FOURTH CONCERT OF THE ELLIS COURSE

MECHANICS HALL . . . WORCESTER

Boston Symphony Orchestra

Thirty-third Season, 1913-1914

Dr. KARL MUCK, Conductor

Pr«

WITH HISTORICAL AND DESCRIPTIVE NOTES BY PHILIP HALE

TUESDAY EVENING, FEBRUARY 10

AT 8.00

COPYRIGHT, 1914, BY C. A. ELLIS

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MECHANICS HALL .... WORCESTER

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

SECOND CONCERT

TUESDAY EVENING, FEBRUARY 10

AT 8.00

PROGRAMME

Beethoven .... Symphony in A major, No. 7, Op. 92 I. Poco Sostenuto; Vivace. II. Allegretto.

III. Presto: Presto meno assai. . IV. Allegro con brio.

Tschaikowsky . . . . Air des Adieux from "Jeanne d'Arc"

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

Debussy . Recitative and of Lia, from "L'Enfant Prodigue"

Berlioz Overture to " Rob Roy

SOLOIST Miss CHRISTINE MILLER

There will be an intermission of ten minutes after the symphony

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

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

The first sketches of this symphony were made by Beethoven prob- ably before 181 1 or even 18 10. Several of them in the sketch-book that belonged to Petter of Vienna, and was analyzed by Nottebohm, were for the first movement. Two sketches for the famous allegretto are mingled with phrases of the Quartet in C major, Op. 59, No. 3, dedicated in 18 18 to Count Rasoumoffsky. One of the two bears the title: "Anfang Variations." There is a sketch for the Scherzo, first in F major, then in C major, with the indication: "Second part." Another sketch for the Scherzo bears a general resemblance to the beginning of the "Dance of Peasants" in the Pastoral Symphony, for which reason it was rejected. In one of the sketches for the Finale Beethoven wrote: "Goes at first in F-sharp minor, then in C-sharp minor." He preserved this modulation, but he did not use the theme to which the indication was attached. Another motive in the Finale as sketched was the Irish air, "Nora Creina," for which he wrote an accompaniment at the request of George Thomson, the collector of Scottish, Welsh, and Irish melodies. Thayer states that Beethoven began the composition of the Seventh Symphony in the spring of 18 12. Prod'homme believes that the work was begun in the winter of 1811-12. The autograph manuscript that belongs to the Mendelssohn family of Berlin bears the inscription: "Sinfonie. L. v. Bthvn 18 12 i3ten M." A clumsy binder cut the paper so that only the first line of the M is to be seen. There was therefore a dispute as to whether the month were May, June, or July.

Beethoven wrote to Varena on May 8, 18 12: "I promise you imme- diately a wholly new symphony for the next Academy, and, as I now have opportunity, the copying will not cost you a heller." He wrote

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It is generally believed that the symphony was completed May 13, in the hope that it would be performed at a concert of Whitsuntide. The first performance of the symphony was at Vienna, in the large

hall of the university, on December 8, 18 13. Malzel, the famous maker of automata, exhibited in Vienna during the winter of 1812-13 his automatic trumpeter and panharmonicon. The former played a French cavalry march with calls and tunes; the latter was composed of the instruments used in the ordinary military band of the period,—trumpets, drums, flutes, clarinets, oboes, cymbals, triangle, etc. The keys were moved by a cylinder, and overtures by Handel and Cherubini and Haydn's Military Symphony were played with ease and precision. Beethoven planned his "Wellington's Sieg," or "Battle of Vittoria," for this machine. Malzel made arrangements for a concert,—a concert "for the benefit of Austrian and Bavarian soldiers disabled at the battle of Hanau." The arrangements for this charity concert were made in haste, for several musicians of reputation were then, as birds of passage, in Vienna, and they wished to take parts. Among the distinguished executants were Salieri and Hummel, two of the first chapel -masters of Vienna, who looked after the cannon in "Wellington's Sieg"; the young Meyerbeer, who beat the bass drum and of whom Beethoven said

' to Tomaschek : ' Ha ! ha ! ha ! I was not at all satisfied with him ; he never struck on the beat; he was always too late, and I was obliged to

speak to him rudely. Ha ! ha ! ha ! I could do nothing with him ; he did not have the courage to strike on the beat!" Spohr and Mayseder were seated at the second and third violin desks, and Schuppanzigh was the concert-master; the celebrated Dragonetti was among the double-basses. Beethoven conducted.

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aw The programme was as follows: "A brand-new symphony," the Seventh, in A major, by Beethoven; two marches, one by Dussejc, the other by Pleyel, played by Malzel's automatic trumpeter with full orchestral accompaniment; "Wellington's Sieg, oder die Schlacht bei Vittoria." "Wellington's Sieg" was completed in October of 1813 to celebrate the victory of Wellington over the French troops in Spain on June 21 of that year. Malzel had persuaded Beethoven to compose the piece for his panharmonicon, and furnished material for it, and had even given him the idea of using "God save the King" as the subject of a lively fugue. Malzel's idea was to produce the work at concerts, so as to raise money enough for him and Beethoven to go to London.

He was a shrewd fellow, and saw that, if the "Battle Symphony" were scored for orchestra and played in Vienna with success, an arrange- ment for his panharmonicon would then be of more value. Beethoven dedicated the work to the Prince Regent, afterward George IV., and forwarded a copy to him, but the "First Gentleman in Europe" never acknowledged the compliment. "Wellington's Sieg" was not per-

formed in London until February 10, 18 15, when it had a great run. The news of this success pleased Beethoven very much. He made a memorandum of it in the note-book which he carried with him to taverns. This benefit concert was brilliantly successful, and there was a

repetition of it December 1 2 with the same prices of admission, ten and five florins. The net profit of the two performances was four thousand six gulden. Spohr tells us that the new pieces gave "extraordinary pleasure, especially the symphony; the wondrous second movement was repeated at each concert; it made a deep, enduring impression on me. The performance was a masterly one, in spite of the uncertain and often ridiculous conducting by Beethoven." Gloggl was present at a

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llllllll... rehearsal when the violinists refused to play a passage in the symphony, and declared that it could not be played. " Beethoven told them to take their parts home and practise them; then the passage would surely go." It was at these rehearsals that Spohr saw the deaf crouch lower and lower to indicate a long diminuendo, and rise again and spring into the air when he demanded a climax. And he tells of a pathetic yet ludicrous blunder of Beethoven, who could not hear his own soft passages. The Chevalier Ignaz von Seyfried told his pupil Krenn that at a rehearsal of the symphony, hearing discordant kettledrums in a passage of the Finale and thinking that the copyist had made a blunder, he said

' circumspectly to the composer : ' My dear friend, it seems to me there is a mistake: the drums are not in tune." Beethoven answered: "I did not intend them to be." But the truth of this tale has been disputed. Beethoven was delighted with his success, so much so that he wrote a public letter of thanks to all that took part in the two performances. "It is Malzel especially who merits all our thanks. He was the first to conceive the idea of the concert, and it was he that busied himself actively with the organization and the ensemble in all the details. I owe him special thanks for having given me the opportunity of offering my compositions to the public use and thus fulfilling the ardent vow made by me long ago of putting the fruits of my labor on the altar of the country." The symphony was repeated in Vienna on February 27, 18 14. On November 29 of that year it was performed with a new cantata, "Der glorreiche Augenblick," composed in honor of the Congress at Vienna and "Wellington's Sieg." The empress of Austria, the Tsarina of Russia, the Queen of Prussia, were in the great audience. The concert was repeated for Beethoven's benefit on December 2, but the hall was half empty. The first performance in Boston was at a concert of the Boston Academy, November 25, 1843. * * Beethoven gave a name, "Pastoral," to his Sixth Symphony. He

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went so far as to sketch a simple programme, but he added this caution for the benefit of those who are eager to find in music anything or everything except the music itself: "Rather the expression of the received impression than painting." Now the Seventh Symphony is a return to absolute music, the most elevated, the most abstract. Yet see what commentators have found in this Seventh Symphony. One finds a new pastoral symphony; another, a new "Eroica." Alberti is sure that it is a description of the joy of Germany delivered from the French yoke. Nohl shakes his head and swears it is a knightly festival. Marx is inclined to think that the music describes a Southern race, brave and warlike, such as the ancient Moors of Spain. An old

edition of the symphony gave this programme : "Arrival of the Villagers Nuptial Benediction; The Bride's Procession; The Wedding Feast." Did not Schumann discover in the second movement the marriage cere- mony of a village couple? D'Ortigue found that the andante pictured

a procession in an old cathedral or in the catacombs ; while Diirenberg, a more cheerful person, prefers to call it the love-dream of a sumptuous

odalisque. The Finale has many meanings : a battle of giants or war-

riors of the North returning to their country after the fight ; a feast of Bacchus or an orgy of villagers after a wedding. Oulibicheff goes so far as to say that Beethoven portrayed in this Finale a drunken revel to express the disgust excited in him by such popular creations. Even Wagner writes hysterical!}7 about this symphony as "the apotheosis of the dance," and he reminds a friend of the "Stromkarl" of Sweden, who knows eleven variations, and mortals should dance to only ten of them: the eleventh belongs to the Night spirit and his crew, and, if any one plays it, tables and benches, cans and cups, the grandmother, the blind and lame, yea, the children in the cradle, fall to dancing. "The last movement of the Seventh Symphony," says Wagner, "is this eleventh variation." In these days the first question asked about absolute music is, "What does it mean?" The symphonic poem is free and unbridled in choice of subject and purpose. The composer may attempt to reproduce in tones the impression made on him by scenery, picture, book, man, statue. He is "playing the plate," like the aesthete-pianist in Punch.

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But why should anything be read into the music of this Seventh Sym- phony? It may be that the Abbe* Stadler was right in saying that the theme of the trio in the third movement is an old pilgrim hymn of Lower Austria, but the statement is of only antiquarian interest. To them that wish to read the noblest and most poetic appreciation of the symphony, the .essay of Berlioz will bring unfailing delight.

The Seventh Symphony needs no analysis ; it escapes the commentator. As the landscape is in the eye of the beholder, so the symphony is in the ear of the nearer. The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, kettledrums, strings. * * * , in "The Art Work of the Future": "To give his tone-shapes that same compactness, that directly cognisable and physically sure stability, which he had witnessed with such blessed solace in Nature's own phenomena—this was the soul of the joyous impulse which created for us that glorious work, the Symphony in A major. All tumult, all yearning and storming of the heart, become here the blissful insolence of joy, which snatches us away with bac- chanalian might and bears us through the roomy space of Nature, through all the streams and seas of Life, shouting in glad self-con- sciousness as we tread throughout the Universe the daring measures of this human sphere-dance. This symphony is the Apotheosis of Dance herself: it is Dance in her highest aspect, as it were the loftiest Deed of bodily motion incorporated in an ideal mould of tone. Melody and Harmony unite around the sturdy bones of Rhythm to firm and fleshy human shapes, which now with giant limbs' agility, and now with soft, elastic pliance, almost before our very eyes, close up the supple, teeming ranks; the while now gently, now with daring, now serious,* now wanton, now pensive, and again exulting, the deathless strain sounds forth and forth; until, in the last whirl of delight, a kiss of triumph seals the last embrace" ! Englished by William S. Ellis.

* Amid the solemn-striding rhythm of the second section, a secondary theme uplifts its wailing, yearning song; to that rhythm, which shows its firm-set tread throughout the entire piece, without a pause, this long- ing melody clings like the ivy to the oak, which without its clasping of the mighty bole would trail its , crumpled, straggling wreaths upon the soil, in forlorn rankness; but now, while weaving a rich trapping for the rough oak-rind, it gains for itself a sure and undishevelled outline from the stalwart figure of the tree. How brainlessly has this deeply significant device of Beethoven been exploited by our modern instrumental- with their eternal "subsidiary themes"!—R. Wagner.

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12 Recitative, "God wills it so," and Air, "Farewell, ye Forests," from the Opera "The Maid of Orleans" (Act L, Scene 7). Peter Tschaikowsky.

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

Tschaikowsky began to compose "The Maid of Orleans," an opera in four acts, at Florence, Italy, in December, 1877. It was completed the next year, but it was not produced at the Maryinsky Theatre, St. Petersburg, until February 23, 1881. The part of Joan was taken by Mme. Kamensky, a mezzo-soprano whose voice was of unusual range and quality. Tschaikowsky altered for her much of Joan's music, composed originally for a dramatic soprano. The libretto, written by Tschaikowsky, was based on Shukovsky's translation of Schiller's "Maid of Orleans," on Barbier's play, Wallon's book, and on the libretto of Mermet's opera. Shortly before his death Tschaikowsky spoke of changing the last scene and substituting Schiller's ending.

Jeanne. Recitative: Andante non troppo, 3-4. —Oui, Dieu le veut! Je dois suivre ton

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ordre, obeir a ton appel, Sainte Vierge ! Pourquoi, mon coeur, pourquoi bats-tu si fort? Pourquoi fremir? L'effroi remplit mon ame. Air: Andantino, D minor, 2-2.

Adieu, forets, adieu, pres fleuris, champs d'or, Et vous, paisables vallons, adieu Jeanne aujourd'hui vous dit a jamais adieu. Oui, pour toujours, adieu. Mes pres fleuris et mes forets ombreuses, Vous fleurirez pour d'autres que pour moi. Adieu, forets, eau pure de la source, Je vais partir et ne nous verrai plus. Jeanne vous fuit et pour jamais, oui, pour jamais. O doux vallon ou j'ai connu la joie! Aujourd'hui je te quitte, doux vallon! Et mes agneaux dans les vertes prairies Demanderont en vain leur guide. Au champ d'honneur je dois guider les braves, Cueillir les palmes sanglantes de la victoire. Je vais ou les voix m'appellent. Seigneur, vous voyez au fond de mon ame. Mon coeur se brise, mon ame souffre. Adieu, forets, etc.

Joan, recitative.

Yes, God wills it so! I must obey your order, your call, O Holy Virgin! Yet why does my heart beat so violently? why do IJxemble? Fright fillsjny soul.

AIR.

Farewell, ye forests, farewell, ye golden pasture fields, and you, ye peaceful vales, farewell! Joan to-day farewells you forever. My meadows and woods, you will flourish for others than me. Farewell, forests and pure water of the spring, I shall leave and you will see me no more. Joan leaves you forever. O sweet valley where I have known true joy, to-day I leave you. My lambs in the green fields will vainly ask for me their guide. I must lead the brave on the field of honor and cull bloody palms of victory. I go whither the holy voices call me. Lord, thou hast searched my heart. It breaks, my soul suffers; my heart breaks and bleeds. Farewell, ye forests, etc.

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14 « Suite No. i, from "L'Arl^sienne' Georges* Bizet

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

When L6on Carvalho was manager of the Vaudeville Theatre, Paris, he wished to revive the melodrama, the dramatic piece with incidental and at times accentuating music. He chose as dramatist Alphonse Daudet, who happened to have a Provencal play ready for the Vaude- ville. He chose as musician Bizet, whose "Djamileh," an opera in one act, produced at the Opera-Comique on May 22, 1872, had been praised by only a few critics. The libretto and the incapacity of a Mme. Prelly, a woman of society who longed for applause as a public singer, did woful injury to the composer. Bizet was accused of being a Wagnerite, and Wagner was not then in fashion. "L'Arl6sienne," a piece in three acts, was produced at the Vaudeville

on October 1, 1872. The cast was as follows: Balthazar, Parade; Frederi, Abel; Mitifio, Regnier; Le Patron Marc, Colson; Francet, Cornaglia; I/fiquipage, Lacroix; Rose Mamai, Mme. Fargueil; Mere Renaud, Mme. Alexis; I/Innocent, Miss Morand; Vivette, Jeanne Bartet. The play was not liked, and there were only fifteen performances. Various objections were made against it: there was no action; it was "too literary"; it was too psychological, etc. The audience chattered or yawned during the prelude and the entr'actes. Good-natured dramatic critics asked why there was such "orches- tral cacophony"; but the menuet-mtermezzo pleased by its frank, gay rhythm. The music as a whole shared the fate of the piece. "Its

character harmonizes happily with the general color of the work. . . .

There is nothing distinguished in the score. . . . The composer seems to have wished to hide himself behind the dramatist. The melodrama thus loses in importance." Now the orchestra at the Vaudeville was singularly composed. Ac- cording to Adolphe Jullien, it was made up of seven first violins, no

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

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Announcement for 1914-1915 series on opposite page

16 — MECHANICS HALL . WORCESTER

Season 1914-1915

Charles A. Ellis, announces that he will give in Worcester in the season of 1914-1915, his usual series of five concerts. These

concerts will take place on Tuesday Evenings, November 10, and

December 15, 1914; January 19, February 9, and March 9, 1915.

The first concert of the series, Tuesday Evening, November 1 0, 1914, will enlist the services of

Principal Dramatic Soprano, Metropolitan Opera House, New York

and

Principal Baritone, Metropolitan Opera House, New York

Particulars regarding the other four concerts and the subscrip- tion sale of tickets will be announced in due time.

17

iiiiini. -

second violins, two violas, five 'cellos, two double-basses, flute, oboe, cornet-a-pistons, two horns, two bassoons, drums, harmonium, piano. Charles Pigot gives a different list: two flutes, an oboe interchangeable with English horn, one clarinet, two bassoons, one saxophone, two horns, kettledrums, seven violins, one viola, five 'cellos, two double- basses, pianoforte.* Pigot says the harmonium was put in the wings to support the choruses in this particular piece, and it was played now

by Bizet and now by Guiraud. f For this orchestra Bizet wrote his original score. The conductor was Constantin.J After the failure of the piece Bizet chose certain numbers out of the twenty-seven, rescored them, and arranged them in the form of a suite. The first performance of this version was at a Pasdeloup concert on November 10, 1872. The first performance of this suite in Boston was

at a Philharmonic concert on April 2, 188 1. After the death of Bizet a suite No. 2 was arranged by Guiraud from other numbers of the melo- drama.

This suite is scored for two flutes, two oboes (the second of which is interchangeable with cor anglais in the first movement), two clarinets, two bassoons, alto saxophone, four horns, two trumpets, two cornets, three trombones, kettledrums, snare-drum, harp, strings. " I/Arl6sienne " was revived at the Od£on, Paris, on May 5, 1885, when Bizet's revised score was played by Colonne's orchestra. Paul Mounet was the Balthazar; Lambert the younger, Fr^deri; Aim£e Jeanne Tessandier, Rose Mamai'; Irma Crosnier, Mere Renaud; Eugenie Yahne, 1/ Innocent; and Miss Hadamard, Vivette. Edmond de Goncourt, in the "Journal des Goncourts," wrote about this first " performance : Public cold, icy cold. Mme. Daudet beats her fan about her with the angry rustling of the wings of fighting birds. Audience

* gave the same list of instruments in his review published in the Journal des Debals.

t Ernest Guiraud was born at New Orleans (U.S.A.) in 1837; he died at Paris in 1892. Educated at the Paris Conservatory, he took the Prix de Rome in 1859. He wrote operas, orchestral suites and overtures, pieces for solo instruments, songs, and a Treatise on Instrumentation. He taught at the Conservatory, and was a member of the Institute. % Titus Charles Constantin, born at Marseilles in 1835, died at Paris in 1891. A conductor of concert, theatre, and opera orchestras, he wrote some overtures and otner pieces.

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-— still cold, ready to titter and sneer at the piece. It applauds the music enthusiastically. Suddenly Mme. Daudet, who is leaning in a state of pitiful depression against the side of the box, exclaims: 'I'm going home to bed; it makes me sick to stay here.' Thank God, with the third act the piece goes, and its quality and the acting of Tessandier provoke loud applause in the last scenes." Here is a list of the per-

formances at the Od6on : 1885,60; 1886,14; 1887,42; 1889,8; 1890, 19; 1891,6; 1898, 30; 1899, "J 1906,30; 1901,9; 1902, 15; 1903, 18; 1904, 20; 1905, 20; 1906, 9; 1907, 21. The piece was performed with Bizet's music in Germany for the first time on September 8, 1899, at Bremen. "The Woman of Aries," a version by Charles H. Meltzer and Willy Schulz, was produced at the Broadway Theatre, New York, on March 22, 1897, when Agnes Booth was the Rose Mamai; Rosa Rand, Mere Renaud; Florence Thorn- ton, The Innocent; Mary Haines, Vivette; Charles M. Kent, Bal- thazar; John Kellerd, Frederi. The other parts were taken by Augustus Cook, Horace Lewis, Walter Craven.* Mr. Seidl led the orchestra. An opera in four acts founded on Daudet's piece and entitled "1/Ar- lesiana," libretto by Leopoldo Marenco, music by Francesco Cilea, was produced at the Lyric Theatre, Milan, on November 27, 1897. Three numbers were encored, and the composer was called before the curtain twenty-one times. The chief singers were Mmes. Frida Rici De Paz, Tracey, and Orlandi; and Messrs. Caruso, Casini, Aristi, and Frigotti. Daudet's "L'Arlesienne," reproduced on the cinematograph in Paris by Pathe Freres, was presented at a special performance at the Alhambra, London, November 20, 1908, and at that theatre later in the month. An English version of Daudet's play by Jocelyn Brandon was entitleoV'The Love that Kills."

* Laura Moore sang an air in this performance. Born at Terre Haute, January 6, 1863, she took the first prize for singing at the Paris Conservatory in 1885. She sang Ophelia in Thcrras's "" early in 1888 at the Opera, but her voice was not large enough for the ball. On her return to this country she sang for a time in concert and in operetta. Thus she was heard in Boston in "The Oolah" (1889) and in "The Lion Tamer" (1893).

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1)1 ! :

Recitative and Aria of Lia from the Cantata "1/ Enfant Pro-

digue" . . Claude Achille Debussy*

(Born at St. Germaine (Seine et Oise), France, August 22, 1862 ; now living in Paris.)

This recitative and aria of Lia, the mother of the Prodigal Son, were first sung by Mme. Rose Caron f at the Paris Conservatory, June 27, 1884, in a performance of Debussy's cantata by which he gained the prix de Rome in that year. The cantata was performed for the first time in America, with a piano- forte accompaniment for four hands, at a concert of the Fine Arts

Society of Detroit, March 10, 1 910, in the Century Association Building, Detroit, Mich. The singers were Mrs. Charles F. Hammond, Lia; William Lavin, Azael; William A. Kerr, Simeon. The first performance of the cantata as an opera in the United States was at the Boston Opera House, November 16, 1910. The singers were: Miss Nielsen, Lia; Mr. Lassalle, Azael; Mr. Blanchart, Simeon. Mr. Caplet conducted.

Recitative. I/annee en vain chasse l'annee A chaque saison ramenee. Xeurs jeux et leurs ebats m'attristent malgre moi

lis rouvrent ma blessure et mon chagrin s'accroit. . . . Je viens chercher la greve solitaire. ...

Douleur involontaire ! Efforts superflus!

Lia pleure toujours l'enfant qu'elle n'a plus! . . .

* He entered the Paris Conservatory as Achille Claude Debussy, and the title-page of the first edition of "Ariettes" composed in 1888 reads thus: "Ariettes: Paroles de P. Verlaine, Musique de Ach. Debussy."

t Rose Lucile Caron was born Meuniez, at Monerville, France, November 17, 1857. She entered the Paris Conservartory in 1880, when she was already married, and studied singing until 1882, when, as a pupil of Masset, she took a second prize for singing and an accessit for opera. After studying with and singing in concerts, she joined the Monnaie Opera Company, Brussels, in the season of 1883-84, not 1882, as stated in Grove's Dictionary (revised edition), and at first received 1,100 francs a month. She took the parts of Alice, Marguerite, and Valentine, and on January 7, 1884, created the part ot Brunehilde in Reyer's "." On March 7, 1885, she took the part of Eva in the first performance of "Die Meistersinger von Niirnberg" in French. She was then receiving 3,000 francs a month. In 1885 she became a member of the Opera, Paris, and made her d6but, June 12, in Reyer's "Sigurd." At the Opera she sang in "," "," "Henry VIII.," "," and "Le Freischiitz," but in 1888 returned to the Monnaie, where she created the parts of Laurence in "Jocelyn" (February 25), Richilde in Mathieu's "Richilde" (December 12, 1888), and Salammbo in Reyer's opera (February 10, 1890). Returning to the in 1890, she was heard there in the first performances in Paris of "Salammbo," "Djelma," "Die Walkure" (Sieglinde and in French), "Otello." She was also conspicuous as Fidelio, Elsa, Elisabeth, Rachel, Salome (in Massenet's opera), Donna Anna. She has sung at the Opera-Comique, Paris, in "Fidelio" (1898) and "Iphigenie en Tauride" (1900); also at Monte Carlo. In 1902 she became one of the professors of singing at the Paris Conservatory. She took the part of Salammbo at the Opera, Paris, June 12, 1908.

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Air. Azael! Azael!

Pourquoi m'as-tu quittee? . . . En mon cceur maternel Ton image est restee.

Azael! Azael!

Pourquoi m'as-tu quittee? . . .

Cependant les soirs etaient doux, dans la plaine d'ormes plantee, Quand, sous la charge recoltee, On ramenait les grands boeufs roux. Lorsque la tache etait finie, Knfants, vieillards, et serviteurs, Ouvriers des champs ou pasteurs, Louaient de Dieu la main benie. Ainsi les jours suivaient les jours, Et dans la pieuse famille Le jeune homme et la jeune fille Echangeait leurs chastes amours. D'autres ne sentent pas le poids de la vieillesse; Heureux dans leurs enfants. lis voient couler les ans Sans regret comme sans tristesse Aux coeurs inconsoles que les temps sont pesants

Azael! Azael!

Pourquoi m'as-tu quittee? . . .

The years roll by, no comfort bringing, Spring comes smiling, gay flowers flinging The bird's sweet song but makes my heart the sadder pine My wounds bleed fresh, my heart cries for joys that once were mine. Along this silent shore I wander lonely, My grief God knoweth only. Evermore Lia mourns her child, the child that once she bore.

Azael! Azael! Oh! wherefore didst thou leave me? On my heart thou art graven; I sorrow for thee.

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111.1 ILi Happy days to my memory start when, the elm-tree waving o'er us, Homeward the ruddy oxen bore us, Weary of toil, but light of heart. Then, as the shadows began to fall, We all the evening hymn did sing Thankfully to God our king, To God the Lord who giveth all.

Sweetly we slept, and glad repose. , Youths and maidens wandered free, Plighted vows in sincerity, Evening shades brought rest and calm repose.

Happy ye parents ! when to earth your children bind you

How glad your lot appears ! its joys, its tender fears, With their lives hath their love entwined you; Sadly must I alone drag out the leaden years !*

Overture to "Rob Roy"

(Born at La Cote-Saint-Andre, December 1 1, 1803 ; died at Paris, March 8, 1869.)

This overture was first performed at a concert of the Conservatory of Music, Paris, April 14, 1833. Habeneck conducted. The overture was not published until 1900. The copyright on Berlioz's compositions expired in that year, and Breitkopf & Hartel of Leipsic then announced a new and revised edition of his works, edited by Charles Malherbe and . The "Rob Roy" overture appeared in this edition. The second performance was at the Crystal Palace, London, Feb- ruary 24, 1900. The Wagner Society of Berlin brought out the over- ture for the first time in Germany, April 9, 1900. The Chicago Orches- tra, led by Theodore Thomas, performed it in Chicago, November 2 and 3, 1900. The overture was played at a Symphony concert of the

Royal Orchestra, Dresden, November 8, 1901. The first performance in Boston was by the Boston Symphony Orchestra, January 22, 19 10, Mr. Fiedler conductor. The overture is scored for two flutes (one interchangeable with

* I do not know the name of the translator.—P. H.

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22 piccolo), oboe, English horn, two clarinets, two bassoons, four horns, one trumpet with pistons in D, two trumpets in "A basso," three trom- bones, kettledrums, harp, and the usual strings. It begins Allegro non troppo, D major, 6-8, with the horns playing the opening theme, founded on the old Scottish song known as "Scots wha hae wi' Wallace bled." * Then follows a lively subsidiary theme, and the development of it introduces a motive that has been char- acterized as the "Rob Roy" motive, which is given to the lower strings

and the bassoons, and is repeated with elaborations for violins and wood-wind instruments, After a transitional passage the second

theme is given to the English horn over an arpeggio accompaniment

for the harp. This theme after elaboration is joined by an inter- mediary passage to the reappearance of the first theme, which is played by the nearly full orchestra. There is a change of tempo and rhythm. Larghetto espressivo assai, 3-4. There is a new motive for English horn. This motive was afterward used by Berlioz as the chief theme of his "Harold in Italy "f symphony, where it is given to the solo viola. Some have thought that this section refers to the courtship of Diana Vernon by Frank Osbaldistone. This theme is taken up by other wood-wind instruments and developed. The first theme and the sub- sidiary reappear. Other motives are used, as the "Rob Roy" with

* The air to which Burns's verses are sung was formerly called "Hey tuttie taitie," and it was supposed " " to be as old as the battle of Bannockburn It would be presumptuous," says John Glen (1900) , to attempt to confirm the tradition; but we may say that Ritson's assertion that the Scots in 1314 had no musical instru- ments capable of playing the tune is assuredly an error. David II., son of the Bruce, had pipers thirty years after the battle, and it is probable that his father also had them. Whatever the age of the melody, its earliest appearance in print is in Oswald's Caledonian Pocket Companion, circa 1747. It is also found in William McGibben's Third Collection of Scots' Tunes, 1755. The tune is a common bagpipe air." Burns wrote his poem on August 1, 1793. In September he wrote to George Thomson: "I have shewed the air [meaning "Hey now the Day dawis," or, as it is sometimes called, "Hey tuttie taitie"] to Urbani, who was highly pleased with it, and begged me to make soft verses for it; but I had no idea of giving myself any trouble on the subject, till the accidental recollection of that glorious struggle for freedom, associated with the glowing ideas of some other struggles of the same nature, not quite so ancient, roused my rhyming mania." Thomson answered, and praised the poem: "They were all charmed with it, entreated me to find out a suitable air for it, and reprobated the idea of giving it a tune so totally devoid of interest or grandeur as 'Hey tuttie taitie.'" Thomson fixed on a tune, "Lewie Gordon," for the words, but this tune required an elongation of the last line of each verse to make the words and music agree. Thomson afterward changed his mind, and in a later edition of his collection the tune "Hey tuttie taitie" was adapted to Burns's original words; and Thomson observed that "the poet originally intended this noble strain for the air just mentioned; but on a suggestion from the editor of this work, who then thought 'Lewie Gordon' a fitter tune for the words, they were united together and published in the preceding volume. The editor, however, having since examined the air 'Hey tuttie taitie' with more particular attention, frankly owns that he has changed his opinion, and that he thinks it much better adapted for giving energy to the poetry than the air of 'Lewie Gordon.'" This air, "Lewie Gordon," is not old. It first appeared with the verses of Alexander Geddes in 1783, and it was probably borrowed from an older tune, "Tarry Woo." "Lewie Gordon" has been used for a hymn-tune. t" Harold in Italy" was composed in 1834. It was performed for the first time at a concert given by Berlioz at the Paris Conservatory, November 23, 1834. Girard conducted.

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U44HI I I I 1 1 I figuration for the violins. The coda is built chiefly on the first theme, and the pace is more and more rapid until the end. * * * —Mr. Adolphe Boschot says in the second volume of his Life of Berlioz "Un Romantique sous Louis-Philippe, 1831-1842"—(Paris, 1908) that in 1831, when Berlioz wrote to friends about his work on a "Rob Roy" overture, the Theatre des Nouveautes at Paris purposed soon to produce "an episode in two acts, 'MacGr£gor' or 'Les Montagn- ards 6cossais.'" "The impatient exile could have learned of this from Bohain, manager of the Nouveautes, formerly a collaborator with Berlioz, and the man who had endeavored in the preceding May

to give the Fantastic symphony in his theatre. Or he heard of it from the journals; for never, despite distance, despite the happiness

or the intoxication of a week that was out of routine life, did Berlioz fail to keep himself informed minutely of all that was going on or about to happen in Paris. Besides it gave him pleasure to sketch an overture to 'Rob Roy' by reason of the subject. He could put in the overture an echo, 'a melodic reflection' of the passion then

consuming him, and lend it to the Scots of Walter Scott who kill through jealousy." Let us inquire into the reasonableness of Mr. Boschot's first suppo- sition. Berlioz wrote to his father from Nice in June, 1831: "I have begun a new work, after I have thoroughly revised my score of 'King Lear.' This work is again an instrumental one. I am increasing my repertory for concert, waiting until my return to France will allow me to realize a great project in operatic music."

On January 1, 1832, Berlioz wrote to Ferdinand Hiller from Rome that, since he had arrived in Italy, he had composed: "(1) overture

to 'King Lear' (at Nice); (2) overture to 'Rob Roy, MacGregor' (sketched at Nice), and I was so foolish as to show it to Mendelssohn, but reluctantly, before the tenth part of it was determined." Then Berlioz adds, "I completed and orchestrated it in the mountains of

Subiaco; (3) 'Melologue en six parties,' words and music; composed by fits and starts in returning from Nice, and completed at Rome." He

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then speaks of an "Angelic chorus" for Christmas; another chorus; and still another one with words by Moore and an accompaniment for seven wind instruments; "composed at Rome one day that I was dying of spleen, and entitled: 'Psalmody for those who have suffered greatly and whose soul is sick unto death.'

There is this allusion to the overture in the Memoirs of Berlioz:

"It is necessary, as is thus seen, to give up hearing music if you live in Rome. In the midst of this anti-harmonic atmosphere, I even came to the point when I could not compose. All that I produced at the Acad£mie" (where Berlioz was a pensioner, having taken the prix de Rome) "was limited to three or four pieces: (i) An overture to 'Rob Roy,' long and diffuse, performed at Paris a year afterward, extremely disliked by the audience, and I burned the overture the day I left the concert." Berlioz nowhere made any allusion to the play at the Nouveaut£s. Adolphe Bossange became director of the Theatre des Nouveaut£s

on August i, 1829. On March 20, 183 1, he was succeeded by Lang- lois. Mr. L. Henry Lecomte says, in his "Histoire des Theatres de Paris: Les Nouveautes, 1827-1832— 1866-1873—1878-1906" (Paris, I 9°7)> that Langlois was obliged to assume the responsibility of an enterprise from which Mr. Bossange, in spite of the assistance of Victor Bohain, litterateur, had drawn only insufficient results. "Mac-Gregor, ou Les Montagnards £cossais," by Joseph Morel, piece in two acts, interspersed with songs, was produced at the Nou-

veautes, May 30, 183 1. The letter of Berlioz to his father in which he says that he had begun a new work (the "Rob Roy" overture) was dated in June of that year, according to Mr. Tiersot. Berlioz, if he were so well informed of what was going on in Paris, must have known that "Mac-Gregor" was produced before he had completed his overture. In this play "Mac-Gregor," the hero, chief of a clan, commands the Scottish Highlanders bound together to defend their national independence against the English. He had saved in combat the life of Patrick, an English soldier, who in turn furnishes Mac-Gregor the

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^VYVVV* MECHANICS HALL • • WORCESTER

Tuesday Evening, March 10, 1914

AT 8.00

FIFTH CONCERT OF THE ELLIS COURSE

BY THE

Dr. KARL MUCK, Conductor

SOLOIST

Royal Opera, Berlin

Her first appearance in Worcester

27 —

means of escaping when the Highlanders are surrounded on all sides. While Mac-Grdgor is escaping, the bailiff of Glasgow seizes suddenly his home, which is at once fired by the English, who believe that Mac- Grdgor is inside. The bailiff escapes, and is seen, at the beginning of the second act, in a tavern. He threatens to fine the landlord in case he harbors the rebels. The Highlanders meet there, and Campbell, one of them, offers them full pardon if they will submit to King George. All agree, except Mac-Gr£gor; but, as he does not wish to be the ruin of his clan, he treats for his comrades, and excludes himself from the amnesty. The bailiff, arriving, wishes to arrest the obdurate chief, but Mac-Gr£gor takes a pistol and obliges the magistrate to escort him to his horse, which he mounts, and, shouting, "Liberty forever!" he escapes. Montingy took the part of Mac-Gregor, and Morel, the author, the part of Campbell. The success of the piece was doubtful, and the play was not published. Surely, the overture to "Rob Roy" was not written for this play. It is true that Berlioz was well acquainted with the Nouveaut6s, for, when that theatre was opened March i, 1827, under the management of Bdrard, he sang there in the chorus, and while he was attending the classes of Reicha and Lesueur, and studying the scores of tragic operas, he would sing at night the commonplaces in Blangini's "Cou- reur de veuves," in Dartois' "Le feu de cache-cache," or "Le tutur de la grand'maman." And it was at this time he read Moore, Scott, and Byron, who were then in France the gods of English literature. Berlioz wrote in 1827 or 1828 his overture to "Waverley," which was produced at his concert in Paris, May 26, 1828.* It was published with this motto taken from the novel:

(While) Dreams of love and Lady's charms Give place to honour and to arms. (Pendant que) Les reves d'amour et les charmes feminins Cedent la place a l'honneur et aux armes.

This motto was afterward stricken out. Nor is it necessary to examine closely into the jealousy of Berlioz over Camille Moke,f a jealousy that led to the tragi-comedy of his

* The overture to "Waverley" was performed for the first time in Bpston, December 13, 1851. tMarie Felicite Denise Moke, the daughter of a Belgium teacher of languages, was born at Paris, Septem- ber 4, 1811; she died at St. Josse-ten-Noode, March 30, 1875. As a virtuoso, she shone in her fifteenth year in Belgium, Austria, Germany, and Russia. She was a pupil of Herz, Moscheles, Kalkbrenner. From 1848 to 1872 she taught at the Brussels Conservatory. She married in 1831 Camille Pleyel, the piano manu- facturer. The story of her relations as Miss Moke with Berlioz, to whom she was betrothed, and with Ferdi- nand Hiller, is a singular one, and has been told at length by Hippeau Jullien, Tiersot, Boschot, and by Berlioz himself in his Memoirs, letters, and in his bitter "Euphonia, ou la ville musicale," a "novel of the future," published in Berlioz's "Les Soirees d'Orchestre." This story, which first appeared in the Gazette Musicale of 1844, should be read in connection with Berlioz's tale, "Le Suicide par Enthousiasme," which was published in the Gazette Musicale of 1834, and afterward in "Les Soirees d'Orchestre." It is said that Miss Moke's coquetry was not extinguished by her marriage.

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"false suicide." Why is it not natural to suppose that, enthusiastic over Walter Scott, he planned an overture to "Rob Roy," as he had composed one to "Waverley"?

* *

-Berlioz in Paris wrote on March 13, 1833, the following letter ad- dressed to the members of the Committee of the Society of Concerts :

Sirs,—I have brought from Italy some orchestral compositions that have not yet been performed. Can one of them (the overture to "Rob Roy") have the honor of a place on the programme of one of your brilliant concerts? Inasmuch as the parts are not yet copied, I beg you, gentlemen, if your reply will be favorable, to let me know as soon as possible. I have the honor, gentlemen, to be your devoted servant, Hector Berlioz, rue Neuve Saint Marc No. 1.*

There was a favorable reply on March 15. The programme of the Conservatory concert of April 14, 1833, was as follows:

Symphony in B-flat major No. 4 Beethoven Introduction to "II Crociato in Egitto," chorus Meyerbeer Solo for Violoncello Franchomme Mr. Franchomme, 'Cellist. Fragments of quartets performed by all the strings Beethoven "Gloria" from the first mass for three voices Cherubini Overture to "Rob Roy" Berlios

Elwart in his "Histoire de la Socidte" des Concerts du Conservatoire Imperial de Musique" (Paris, i860) added this foot-note to the pro- gramme: "It was the first time that a work by Le Sueur's [sic] pupil, the composer of the Fantastic Symphony, was performed at the home (au sein) of the Society of Concerts. The success of the young com- poser was very flattering to his self-esteem." On what did Elwart base this report of success? Berlioz himself says that the audience strongly disliked the overture. F£tis, remembering the savage attack made on him by Berlioz in "Lelio," performed December 9, 1832, noted in his musical review the failure of the overture in the presence of "an audience not composed of friends." It is certain that the effect of the overture placed at the end of the programme as an over- coat and galoshes piece was mediocre.

* Berlioz lived there in the apartment formerly rented by Harriet Smithson, the Irish play actress, who finally became his first wife. CLA

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29 Berlioz says in his Memoirs that he destroyed the manuscript of "Rob Roy." It was therefore thought that the work was irrevocably lost; but he had s£nt a manuscript copy as an envoi de Rome to the Acadimie des Beaux-Arts, with his "Quartetto e Coro dei Maggi," for four voices with orchestra. The score ot this overture in the library of the Conservatory bears this title: "Intrata di Rob-Roy MacGregor (Rome, 1832)." The overture was as a matter of fact the only piece composed in Italy that he sent from Rome, for the "Quartetto" had been performed in Paris in 1828. The Acad6mie des Beaux-Arts was indulgent to him for his violation of the rules. Berlioz possibly wished the belief that he had destroyed "Rob Roy" to prevail, because he had used some of the material of the overture in the "Harold in Italy" symphony; but many composers have taken the same liberty, from Bach, who put music written originally to secular words into his great Mass in B minor, to Gounod, whose soldiers' chorus in "Faust" was composed originally for an opera, "Yvan le Terrible"; from Rossini, who put with Olympian indifference a long passage from the "Cal- umny" air in "The Barber of Seville"' into the last scene of "Othello," to Lalo, who used pages of his unperformed and unpublished opera "Fiesque" for other operas and even symphonic works.

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SOPRANO SOLOIST

Teacher of Singing In Worcester, Wednesdays 4 Haviland Street Boston 527 Day Building B.B. 1047

TEACHER OF PIANO AND OF WORCESTER HARMONY The method of Mrs. A. M. Virgil of New York used Studio Residence Mr. FREDERIC W. BAILEY. Pianoforte Teacher

36 Woodbine Street 1 1 Woodbine Street Miss GRACE BERTHA DAVIS. Pianoforte Teacher 'Phone. Park 4915-W 'Phone, Park 2218-J Miss ERNESTINE HARDING. Vocal Teacher WORCESTER, MASSACHUSETTS Telephone Studios, 19 Pearl Street

VOICE—HARMONY— CRITIC (Musical Director, Worcester Theatre) Boston Editor and Worcester Correspondent of TEACHER of VIOLIN Music News STUDIO. ROOM 27 New Song, "A SIGH," .50 — .27 STEINERT HALL DAY BUILDING BREWER BUILDING, 58 FRONT ST. BOSTON WORCESTER (Telephone Connection)

30 _ I WV MUSICAL INSTRUCTION

TEACHER of SINGING EMMA S. HOSFORD HUNTINGTON CHAMBERS BOSTON, MASS.

PIANIST — INSTRUCTION

Studio: CARNEGIE HALL, NEW YORK

TEACHER OF SINGING

NEW YORK, 33 West 67th Street BOSTON, 514 Pierce Building Saturdays and Mondays Copley Square Representing Miss CLARA E. MUNGER

TEACHER OF SINGING

Miss PRISCILLA 602 Pierce Building

Copley Square, BOSTON

20 PINCKNEY STREET . TEACHING AT BERTHA GUSHING CHILD LANG STUDIOS 6 NEWBURY STREET, BOSTON

RECITALS a SPECIALTY

Instruction in Organ, Harmony and Piano

CONCERT ORGANIST Address, 140 Boylston Street, Boston, or

92 Corey Road, Brook line (Fellow of The American Guild of Organists) Telephone, 2717-M Brookline

Soloist, Mmes. Sembrich, Lypkowska

' .CONCERT PIANIST Messrs. Constantino, Schroeder Boston, Mass: Providence, R.I. Assisting Artist, Kneisel Quartette Trinity Court 123 Benevolent St.

Music teaches most exquisitely the art of development —D'ISRAELI

osto 6 Street Lan§ Studios B. Studios , \ CALVIN CADY. \ £ £ NfJ^ ( JNew York, id (Jaremont Avenue 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. ILL., for Poetic Folk Dances. Books I. and II.. Folk Songs for Ten Fingers, First Home Studies. Music Education. An Outline. Books I. and II. 31 i

MUSICAL INSTRUCTION

CONCERT BARITONE FRANCIS ROGERS and Management. LOUDON CHARLTON TEACHER OF SINGING 868 Carnegie Hall. New York Studio, 563 Park Avenue, New York Gty

JOHN LANE TEACHER of SINGING 372 BOYLSTON STREET

TEACHER OF SINGING Six years study in Europe under world's greatest masters, E. SHEFFIELD MARSH Jean De Reszke. Lasalle. Sbriglia, Wm. Shakespeare, Colonnese, and Sebastiani, DRAMATIC TENOR Studios, 801-802 Carnegie Hall, New York For appointments, apply to Mr. J. Irwin Mutch, 115 Broadway. New York City

SINGERS — Suzanne Baker Watson, Cora Cross, Nellie Hart, Willette Kershaw. Gertrude Hutcheson. LESLEY MARTIN Ivy Scott, Marion Stanley, Estelle Ward, Mabel Wilbur, Flora Zabelle, Edward Foley, George Gilbert, BEL CANTO John Hendricks, Andrew Mack, Dr. Eugene Walton Marshall, Fiske O'Hara, Umberto Sacchetti, Ellis Rhodes. Albert Wallerstedt, and many other singers Studio 14251491 Broadway,R-»»,l.., a « NEWMrm YORKvnDfc" now ^^ the public in ^ratic aJ church ^ m

THE ART OF SINGING IN ALL L. WALTER BOGERT ITS BRANCHES Ex-President of New York State Musio Teachers' Association BARITONE LECTURES and RECITALS Aeolian Hall, 33 West 42nd St., New York City Musical Director of People's Institute Tuesdays and Fridays

Some prominent pupils: Lillia Snelling, three years LAURA E. MORRILL with Metropolitan Opera Co.; Winifred Mason, First Church Christ's Science, Brooklyn; Bertha Kinzel, Park Church, N.Y.; Clarence C Baw- TEACHER of soprano. West SINGING den, tenor, Washington Square Methodist Church, N.Y.; Russell Bliss, bass, Madison Church; Antoinette AEOLIAN HALL, 35 W. 42nd St., N.Y. City Harding, soloist. Fourth Church Christ Scientist, New York; Bertha Barnes of Boston, Mass. PAUL HULTMAN MARGARITE McQUAID PIANIST VIOLINIST (Boston. Friday and Saturday. 516 Huntington Chambers) For concert engagements, address HULTMAN-McQUAID SCHOOL OF MUSIC DAY BUILDING WORCESTER, MASS. WILLI A AUL Instructor in Music, Episcopal Theological School, Cambridge Private Lessons in VOICE CULTURE FOR READING. SPEAKING, AND SINGING 312 PIERCE BUILDING, COPLEY SQUARE ..... BOSTON Monday, Thursday, Saturday p.m. and by appointment Telephone. Cambridge 2816-R

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