, 1912 1068

F00TE: Four Character Pieces, Op. 48,** April 20, 1912 . . . 1436 Forsyth: Chant Celtique for viola and orchestra* (Emile FERiRf), April 26, 1912 (see footnote) 1499 Franck: Symphony in D minor, November 25, 1911 415 Glazounoff: Concerto for violin, Op. 82,** (Efrem Zimba-

UST**), October 28, 191 1 238

Gluck: Overture to "Iphigenia in Aulis," December 23, 191 1 . 624 Goetz: Scena, " Die Kraft versagt," from " Der Widerspenstigen

Zahmung" (EeEna GerhardT *), February 17, 1912 . 1043 Grieg: Old Norwegian Romance with Variations, Op. 51,**

November 18, 191 1 371 Haydn: Symphony in G major (B. & H., No. 13), December 23, 191 1 640

D'Indy: Symphonic Variations, "Istar," Op. 42, November 4, 1911 318 Lalo: Concerto for violoncello (Heinrich WarnkeI), February 10, 191 1 983

Liszt : Symphony after Dante's "Divine Comedy," October 21, 1911 143

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1575 "Tasso: Lamentoe Trionfo," symphonic poem No. 2, Octo- ber 21, 1911 169

"Les Preludes," symphonic poem No. 3, October 21, 191 1 . 143 Concerto in E-flat major, No. 1 (Rudolph Ganz), October 21, 1911 164 Concerto in A major, No. 2 (Heinrich Gebhard), March 2, 1911 1117 Song, "Die drei Zigeuner," * (Ernestine Schumann- Heink), November 18, 191 1 384 Mendelssohn: Overture to "A Midsummer Night's Dream," Op. 21, March 30, 191 2 1324 Overture to "The Legend of the Fair Melusina," Op. 32, November 4, 191 1 279

Mozart: Symphony in G minor (K. 550), February 17, 1912 . 1027

Overture to "The Marriage of Figaro," December 30, 191 1 . 687 Overture to "The Magic Flute," April 20, 1912 1419 Concerto for violin, D major, No. 4,* K. 218 (Sylvain Noack f), April 20, 1912 H32 Aria, "Con vezzie, con lusinghe," * from "II Seraglio" (Alma Gluck *), October 7, 191 1 29 Rachmaninoff: Symphony No. 2, E minor, Op. 27, March 30, 1912 1291 REGER: Comedy overture, Op. 120, f October 7, 191 1 ...... 49

Rimsky-KorsakoFE : Symphonic Suite, "Scheherazade" (after "The Thousand Nights and a Night"), Op. 35, No- vember 18, 191 1 347

Schubert: Unfinished Symphony in B minor, October 14, 19 n . 89 Song, "Die junge Nonne," orchestral accompaniment by Liszt (Ernestine Schumann-Heink), November 18, 1911 382 Schumann: Symphony, B-flat major, No. 1, Op. 38, October 7, 1911 12

Symphony, C major, No. 2, Op. 61, January 27, 1912 . . . 891 Concerto in A minor for pianoforte, Op. 54 (Harold Bauer), November 25, 191 1 428 REMOVAL HILL, SMITH & GO,

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1577 10,** Sibelius: "Karelia" Overture, Op. November 18, 191 1 . 387 Concerto for violin, D minor, Op. 47 (Maud Powell), March 9, 1912 1177

Smetana: Overture to "The Sold Bride," March 9, 191 2 . . . . 1196 Strauss: "Tod und Verklarung," tone-poem, Op. 24, February 17, 1912 1048 "Till Hulenspiegel's Merry Pranks, after the Old-fashioned, Roguish Manner,—in Rondo Form, " tone-poem, Op. 28, December 16, 191 1 586 "Also sprach Zarathustra," tone-poem (freely after Fr. Nietzsche), Op. 30, November 4, 191 1 293 Symphonia Domestica, Op. 53, March 16, 1912 1256

Love Scene from "Feuersnot," Op. 50, December 16, 191 1 . 579 ** Salome's Dance, from "Salome," April 27, 1912 1505 Strube: Symphony in B minor, January 20, 191 2 823 Fantastic Dance for orchestra with viola solo (Emil,E Fijrir t). April 26, 1912 (see footnote) 1500

Tschaikowsky : Symphony, F minor, No. 4, Op. 36, February 10, 1912 959 "Romeo and Juliet," overture-fantasia after Shakespeare, December 2, 191 1 511 Concerto for pianoforte, B-flat minor, No. 1, Op. 23 (Katha- rine Goodson), January 27, 1912 904 Wagner: A "Faust" Overture," April 27, 191 2 1483 "A Siegfried Idyl," April 27, 1912 1488

Overture to "The Flying Dutchman," January 6, 191 2 . . 790 Overture to "Tannhauser," May 4, 1912 1568 Prelude to "Lohengrin," May 4, 1912 1566 Prelude und Liebestod from "Tristan und Isolde," May 4, 1912 " 1556 Prelude to "Die Meistersinger von Nurnberg," April 20, 1912 1458

Funeral Music from "Gotterdammerung," May 4, 191 2 . . 1563

" Footnote.—Strube's Dance" was not played at the concert of April 27.

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47 Winter Street . Boston, Mass. Telephone Back Bay 2330 Telephone 2033-2 Oxford 1578 Finale of " Gotterdammerung " (B-ERTa MorEna), Decem- ber 30, 1911 715 Song, "Traume," orchestral accompaniment by Mottl (Er-

nestine Schumann-Heink) , November 18, 191 1 . . . 378 6,** Wallace: "Villon," symphonic poem No. April 20, 191 2 . 1440 Weber: "Jubel" Overture, Op. 59, October 7, 191 1 7 Overture to "Der Freischiitz," March 16, 1912 1227 Overture to "Oberon," May 4, 1912 1547 WEingartner: Symphony, E major, No. 3, Op. 49,** March 2 9> 191 • • 1163 ; Wolf: Song, "Der Freund," * with orchestral accompaniment (Elena Gerhardt *), February 17, 1912 1056 Song, " Verborgenheit," * with orchestral accompaniment (Elena Gerhardt*), February 17, 1912 1058 Song, "Er ist's," with orchestral accompaniment (Elena Gerhardt *), February 17, 1912 1061

SUMMARY.

Anonymous . . Goetz Bach Grieg Balakireff Haydn Bantock D'Indy

Beethoven 1 Lalo Berlioz 3 Liszt Boellmann Mendelssohn ...... Bossi Mozart 5

Brahms Rachmaninoff 1 Bruch RlMSKY-KORSAKOFF .... I Bruckner Reger I Charpentier Schubert 2 Cherubini Schumann 3 Chopin Sibelius 2 Converse Smetana 1 Debussy Strauss 6 Delius Strube 2 DvorAk tschaikowsky 3 Elgar Wagner 10

Enesco Wallace . . 1

Foote Weber . . . 3 Forsyth WEingartner 1

Franck Wolf . . . 3 Glazounoff Gluck 105 A SUMMER SCHOOL OF MUSIC

Will be opened on July ist in the Kartause (formerly a Carthusian Monastery) in Dorf Aggsbach on the Danube, Lower Austria. Apply to Secretary ALICE H. BAKER, The Hemenway, Westland Ave., Boston ILLUSTRATED booklet 1579 ORCHESTRAL COMPOSITIONS PERFORMED FOR THE FIRST TIME IN BOSTON.

Symphonies, Anonymous: "Jena" Symphony, C major, attributed to Beet- hoven, December 30, 191 1. Elgar: Symphony in E-flat major, No. 2, Op. 62, December 2, 1911.

WEingartnER : Symphony in E majo^ No. 3, Op. 49, March 9, 1912 3

Symphonic Poems.

BanTock: "Dante and Beatrice," October 28, 1911. Converse: "Ormazd," February 10, 191 2. Deuus: "In a Summer Garden," April 20, 191 2.

Wallace: "Villon," symphonic poem No. 6, April 20, 191 2 . . 4

Suites, Rhapsodies, etc.

Enesco: Rhapsodie Roumaine, A major, Op. 11, No. 1, Febru- ary 17, 1912. F00TE: Four Character Pieces, Op. 48, April 20, 1912. Grieg: Old Norwegian Romance with Variations, Op. 51, No- vember 18, 191 1.

Strauss: Salome's Dance, from "Salome," April 27, 1912 . . . 4

Overtures. Balakirefe: Overture on a Theme of a Spanish March, Novem- ber 25, 1911. REGER: Comedy Overture, Op. 120 (first performance), October 7, 1911. Sibelius: "Karelia," Op. 10, November 18, 191 i 3

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Concertos.

Glazounoff: Concerto for violin, Op. 82 (EfrEm Zimbaust **), October 28, 191 1

ORCHESTRAL PIECES, CONCERTOS, ETC., FOR THE FIRST TIME AT THESE CONCERTS.

BoEluviann: Symphonic Variations for solo violoncello and or-

chestra, Op. 23 (Alwin Schroeder f), December 16, 1911. CheRUBini: Overture to "Lodoi'ska," October 28, 191 1. Forsyth: Chant Celtique for viola and orchestra (EmilE Ferir f), April 26, 1912.

Mozart : Concerto for violin, D major, No. 4, K. 218 (Sylvain Noack f), April 20, 1912 4

ARIAS AND SONGS SUNG FOR THE FIRST TIME AT THESE CONCERTS.

CharpEnTier: Air, "Depuis le Jour," from "Louise" (Aema

Geuck *), October 7, 1911. • Liszt: Song, "Die drei Zigeuner" (Ernestine Schumann- Heink), November 18, 191 1. Mozart: Aria, "Con vezzie, con lusinghe," from "II Seraglio" (Aema Geuck *), October 7, 191 1.

Wolf: Song, "Der Freund," with ' orchestral accompaniment (Elena Gerhardt *), February 17, 191 2. Song, " Verborgenheit," with orchestral accompaniment (Elena Gerhardt *), February 17,1912 5

DE MERITTE SCHOOL Paris Pattern Supply Co. 81 8 BOYLSTON STREET. BOSTON Twelfth Year Are fitting Ladies to Dresses Absolutely A preparatory school for boys who want Perfect. In Paper Patterns of Skirts, an education. Coats, Waists, Shirt Waists, etc. From The Upper Grade prepares for college and the scientific schools. these fitted patterns a lady can make The Lower Grade gives to boys from ten her dress without trying on. to fourteen years of age a careful training for the work of the upper grade. near Herald Building EDWIN DE MERITTE, A. B., Prin. 169 Tremont St.,

The Elinor Comstock Music School A resident and day school. Leschetizky method. Piano teachers all Leschetizky pupils. Vocal, Harmony, Ensemble playing, Sight reading, Lectures on current operas and concerts. Classes arranged in French, Classic Dancing, Literature and History of Art. Catalogues. Miss ELINOR COMSTOCK, 1000 Madison Ave., New York City 1581 THE FOLLOWING ARTISTS HAVE APPEARED THIS SEASON

PAGE Mr. Wilhelm Bachaus,* Pianist, March 16, 191 2, Beethoven's

Concerto No. 5, in E-flat major, Op. 73 (Sketch) . . . 1240 Mr. Harold Bauer, Pianist, November 25, 191 1, Schumann's Concerto in A minor, Op. 54 (Sketch) 424 Miss Bessie Bell Collier,* Violinist, March 30, 1912, Bruch's Concerto, G minor, No. 1, Op. 26 1289 Mr. Bmile FERiR.t Viola, April 26, 191 2, Forsyth's Chant Cel- tique * and Strube's Fantastic Dance (Sketch) (see footnote) 1497 Mr. Rudolph Ganz, Pianist, October 21, 191 1, Liszt's Concerto, No. 1, E-flat major (Sketch) 163

Mr. Heinrich Gebhard, Pianist, March 2, 191 1, Liszt's Concerto in A major, No. 2 (Sketch) 11 14 Miss Elena Gerhardt,* Soprano, February 17, 191 2, Goetz, scena, "Die Kraft versagt" from "Der Widerspensti- gen Zahmung," and these songs with orchestra: Wolf, "Der Freund," * "Verborgenheit," * "Er ist's" (Sketch) 1043 Mme. Alma Gluck, * Soprano, October 7, 191 1, Mozart, "Con * " vezzie, con lusinghe," from II Seraglio" ; Charpentier, "Depuis le jour," * from "Louise" (Sketch) 28 Miss Katharine Goodson, Pianist, January 27, 191 2, Tschai- kowsky's Concerto No. 1, B-flat minor, Op. 23 (Sketch), 900 Mr. Josef Hofmann, Pianist, January 6, 191 2, Chopin's Concerto No. 2, F minor, Op. 21 (Sketch) '781

Mme. Berta Morena, Soprano, December 30, 191 1, Beethoven,

scene, " Abscheulicher ! wo eilst du hin?" and aria,

' ' ' ' ' Komm Hoffnung, ' from ' Fidelio ; Wagner, Finale of ' " Gotterdammerung " (Sketch) 701 Mr. Sylvain Noack,! Violinist, April 20, 19 12, Mozart, Concerto in D major, No. 4 (K. 218) (Sketch) 1430

Footnote.—Mr. Ferir did not play at concert April 27, on account of sickness.

OF INTEREST TO WOMEN! MADAM SARA Mme. J. C. Rondelle Corsetiere q Advises every woman to de Paris wear her famous LA PATRICIA Custom-made Corieti To individual measure- ments ONLY. IMPORTER Also New Tricot models, ^fll^SMHS suitable for street wear

_ .. , „ . ., as well as athletic; and "ToiktU oj[Pnncess Mar- the well-known Hermonsa tuertte 0/ Volms —157»- Ready-to-wear Corsets. ROBES ET MANTEAUX TUBE Petticoats and KNICKERBOCKER Underwear unexcelled for style and value. LA PATRICIA CUSTOM CORSET CO. 120 Boylston Street - - - Boston Telephone, Oxford 4386 R Boylston Street New York Shop, 4 W. 33d Street 90s 1582 Miss Kathleen Parlow, Violinist, December 2, 191 2, Bruch, Fantasie on Scottish Airs, Op. 46 (Sketch) 497 Miss Maud PowEEL, Violinist, March 9, 19 12, Sibelius, Con- certo in D minor, Op. 47 (Sketch) ...... 11 76 Mr. Aewin ScHROEDER,f Violoncellist, December 16, 191 1, Bruch, "Kol Nidrei," Adagio for 'cello with orchestra and harp, Op. 47; Boellmann, Symphonic Variations,* Op. 23 (Sketch) 568 Mme. Ernestine Schumann-Heink, Contralto, November 18,

191 1, Bruch, Andromache's Lament from "Achilles," Op. 50; Songs with Orchestra: Wagner, "Traume" " " (orchestrated by Mottl) ; Schubert, Die junge Nonne (orchestrated by Liszt); Liszt, "Die drei Zigeuner"* (Sketch) 361 Mr. Heinrich Warnke,! Violoncellist, February 10, 191 2, Lalo, Concerto (Sketch) 982 Mr. Anton WiTEK,f Violinist, January 20, 191 2, Brahms, Con- certo, Op. 77 821 Mr. EFREM Zimbaust,** Violinist, October 28, 191 1, Glazounoff, Concerto, Op. 82** (Sketch) 237

Sopranos: Miss Elena Gerhardt,* Mme. Alma Gluck,* Mme. Morena 3 Contralto: Mme. Schumann-Heink 1

Carried forward 4

Edward B. Kinney Vocal £s>pecmltet 780 WEST END AVENUE S.E. Corner 98th STREET NEW YORK Phone, 1404 River

As organist and choirmaster of one of New York's large churches, and a producer of light operas, Mr. Kinney gives his pupils unusual chances. He not only places the voice, but prepares the young artist for a career. His experience in caring for and restoring abused and appar- ently lost voices is invaluable. Examination by appointment.

CHARMING TOUR — Denmark, These parties organized and conducted Sweden, six-day cruise in Norway by Rev. Andrew J. Graham — Eighth Fjords, Germany, Rhine, Netherlands, Season. Mrs. Graham attends as chap- France, England, Scotland. Sail June 20 erone for young ladies. by "Cleveland" — 72 days. For Comfort, Pleasure, and Instruction, these Tours are unexcelled. Send for In- teresting Booklet or call: Rev. Andrew Also Special Tour, England to Italy, J. Graham, 250 Huntington Ave- sailing August 24, returning from Rotter- nue, Room 4, Boston, Mass. Tele- dam October 5. phones, B.B. 2848J or Brookline 196

1583 Brought forward . . .

Pianists: Mr. Bachaus,* Mr. Bauer, Mr. Ganz, Mr. Gebhard, Miss Goodson, Mr. Hofmann Violinists: Miss Collier,* Mr. Noack,f Miss Parlow, Miss Powell, Mr. Witek,f Mr. Zimbalist** Viola: Mr. Ferirf Violoncellists: Mr. Schroeder,f Mr. Warnkef

ENTR'ACTES AND EXCURSIONS. PACK

Apthorp, W. F. : Earlier Years of Boston Symphony Orchestra 108 Barry, C. A.: Lizst and the Symphonic Poem - 150

Damrosch, L. : Beethoven's "Egmont" Overture 1098 " Duncan, W. E.: Schubert's Unfinished " Symphony 95 GossE, E.: Mallarme's "L'Apres-Midi d'un Faune" 308 Hale, P.: Balakireff , 444 Beethoven the Pianist 1247 Boston Symphony Orchestra, The Beginning of the 100 Bruckner 764 Chaconne and Passacaglia 232 Color, Tonal and Colored Audition 220 Concerts Spirituels of Paris 642 Cor and Debussy 837 Laforgue's Salome 524 Liszt: Works of Liszt played at Concerts of the Boston Symphony Or- chestra in Boston 181 Opera House, Opening of a Neapolitan (from Les Marges) 436 Salome and her Dance , 1508 Triangle, The 168 Wagner's Account of Himself 985, 1064, 1120, 1186, 1252, 1308 Hanslick, Ed.: Brahms's Second Symphony 1106

Heine, H. : Story of the Flying Dutchman 794

Herald (Glasgow) : Seraphael ("Charles Auchester") 1318 DTndy, V.: Cesar Franck's Symphony 420 Kautz, J.: Schumann and Bottger 20

Krehbiel, H. E.: Isadora Duncan and Beethoven's Seventh Symphony . . 1387 MackayE, P.: "Ormazd" (after the Bundehesch) 1001

MallarmE, S. : "L'Apres-Midi d'un Faune" 313 Marges, Les: See Hale.

New Books for Musical People A KONIGSKINDER MONA Drama The thought and themes, the words By BRIAN HOOKER and music of Humperdinck's beautiful opera, made clear to the layman by This beautiful and dignified poem forms the LEWIS M. ISAACS and libretto of the American Opera, already famous, which is to be produced for the first time this February by the Metropolitan Opera Company. KURT J. RAHLSON "It is one of the things which intelligent people will feel bound to know something about." Illustrated —Brooklyn Eagle.

Small 12mo. $1.00 net; Postpaid, $1.10 12mo. $1.25 net; Postpaid, $1.36

Publishers, DODD, MEAD AND COMPANY New York

1584 1

Newman, E.: Bantock 252 Elgar's Second Symphony 484 Wallace 145 REFEREE (London): Smetana's "Sold Bride" 1198 Runciman, J. F.: Briinnhilde's Self-immolation 726 England's Lack of Great Musicians 916 Shaw, G. B.: Briinnhilde's Self-immolation 725 Times (London): Between the Acts 373 Cathedral Festivals 575 Chopin Relic, A 927 Humor and Quotation 13 14 Mannerisms 507 Musical Patriotism 920 Post-Wagnerian Opera 854 Science and Singing 710

Wagner, R. : Gluck's Overture to "Iphigenia in Aulis" 628

INDEX TO SUNDRY REFERENCES AND FOOT-NOTES. Biographical: Sketches and Allusions (Men): Aubray, The poet, 143; Auer, L., 238; Auerbach, B., 1130; Bakunin, M., 1310; Balakireff, M, 444; Baudelaire, C, 1128; Berlioz, H., 1196; Beutler, 704; Boehner, J. L., 1232; Boettger, A., 18; Borodin, A., 446; Bossi, R.,32; Bouilly, 865; Brahms, J., 1 186; Bronsart, H. v., 1118; Carey, H., 8; Cartellieri, C. A., 1244; Champfleury, 1129; Che- lard, H. A. J., 1269; Cornelius, P., 1187; Damrosch, L., 1186; Da Ponte, L., 687; Dore, G., 1187; Dorn, H., 1130; Dresel, O., 898; Drouet, L., 1326; Duncan, W. E., 95; Eberl, A., 558; Eisner, J. X., 786; Fetis, F. J., 1196; Franzl, 1435; Gandonniere, A., 660; Gaveaux, P., 865, 1366; Geyer, L., 988; Glinka, M., 443; Goerner, C, 786; Goldoni, C, 32; Goodson, J. E., 1038; Goraude, A. de, 647; Gounod, C, 1129; Halevy, J., 1188; Hanslick, E., 1187; Herbeck, J., 89, 772; Heller, R. (see Palmer), 1246; Henschel, G.,

108 et seq.; Hiller, F., 1194; Hofmann, C, 781 ; Hubert, 905; Huettenbrenner, 89; Huss, J., 935; Joachim, J., 1187; Johnson, W. L., 823; Joseph II., 1028; Kirchner, T., 1550; Kitzler, O., 772; Kotek, J., 960; Kurpinski, K. K., 786; Labrely, F de., 230; Legros, J., 645; Lenau, N., 384; Listemann, B., 112; Liszt, E., 166; Louis, R., 764; Macfarren, G., 1126; Maelzel, J. N., 1372; Mallarme, S., 308; Marschner, H., 11 30; Mayseder, 1243; Mendelssohn, F., 1 190; Meyerbeer, G., 1194; Moliere, 1483; Moussorgsky, M., 446; Mueller, C, 995; Napoleao, A., 144; Napoleon, L., 1067; Nassau, Duke of, 1130; Nietzsche, F., 295; Otten, G. D., 892; Palmer (see Heller, R.); Philidor, A. D., 642; Raff, J., 1 126; Reissiger, 1130; Richter, H., 1490; Ritter, A., 1053; Roesch, F., 1049; Rubinstein, N., 905; Salmon, J., 574; Salvi, 1186; Sarri, WILFRIED KLAMROTH

. Teacher of Singing in all of its Branches RICCARDO MARTIN'S OPINION: "He has the real secret and knows how to teach it."

Studio, 11 1-2 West 37th Street - - NEW YORK

Music teaches most exquisitely the art of development.— D'Israkli MUSIC EDUCATION

«.,,„„ D r . nv c ... < Boston, 900 Beacon Street CALVIN B. CADY. Studios Avenue j New Y^ 15 claremont Pianoforte, Harmony, etc., and Normal Courses Address Teachers College, Columbia University, New York, for Syllabus of Course in Music Education. Address Clayton F. Summy Co., Chicago, HI., for Poetic Folk Dances, Books I. and JL, Folk Songs for Ten Fingers, First Home Studies, Music Education, An Outline. Books I. and II. Summer Normal, Portland,. Oregon, in July 1585 D., 441; Sassarolli, 993; Schikaneder, E. J., 1419; Schleinitz, H. C, 1330; Schneider, F., 1126; Schneider, J. C. F., 1241; Schumann, R., 1181; Sechter, S., 769; Senisino, 441; Shahryar, 347; Siboni, G., 1243; Silcher, F., 121; Siloti, A., 1298; Stein, F., 694; Taubert, W., 1130; Tausig, C, 1187; Tichat- schek, J., 1 130; Tschech, A., 1202; Verhulst, J. J. H., 894; Wagner, S., 1490; Weissheimer, W., 1458; Zoroaster, 307. Biographical: Sketches and Allusions (Women): Albani, E., 626; Androm- ache, 369; Arnould, S., 626; Artot, M. D., 512; Baratti, 441; Bellincioni, G., 1202; Bernhardt, S., 1508; Bissing, 1067; Brunsvik, T., 552; Campi, A., 1391; Cushman, C., 1128; Du Barry, 626; Galvani, F., 1065; Gladkowska, C., 783; Haehnel, A., 286; Kelly, L., 1238; Kilitzky, J., 1391; Laussot, J., 1067, 1120; Meek, N. F. v., 960; Mehlig-Falk, A., 11 18; Menter, S., 168; Meyer, F., 1066; Milder, P. A., 704; Milioukoff, A. I., 964; Pachta, T., 1065; Planer, M., 997 et seq.; Potocka, D., 789; Rioton, M., 48; Schroeder-Devrient, W., 995, 1066; Schumann, C., 14, in London, 433; Scio, J., 211, 867; Sessi Sisters, 1243; Shahrazad, 348; Sobiesichanskaya, 978; Sontag, H., 1130; Tedesco, F., 1130; Tesi-Tramontini, 439; Teybers, the, 30; Topp, A., 165; Viardot, P., 867; Wagner, Cosima, 1122 et seq., 1488; Wagner, Minna, 997 et seq., 1488; Wesen- donck, M., 380; Wodzinska, M., 928. Musical and Poetic Forms: Basso continuo, 620; Burlesca, 47; Chaconne, 232;

Minuet, 33; Musette, 46; Passacaglia, 232 ; Serenatina, 47 ; Siciliana, 620. Dances and Dancers: Ballet music, Tschaikowsky's views concerning, 978;

Bergomask, 1327; Chaconne, 232 ; Davis, "Poem on Dancing," 41; Devil, fond of dancing, 15 18; Duncan, Isadora, and the Seventh Symphony, 1387; Furi- ant, 1201; Galliard, 36; Landor, W. S., 1519; Minuet, 33; Musette, 46; Pas- sacaglia, 232; Pavane, 44; Sedalk, 1201; Siciliana, 620; Sobiesichanskaya, Miss, 978; Trepak, 518; Vienna, love of dancing in, 1030. Instruments: Balalaika Orchestra, 1183; Cymbals, 312; Drum of human skin (Ziska's), 933; Gusslee, 1182; Heckelphone, 1163, 1507; Kantele, 1182; Lyre, Russian, 914; Melophone, 24; Oboe d' amore, 620, 1258; Oboe da caccia, 620; Orchestra, Concert des Amateurs, 644; Sistrum, 168, Triangle, 167. Songs and Hymns: "Auld Robin Morris," 504; "Dies Irae," 424; "Gaudeamus Igitur," 119; "God save the King," 8; "Heil dir im Siegerkranz," 10; "Hey tutti taitie," 505; "II faut s'amuser," 914; "Irish Christening Song," 915; "Kol Nidrei," 572; "Landsvater, Der," 118; "Let us sing the shepherds' glory," 622; "Lewie Gordon," 505; "Magnificat," 159; "Pastores, dicite," 622; "Quern pastores," 622; "Scots wha hae," 505; "Was kommt dort," 118; "Wir hatten gebauet," 118, 121; "Yankee Doodle," 506. Legends, Folk-lore, and History: Ahriman, 1000; Faust, 658; "Fire Famine," 579; Fire, St. John's, 584; Flying Dutchman, 795; Fravashis, 1000; Istar, 321; Izdubar, 319 et seq.; Magnetic mountain, 360; Melusina, 279; Ormazd, 1000; Rakoczy, 658; St. John's Eve fires, 584; Serpent women, 280; Sinbad's Odyssey, 352; Sirens, 280; Tamara, 453; Zoroastre, 307. Theatre and Opera House: "A Santa Lucia," 1202; "Achille in Sciro," 439; "Adelesia ed Alerano," 1244; "Alceste," 236; "Andromache," 370; "Ariane et Barbe Bleu," 859; "Armide," 1195; "Ascanio," 1132; "Attaque du Moulin," 857; "Bastien et Bastienne," 80; "Beggar's Opera," 924; "Belmonte und Costanze," 30; "Benvenuto Cellini," 1137; "Boris Goudonoff," 858; "Bur- gonde," 1 163; "Cavalleria Rusticana," 861; Christmas dramas, 622; "Dali-

CONCERT DIRECTION M. H. HANSON 437 FIFTH AVENUE, NEW YORK

Offer for 1912-1913

GOTTFRIED GALSTON, the Munich Pianist MAX PAUER, the Stuttgart Pianist LOUIS PERSINGER, American Violinist GEORG HENSCHEL, Recitals to his own accompaniment

RAINS, Basso, Dresden Royal Opera • • LEON , ( LiederT j andj Oratonor\ MARGUERITE LEMON, Soprano }

Besides all of the other artists on our lists this season, including Mmes. MARIE RAPPOLD. BERNICE DE PASQUALI and BORIS HAMBOURG, the 'cellist. 1586 "

bor," 1203; Dante, operas on, 246; "Debora e Sisera," 1244; "Egmont," 1095; "Elektra," 857; "Enfant Roi," 857; "Entfiihrung aus dem Serail," 30; "Etranger," 857; "Evangelimann," 854; "Falstaff," 860; "Fanciulla del West," 861; "Faust" (in Paris), 653; "Favorite," 146; "Feldlager in Schlesien," 1195; "Fervaal," 857; "Feuersnot," 579; "Fidelio," 862; "Flie- gende Hollander," 792; "Folle Journee," 690; "Freischutz," 1227; '"Geno- veva," 1189; "Goettin der Vernunft," 220; Gotterdammerung," 724; "Guil-

laume Tell," 892 ; "Guntram," 854; "Habanera," 858; " Haensel und Gretel, 854; "Herodiade," 1508; "Huguenots," 46; Huss, operas about, 933; "Ingwelde," 854; "Jota," 858; "King Lear" (Balakireff), 454; "Koenigs- kinder," 856; "Kunihild," 854; "Leubald und Adelaide," 993; "Lodoi'ska," 214; "Lohengrin," 1566; "Louise," 48, 858; "Love's Lottery," 363; "Lusti- gen Weiber," 860; "Mage," 306; "Mala Vita," 1202; " Meistersinger v. Nuremberg," 860; "Melusine," 284; "Messidor," 857; "Midsummer Night's Dream," 1328; "Neugierigen Frauen," 32; "Nozze di Figaro," 687; "Oberon," J 547; Opera at Naples, 441; "Orphee aux Enters," 1126; "Otello," 860; " " " " Ouragon," 857 ; Pagliacci," 861 ; Partenope," 441 ; Pelleas et Melisande, 844, 859; "Prodana Nevesta," 860; "Reve," 857; "Robin des Bois," 1236; "Roi s'amuse," 44; "Rosenkavalier," 857; "Ruslan and Ludmilla," 446; "Salome," 856, 1508; "Song of Solomon," 230; "Tannhauser," 1568; "Tasso," operas on, 180; "Till Eulenspiegel," 592; "Trip to Japan," 231; "Tristan und Isolde," 1556; "Vaisseau Fantome," 794; "Vier Grobiane," 32; "Viola," 1205; " Widerspenstigen Zahmung," 860, 1043; "William Tell" (Schiller), 1096; "Zauberflote," 1419; "Ziska vom Kelch," 933; "Ziskuv dub," 933; Zoroastre, operas on, 306. Critical and Literary: Aelfric the Saxon, 15 10; Aiken's "Phonology," 711; Aldrich, R., Strauss's Symphonia Domestica, 1259; Ansermet, Debussy, 851; Apthorp, W. F., Beethoven's "Leonora No. 3," 1362, Beethoven's Piano Con- certo No. 5, 1246, Brahms's Academic Overture, 121, Freischutz (the word), 1236, D'Indy's "Istar" (translation), 320, Liszt, anecdote of, 1038, Liszt's Concerto No. 2, 11 19, Prelude to "Lohengrin," 1567; Funeral March from "Gotterdammerung," 1563; Ritter's poem to Strauss's "Tod und Verklarung,"

N.C.WhitaKcr&Co. A

Manufacturers and paper Bags Retailers of For Summer Packing FINE TORTOISE LARGE, STRONG, MOTH-PROOF -For SHELL and packing away clothing, etc., for the summer IVORY GOODS White Paper For Lining Drawers Hair Ornaments and other Specialties for Paper and Shelves Opera, Theatre, and Evening wear Wrapping Paper AIL KINDS 7 TEMPLE PLACE Rooms 22 and 23 For Carpets and Rugs FOREIGN NOVELTIES Roll Paper Twine Telephone, 2645-R Oxford For Covering Windows BOUND COPIES of the TOILET PAPER

Boston Symphony Orchestras Orders by mail or telephone will receive prompt attention. PROGRAMME BOOKS Telephone 2754 Oxford Containing Mr. Philip Hale'* analytical and d<- scriptive notes on all works performed during th season ("musically speaking, the greatest art an- nual of to-day, "—W. J. Henderson, New York Sur. STONE & FORSYTH May be obtained by addressing 67 KINGSTON STREET rrlcePrlrp 3.J.OUS3 on ^-" A. ELLIS SYMPHONY HA LI V_ J 1587 ;

1051, Schubert's B minor Symphony, 94, Schumann's Symphony No. 2, 898; Arnaud, "Iphigenie en Aulide," 626; D'Arras, "Histoire de Melusine," 280; Ascham, R., galliard, 40; Ash, J., galliard, 38. Bacha, E., Till Eulenspiegel, 595; Bacon, F., galliard, 38; Bailey, N., galliard, 38; Barres, M., Debussy, 847; Baudelaire, "Correspondances," 225; Bayle, P., Virgil the magician, 582 ; Bazaillas, A., Debussy, 581 ; Beam, J. N., Herodias, 1514; Beaumarchais, "La Folle Journee," 690; Beethoven (see Berlioz, Korner,

Weber) ; Bellaigue, C, Debussy, 849; Berlioz, H., Beethoven's Fourth Symphony, 560, Fifth Symphony, 1393, Weber's "Der Freischiitz" overture, 1234; Berlioz (see Goethe); Bleuler and Lehmann, colored audition, 1881; Boutarel, A., Debussy's "Iberia," 648; Brahms and Bruckner, 776; Brahms (see Apthorp, Imbert); Brand and Ellis, "Passing Bell," 45; Brooks, C. T., translation, i486; Brossard, S., galliard, 43, chaconne, 232; De Brosses, opera at Naples, 441; Bruch, M., on his Scottish Fantasie, 500; Bruckner (see Bulow, Herzogenberg) Bxilow, H. v., Bruckner, 779, Nietzsche, 295, R. Strauss, 1048, Tschaikowsky,

912; Bundehesch, 1001 ; Burney, C, Concerts Spirituels, 643; Byron, in- fluence on romantic music, 170, quoted, 172, 174. Cabanes, Dr., Tasso, 178; Carillo, G., Wilde's Salome, 15 15; Carraud, G., De- bussy, 847; Cellini, Autobiography, 1132; Chapman, G., Andromache's speech (Iliad), 369; Cherubini (see Chouquet, Lavoix); Chevillard, C, Debussy, 847; Chorley, H. F., "Benvenuto Cellini," 1136; Chouquet, G., Cherubini, 212; Chrysostom, St., Salome, 15 1.7; Clarke, J. F., "Ten Great Religions," 1000; Compan, chaconne, 234; Coquard, A., Debussy, 849; Cor, R., Debussy, 837; Cox, J. E., Clara Schumann in London, 434. Dante, "Vita Nuova," 240; Davis, "Poem on Dancing," 41; Delvau, A., musette, 47; Desrat, G., minuet, 36, passacaglia, 236. Ecorcheville, Debussy, 847; Egan, T. S., translation of "Atta Troll," 1512; Ehrlert, L., overture to "Benvenuto Cellini," 1137; Eldred, J., "Narrative," 358; Elgar, "Cockaigne," theme, 1460; Elson, L. C, translation of poem by Wagner, 1494; Elyot, T., "Castell of Health," 40. Flat, P., Debussy, 850; Flaubert, "Herodias," 15 19; Ford, R., "Handbook for Travellers in Spain," 652; France, A., on symbolists, 227; Fuller, T., Duke of Alva, 1098; Funck-Brentano, Debussy, 848. Ganne, L., Debussy, 848; Gauthier-Villars, H., Debussy, 852; Ghil, A., colored vowels, 227; Goepp, P. H., Rachmaninoff's Second Symphony, 1294; Goethe, and Berlioz, 655; Gosse, E., Mallarme's " L'Apres-Midi d'un Faune," 308; Gozlan, L., colors, 229; Gregh, F., Debussy, 852; Grimm and Diderot, Gluck, 624; Grimm, "German Mythology," 280; Gubernatis, A de, "Zoological Mythology," 280. Hahn, R., Debussy, 848; Hall, Bishop, galliard, 42; Hanslick, E., Brahms's Sec- ond Symphony, 1106; Harper, R. F., Izdubar, 320; Hausegger, S., Debussy, 850; Haydn in Paris, 645; Heine, H., the Flying Dutchman, 794; Heintz, A., programme to "Siegfried Idyl," 1497; Henderson, W. J., "Salome," 1510; Hen- ley, W. E., Byron, 170, "Thousand Nights and a Night," 348, Villon, 1441, translation of Villon's "Ballade de bonne Doctrine," 1443; D'Herbelot on Kalandars, 354; Herzogenberg and Bruckner, 777; Heywood, J. C, Salome (?), 1524; Hoffmann, E. T. A., "Salvator Rosa," 1135; Homer (see Chapman); " Home, R. H., "John the Baptist," 1520; Hubert, J., Des reminiscences de quelques formes melodiques," 280; Hunt, L., translation of Tasso's "Golden Age," 171; Huysmans, "A Rebours," 229; Moreau's Salome, 1516. Imbert, H., Brahms's Second Symphony, 1109; D'Indy on French symphonies, 420. Jackson, A. V. W., Zoroaster, 307; Johnson, W. L., poem, 1502. Kastner, G., curfew, 46, gaillard, 43, passacaglia, 236, "Les Sirenes," 280; Kautz, J., Bottger and Schumann, 20; Kelly, M., Vienna and dancing, 1030; Klind-

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No. 5, 1241 ; Krehbiel, H. E., Da Ponte in New York, 687. Laloy, L., "L'Apres-Midi d'un Faune," 313; Lamb, C, Salome, 1524; Lambi- net, "Istar," 323; Lampe, F. A., "De Cymbalis," 312; Landor, W. S., fiddle and dancing, 15 19, Tasso, 177; Laurencie, L. de la, "Le Gout Musical en France," 646; Lavoix, Cherubini, 212, "Histoire de l'lnstrumentation," 1428; Lazare, " Dictionnaire des Rues de Paris," 1483; Leland, C. G., translation of Lenau's "Drei Zigeuner," 386; Librettos, Mozart on, 31; Liebach, Mrs., "L'Apres-Midi d'un Faune," 317; Liszt (see Barry, Pohl, Wagner); Litzmann, B., Clara Schumann, 14; Louis, R., "Bruckner," 755. Maeterlinck, criticised by R. Cor, 844; Maginn, W., Romeo the unlucky, 521; Mallarme, S., "Herodiade," 1524; Mander, K. v., Salome, 1516; Marlowe, C, "Faust," extract from, 658; Marnold, J., study of Debussy's Nocturnes, 1504; Mattheson, J., chaconne, 233; Maurel, V., on singing, 710; Mees, A., overture to "Der Freischiitz," 1230; Melville, H., the color white, 228; Menecken, I. v., Salome, i5i6;Mey, C, "Meistergesang," 1461; Montaigne, M., Tasso, 179; Moreau, G., Salome, 1516; Morley, T., galliard, 42; Moroni, Count, minuet, 34; Mottl, F., Debussy, 848; Mozart, W. A., on Franzl, 1435, opera librettos, 31; Murner, T., "Till Eulenspiegel," 588; Murray, Sir J. A. H., galliard, 38. Naude, fire famine legend, 582; Naylor, E. W., pavan and galliard, 44; New- man, E., Bantock, 252, Elgar's Second Symphony, 484, Strauss's Symphonia Domestica, 1264, H. Wolf as song writer, 1060 et seq.; Newmarch, R., Bala- kireff, 450, Sibelius, 1179; Nicolai, G., "John the Baptist," 1524; Niemann, W., Bruckner, 755. O'Neill, N., entr'actes, 373. Parke, W. T., "Der Freischiitz," 230; Peladan, Sar, Debussy, 851; Pliny, Iberia 652; Plotinus on form, 1505; Poe, E. A., "Malzel's Chess Player," 1375, "Von Kempelen and his Discovery," 1375; Pohl, R., on Liszt's "Dante" Symphony. Raff, J., color of tonalities, 224; Regnault, Salome, 15 16; Reichardt, J. F., Beet- hoven's Symphonies 5 and 6, 1392, Parisian musical taste, 647; Rich, B., dancing, 41; Richardson's "Pamela," 434; Rimbaud, A., colored vowels, 225; Rolland, R., Debussy, 849; Roncoroni, Tasso, 179; Rork, "Mythologie der Volkssagen," 280; Rossetti, D. G., Dante's "Vita Nuova," 240, translation from Villon, 1444, 145 1, quoted, 1456; Rothe, Dr., Tasso, 178; Rousseau, J. J., chaconne, 234; Runciman, J. F., Mozart's life v. that of Bach, 1032. Schubert, C. F. D., tonalities, 225; Shakespeare, W., galliard, 36; Shakespeare, W., "Art of Song," 712; Shelley, P. B., quoted by Elgar, 486; Smith, S., "Jack Downing," 1375; Sue, E., "Wandering Jew," 15 10; Sullivan, Sir A., entr'actes, 373; Swinburne, translation from Villon, 1445, quotation from "Laus Veneris," 1571; Symons, A., Herodias, 1524. Tabourot, dances, 40; Taneiieff, S., Tschaikowsky's Fourth Symphony, 975; Tasso, "Ode to Golden Age," 171 (see Cabanes, Landor, Montaigne, Roncoroni, Rothe); Tenger, M., "Beethoven's unsterbliche Geliebte," 552; Thackeray, W. M., "Book of Snobs," 434; Tiersot, J., Prelude to "Die Meistersinger," 1463; Tille, Nietzsche's "Zarathustra," 300; Tremisot, E., Debussy, 851; Tschaikowsky on ballet music, 978, on his Russian colleagues, 448; Turgenef, I., Balakireff, 452.

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Villon, F., poems, 1440 et seq.; Vuillier, G., chaconne, 236. Wagner, R., Beethoven's Seventh Symphony, 1387, Gluck's overture to "Iphigenia in Aulis," 628, Liszt's "Dante" Symphony, 160; Wagner, S., Debussy, 849; Walther, J. G., chaconne, 232, gaillard, 43; Weber, K. M. v., Beethoven's Fourth Symphony, 565; Weckerlin, J. B., chaconne, 236; Weingartner, F., Schubert's Unfinished Symphony, 95; Williams, F. H., instruments characterized, 228; Wolf, H., and Bruckner, 776. Zamminer, F., character of tonalities, 225.

Miscellaneous: Bagdad, description of, 356 et seq.; Chess player, automatic, 1374; Coiffure a l'lphigenie, 626; Curfew, 44; "To finger," 434; Freischutz, meaning of the word, 1236; Iberia, derivation of the word, 651; Masonry and Mozart, 1426; Rakoczy March, 657; Romeo the type of bad luck, 521.

Sundry Notes. Two concerts were given in aid of the Pension Fund of the orchestra. At the first concert, November 26, 191 1, in Symphony Hall, Mme. Schumann-Heink gave her services. The programme was made up wholly of extracts from Wagner's works: Prelude to "The Mastersingers of Nuremberg," Prelude to "Lohengrin," Funeral Music from "Gotterdammerung," Prelude and Liebestod from "Tristan und Isolde," Erda's Scene from "Das Rheingold" (Mme. Schumann-Heink), Wal- traute's Narrative from "Gotterdammerung" (Mme. Schumann-Heink), Good Friday Spell from "Parsifal," Scene, "Just God," and Aria, "My Life fades" from "Rienzi" (Mme. Schumann-Heink), Overture to "Tannhauser." The second concert was in Symphony Hall, March 3, 1912. Miss Elena Gerhardt, soprano, gave her services. Programme : Tschaikowsky, Symphony in B minor, No. 6, "Pathetic " Songs with orchestra, Wagner: "Stehe still," "Traume," "Schmerzen" (Miss Ger- hardt); Tschaikowsky, Suite taken from the ballet, "Nutcracker"; Songs with pianoforte: Schumann, " Provencalisches Lied," "Mondnacht," "Die Soldaten- braut," "Ich grolle nicht," " Friihlingsnacht " (Miss Gerhardt); Tschaikowsky, Overture, "1812." Ladies of the Musical Art Club assisted in the performance of Liszt's "Dante" Symphony, October 21, 191 1 (Mrs. Sundelius sang the solo), and in the performance of Debussy's Third Nocturne, April 27, 1912. Mr. John P. Marshall was the organist in all performances of works in which the organ was employed. When the Celesta was used, it was played by Mr. R. Nagel. f Messrs. Daniel Kuntz, violinist, Vincent Akeroyd, violinist, Paul Fox, flute, C. Schumann, horn, who played this season, were original members of the orchestra.

Errata.

Date of first performance of Schubert's Unfinished Symphony given erroneously on page 93, corrected on page 189. Statement that "Mr. Gericke ruled eight years" (page 104) corrected—"five," not "eight"—on page 189. Statement made on page 959, concerning dates with regard to the composition of movements of Tschaikowsky 's Symphony No. 4, corrected on page 107 1. JOINT RECITALS

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